Call for Papers | Engraving Dance, Music, Science, and Geography
From ArtHist.net:
Engraving Dance, Music, Science, and Geography: Crafts, Trades, and the Dissemination of Knowledge in the 18th Century
INHA, Paris, 21–22 November 2022
Organized by Pauline Chevalier and Johanna Daniel
Proposals due by 1 July 2022
The expression danse gravée has long designated the dance notation practices of the 18th century, since the diffusion of the Feuillet notation from 1700. The repertoire of engraved contredanses, published and distributed in the form of collections, small notebooks or booklets, notably from the 1760s and the Répertoire des bals by de La Cuisse, is relatively well known. However, the technique itself, the networks of collaboration between engravers and dance masters remain little studied: engravers in music, in mathematics, in geography, masters in writing, are also engravers in dance, when it is not the dance masters themselves who practice intaglio. The place of women engravers, editors, and booksellers (Mme Castagnery) will be widely discussed during these days. The aim here is to understand the way in which choreographic practices in the 18th century fit into a network of printmaking know-how, professional and amateur practices, by questioning the modalities of dance engraving in a wider field of technical engraving, in geography, in science, or in music. The commissions made by dance masters to certain engravers also indicate a desire to move from a technical image to an artistic one, shaping works with sometimes very different costs and uses. Particular attention will be paid to the French and British contexts and to the circulation of plates and models from one side of the Channel to the other.
These days intend to bring together scholars from different disciplines who share the same field of research around printmaking, beyond the choreographic field. As there are very few works on printmaking in dance, these two days will also be considered as moments of collective reflection to which researchers not working specifically on choreographic practices are warmly invited.
We would indeed like to cross the experiences related to the following fields (for the 18th century):
• Dance and Music: musical scores, engraved dances, music, and movement notation
• Geography: engraving and editing of maps
• Science, mathematics: illustration of scientific books
• Writing, calligraphy: engraved books of writing patterns
• and more broadly everything related to the transmission of technical knowledge through images
• Techniques of printmaking and typography
The contributions may thus relate to one or more of the following areas (non-exhaustive):
– The techniques of engraving in geography. Several engravers in dance in the second half of the 18th century were first engravers in maps and plans. The engraving in geography responds to precise stages of production (engraving of figures, before the letter) which seem to have been taken up again for a part of the engraved dances of the 18th century. In addition to a terminology that sometimes designates the figures drawn by the ‘plans of the dance’, it will be a question of analyzing the specific relationship maintained between printmaking in geography and printmaking in dance.
– The networks of engravers in science and especially in mathematics. The development of manuals and works of physical or mathematical ‘recreation’ required the use of engravers whose expertise sometimes extended beyond technical engraving. We will try to understand the processes of specialization of certain engravers who also contributed to dance engraving, bringing with them a way of drawing and arranging the scores.
– Engravers. Dance collections from the second half of the 18th century frequently mention engravers (sometimes the engraver of the figures is not mentioned, only the engraver in writing is indicated). Contributions on the status and techniques of engraving in script are highly desirable.
– Music engraving in France and in England, and its technical evolution. The use of tin and punches for engraving in music seems to have inspired technical evolutions in dance engraving. It may be useful to revisit this English innovation of the 1730s in order to understand how the techniques (and costs) of choreographic printmaking benefited from the expertise of musical printmaking.
– Preparatory drawings. Very few preparatory drawings for engraved scores have been preserved, for many reasons. However, the collaboration between dance masters and engravers may have necessitated the transmission of drawings for the ‘traits’ of the dance when a distinction is regularly made between the author of the dance, the author of the notation and the engraver. Working from other examples, outside of the choreographic field, we would like to examine the intermediate sources and materials for the creation of technical prints.
– The networks of collaborations between actors. The sheets of engraved dances are the fruit of collaborations of a quite important number of actors (master of dance and musicians, amateur and professional dancers, engravers specialized in writing or in music printmaking), publishers, printers, and merchants-bookshops. Some publishing companies are the subject of a company creation. Contributions highlighting the networks of collaborations mobilized for the production of scientific works, musical collections or geographical maps are particularly welcome.
– The amateur practices of engraving and the training of engravers. The analysis of dance scores from the 1770s and, for example, the collections of contredanses published by Bouin attest to the technical progress of Mlle Bouin, the publisher’s daughter, whose first creations proved to be very clumsy. Some dance masters, like Landrin or Rameau, ensure themselves the execution of the engravings of their works, without being professional engravers. The analysis of the biographical paths and of the modalities of learning engraving also allows us to shed light on the exponential development of a publishing enterprise that required the rapid publication (sometimes weekly) of scores.
– The place of women printmakers. If we know relatively well the important feminization of engraving practices in music, the more general share of women in the printmaking world, in France and in England, is the subject of very recent works questioning both the training networks and the mechanisms of emancipation according to family contexts. The case of female printmakers shows quite different biographical paths: daughters, wives or widows of printmakers and/or publishers, they can also have an independent activity, emancipated from the family framework. Particular attention will be paid to this particular place of women in fine and technical printmaking.
– The status of the print and the relationship to the printer-bookkeepers. The full use of copperplate printing for the publication of an edition of Raoul-Auger Feuillet’s Chorégraphie, taken up by Malpied, for example, seems to bypass the corporation of printer-booksellers by proposing works that do not use the letterpress. The cost and technical difficulties of such undertakings (numerous pages of text directly engraved on copperplate), question the motivations of the authors, the bypassing of publishing practices and auctoriality.
– The phenomena of series in the publishing and engraved cartography. In the second half of the 18th century, dance engraving developed through the publication of single scores, gathered in collections and volumes, with tables sold independently, bound series and is a phenomenon that is not specific to the choreographic field. The cheap publication of series and collections of prints outside of choreographic scores will be analyzed through specific examples (booksellers, publishers…)
– The use of renowned engravers and the production of fine images. The publication of Kellom Tomlinson’s The Art of Dancing in 1735, or Guillaume’s Almanach dansant in 1769, reveals practices that go beyond technical printmaking by using renowned engravers and sometimes by assuming the production of images whose aesthetic quality exceeds their didactic virtues. This practice thus makes it possible to shed light on the editorial (and even financial) stakes of such publications.
Proposals for papers, not exceeding one page, followed by a brief bio-bibliographic presentation, should be sent before 1 July 2022 to the following email addresses: pauline.chevalier@inha.fr and johanna.daniel@inha.fr. For accepted proposals, travel, and accommodation expenses will be covered by INHA.
Organization
Pauline Chevalier (INHA) Johanna Daniel (INHA)
Scientific Committee
• Ilaria Andreoli (INHA)
• Mathias Auclair (BnF)
• Laurent Barré (CND)
• Pascale Cugy (University of Rennes 2)
• Marie Glon (University of Lille)
• Joël Huthwohl (BnF)
• Sandrine Nugue (ENSBA Lyon)
• Juliette Robain (INHA)
• Laurent Sebillotte (CND)
This conference is part of a wider research program on dance drawings and notations — Chorégraphies: Écriture et dessin, signe et image dans les processus de création et de transmission chorégraphiques, XVe–XXIe siècles
Indicative Bibliography
BOUCHON, Marie-Françoise, “La Contredanse comme jeu social au XVIIIe siècle”, Analyse musicale, n°69, 4e trimestre 2012, p. 80–86.
CLAYTON Tim, COOK Karen Severud, and KRETSCHMER Ingrid, “Reproduction of Maps,” in Matthew H. Edney and Mary Sponberg Pedley (eds.), Cartography in the European Enlightenment , 4, Chicago, University of Chicago Press, coll. “The history of cartography,” 2020, vol. 2/2, p. 1238–1265.
DEVRIES-LESURE, Annik, Dictionnaire des éditeurs de musique français, vol.1 : Des origines à environ 1820, Geneva, Minkoff, 1979.
DEVRIES-LESURE, Annik, L’édition musicale dans la presse Parisienne au XVIIIe siècle, catalog des annonces, Paris, CNRS Editions, 2005.
FAU, Elisabeth, La gravure de musique à Paris, des origines à la Révolution (1660–1789), Paris, Ecole des Chartes, 1978.
GLON, Marie, “Inventing a Scriptural Technique in the Eighteenth Century: ‘Choreography or the Art of Describing Dance’,” Artefact [Online], 4 | 2016, online 7 July 2017.
GLON, Marie, Les Lumières chorégraphiques. Les maîtres de danse européens au cœur d’un phénomène éditorial (1700–1760), history thesis, ed. Georges Vigarello, EHESS, 2014.
GLON, Marie. “The materiality of theory. Print practices and the construction of meaning through Kellom Tomlinson’s The Art of Dancing Explain’d (1735). Re-thinking practice and theory, Jun 2007, Pantin, France. pp. 190–195.
GRANGER, Sylvie, Dancing in Enlightenment France, Rennes, Presses universitaires de Rennes, 2019.
GUILCHER, Jean-Michel, La Contredanse et les renouvellements de la danse française, Paris / La Haye, Mouton, 1969, republished under the title La Contredanse, Un Tournant dans l’histoire française de la danse, text corrected and completed by Naïk Raviart, preface by Yves Guilcher, Brussels, Complexe / CND, 2003.
LANCELOT, Francine (dir.), La Belle Dance, Catalogue raisonné des chorégraphies françaises en notation Feuillet fait en l’an 1995, Paris, Van Dieren, 1996.
MILLIOT, Sylvette, “Marie-Anne Castagneri. marchand de musique au XVIIIe siècle (1722–1787)”, Revue de Musicologie, vol. 52, no 2, 1966, p. 185–195. Online: https://www.jstor.org/stable/927569
NORDERA, Marina, “La réduction de la danse en art (XVe–XVIIIe siècle)”, in Hélène Vérin and Pascal Dubourg Glatigny (dir.), Réduire en art : La technologie de la Renaissance aux Lumières, Paris, Éditions de la Maison des sciences de l’homme, coll. ” Hors collection “, 2018, p. 269–291. Online: http://books.openedition.org/editionsmsh/10161
Pedley Mary Sponberg, “The map trade in Paris, 1650–1825,” Imago Mundi, vol. 33, no 1, January 1981, p. 33–45. Online: https://doi.org/10.1080/03085698108592513
Pedley Mary Sponberg, The commerce of cartography: making and marketing maps in eighteenth-century France and England, Chicago, University of Chicago Press, series “The Kenneth Nebenzahl, Jr. lectures in the history of cartography,” 2005, vol. 1/.
SMITH, Marc, “Les modèles d’apprentissage de l’écriture en France depuis la Renaissance”, Apprendre, 2020, p. 167–179.
STEIN Perrin (ed.), Artists and amateurs: etching in eighteenth-century France, New York, MET, 2013. Online: https://www.metmuseum.org/art/metpublications/The_Art_of_Etching_in_Eighteenth_Century_France
Print Quarterly, June 2022
Hippolyte Pochon, Du Courage ! En avant Marche (Courage, forward march!), 1815, hand-coloured etching, 23 × 31cm
(Paris, Bibliothèque Nationale)
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The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 39.2 (June 2022)
Antony Griffiths, “The Publication of Caricatures in Paris in 1814 and 1815, Part II.”
Part II of Antony Griffiths’ article on “The Publication of Caricatures in Paris in 1814 and 1815” discusses the numerous new names, found only in these years, who deposited prints giving their surname and address. Most of these were the actual producers, and many of the most frequent names can be identified. The article turns to each of the main artists individually, many of whom were leading figures in the school of Jacques Louis David. They included Louis François Charon, Gautier, Charles François Gabriel Levachez, Pierre Audouin, Pierre Marie Bassompierre Gaston, Charles Marie Dubois-Maisonneuve, Pierre Lacroix, Louis Félix Legendre, Jean Jacques Théodore Sauvé, Desalle, Charles Elie, Michael Raphael Vautier and Hippolyte Pochon, whose work was particularly well-executed and imaginative.
The issue also includes these relevant reviews:
Johann Georg Edlinger (1741–1819)
Hans Jakob Meier, Review of Brigitte Huber, Georg Edlinger: Porträts ohne Schmeichelei (Munich: Hirmer Verlag, 2021), p. 194.
Dutch and Flemish Flower Pieces
Nadine Orenstein, Review of Sam Segal and Klara Alen, Dutch and Flemish Flower Pieces: Paintings, Drawings and Prints up to the Nineteenth Century (Leiden: Brill and Hes & De Graaf, 2020), p. 226.
Symposium | Everyday Rococo
From the FPS:
Everyday Rococo: Madame de Pompadour and the Arts
Victoria and Albert Museum, London, 1–2 July 2022
Organised by Mia Jackson and Caroline McCaffrey-Howarth
The French Porcelain Society is pleased to announce the rescheduling of the symposium Everyday Rococo: Madame de Pompadour and the Arts to be held at the Gorvy Lecture Theatre, Victoria and Albert Museum, London, on the 1st and 2nd July 2022. With two days of papers, this will be the first reassessment of Jeanne-Antoinette Poisson’s artistic patronage since the landmark exhibition, Madame de Pompadour et les Arts of 2002. Commemorating the tercentenary of her birth and marking the publication of Rosalind Savill’s book Everyday Rococo: Madame de Pompadour and Sèvres Porcelain, this conference will welcome international experts discussing her interests in the fine and decorative arts. Speakers’ biographies and paper abstracts are available here. The symposium is organised by Dr Mia Jackson (Waddesdon Manor) and Dr Caroline McCaffrey-Howarth (DAS Department, V&A Museum).
To book tickets, please visit the French Porcelain Society’s website»
F R I D A Y , 1 J U L Y 2 0 2 2
10.20 Welcome and Introduction by Dame Rosalind Savill (moderator of Day One)
10.35 Morning Session
• John Whitehead (Independent Scholar), The Crisis of 1745: New Thoughts on Madame de Pompadour, the Orry Brothers, and the Vincennes Porcelain Factory
• Kristel Smentek (Associate Professor of Art History, Massachusetts Institute of Technology), Asia at Home: Madame de Pompadour’s Mounted Chinese Porcelain
• Susan Wager (Assistant Professor of Art and Art History, University of New Hampshire), Pompadour Sculpsit: Gems, Prints, and Authorship
13.20 Lunch Break
14.20 Afternoon Session
• Aileen Ribeiro (Professor Emeritus, Courtauld Institute of Art), Madame de Pompadour and the Goddess of Appearances
• Joana Mylek (PhD Candidate, Ludwig Maximilian University of Munich), Madame de Pompadour’s Collection of Meissen Porcelain
• Bertrand Rondot (Conservateur en chef, Château de Versailles), A Rococo Rupture: Or Madame de Pompadour’s Taste in Furniture
16.30 Discussion
18.00 Drinks at the Savile Club (generously sponsored by Christie’s and Bonhams)
19.30 Dinner at the Savile Club (reservation only)
S A T U R D A Y , 2 J U L Y 2 0 2 2
10.20 Opening Remarks by Helen Jacobsen (moderator of Day Two)
10.25 Morning Session
• Rosalind Savill (Former Director of the Wallace Collection), Madame de Pompadour’s Sèvres Porcelain for Everyday Use
• Mia Jackson (Curator of Decorative Arts, Waddesdon Manor), Pampered and Adored: Madame de Pompadour’s Pets
• Alexandre Gady (Professor of the History of Art, Sorbonne Université), Madame de Pompadour as a Patron of Architecture: Some Reflections
13.00 Lunch Break
14.00 Afternoon Session
• Rachel Jacobs (Curator of Books and Manuscripts, Waddesdon Manor), Madame de Pompadour’s Library
• Alden Gordon (Professor of Fine Arts, Trinity College, Hartford), The Language of Gifts: Madame de Pompadour’s Hierarchy of Giving and Receiving
15.15 Discussion
15.45 Closing Remarks
New Book | Madame de Pompadour: Painted Pink
Forthcoming from Harvard Art Museums and distributed by Yale UP:
A. Cassandra Albinson, ed., Madame de Pompadour: Painted Pink (Cambridge: Harvard Art Museums, 2022), 88 pages, ISBN: 978-0300263817, $25.
A fresh take on a beloved masterpiece of portraiture, focusing on the complex significance of the color pink in 18th-century France
François Boucher’s 1750 half-length portrait of Madame de Pompadour—influential court figure and mistress to King Louis XV—has been the subject of much art historical attention, particularly with regard to gender and representation. Building on that foundation, this volume turns toward an underappreciated aspect of the portrait: the use and significance of the color pink. Four scholarly essays, including one by noted Boucher expert Mark Ledbury, establish a framework that connects Pompadour’s fondness and promotion of the color, Boucher’s artistic association with the color, and developments in the material basis of the color, including its application in other media such as porcelain. This engaging close look offers new ways to understand the portrait, revealing its links to motherhood and sentiment, race and the transatlantic slave trade, and the crosscurrents of natural history and scientific discovery.
A. Cassandra Albinson is the Margaret S. Winthrop Curator of European Art and Head of the Division of European and American Art at the Harvard Art Museums. With additional contributions by Mark Ledbury, Power Professor of Art History and Visual Culture and director of the Power Institute at the University of Sydney; Gabriella Szalay, PhD candidate, Georg-August-Universität Göttingen, and 2018–20 Renke B. and Pamela M. Thye Curatorial Fellow in the Busch-Reisinger Museum, Harvard Art Museums; and Oliver Wunsch, Assistant Professor of Art History at Boston College and 2018–19 Maher Curatorial Fellow of American Art at the Harvard Art Museums.
New Book | Clothing the New World Church
From the University of Notre Dame Press:
Maya Stanfield-Mazzi, Clothing the New World Church: Liturgical Textiles of Spanish America, 1520–1820 (South Bend: University of Notre Dame Press, 2021), 400 pages, ISBN: 978-0268108052, $50.
The first broad survey of church textiles of Spanish America, demonstrating that, while overlooked, textiles were a vital part of visual culture in the Catholic Church.
When Catholic churches were built in the New World in the sixteenth century, they were furnished with rich textiles known in Spanish as ‘church clothing’. These textile ornaments covered churches’ altars, stairs, floors, and walls. Vestments clothed priests and church attendants, and garments clothed statues of saints. The value attached to these textiles, their constant use, and their stunning visual qualities suggest that they played a much greater role in the creation of the Latin American Church than has been previously recognized. In Clothing the New World Church, Maya Stanfield-Mazzi provides the first comprehensive survey of church adornment with textiles, addressing how these works helped establish Christianity in Spanish America and expand it over four centuries. Including more than 180 photos, this book examines both imported and indigenous textiles used in the church, compiling works that are now scattered around the world and reconstructing their original contexts. Stanfield-Mazzi delves into the hybrid or mestizo qualities of these cloths and argues that when local weavers or embroiderers in the Americas created church textiles they did so consciously, with the understanding that they were creating a new church through their work.
The chapters are divided by textile type, including embroidery, featherwork, tapestry, painted cotton, and cotton lace. In the first chapter, on woven silk, we see how a ‘silk standard’ was established on the basis of priestly preferences for this imported cloth. The second chapter explains how Spanish-style embroidery was introduced in the New World and mastered by local artisans. The following chapters show that, in select times and places, spectacular local textile types were adapted for the church, reflecting ancestral aesthetic and ideological patterns. Clothing the New World Church makes a significant contribution to the fields of textile studies, art history, Church history, and Latin American studies, and to interdisciplinary scholarship on material culture and indigenous agency in the New World.
Maya Stanfield-Mazzi is an associate professor of art history at the University of Florida. She is the author of Object and Apparition: Envisioning the Christian Divine in the Colonial Andes.
Exhibition | Faith and Fortune: Art across the Global Spanish Empire
Attributed to Manuel Chili, known as Caspicara, Four Fates of Man: Death, Hell, Purgatory, and Heaven, ca. 1775
(New York: The Hispanic Society of America)
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From the press release (18 May 2022) for the exhibition:
Faith and Fortune: Art across the Global Spanish Empire
Art Gallery of Ontario, Toronto, 8 June — 10 October 2022
Curated by Adam Harris Levine, with Tahnee Ann Macabali Pantig
This summer, the Art Gallery of Ontario (AGO) presents Faith and Fortune: Art across the Global Spanish Empire, an eye-opening exhibition of sumptuous paintings, maps, textiles, jewels, rare daguerreotypes, and religious objects from Europe, the Americas, and the Philippines from the collection of the Hispanic Society Museum & Library of New York.
Curated by the AGO’s Assistant Curator of European Art, Adam Harris Levine, the exhibition presents artworks by revered and unknown Latin American, Filipino, and Spanish artists and explores the colonial frameworks that shaped their production and reception. A consultation panel of Toronto-based Latinx and Filipinx scholars and artists worked with the curator to help shape an exhibition that both highlights the beauty of these objects and the reality of their creation. Their voices are heard throughout the exhibition as part of the exhibitions extensive audio guide.
For nearly four centuries, between 1492 and 1898, the kings and queens of Spain controlled large parts of the world. Their pursuit of gold, gemstones, and natural resources created an empire that for a time spanned both oceans. Art, books, and religious imagery were a powerful means of unifying their vast and varied empire, and the Spanish empire encouraged artistic production across its territories. Painters, sculptors, printers, and other artisans travelled extensively, creating a rich and complex visual culture.
“These sumptuous and stirring works reveal cross-cultural exchange—of ideas, of people, of materials—on a global scale. As historic as these artworks were, embedded in their creation are issues that we continue to confront today: the persistence of anti-Indigenous stereotypes, of racial categories, of flawed legal systems, of pollution from resource extraction. In them, and in the context of their making, we better understand our present condition,” says Levine. “These four centuries of art provide a unique perspective on the lasting legacies of colonization and the role of art.”
Filipino-Canadian artist and designer Tahnee Ann Macabali Pantig joins the exhibition as guest curator, overseeing the installation of 15 never before exhibited daguerreotypes from the Philippines, dating from ca. 1840–45. Only recently rediscovered, these significant images offer says Pantig “a rare window into the Philippines at a critical time of political and cultural change and an opportunity for those in the Filipinx community to reclaim these images as our own and to consider how colonialism has shaped how we see our history.”
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Anonymous Spanish artist, The Silver Mine at Potosí, ca. 1585, watercolor on parchment, 28 × 22 cm (New York: The Hispanic Society of America). More information is available here»
Organized chronologically, the exhibition begins with the earliest episode of colonization: Columbus’s arrival in the Americas. Illustrating the formation of the Empire is a selection of ceramics, textiles, and religious paintings—objects all made in Spain with materials from the Americas and Asia, reflecting the dominant styles and techniques of European art. A gold pendant in the shape of a centaur made of sapphires, rubies, and pearls (ca. 1580–1620) and a disc of gold bullion, dated 1622, from the Thomson Collection of European Art are just a few of the glittering examples of the gold trade that fueled the Spanish Empire’s expansion.
Impassioned representations of Saint Jerome (1600) and Saint Sebastian (1603–07) by El Greco and Alonso Vázquez highlight a section dedicated to Catholic imagery and its role in empire building. From Peru, a processional shield from ca. 1620–50 depicting the Virgin Mary and the Nativity, of oil on copper and wrought iron, demonstrates the local adoption of and market for religious icons.
Anonymous Spanish artist, The Silver Mine at Potosí, ca. 1585, watercolor on parchment, 28 × 22 cm (New York: The Hispanic Society of America). More information is available here»
Sculpture, ranging from gilded wooden figures to a lacquered portable writing desk and elaborately carved wooden boxes, features prominently in the exhibition. Ecuadorean Indigenous sculptor Manuel Chili’s striking series of four wood carvings The Fates of Man (ca. 1775) presents in feverish detail the potential rewards and pains of the afterlife.
A section dedicated to seafaring and map-making features some of the oldest objects in the exhibition, including a series of five charts illustrating the Atlantic Ocean from Iceland to Port of Good Hope from 1558. Diego Velázquez’s full sized portrait of Gaspar de Guzmán, Count-Duke of Olivares (1625–26), is one of many works showcasing the Spanish Empire at the height of its power in the 17th century.
Pottery and lacquer ware from Mexico and Columbia exemplify how Indigenous artisans working for settler patrons and drawing upon examples and artistic traditions imported from across Asia, the Americas, and Europe created their own recognizable styles. These works reflect the importance of the Spanish trade routes between Acapulco and Manila.
The exhibition concludes with a selection of never-before exhibited daguerreotypes dating from ca. 1840–45. An early form of photography using silvered copper plates, daguerreotypes were popular in the mid-19th century. Guest curated by Filipino-Canadian artist and designer Tahnee Ann Macabali Pantig, these images offer stunning views of Manila and its surroundings, including the Marikina River and Laguna province, and are thought to be the work of Jules Alphonse Eugene Itier (1802–1877), a French government official whose career took him around the world.
Programming Highlights
• On Saturday, June 11, exhibition curators Adam Harris Levine and Tahnee Ann Macabali Pantig join interpretive planner Gillian McIntyre for a free conversation about Faith and Fortune: Art across the Global Spanish Empire. For more details and to register, visit ago.ca/events/faith-and-fortune-curators-talk.
• Celebrate the sounds of the Americas and Philippines! Beginning Friday, June 17 and continuing on select Fridays through July, Small World Music presents free live musical performances by Latinx and Filipinx performers in Walker Court from 5 to 9pm.
• On Thursday, June 23 at 4pm, exhibition curator Adam Harris Levine joins Florina Capistrano-Baker, a curator and expert on the art history of the Philippines, in conversation. The two will highlight objects from Faith and Fortune: Art across the Global Spanish Empire, addressing the Philippines’ era of Spanish colonisation and local hybrid art forms. Free via Zoom. For more details about this free Zoom talk, visit ago.ca/events.
• Opening on 25 June 2022, on level 1 of the AGO, also from the Hispanic Society Museum & Library, comes Treasures of Ancient Spain, a selection of 28 objects from three important periods in Spanish history, dating as far back as 2500 BCE. Featuring, metalwork, rare Bell Beaker ceramics, Celtic jewellery, and marble sculpture, these artifacts attest to Spain’s long history as a home to many cultures. Archer M. Huntington, the founder of the Hispanic Society Museum & Library was a passionate collector of ancient Spanish artifacts, funding numerous archeological digs.
Exhibition | Paintings from South America
Now on view at the Nelson-Atkins:
Paintings from South America: The Thoma Collection, 1600–1800
Nelson-Atkins Museum of Art, Kansas City, 12 February — 4 September 2022
Organized by the Thoma Foundation
Unidentified artist (Perú), The Mystical Winepress, 18th century, oil and gold on canvas, 49 × 43 inches (Collection of the Carl & Marilynn Thoma Foundation, 2019.71; photo by Jamie Stukenberg).
This exhibition presents fifteen works made by artists in present-day Ecuador, Peru, and Bolivia during Spanish colonial rule. One of the largest and longest-lasting European empires, the Spanish realms spanned from South Asia to South America and lasted nearly 500 years. Spanish South American art is a dynamic, unique combination of styles and influences from visiting Italian artists and imported European prototypes translated and adapted by local hands. The works on view represent primarily Roman Catholic subjects. Paintings and sculptures adorned churches and convents across Spanish America, but most of the paintings in this exhibition originally hung in private homes where they both gave pleasure and invited contemplation and prayer. The works belong to the Carl & Marilynn Thoma Foundation, which is committed to promoting the art of the Spanish Americas through scholarship and exhibition of its extensive collection from South America and the Caribbean.
The Burlington Magazine, May 2022
The eighteenth century in the May issue of The Burlington . . .
The Burlington Magazine 164 (May 2022)
E D I T O R I A L
• “The Rustat Memorial,” p. 443.
When the statue of Edward Colston was defaced and thrown into Bristol harbour on 7th June 2020 the resulting publicity was so enormous that it seemed likely that a wholesale assault on memorials to men who took part in the slave trade or were racist would inevitably follow. In fact, remarkably little has happened. . . .
Little more has been done in the case of church monuments. . . . Only one such case is outstanding, an application by St Peter’s church, Dorchester, to move a late eighteenth-century wall memorial to the slave owner John Gordon from the church to Dorchester Museum. If such an application is contested the matter is referred to the judgment of a diocesan Chancellor in a Consistory Court. This was the result of the ecclesiastical case that has attracted most attention, the application by the Master and governing body of Jesus College, Cambridge, to remove the monument to Tobias Rustat (1608–94) from the college chapel, which was opposed by a group of former members of the college. The case was heard in February by David R. Hodge, Deputy Chancellor of the Diocese of Ely, who in March dismissed the application. Last month the college announced that it would not appeal against his decision. . .
A R T I C L E S
• Antoinette Friedenthal, “Prince Eugene of Savoy’s Rembrandt Drawings: A Newly Discovered Provenance,” pp. 450–61.
• Pascal-François Bertrand and Charissa Bremer David, “Paintings in Beauvais Tapestry, 1764–67,” pp. 462–72. In 1764, at a time when the Royal Tapestry Manufactory at Beauvais was short of work, its directors, Laurent and André Charlemagne Charron, initiated the weaving of small tapestry panels based on designs by François Boucher. Intended as inexpensive, independent works of art, they were in essence a short-lived marketing venture. Records of their weaving in the firm’s payment registers allow a number of surviving examples to be identified.
• Sofya Dmitrieva, “Carle Van Loo at the 1737 Salon,” pp. 473–77. Although not pendants in the traditional sense, since they were painted for different patrons, it is argued here that Carle Van Loo’s A Pasha Having His Mistress’s Portrait Painted and The Grand Turk Giving a Concert to His Mistress, shown at the Salon of 1737, were meant to be read as a pair|—as portraits of the artist and his wife and as allegories of Painting and Music. By linking the paintings, Van Loo, may have intended them to make a statement on the changing relations between art and patronage.
R E V I E W S
• Duncan Robinson, Review of Susan Sloman, Gainsborough in London (Modern Art Press, 2021), pp. 478–85.
• Satish Padiyar, Review of the exhibition Jacques-Louis David: Radical Draftsman (The Metropolitan Museum of Art, 2022), pp. 492–95.
• Kee Il Choi, Jr., Review of the exhibition Inspiring Walt Disney: The Animation of French Decorative Arts (The Metropolitan Museum of Art, The Wallace Collection, and The Huntington, 2022–23), pp. 504–07.
• Camilla Pietrabissa, Review of the re-installation of seventeenth- and eighteenth-century Venetian paintings at the Gallerie dell’Accademia in Venice (from August 2021), pp. 507–09.
• Stefania Girometti, Review of Joachim Jacoby, Städels Erbe: Meisterzeichnungen aus der Sammlung des Stifters (Sandstein Verlag, 2020), pp. 529–30. Comprehensive analysis of “the collection of drawings assembled by Johann Friedrich S (1728–1816), the founder of the art institute and museum in Frankfurt that bears his name.”
• Christoph Martin Vogtherr, Review of the exhibition catalogue Watteau at Work: La Surprise (Getty, 2021), pp. 530–31.
• Hugo Chapman, Review of Cristiana Romalli, Cento Disegni dalla Collezione della Fondazione Marco Brunelli (Ugo Bozzi, 2020), pp. 531–32.
Masterpiece London Programming | Serious Fun / Stones of Rome
In conjunction with this year’s Masterpiece London, which runs from 30 June to 6 July:
Serious Fun: The Masterpiece Museum Symposium
Royal Hospital Chelsea, London, Saturday, 2 July 2022
Unknown maker, candlestick, France, ca. 1745–49, gilt bronze and silvered bronze, 25 cm high (London: The Wallace Collection, F79).
Masterpiece London is delighted to host a morning of debate and discussion, co-organised by the Fair and the writer and critic Thomas Marks, to bring together preeminent museum curators and conservators with the leading figures in the art and antiques trade, with the aim of encouraging constructive discussion, networking and the exchange of knowledge and practical advice. Serious Fun is the seventh in a series of events that Masterpiece London launched in 2018—with recent online events focusing on conservation, artistic materials and the role of research in museums. This summer the Masterpiece Symposium returns to an in-person format at the Fair in London for the first time since 2019, with the focus turning to museums of places of pleasure, wonder, surprise—and even fun. The subject has been chosen to pay tribute to the late Philip Hewat-Jaboor, Chairman of Masterpiece London from 2012 to 2022, who consistently took delight in museum collections around the world and generously shared that joy with friends, colleagues, and the wider public.
It is a truism to describe museums as places of education but perhaps less common to celebrate how they ought to provide diversion too. Certainly, many great civic museums, and particularly those founded during the 19th century, once shared with the popular spectacles of the time the desire to entertain their audiences while pursuing their educational purposes (some Victorian museums had an ‘almost carnival atmosphere’, the late Giles Waterfield wrote). It is now sometimes assumed, however, that seriousness and levity cannot coexist in museums. But whyever not?
Over the course of a morning at Masterpiece London, experts will offer a range of perspectives on the role of leisure and pleasure in museums, exploring historical attempts to associate learning with enjoyment and considering what might be gained by doing so today. How have museums historically had fun? Could enjoyment be more central to how we discuss, design, and experience museums, and to what purpose? How can wonder or pleasure be fostered through collection displays, exhibitions, and other museum activities? As ever at the Masterpiece Symposium, attendees will be invited to participate in the discussion in Q&As with panellists and in break-out sessions during the course of the event—with the aim of sharing knowledge and ideas.
P R O G R A M M E
10.00 Registration and coffee
10.15. Panel Discussion: The Museum at Play
Moderated by Thomas Marks
• Dinah Casson | Museum and exhibition designer, and co-founder, Casson Mann
• Jane Munro | Keeper of Paintings, Prints, and Drawings, the Fitzwilliam Museum, Cambridge
• Ben Street | Art historian, lecturer, and writer (How to Enjoy Art; How to Be an Art Rebel)
This discussion will focus on the current situation in museums, exploring how they might enable and harness enjoyment among their audiences. The conversation will explore how museum architecture, exhibitions, and displays succeed in kindling imaginative wonder; surprise, wit, even comedy (or comic art) as modes of engagement; how artist interventions might provoke meaningful diversion; and the balance between encouraging delight and offering interpretation in the display of works of art.
11.15 Coffee Break
11.30 Break-out Sessions
Attendees will be invited to join small discussion groups (6–8 people) for conversation, drawing on their own ideas and experience, and prompted by the first panel discussion and wider theme of the symposium.
12.00 Panel Discussion: Historical Entertainments
Moderated by Thomas Marks
• Helen Dorey | Deputy Director and Inspectress, Sir John Soane’s Museum
• Ella Ravilious | Architecture and Design, Victoria & Albert Museum
• Mark Westgarth | Associate Professor in Art History and Museum Studies, University of Leeds
This discussion will explore how museums have historically sought to enlist types of enjoyment as a mode of fulfilling their wider mission. It will encompass the relationship between leisure and education in Victorian civic museums, including the South Kensington Museum; how surprise and wonder have historically played a role in museum architecture and display, such as at Sir John Soane’s Museum; early attempts to ‘activate’ collections; and the emergence of displays, tours and other activities aimed at children. How might we borrow from such institutional legacies to the benefit of the 21st-century museum?
Many Enfilade readers will also find this session on Friday, 1 July interesting:
Stones of Rome
Royal Hospital Chelsea, London, 1 July 2022, 12.30
Adriano Aymonino is Programme Director of the MA in the Art Market and the History of Collecting at the University of Buckingham. He has curated several exhibitions, including Drawn from the Antique: Artists and the Classical Ideal. His book Enlightened Eclecticism was published by Yale University Press in June 2021, and he is currently working on a revised edition of Francis Haskell and Nicholas Penny’s Taste and the Antique (2022). He is also associate editor of the Journal of the History of Collections.
Silvia Davoli specializes in the history of collections and patronage with particular focus on the eighteenth and nineteenth centuries. She is a research associate at Oxford University and Curator at Strawberry Hill House (the Horace Walpole Collection). Silvia is also associate editor of the Journal of the History of Collections.
Fabio Barry studied architecture at the University of Cambridge (MA, Dip Arch), and briefly practiced before receiving his PhD in art history from Columbia University. He has taught at the University of St. Andrews and Stanford University, and is currently Samuel H. Kress Senior Fellow at The Centre for Advanced Study in the Visual Arts at The National Gallery of Art in Washington, D.C. His research has often concentrated on art in Rome, particularly Baroque architecture, but recent publications have ranged farther afield and dwell on medieval and antique art, especially sculpture. An ongoing concern has been the imagery of marble in the visual arts and literature, especially the evocative qualities of the medium before the era of mass production distanced it from the realm of nature and myth. His book Painting in Stone Architecture and the Poetics of Marble from Antiquity to the Enlightenment was published by Yale University Press in 2020, awarded the 2021 PROSE Award in Architecture and Urban Studies by the Association of American Publishers, and is currently shortlisted for the Alice Davis Hitchcock Medallion of the Society of Architectural Historians of Great Britain.
New Book | Survey: Architecture Iconographies
Distributed by The University of Chicago Press:
Matthew Wells, Survey: Architecture Iconographies, edited by Sarah Handelman (Zurich: Park Books, 2021), 176 pages, ISBN: 978-3038602507, $50.
An exploration of the history and significance of the architectural survey drawing through focused studies on John Soane, Charles Robert Cockerell, Detmar Blow, Louis-Hippolyte Lebas, Henri Labrouste, Eugène Viollet-le-Duc, and Peter Märkli.
When architects visit a building and want to record or identify what they see, they take out a bundle of folded sheets in search of a blank piece of paper. These sheets may be ground plans, diagrams, sketches, or ordnance maps. In one way or another, all are survey drawings, operating as both documentation and analysis, enabling an architect to examine certain conditions of the built environment, whether geometric, relational, material, or technical.
This book explores the history of the survey and its multiple forms in order to understand how the methods of recording what already exists can also be used to imagine what might be. Lavishly illustrated, with works from the collection of Drawing Matter and beyond, it addresses the multiple forms of the survey through focused studies—on John Soane (1753–1837), Charles Robert Cockerell (1788–1863), and Detmar Blow (1867–1939); French architects Louis-Hippolyte Lebas (1782–1867), Henri Labrouste (1801–75), and Eugène Viollet-le-Duc (1814–79); and Swiss-based Peter Märkli (born 1953)—and an extensive section of plates with commentaries by contemporary architects. In doing so, it maintains that while all surveys begin with the site, the outcomes are as idiosyncratic as their authors—and their methods have much to offer as tools in design practice.
Survey is the first volume of Architecture Iconographies, a series that considers architecture through its typologies and unique approaches to drawing, aiming to open up further possibilities for their contemporary use in design and teaching. The series is published in collaboration with Drawing Matter, based in Somerset, England, which is committed to exploring the role of drawing in architectural thought and practice.
Matthew Wells is a lecturer and postdoc researcher at ETH Zurich’s Institute for the History and Theory of Architecture. The focus of his research and writing is on representational techniques, environmental technologies, and professionalism in the built environment of the 19th and 20th centuries.
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