Enfilade

New Book | Art, Science, and the Body in Early Romanticism

Posted in books by Editor on November 20, 2021

From Cambridge UP:

Stephanie O’Rourke, Art, Science, and the Body in Early Romanticism (New York: Cambridge University Press, 2021), 205 pages, ISBN: 978-1316519028, £75 / $100. Part of the Cambridge Studies in Romanticism series.

Can we really trust the things our bodies tell us about the world? This work reveals how deeply intertwined cultural practices of art and science questioned the authority of the human body in the late eighteenth and early nineteenth centuries. Focusing on Henry Fuseli, Anne-Louis Girodet, and Philippe de Loutherbourg, it argues that romantic artworks participated in a widespread crisis concerning the body as a source of reliable scientific knowledge. Rarely discussed sources and new archival material illuminate how artists drew upon contemporary sciences and inverted them, undermining their founding empiricist principles. The result is an alternative history of romantic visual culture that is deeply embroiled in controversies around electricity, mesmerism, physiognomy, and other popular sciences. This volume reorients conventional accounts of romanticism and some of its most important artworks, while also putting forward a new model for the kinds of questions that we can ask about them.

Stephanie O’Rourke is a lecturer in Art History at the University of St Andrews.

C O N T E N T S

List of Figures
Acknowledgments

Introduction: Bodies of Knowledge
1  De Loutherbourg’s Mesmeric Effects
2  Fuseli’s Physiognomic Impressions
3  Girodet’s Electric Shocks
4  Self Evidence on the Scaffold

Notes
Bibliography
Index

Online Talk | Gerstenblith on Reparations and the ‘Universal’ Museum

Posted in lectures (to attend), online learning by Editor on November 20, 2021

From Penn Museum:

Patty Gerstenblith | Imperialism, Colonialism, Reparations, and the ‘Universal’ Museum
Penn Cultural Heritage Center Lecture
Thursday, 2 December 2021, 12.30–2.00pm (ET)

In this virtual lecture hosted by the Penn Cultural Heritage Center, Patty Gerstenblith will discuss the concept of the ‘universal’ museum and its historical underpinnings. Dr. Gerstenblith will explore its origins across the arc of the 19th century, the inequities of the international legal system and its shortcomings, and the continuing justifications for the retention of looted cultural objects by European and North American museums and collectors.

The notion of the ‘universal’ museum developed in the late 18th and early 19th centuries in the context of the founding of the British Museum, the Napoleonic Wars, European imperialism and colonialism, and the mantra of the rescue narrative, which justified the removal of cultural artifacts first from the Mediterranean region and later sub-Saharan Africa and elsewhere. Evaluating the right to cultural heritage through a human rights perspective, this lecture will analyze the process and elements of reparations and will propose a paradigm for the restitution of cultural objects that fall outside of the legal and ethical frameworks.

Patty Gerstenblith, Ph.D., J.D., is distinguished research professor at the DePaul University College of Law in Chicago and faculty director of its Center for Art, Museum and Cultural Heritage Law. She was appointed by President Clinton to serve on the President’s Cultural Property Advisory Committee in the Department of State and later by President Obama as its chair. She publishes and lectures widely on the protection of cultural heritage during armed conflict and the interdiction of trafficking in archaeological materials. Her casebook Art, Cultural Heritage, and the Law is now in its fourth edition.

Online Colloquium | Celebrating the Illustrious in Europe, 1580–1750

Posted in conferences (to attend), online learning by Editor on November 19, 2021

From the programme for the conference:

La célébration des Illustres en Europe (1580-1750) : vers un nouveau paradigme?
Celebrating the Illustrious in Europe, (1580–1750): Towards a New Paradigm?
Online, 25–26 November 2021

Organized by Antoine Gallay, Carla Julie, and Matthieu Lett

Colloque organisé conjointement par l’UNIL (Section d’Histoire de l’art) et par l’Université de Bourgogne (LIR3S CNRS UMR 7366) avec le concours de la Conférence universitaire de Suisse occidentale (CUSO)

Le colloque se propose d’explorer une partie des productions biographiques d’une période usqu’alors peu étudiée sous cet angle. Les deux journées ont pour objectif de mieux comprendre comment se transformèrent, entre 1580 et 1750, les modes de célébration de la gloire des illustres, tant par l’écrit que par l’image, en tenant compte de l’ensemble des médiums que constituent le livre, l’estampe, la peinture, la sculpture ou encore la médaille.

Organisation
• Antoine Gallay (Université de Tel Aviv – The Cohn Institute), antgallay@hotmail.com
• Carla Julie (Université de Lausanne – Université de Bourgogne), carla.julie@unil.ch
• Matthieu Lett (Université de Bourgogne – LIR3S), matthieu.lett@u-bourgogne.fr

Comité scientifique
• Jan Blanc, professeur d’histoire de l’art de la période moderne (Université de Genève)
• Estelle Doudet, professeure de littérature française (Université de Lausanne)
• Laurence Giavarini, maîtresse de conférences HDR en littérature des XVIe et XVIIe siècles (Université de Bourgogne – LIR3S)
• Christian Michel, professeur d’histoire de l’art de la période moderne (Université de Lausanne)
• Frédéric Tinguely, professeur de littérature française (Université de Genève)

Lien du colloque:
https://unil.zoom.us/j/92708025500
ID de réunion : 927 0802 5500

J E U D I ,  2 5  N O V E M B R E  2 0 2 1

9.15  Accueil

9.30  Introduction
• Antoine Gallay, Carla Julie, Matthieu Lett

10.00  Session 1: Nouveaux Illustres
Président de séance : Matthieu Lett
• Rémi Jimenes (Université de Tours) et Estelle Leutrat (Université Rennes 2) — Gabriel-Michel de La Rochemaillet, Jean Le Clerc et Les pourtraicts de plusieurs hommes illustres qui ont flory en France depuis l’an 1500
• Paula Almeida Mendes (CITCEM – Université de Porto) — Les ‘femmes illustres’: représentations littéraires et culturelles au Portugal, XVIe–XVIIIe siècles
• Malcolm Baker (University of California, Riverside) — How did images make modern authors illustrious?

12.30  Pause déjeuner

14.00  Session 2: Nouveaux Régimes de Célébration
Président de séance : Frédéric Tinguely
• Marion Deschamp (Université de Lorraine) — En être, ou pas. Conversions, redéfinitions et exclusions de l’économie des grandeurs dans les recueils protestants d’hommes illustres, XVIe– XVIIe siècles
• Pascale Cugy (Université Rennes 2) — Le monde du spectacle dans les portraits en mode parisiens (1690–1710) : à propos de la célébration gravée de quelques noms de la Comédie-Française et de l’Opéra
• Sophie-Luise Mävers (Universität zu Köln) — A faceless gallery of illustrious scientists and artists? Sébastien Leclerc’s orchestration of an institutional utopia
• François Lavie (Université Paris 8) — Recueillir les bons mots des « personnes illustres » dans la France moderne : pratiques de compilation et célébration de l’esprit des grands hommes, 1680–1750

V E N D R E D I ,  2 6  N O V E M B R E  2 0 2 1

9.30  Session 3: Desseins Politiques
Président de séance : Laurence Giavarini
• Stanis Perez (Maison des sciences de l’homme Paris-Nord) — La Gallerie des femmes fortes : de la collection historiographique au miroir politique
• Margaux Prugnier (Université Paris Nanterre) — De la célébration des Grands à celle des Lorrains : les œuvres de Dom Calmet (1672–1757) au gré des évolutions de la France de la première moitié du XVIIIe siècle
• Craig Hanson (Calvin University, Grand Rapids) — Thomas Birch’s Heads of Illustrious Persons (1743–1751). Collecting Art, Collecting National Histories

12.00  Pause déjeuner

13.30  Session 4: De la Collection à la Célébration
Président de séance : Antoine Gallay
• Clarisse Evrard (Université de Lille) — Regard d’un illustre sur ses pairs : l’Armamentarium Heroicum, de la collection d’armures au théâtre de papier
• Carla Julie (Université de Lausanne – Université de Bourgogne) — Curieux d’estampes et Illustres dans la France du XVIIe siècle : autour de Michel de Marolles
• Maxime Martignon (Université Paris Nanterre) — Choisir les Illustres : Michel Bégon et le projet biographique

16.00  Conclusion
• Christian Michel (Université de Lausanne)

 

University of California Press FirstGen Program

Posted in resources by Editor on November 19, 2021

From UC Press:

University of California Press FirstGen Program

At UC Press, we aim to publish and support bold, diverse perspectives that are representative of an inclusive spectrum of voices. This mission informs not only the scholarship we publish, but how we support the community of scholars and authors. We know that book publishing can be difficult to navigate for many scholars, and we’re dedicated to making it a more equitable process for all.

Our FirstGen Program seeks to cultivate and support the work of first-generation scholars—those who are the first in their fam ily to receive a college degree. As we know from research and the University of California’s own FirstGen program, first-gen students often confront a range of intersecting inequalities across race, class, immigration status, and more. First-gen scholars who have gone on to attain advanced degrees and become faculty must navigate additional barriers within the academy. In our role as a non-profit, progressive press within the public UC system, we aim to extend the UC’s efforts by more effectively cultivating, publishing, and promoting the work of first-gen scholars.

Our program includes:
• Financial support to help eliminate costs associated with book publishing, support the writing process, and maximize the reach and impact of the author’s scholarship (e.g. developmental editing, indexing, permissions, etc)
• Publishing workshops and webinars to help demystify the book publishing process for first-gen scholars, and provide opportunities for community-building and networking
• Online resources about book publishing, to enable accessible information for the first-gen scholar community
• Data and findings from the research phase of our program, to raise awareness about the first-gen publishing experience and provide information to the academic and publishing community about how to support these scholars
• A FirstGen Program email list to establish regular communication with first-gen scholars about relevant publishing resources, events, program updates, and to gather feedback that will improve our program and our publishing

More information is available here»

The Burlington Magazine, October 2021

Posted in books, catalogues, exhibitions, journal articles by Editor on November 18, 2021

The eighteenth century in October’s issue of The Burlington . . . Rado’s article is not an eighteenth-century essay, but she is a HECAA member (!), and she briefly frames the material in terms of a longer history; the theme for the October issue is ‘art in twentieth-century China’.CH

The Burlington Magazine 163 (November 2021)

E D I T O R I A L

• “Art History in the Anthropocene” p. 883.

A R T I C L E S

• Mei Mei Rado, “The Empress Dowager Cixi’s Japanese Screen and Late Qing Imperial Cosmopolitanism,” pp. 886–97.

R E V I E W S

• Arthur Bijl, Review of the exhibition catalogue Kjeld von Folsach, Joachim Meyer, and Peter Wandel, Fighting, Hunting, Impressing: Arms and Armour from the Islamic World, 1500–1850 (Copenhagen: David Collection / Strandberg Publishing, 2021), pp. 946–47.

• Kee Il Jr Choi, Review of John Finlay, Henri Bertin and the Representation of China in Eighteenth-Century France (Routledge, 2020), pp. 966–67.

• Mirjam Hähnle, Review of Annette Kranen, Historische Topographien: Bilder europäischer Reisender im Osmanischen Reich um 1700 (Brill, 2020), pp. 971–72.

 

 

 

Online Book Launch | Enlightened Eclecticism

Posted in books, lectures (to attend), online learning by Editor on November 17, 2021

This Friday at 6.30pm (GMT) via Zoom:

Adriano Aymonino, Enlightened Eclecticism: The Grand Design of the 1st Duke and Duchess of Northumberland
Online Book Launch, Sir John Soane’s Museum, London, 19 November 2021

Hosted by Sir John Soane’s Museum in their beautiful library, and presented in collaboration with the Society for the History of Collecting, this virtual event will celebrate the publication of Adriano Aymonino’s new book, Enlightened Eclecticism: The Grand Design of the 1st Duke and Duchess of Northumberland.

The central decades of the eighteenth century in Britain were crucial to the history of European taste and design. One of the period’s most important campaigns of patronage and collecting was that of the 1st Duke and Duchess of Northumberland: Sir Hugh Smithson (1712–86) and Lady Elizabeth Seymour Percy (1716–76). This book examines four houses they refurbished in eclectic architectural styles—Stanwick Hall, Northumberland House, Syon House, and Alnwick Castle—alongside the innumerable objects they collected, their funerary monuments, and their persistent engagement in Georgian London’s public sphere. Over the years, their commissions embraced or pioneered styles as varied as Palladianism, rococo, neoclassicism, and Gothic revival. Patrons of many artists and architects, they are revealed, particularly, as the greatest supporters of Robert Adam. In every instance, minute details contributed to large-scale projects expressing the Northumberlands’ various aesthetic and cultural allegiances. Their development sheds light on the eclectic taste of Georgian Britain, the emergence of neoclassicism and historicism, and the cultures of the Grand Tour and the Enlightenment.

S C H E D U L E

18.30  Introduction by Frances Sands (Curator of Drawings and Books, Sir John Soane’s Museum)
18.40  Talk by Kate Retford (Professor of Art History, Birkbeck, University of London)
19.10  Talk by Adriano Aymonino (Senior Lecturer and Director of Undergraduate Programs, Department of History and History of Art, University of Buckingham)
19.30  Conversation and questions moderated by Adriana Turpin (Director of Institut Des Etudes Superieurs Des Arts UK)

 

Fellowships | Ecology, Ephemeral Architecture, and Imperialism

Posted in fellowships by Editor on November 16, 2021

The William Andrews Clark Memorial Library underwent a major renovation between 2015 and 2017, carried out by the Architectural Resources Group. As noted at the ARG website, “Donated to the University of California in 1926 during its construction, the William Andrews Clark Memorial Library was one of the earliest locally designated historic landmarks for the City of Los Angeles and has also been listed on the California Register of Historic Places. ARG served as Prime Architect for a rehabilitation of the building, which included a seismic retrofit, accessibility and fire-safety upgrades, and a new entry pavilion.” The project earned a Preservation Design Award from the California Preservation Foundation in 2018. Photograph by Stephen Schafer, from the ARG website.

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As noted at ASECS:

The Forgotten Canopy: Ecology, Ephemeral Architecture, and Imperialism in the Caribbean, South American, and Transatlantic Worlds
Ahmanson-Getty Postdoctoral Fellowships, 2022–2023
Center for 17th- and 18th-Century Studies and William Andrews Clark Memorial Library, UCLA

Organized by Stella Nair and Paul Niell

Proposals due by 1 February 2022

The 2022–23 core conference program to be held by the Center for 17th– & 18th-Century Studies at UCLA’s William Andrews Clark Memorial Library will convene scholars around the topics of “Ecology,” “Ephemeral Architecture,” and “Imperialism” in the early modern (16th–19th- century) world. The circum-Caribbean is our starting point, specifically we use this term to refer to the deep connections between the peoples and places of the Caribbean and South America, along with parts of North America. Due to national politics, language barriers, and scholarly divisions that have their roots in the European colonization of the Americas, the long and complex history of exchange among these regions and peoples have been greatly understudied. In truth, this history of entanglement across water and land stretches back millennia, resulting in a rich and diverse built environment that is deeply tied to ecological change. This dynamic did not end with the invasion of 1492, but rather continued to expand and accelerate when people, plants, and empires came from across the Atlantic. Using ephemeral architecture—in particular the complex and exquisite creation of thatch roofs as the leading thread in these tapestries of exchange—this series of conferences highlights the profound ways in which environmental practices, botanical knowledge, technological development, architectural innovation, and creative expression were deeply tied across these distinct regions and peoples, and impacted by imperial actions. This conference series brings an unusually diverse number of disciplines together in order to unpack these complex dynamics, which challenge how we understand the built environment, the early modern Atlantic world, and the intersections between the local and the global.

Topic 1: Ecologies
4–5 November 2022

Topic 2: Ephemeral Architectures
10–11 February 2023

Topic 3: Imperialism
14–15 April 2023

The theme-based resident fellowship program, established with the support of the Ahmanson Foundation and the J. Paul Getty Trust, is designed to promote the participation of junior scholars in the Center’s yearlong core program. Awards are for three consecutive quarters in residence at the Clark. Scholars must have received their doctorates in the last six years (2016–2022), and their research should pertain to the announced theme. Fellows are expected to make a substantive contribution to the Center’s workshops and seminars. The deadline for fellowship applications for the 2022–2023 year is 1 February 2022. Further details and a link to our online application can be found at the Center’s website.

The Center for 17th- and 18th-Century Studies provides a forum for the discussion of central issues in the field of seventeenth- and eighteenth-century studies. It organizes academic programs, bringing together scholars from the region, the nation, and the world, with the goal of encouraging research from as early as the time of Lope de Vega and William Shakespeare to the defeat of Napoléon and the death of Lord Byron. Established in 1985, the Center also administers the William Andrews Clark Memorial Library, located on a historic property in the West Adams neighborhood of Los Angeles. The Clark serves as the research laboratory for a distinguished array of fellows working either in early modern studies or the fin-de-siècle world of Oscar Wilde. The Center also offers a range of cultural programs, including chamber music concerts, theatrical performances, and lectures.

UK Export Ban Placed on Tipu Sultan Throne Finial

Posted in Art Market by Editor on November 16, 2021

Press release (12 November 2021) from Gov.UK’s Department for Culture, Media & Sport:

Tiger’s Head Finial from the throne of Tipu Sultan of Mysore, 1787–93, with the plinth possibly made in Madras or Calcutta, ca. 1799–1800. Gold over a lac core; set with rubies, diamonds, and emeralds. The head is mounted on a black marble pedestal with gilt metal inscription and mounts, with four gilt metal feet and four gilded balls. The head is 6.9cm high; the total height is 17.5cm.

Valued at £1.5 million, a gold jewelled tiger head, which in the late 18th century adorned the gold-covered throne of Tipu Sultan, is at risk of leaving the UK unless a UK buyer can be found. Tipu Sultan (1750–1799), the ‘Tiger of Mysore’, was regarded as the greatest threat to the British East India Company until his defeat and death in 1799. As ruler of Mysore, Tipu identified himself and his personal possessions with tiger imagery, and this finial offers scholars the opportunity to illustrate the vibrant culture of Tipu’s court and closely examine British imperial history. Three surviving contemporary images of the throne are all in the UK. The finial is one of eight gold tiger heads that adorned the throne.

The finial—made of gold and set with rubies, diamonds, and emeralds—is a rare example of fully documented 18th-century South Indian goldsmiths’ work, and its existence was unknown until 2009. Its marble pedestal is unique among the five surviving finials known, and the meaning of its gold inscription is still a mystery. Following Tipu’s defeat, many objects from his treasury arrived in Britain, where they influenced poetry (John Keats), fiction (Charles Dickens and Wilkie Collins), and artists (J.M.W. Turner), and were generally met with huge public interest.

Arts Minister Lord Parkinson of Whitley Bay said: “This fascinating finial illustrates the story of Tipu Sultan’s reign and leads us to examine our imperial history. I hope a UK-based buyer comes forward so that we can all continue to learn more about this important period in our shared history with India.”

The Minister’s decision follows the advice of the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA). The Committee agreed that it is an important symbolic object in Anglo-Indian history in the last years of the 18th century, with Tipu’s defeat having great historical importance to Britain’s imperial past and leading to a contemporary fascination with Tipu’s story and objects.

Committee Member Christopher Rowell said: “Tipu Sultan’s golden and bejewelled throne (c.1787–93) was broken up by the British army’s Prize Agents after Tipu’s defeat and death in defence of his capital, Seringapatam, in 1799. This tiger’s head is one of the original eight which were placed on the balustrade of the octagonal throne. Each gold tiger’s head from the railing is slightly differently set with gemstones, which makes this example both part of a set and unique in its design. Its quality attests to the expertise of Tipu’s goldsmiths and jewelers, in whose productions he took a close personal interest. The head of the large gold rock crystal tiger that supported the throne and a bejewelled huma bird that perched on the pinnacle of its canopy were presented to George III and Queen Charlotte (Royal Collection Trust). The tiger and its stripes were Tipu’s personal symbols. “Better to live one day as a tiger than 1,000 years as a sheep” he famously declared. His flirtation with Napoleonic France led to his downfall at British hands. This tiger’s head, one of four throne finials to survive, including a head in the Clive Museum at Powis Castle (NT), should remain in the country together with the other fragments of the throne, and I hope that every effort will be made to achieve this.”

The Committee made its recommendation on the grounds that the finial’s departure from the UK would be a misfortune because it is so closely connected with our history and national life and is of outstanding significance for the study of royal propaganda and 18th-century Anglo-Indian history. The decision on the export licence application for the finial will be deferred until 11 February 2022. This may be extended until 11 June 2022 if a serious intention to raise funds to purchase it is made at the recommended price of £1.5 million.

Provenance: Tipu Sultan of Mysore (1787–1799); Thomas Wallace, Baron Wallace of Knarsdale (ca.1800 or later)—listed in an 1843 inventory of the contents of Featherstone Castle (Northumberland), the family seat, and thence by descent; Bonhams, London, 2 April 2009 (lot 212); private collection.

Literature: Bonhams, London: 2 April 2009, lot 212; A Jaffer, ed., Beyond Extravagance (New York, 2013), pp. 189–90, cat. 61; N. N. Haidar, ed., Treasures from India (New York, 2014), pp. 46–7; Export of Objects of Cultural Interest 2010/11 (2011): Case 1, p. 23.

Exhibition | Hogarth and Europe

Posted in books, catalogues, exhibitions by Editor on November 15, 2021

William Hogarth, The March of the Guards to Finchley, 1749–50
(London: The Foundling Museum)

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From the press release (1 November 2021) for the exhibition:

Hogarth and Europe
Tate Britain, London, 3 November 2021 – 20 March 2022

Curated by Alice Insley and Martin Myrone

Few artists have defined an era as much as William Hogarth (1697–1764), whose vivid, satirical depictions of 18th-century England continue to capture the imagination today. Tate Britain’s major exhibition Hogarth and Europe presents his work in a fresh light, seen for the first time alongside works by his continental contemporaries. It explores the parallels and exchanges that crossed borders and the cosmopolitan character of Hogarth’s art. Hogarth’s best-known paintings and prints—such as Marriage A-la-Mode (1743), The Gate of Calais (1748), and Gin Lane (1751)—are shown alongside works by famed European artists, including Jean-Siméon Chardin in Paris, Pietro Longhi in Venice, and Cornelis Troost in Amsterdam. Together they reveal how changes in society took art in new directions, both in Britain and abroad.

Featuring over 60 of Hogarth’s works, brought together from private and public collections around Europe and North America, the exhibition draws decades of research to show Hogarth in all his complexity—whether as staunch patriot or sharp critic, bawdy satirist or canny businessman. It also examines the shifting status of artists in the 18th century, from workshop artisans and court painters to independent freelancers enjoying prominence alongside actors, musicians, and writers. The rapid expansion of urban centres like London, Paris, Amsterdam, and Venice also saw the city itself become a major subject in art for the first time. Tate Britain juxtaposes these metropolitan scenes from across Europe, showing the bustling London streets of Hogarth’s Southwark Fair (1733) and The March of the Guards to Finchley (1749–50) together with vibrant depictions of Étienne Jeaurat’s Paris and Longhi’s Venice.

This was an age of opportunity and innovation, but also materialism, self-delusion, exploitation, and injustice. In Europe, new heights of luxury emerged with extreme poverty, while growing cities saw overcrowding and disease. The rising demand for consumer goods at home came at the expense of the labour and lives of enslaved and colonised people overseas. Against the backdrop of this changing world, artists like Hogarth pioneered a new painting of modern life, revealing its pleasures and dynamism but also its dangers and stark inequalities. In the 1730s he began his ‘modern moral series’: frank and engaging narratives charting the rise and fall of everyday characters corrupted by immorality and vice. Hogarth and Europe includes these celebrated series, including A Rake’s Progress (1734), which were immediately popular and widely circulated through print. At Tate Britain they are shown alongside paintings by the Italian Giuseppe Crespi, including The Flea (1707–09), and the Parisian Nicolas Lancret, to show how this new artistic genre of urban storytelling developed across Europe.

The 18th century also saw greater informality and ease in portraiture, expressing the new ideas emerging around individuality and personal freedom that remain familiar today. The exhibition culminates in a room focussing on such pictures, including Miss Mary Edwards (1742)—a painting not seen in the UK for over a century—depicting the eccentric, wealthy patron who commissioned many of Hogarth’s best-known works. Additional highlights include paintings of his sisters Mary and Anne Hogarth, as well as Heads of Six of Hogarth’s Servants (c.1750–55). Through juxtapositions with European artworks, the exhibition looks afresh at these and many other works by one of Britain’s most important artists, giving visitors a chance to see Hogarth’s position on the international stage in a new light.

Hogarth and Europe is curated by Alice Insley, Curator, British Art c 1730–1850 and Martin Myrone, former Senior Curator, pre-1800 British Art, Tate Britain (now Convenor, British Art Network at the Paul Mellon Centre). The exhibition is accompanied by a fully illustrated catalogue featuring essays by eminent scholars and artists including Lubaina Himid and Sonia E. Barrett.

Martin Myrone and Alice Insley, eds., Hogarth and Europe (London: Tate, 2021), 208 pages, ISBN: 978-1849767682, £40 / $55.

The exhibition guide is available here»

New Book | Hogarth: Life in Progress

Posted in books by Editor on November 15, 2021

From Profile Books:

Jacqueline Riding, Hogarth: Life in Progress (London: Profile Books, 2021), 544 pages, ISBN: 978-1788163477, £30 / $40.

On a late spring night in 1732, a boisterous group of friends set out from their local pub. They are beginning a journey, a ‘peregrination’ that will take them through the gritty streets of Georgian London and along the River Thames as far as the Isle of Sheppey. And among them is an up-and-coming engraver and painter, just beginning to make a name for himself: William Hogarth.

Hogarth’s vision, to a vast degree, still defines the eighteenth century. In this, the first biography for over twenty years, Jacqueline Riding brings him to vivid life, immersing us in the world he inhabited and from which he drew inspiration. At the same time, she introduces us to an artist who was far bolder and more various than we give him credit for: an ambitious self-made man, a devoted husband, a sensitive portraitist, an unmatched storyteller, philanthropist, technical innovator, and author of a seminal work of art theory.

Following in his own footsteps from humble beginnings to professional triumph (and occasional disaster), Hogarth illuminates the work and life of a great artist who embraced the highest principles even while charting humanity’s lowest vices.

Jacqueline Riding is a historian and art historian specialising in British history and art of the long eighteenth century. Former curator of the Palace of Westminster and Director of the Handel House Museum, she is an award-winning author as well as a consultant for museums, galleries, historic buildings, and feature films. She was the adviser on Mike Leigh’s Mr. Turner (2014) and Peterloo (2018) and Wash Westmoreland’s Colette (2018).

 

 

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