Exhibition | James Gillray’s Hogarthian Progresses

Posted in exhibitions, graduate students, lectures (to attend) by Caitlin Smits on March 17, 2016

From The Lewis Walpole Library:

James Gillray’s Hogarthian Progresses
The Lewis Walpole Library, Farmington, CT, 6 April — 16 September 2016

Curated by Cynthia Roman


James Gillray, The life of William-Cobbett, written by himself. : Now you lying varlets you shall see how a plain tale will put you down! / Js. Gillray inv. & fec. Published in London, 29 September 1809 (Lewis Walpole Library).

Sequential narration in satiric prints is most famously associated with the ‘modern moral subjects’ of William Hogarth (1697–1764): Harlot’s Progress (1732), A Rake’s Progress (1735), Marriage A-la-Mode (1745), and Industry and Idleness (1747) among others. Less well-known is the broad spectrum of legacy ‘progresses’ produced by subsequent generations drawing both on Hogarth’s narrative strategies and his iconic motifs. James Gillray (1756–1815), celebrated for his innovative single-plate satires, was also among the most accomplished printmakers to adopt Hogarthian sequential narration even as he transformed it according to his unique vision. This exhibition presents a number of Gillray’s Hogarthian progresses alongside some selected prints by Hogarth himself.


Study Day 
James Gillray’s Experimental Printmaking
Organized by Esther Chadwick, History of Art, Yale University and Cynthia Roman, The Lewis Walpole Library, Yale University, 10 June 2016

Graduate Student Seminar
Collecting the Graphic Work of William Hogarth 
Sheila O’Connell, Former Curator of Prints, British Museum, 14 June 2016

Graduate Student Seminar
Connoisseurship: Graphic Satire from William Hogarth to James Gillray
Andrew Edmunds, Collector and Dealer, 15 June 2016

Master Class for Graduate Students
A Contest of Two Genres: Graphic Satire and British History Painting in the Long Eighteenth Century
Mark Salber Phillips, Professor of History at Carleton University, Ottawa, and Cynthia Roman, Curator of Prints, Drawings, and Paintings at the Lewis Walpole Library, 22–26 August 2016

Master Class for Graduate Students
The Comic Image 1800–1850: Narrative and Caricature
Brian Maidment, Professor of the History of Print, Liverpool John Moores University
Cynthia Roman, Curator of Prints, Drawings, and Paintings at the Lewis Walpole Library, 14—16 September 2016

Exhibition | Vices of Life: The Prints of William Hogarth

Posted in books, catalogues, exhibitions by Editor on June 17, 2015


William Hogarth, After (detail), 1736, etching and engraving, 41 x 33 cm
(Städel Museum, Frankfurt am Main)

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Press release for the exhibition now on view at the Städel Museum:

Vices of Life: The Prints of William Hogarth
Laster des Lebens: Druckgrafik von William Hogarth
Frankfurt’s Städel Museum, Frankfurt, 10 June — 6 September 2015
Schloss Neuhardenberg, Brandenburg, TBA

Curated by Annett Gerlach

From 10 June to 6 September 2015—in its bicentennial year ‘200 Years Städel’—Frankfurt’s Städel Museum will be presenting prints by the English painter, engraver and etcher William Hogarth (1697‒1764). Altogether seventy works including the famous printmaking series A Harlot’s Progress (1732), A Rake’s Progress (1735) and Marriage à la Mode (1745) will be on view in the exhibition hall of the Department of Prints and Drawings. These visual novels from the Städel holdings take the fashions, vices and downsides of modern life in the London metropolis as their themes. Hogarth conceived of his artworks as printed theatre of his times and with them he laid the cornerstone for socio-critical caricature in England. The prints owe their special quality to the keen powers of perception and caustic humour of an artist who contributed so greatly to shaping the image of his era that it is still referred to as ‘Hogarth’s England’ today. Executed during Johann Friedrich Städel’s lifetime, the engravings are among the Städel’s oldest holdings and mirror the critical spirit inherent to this institution since its founding.

7ae46414-a95d-4811-9541-1211f58c01d0William Hogarth was born in London in 1697. In keeping with an early eighteenth-century fashion, his father Richard opened a coffee house at which only Latin was spoken. The business failed, and Richard Hogarth had to serve five years in London’s notorious Fleet Prison for failure to pay his debts. As was usual at the time, his wife and children had to accompany him. In 1713, after his father’s release, William Hogarth began an apprenticeship as a silver engraver where he also learned the rudiments of the complex techniques of intaglio printing—engraving and etching. Following his seven-year training, he went into business for himself as an engraver and attended the privately run St Martin’s Lane Academy, an art school in London, to acquire the art of painting. In 1724 he also became a member of the academy of royal court painter James Thornhill (1675‒1734), whose daughter Jane he married in 1729. It was not with his paintings, however, that Hogarth achieved a breakthrough with the public, but with the prints made after his works on canvas. With the series A Harlot’s Progress, produced in the early 1730s, he founded a new genre he later dubbed modern moral subjects. Hogarth conceived of these subjects as contemporary, moral-didactic history scenes. He thus took a stand against the hierarchization of the visual arts, a firmly entrenched principle of academy doctrine which granted classical history painting pride of place. With his printmaking works, he succeeded in creating a new, up-to-date genre based on the keen observation of reality. In 1755 Hogarth was elected to the Royal Society of Arts, which he quit again just two years later on account of artistic and personal differences. His appointment as royal court painter followed in 1757, but never led to any commissions. The final years of the artist’s life were overshadowed by bitter disputes between himself and his critics. A stroke in 1763 left Hogarth severely handicapped and he died the following year in his home in Leicester Fields, a district of London.

The presentation in the exhibition gallery of the Department of Prints and Drawings focuses primarily on those of William Hogarth’s printmaking series that earned him international fame: A Harlot’s Progress, A Rake’s Progress und Marriage à la Mode. There is a very simple reason for the fact that his works on paper secured him a place in art history: prints can be circulated far better than paintings. It was by these means that the artist reached the enlightened and educated public of his day in large numbers. Already the first edition of A Harlot’s Progress (1732) comprised 1,240 sold copies. In six episodes, this series describes the rise and fall of a young woman who has come from the country to the city to find work. To earn a living she ends up as a prostitute and lands in prison as a result. The final scene shows the wretched funeral of the protagonist, whose life has already come to an end at the age of twenty-three. Hogarth had numerous real and literary models to look to for his creation of this figure. Inspired by his great interest in the social characterization of his time, he directed his critical, ironical gaze to all strata of society, from the highest nobility to the most abject circumstances. The sick and needy of all generations formed the downside of the economic boom enjoyed by the colonial and commercial metropolis and its many profiteers.

In his second series, A Rake’s Progress (1735), consisting of eight prints, Hogarth tells the story of the social decline of Tom Rakewell, who brainlessly squanders his inheritance and is thrown first into debtors’ prison and then the madhouse. Rakewell’s incarceration on grounds of indebtedness is reminiscent of the artist’s own biography. Entirely unlike his father, however, William Hogarth was an excellent businessman and very clever at taking advantage of the London press—which was flourishing in his day—and its public impact for his own purposes. In newspapers such as the London Daily Post, the General Advertiser or the London Journal he published announcements of his prints and advertised them for subscription.

Hogarth borrowed the title of his third major series, published in 1745, from a comedy by John Dryden (1631‒1700). Marriage à la Mode is about an espousal arranged by the two spouses’ fathers. Neither the bride nor the groom is the least bit interested in the other, both amuse themselves on the side, and the situation comes to a dramatic conclusion. Hogarth’s protagonists feign innocence and practise deception, abandon themselves to their passions and founder on their false ideals. Looking to true stories for orientation and integrating well-known persons and recognizable sites, he warned his public of the dangers of modern life—dangers still very real today. In 1751, with his popular prints Beer Street and Gin Lane, he supported a public campaign against the excessive consumption of gin. The former scene presents the enjoyment of beer as healthy and beneficial in contrast to the destructive effects of gin portrayed in the latter.

From mid century onward, in addition to socio-critical themes Hogarth also devoted himself to matters of national and political relevance, which represent a further focus of the exhibition. In several works, the artist addressed the relationship between France and England, which were at war. The Gate of Calais (1748) was his response to his arrest on suspicion of espionage during one of his trips to France. In 1756, in The Invasion, he again caricatured the French as grotesque, haggard figures who are after the tasty beer and luscious roast beef of the English. Some fifteen years later, in the print The Times, Plate 1 (1762), Hogarth made an urgent appeal for the cessation of the Seven Years’ War.

In 1753, Hogarth published his own art-theoretical deliberations in the book The Analysis of Beauty. In it he concerned himself with the foundations of visual-artistic production and particularly the matter of how to achieve beauty and grace. Hogarth considered the study of nature to be the key to beauty. He called upon his readers to perceive the objects of nature with their own eyes and judge them according to rational criteria. The German writer Christlob Mylius (1722–1754) was in London when Hogarth’s Analysis came out, and he translated it into German the very next year. Johann Friedrich Städel had a copy of this translation in his library, and it will be on display in the show.

In conjunction with the exhibition, the Städel Museum is publishing a catalogue by Annett Gerlach with approximately 50 pages, 10€. Following its presentation at the Städel Museum, the show will be on view at Neuhardenberg Castle. The exhibition is being sponsored by the Hessische Kulturstiftung.


Installation view of the exhibition Vices of Life: The Prints of William Hogarth at Frankfurt’s Städel Museum (June 2015)


Display | William Hogarth, 1697–1764

Posted in exhibitions by Editor on November 26, 2014

Now on view at Tate Britain:

William Hogarth, 1697–1764
Tate Britain, London, 27 October 2014 — 26 April 2015
Bristol Museum & Art Gallery, Summer 2015

William Hogarth, The Painter and his Pug, 1745 (London: Tate, purchased 1824).

William Hogarth, The Painter and his Pug, 1745 (London: Tate, purchased 1824).

This display marks the 250th anniversary of the death of Hogarth. It includes almost all of his paintings in the Tate Collection, as well as prints, drawings and rarely seen items from the Tate Library and Archive.

The story of art in this country often begins with William Hogarth, who died in late October 1764. Satirist, printmaker, portraitist, history painter and art theorist, in the two hundred and fifty years since his death Hogarth has regularly been positioned as the founding father of British art. This persistent notion was reflected in the early years of Tate’s displays: for decades his was the earliest British work on show at Tate.

Hogarth first gained recognition painting scenes from the theatre. He went on to make his name with his darkly humorous ‘modern moral’ series depicting the declining fortunes of foolish or ignoble characters, and brought similar vivacity to the polite interiors of his ‘conversation piece’ portraits. In 1735 he founded an academy for artists and later wrote a treatise on the aesthetic theories he developed over the course of his career. Whether painting, printmaking or writing, he was concerned with forging and defending a distinctly British art.

In 1951 Tate mounted the first major exhibition of Hogarth’s work since 1814. Tate gained independence from the National Gallery in 1955 and started acquiring works in its own right, and further exhibitions and displays followed reflecting research into Hogarth’s life and art. From the early 1950s Tate also acquired work by earlier British artists, allowing Hogarth to be seen in the context of his predecessors: an innovative champion of British art, but by no means the first British artist.

Read more about Hogarth at the Tate

The online materials are useful, particularly Tim Batchelor’s account of the “Exhibitions and Displays” of Hogarth’s work at Tate (11 November 2014). CH

Exhibition | Hogarth, Reynolds, Turner: The Dawn of Modernity

Posted in exhibitions by Editor on March 20, 2014

From the museum:

Hogarth, Reynolds, Turner: Pittura inglese verso la modernità
The Dawn of Modernity: Painting in Britain in the 18th Century
Fondazione Roma Museo, Palazzo Sciarra, Rome, 15 April — 20 June 2014

Curated by Carolina Brook and Valter Curzi

pittura-inglese-romaThe exhibition offers the public a comprehensive overview of the social and artistic development that took place during the XVIII century in step with the hegemony gained by Great Britain at the historical, political, and economic level. For this purpose a corpus of over one hundred works belonging to prestigious institutions such as the British Museum, the Tate Gallery, the Victoria & Albert Museum, the Royal Academy, the National Portrait Gallery, the Museum of London, and the Uffizi Gallery has been formed and is accompanied by a nucleus of works from the important American collection belonging to the Yale Center for British Art.

During the eighteenth century England became an authentic international power, leader of the Industrial Revolution and of the domination of the sea routes, and thus raised the issue of establishing its own artistic school for the first time. The economic development lead by Great Britain created a new middle-class which included professionals, industrialists, merchants, scientists and philosophers who, having found that visible arts considerably affirmed their new social status, became patrons of those masters who over the century contributed to the definition of a domestic school.

The exhibition is divided into seven sections featuring a selection of works by the most significant English painters, for the purpose of documenting the portrait and landscape genres that found more fortune during this century, creating a figurative language capable of interpreting modernity which, in the nineteenth century, became a reference throughout Europe. Visitors may admire artists such as Hogarth, Reynolds, Gainsborough, Wright of Derby, Stubbs, Füssli, Constable, and Turner. Their works offer a significant cross-section of the peculiarity and originality of English art, an exhibition of which has not been held in Rome since 1966.

Update (added 19 April 2014) The exhibition press release, which details the seven sections, is available as a PDF file here».

The catalogue is available from Skira:

Carolina Brook and Valter Curzi, Hogarth, Reynolds, Turner: Pittura inglese verso la modernità (Rome: Skira, 2014), 304 pages, ISBN: 8857222707, €40.

Exhibition: ‘Sin and the City’, Hogarth at Princeton

Posted in exhibitions by Editor on August 31, 2011

From the exhibition website:

Sin and the City: William Hogarth’s London
Firestone Library, Princeton University, 26 August 2011 — 29 January 2012

William Hogarth, "Beer Street," 1751, etching and engraving (Princeton University: Graphic Arts Collection, Firestone Library)

This fall the Princeton University Library will celebrate eighteenth-century London as seen through engravings by one of its most popular storytellers. Sin and the City: William Hogarth’s London, on view 26 August 2011 to 29 January 2012, presents Hogarth’s unflinching chronicle of the city’s development from a medieval town to a swirling modern metropolis.

Whether examining scenes along the impoverished roads of St. Giles parish, peering into the dark cellars of Blood Bowl Alley, or accompanying a procession to the Tyburn gallows, Hogarth’s engravings plunge us into a city that is not only grand and powerful but also chaotic, crime-ridden, and sometimes even heartbreaking.

The exhibition includes 70 engravings by Hogarth, along with the work of his contemporaries, such as Jonathan Swift, John Gay, and Henry Fielding, among others. Period maps and original documents from the first production of The Beggar’s Opera will also be on view.

A full exhibition checklist is available here»

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Afternoon Roundtable Discussion: A Midnight Modern Conversation
Princeton University, 7 October 2011

Linda Colley, Shelby M.C. Davis 1958 Professor of History, Princeton University;
Mark Hallett, Professor of History of Art, University of York;
Tim Hitchcock, Professor of Eighteenth-Century History, University of Hertfordshire; and
Claude Rawson, Maynard Mack Professor of English, Yale University.
James Steward, Director of the Princeton University Art Museum will moderate.

A reception will follow.

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Additional information is available at the Events page. The exhibition organizers have also created a useful map detailing key locations for Hogarth’s prints.

Forthcoming: ‘Hogarth’s Hidden Parts’

Posted in books by Editor on November 21, 2010

Out this month, as noted at the publisher’s website:

Bernd W. Krysmanski, Hogarth’s Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art (Hildesheim, Zürich and New York: Georg Olms Verlag, 2010), ISBN: 9783487144719, EUR 48.

If you think of William Hogarth as a moralist who gave charitable support to foundlings and provided ethical guidance through his pictorial satires, then it is high time you changed your mind. This challenging, thoroughly researched and thought-provoking book reveals many new findings on Hogarth, showing us a different, hidden and immoral English artist: a carouser, a debauchee, and a spiteful joker who mercilessly attacked his contemporaries. Although a pictorial satirist and a successful print-dealer, Hogarth nevertheless wallowed in obscene amusement, frequented prostitutes, possibly had paedophilic tendencies, and seemingly died from the lingering effects of syphilis. Hogarth the popular painter and engraver is shown here as a dark humorist who dealt primarily in sexual double entendre and produced blasphemous motifs that satirically lambasted “high” religious art and debunked the eighteenth-century taste for Old Master work. This book ought to change the way we think about Hogarth.

Review: ‘William Hogarth’s Surprising Cosmopolitanism’

Posted in books, reviews by Editor on March 14, 2010

Recently posted at H-Albion:

Robin Simon, Hogarth, France and British Art (London: Greenhill Books/Lionel Leventhal, 2007), 313 pages, ISBN 978-0-9554063-0-0, $90.

Reviewed by Douglas Fordham, Assistant Professor of Art History, University of Virginia; published on H-Albion, January 2010.

Since his death in 1764, William Hogarth has become a protean figurehead for a great many impulses in British culture. John Trusler’s “Hogarth Moralized” (1768) was an early and overt instance of the ends to which Hogarth’s life and oeuvre could be put, and Hogarth continues to be, if not moralized, then at least channeled into a disparate series of voices and roles. While the “New Art History” of the past two decades has turned its pragmatic sights on Hogarth the calculating businessman, it has also tended to reduce the artist to a somewhat bland spokesman for a polite and commercial age.[1] In the writings of David Solkin and David Bindman, in particular, Hogarth has been cast as a cultural latitudinarian, mainstream in his preoccupations and eager to please. To the extent that Hogarth’s works reveal contradictions, unpleasant truths, or impolite expressions they tend to be viewed as apt reflections of an anxious age. This view of the artist offered a calculated response to Ronald Paulson’s towering contribution to Hogarth scholarship, beginning in the 1970s, which emphasized the artist’s antinomian impulses and his empathetic eye for the sub-cultural. If Hogarth merges seamlessly into hegemonic discourses in the former, he activates a dizzying array of allusions and a daunting density of meaning in the voluminous writings of Paulson.[2] While each of these accounts, and a great many others, have transformed our understanding of the artist and his age, readers are ultimately tasked with choosing which Hogarth they prefer. For it hardly seems possible for one individual to embody so many contrary impulses.

Robin Simon makes a welcome contribution to this debate in “Hogarth, France and British Art,” where he offers a surprisingly fresh iteration of the artist and his milieu. Simon’s Hogarth is cosmopolitan in his understanding of European Old Masters and contemporary French art, sophisticated in his handling of oil paints, and a friend to “Tory wits” and Whig politicians alike. Hogarth emerges in Simon’s account as an intellectually serious artist and a deeply gifted painter who almost single-handedly elevated British art to a Continental level of refinement. In his desire to translate French theories and standards into a uniquely English vernacular, “Hogarth demands to be ranked with the literary giants of the ‘Augustan’ age in England” (p. 8). Simon shares with Paulson a propensity for making analogies between English literature and art, and some of Simon’s most compelling observations entail comparisons between Hogarth’s paintings and the English stage. . . .

The paradox latent in Simon’s approach is that Hogarth already had an English visual vernacular at his disposal in London printshops, on painted street signs, and in countless urban spectacles. While Simon deliberately challenges the “determinedly insular” (p. 3) quality of recent Hogarth scholarship, at what cost does Hogarth the cosmopolitan painter become divested from Hogarth the graphic satirist as Diana Donald and Mark Hallett, for example, have presented him?[3] This is a question of synthesis, however, rather than a legitimate critique of Simon’s stated aims. On its own terms, Simon’s book deserves to be read by everyone with an interest in British culture in the first half of the eighteenth century, and it dramatically improves our understanding of Anglo-French relations. It also manages to present us with yet another incarnation of the artist from which to choose. This is a significant accomplishment in itself, and if this new Hogarth sits uncomfortably alongside his forebearers, then it can only encourage us to look anew at Hogarth’s astonishingly diverse and provocative career.

For the full review, click here»

Notes (more…)

Call for Papers | ASECS 2021, Toronto

Posted in Calls for Papers by Editor on June 22, 2020

From the Call for Papers for the conference:

2021 American Society for Eighteenth-Century Studies Conference
Sheraton Centre, Toronto, 8–10 April 2021

Proposals due by 15 September 2020

Proposals for papers to be presented at the 52nd annual meeting of the American Society for Eighteenth-Century Studies, in Toronto, are now being accepted. In addition to sessions newly proposed for the 2021 meeting, this Call for Papers includes sessions carried over from the (cancelled) 2020 annual meeting in St. Louis that are seeking additional presenters. Sessions carried over from St. Louis that are not part of the CFP but that will be presented in Toronto are listed here.

Proposals should be sent directly to the session chairs no later than 15 September 2020. Along with our annual business meeting, HECAA will be represented with the Anne Schroder New Scholars’ Session, chaired by Susanna Caviglia (already booked from 2020). A selection of additional sessions that might be relevant for HECAA members is included below. A full list of panels is available as a PDF file here.

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The Rise of the House Museum: Domestic Curatorial Practices
Kirsten Hall (The University of Texas at Austin), kirstenahall@utexas.edu; and Teri Fickling (The University of Texas at Austin), terifickling@utexas.edu

When Elizabeth Bennet and the Gardiners are led on a tour of Pemberley by housekeeper Mrs. Reynolds, Elizabeth owns, “Mrs. Reynolds could interest her on no other point. She related the subjects of the pictures, the dimensions of the rooms, and the price of the furniture, in vain.” As the Pemberley tour proves, the rising popularity of country house tours as a leisure pursuit suggests that the gentry had become captivated by the prospect of seeing up close how others—especially the rich, powerful, or famous of the present and past—lived through their catalogues of “fine carpets and satin curtains.” On one hand, “great house” tourism shored up class hierarchies, celebrating the prestige of the aristocracy. On the other hand, the case of Mrs. Reynolds seems to show how the practices of archiving and exhibiting were increasingly open not just to the elites of clubs and universities but also to women and, to some extent, the working class. This panel invites papers that address the popularity of domestic curatorial practices in the long eighteenth century, inviting a range of interdisciplinary perspectives that may consider topics such as: collecting, curating, and housekeeping in the public vs. private spheres; the relationship between literary genres like biography, the novel, the travel guide, and the encyclopedia and house tours; taxonomic and empirical methods in the arts and sciences; tourism and secular pilgrimage; women and museums; historic preservation, antiquarianism, and historical consciousness; current scholarly practices in historicizing ordinary life in the eighteenth century; and the status of eighteenth-century historic house museums today.

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Mineralogy and Artful Metamorphosis
Tara Zanardi (Hunter College), tzanardi@hunter.cuny.edu; and Christina Lindeman (University of Southern Alabama), clindeman@southalabama.edu

The burgeoning field of mineralogy in the eighteenth century not only pointed to the increase in the scientific study and mining practices of minerals, such as amethyst and emeralds, but also to their greater manipulation by artisans, architects, and artists in the creation of decorative objects, textiles, jewelry, interiors, and garden grottoes. Since antiquity humans have analyzed and contemplated minerals for their beauty, intricate structures, purported mystical and therapeutic powers, economic benefits, and spiritual and chemical properties. In the 1700s, they were avidly incorporated in elite and amateur collections and displayed in natural history cabinets, and this interest became more systematic and rigorous, aided by a constellation of institutions and governing bodies that funded expeditions and fostered scientific inquiry. This session invites papers to consider the multiple and complex roles of minerals in artistic and natural history contexts. How did the raw materials, mined at home or abroad, relate to nationalistic and imperial pursuits and the kinds of terrestrial bounty boasted by nations? How were such materials then catalogued, displayed, wielded, or molded in their new, ‘civilized’ environments? How were such natural objects sources of pleasure, instruction, wonder, spirituality, and the exotic? Ultimately, how did these minerals undergo metamorphosis in new and artful ways that embodied an individual’s or collective taste, knowledge, and identity? We also welcome papers that address the explorative methods of quarries and the labor used to extract minerals.

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Colonial Matter
Kaitlin Grimes (University of Missouri-Columbia), krgxb6@mail.missouri.edu; and Danielle Ezor (Southern Methodist University), dezor@mail.smu.edu

The long eighteenth century witnessed a freer and faster movement of increasingly diverse goods around the world than had ever existed before. New objects, materials, and consumables traversed oceans and crossed over lands to serve new global marketplaces. These material goods travelled not just from or to Europe as much recent scholarship has suggested, but between global metropoles well outside of Europe, as for example between China and New Spain or India and East Africa. However, colonialism facilitated the movement of these goods, and so colonialism also marked these objects, materials, and consumables. Studies of traded materials provide a greater understanding of relations between colonizer and colonized as well as illustrate how particular materials were received and perceived in an eighteenth-century colonial context. This panel seeks to explore the connection between material culture and colonialism and to decentralize Europe as the main purveyors of these materials. Such topics could include but are not limited: colonial materials, objects used to house, contain, or exhibit colonial goods and consumables and their display; the trade and/or market of colonial goods in the long eighteenth century; and colonial interpretations of such objects and consumables. The goal of this panel is to develop an ongoing conversation on the relationship between material culture and colonialism within the long eighteenth century and how colonialism’s role in spreading objects aids in the comprehension of eighteenth-century material and visual culture.

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Collecting, Antiquities, and Eighteenth-Century Art
Lauren DiSalvo (Dixie State University); lauren.disalvo@dixie.edu; and Katherine Iselin (University of Missouri), ktp.iselin@gmail.com

The influence of the Greco-Roman world permeated eighteenth-century visual and material culture following the excavations that began at Pompeii and Herculaneum. Demand for large-scale sculpture and their copies, Greek vases, and the many Neoclassical paintings that were influenced by antiquity rose in the wake of eighteenth-century excavations as collectors passionately sought such objects. Likewise, more portable souvenirs such as prints, micro-mosaics, fans, gems, and architectural models also found their way into collectors’ hands. This panel seeks papers that examine the intersections of collecting, antiquities, and eighteenth-century art. What new perspectives can be used to explore how Greco-Roman art functioned in collecting during the long eighteenth century? This panel looks to examine collecting more broadly, including collections of specific collectors, types of popular collectibles, or reworked Greco-Roman artifacts. Papers focusing on non-traditional or little-known objects and collectors are particularly welcome.

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Spanish Sensorium
Elena Deanda (Washington College), edeanda2@washcoll.edu

Sensorium is the seat of sensation in the human limbic system. It receives, processes, and interprets sensory stimuli. Humans normally respond more to visual components than to other stimuli. Therefore, most of our experience knowing distant places and periods is through the visual imagination. Yet in order to fully understand the civilization and culture of another country, we need to engage with and experience elements of their environment in order to forge perceptual connections with their time and space. We are inviting scholars who are interested in ‘flipping’ the traditional conference panel and offer new approaches to knowing the eighteenth century in general and the Ibero-American eighteenth century, in particular. We propose a panel with a sensorial approach to imperial Spain and its material culture, through the stimulation of the senses, be them visual, auditory, tactile, gustatory, vestibular (motion), or proprioceptive (body awareness). We welcome proposals from eighteenth century specialists on the Ibero-American history, literature, art, and materiality who work with sounds, smells, food, or physical forms both in the peninsula and/or in the Americas, and who would like to offer a sensorial experience to reduced audiences in an interactive way. This non-traditional panel will be integrated by a limited number of experiential interventions guided by a panelist who will provide a short explanatory talk.

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The Visual Gothic
Kristin O’Rourke (Dartmouth College), kmo@dartmouth.edu

The burning of Notre Dame cathedral made clear how present the Gothic still is today in everyday life in Paris and throughout much of Europe: as tourist attraction, as spectacle, as nostalgia, as cultural or religious symbol. This panel strives to think about how the visual image of the Gothic impacted contemporary art and literature of the eighteenth and early nineteenth centuries. The ‘new’ Gothic fantasy of Walpole’s Strawberry Hill, Gilpin’s picturesque tours, the Troubadour style in French art, and the restoration and completion of centuries-old cathedrals, for example, demonstrate how the Gothic re-gained a hold over architecture, painting, and literature at a time of political and social change throughout Europe. Was the Gothic revival a rejection of the classicism spurred on by the Grand Tour and Napoleon’s empire, or one aspect of a nascent Romanticism? How do politics and religion figure into an aesthetic focus on the vernacular and idiosyncratic aspects of the Gothic as opposed to the universalizing rationality of the classical tradition? Can we read an anti-modern, anti-Enlightenment reaction in the art of the time, or was the Gothic just another form of exoticism?

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The Woman of Color in the Eighteenth Century
Regulus Allen (Cal Poly, San Luis Obispo), rlallen@calpoly.edu; and Nicole Aljoe (Northeastern University); n.aljoe@northeastern.edu

The republication of the 1808 novel The Woman of Colour, A Tale; the debut of Belle, a film inspired by the 1779 portrait of Dido Elizabeth Belle; the reissue of the 1767 text The Female American; a new edition of Lady Mary Wortley Montagu’s 1763 Turkish Embassy Letters; and work by scholars such as Lyndon Dominique, Felicity Nussbaum, and Sarah Salih have facilitated a greater focus on eighteenth-century representations of women of color, and have indicated that such depictions are more prevalent and complex than the criticism has previously suggested. This panel invites papers from all disciplines as we consider verbal and visual depictions of women of African, American, or Asian descent and their impact on eighteenth-century culture and society.

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Visualizing the French Empire
Izabel Gass, izabel.gass@gmail.com; and Philippe Halbert (Yale University), philippe.halbert@yale.edu

In recent years, art history’s ‘global turn’ has worked to acknowledge the vital role that non- Western cultures and imperialism played in the formation of European art and material culture. This commitment to more inclusive narratives has had a pronounced impact on many fields that privilege and address eighteenth-century art and history. For example, the study of British culture in this period has in many instances been fully eclipsed by the emergence of a ‘British Atlantic World’ and a model of empire that no longer views colonies in isolation from metropolitan centers, and vice versa. This phenomenon is comparatively less pronounced among scholars of French art and those exploring the various legacies of France’s ‘first’ overseas empire, which at its height stretched from Cayenne to Québec and also included points in Africa, India, and the Indian Ocean. This panel seeks to address, and hopefully redress, this disparity as we meet in Saint Louis, founded by the French in 1764 and North America’s last French colonial settlement. We are interested in two lines of inquiry: first, historiographical and methodological papers that explore why, exactly, French visual culture (inclusive of canonical art and material culture) of the long eighteenth century has received less of a global perspective within art history; second, papers that take on this global perspective in exploring topics and themes within the visual culture of a larger, lived French colonial experience.

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The Politics of Citation (Roundtable)
Sal Nicolazzo (UCSD), snicolazzo@ucsd.edu

As scholars such as Sara Ahmed have argued, and as movements like #CiteBlackWomen insist, citation is political. This roundtable seeks to open up conversations about the politics of citation in eighteenth-century studies, broadly understood. Which scholars, theorists, and intellectual traditions should we be citing more, and why? How do patterns of citation and non-citation reveal the dynamics of race and gender as they structure the field of eighteenth-century studies? What might citation tell us about the history of our field? What new approaches might we take to eighteenth-century forms and networks of citation? In particular, this panel’s priority is to amplify the work of BIPOC (Black, Indigenous, and people of color) scholars, intellectual traditions, and histories.

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Playing with Pigments: Color Experiments in the Visual Arts
Daniella Berman (Institute of Fine Arts, NYU and Metropolitan Museum of Art), daniella.berman@nyu.edu; and Caroline M. Culp, (Stanford University and Metropolitan Museum of Art), cmculp@stanford.edu

With the emergence of novel pigments and dyes—some from the New World—prompting myriad experimentation in color and facture, the eighteenth century is widely acknowledged as a turning point for artists’ materials. This panel explores the impact of such innovations on artistic practice across the long eighteenth century. The microcosm of color in art exemplifies larger trends of the period as technological and scientific advances transformed the ways in which color was perceived, described, transmitted, commodified, thematized, and preserved. From furniture and paper makers to aquatint engravers and history painters, artists and artisans were invested in discussions about hue, discoloration, and the impact of time on color. Explorations in alternative mediums such as encaustic and enamel aspired to the most saturated, the most authentic, or the most durable color palettes. Advances in printmaking revolutionized the circulation of chromatic knowledge, including a new understanding of Old Masters through reproductive engravings and the transmission of cultural and botanical information about distant lands. We welcome papers that consider the full spectrum of artistic production and experimentation across the visual arts during this transformational period. Papers considering the science and materials of color, the restoration of historic palettes, or issues of pigmented materials’ change over time are also encouraged.

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William Hogarth in the 21st Century
Debra Bourdeau, taylo13f@erau.edu

William Hogarth’s engravings invite us to view the streets, parlors, insane asylums, prisons and gambling houses of 18th-century London. Through his ‘modern moral subjects’, his satirical
eye exposed hypocrisy, aristocratic excess, and overwrought devotion to foreign artists. His influence can be seen in political cartoons, graphic novels, and even cinema. This panel will discuss Hogarth’s place in 21st-century culture. During this time that seems desperately to need keen, perspicacious satire, can we turn to Hogarth as a paragon? What can an artist so inextricably linked to 18th-century life teach us about ourselves? He clearly demonstrated a need for social change in his time, but do the issues that he decried remain as pervasive almost 300 years later?

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Publishing Natural History
Eleanore Neumann (University of Virginia); and Agnieszka Ficek (City University of New York – Graduate Center), anna.ficek@gmail.com

Natural history in the global eighteenth century involved an interconnected set of practices. A lady sketched her exotic plant specimens while also collecting mineral samples. A botanist mailed seeds to his network of colleagues and then recorded the anatomy of quadrupeds. A gentleman investigated volcanic eruptions while sketching the physiognomy of Indigenous peoples. Each of these practitioners also consumed and contributed to a proliferation of illustrated natural history publications, which included everything from periodicals to multivolume scientific treatises and from travel accounts to entries in Diderot and d’Alembert’s Encyclopédie. Authors, artists, printmakers, and publishers often collaborated across borders to produce an extraordinarily wide variety of texts and images that organized and displayed nature. This session invites papers that reconsider natural history as it was practiced and presented through publications in the long eighteenth century. What does the interplay of image and text or an examination of whole books and compendia reveal about how the natural world was understood? How did readers engage with these publications in their daily lives, artistic practices, and professional pursuits? How was Indigenous knowledge of the natural world represented and/or interpreted for Western readers? Why was the publication of natural history far more abundant for certain imperial powers? How was natural history and its practice narrated in actual and fictional accounts? Was the translation of drawings into print affected by the cross-cultural nature of scientific publication? We invite papers covering any geographical area or methodological approach for this interdisciplinary panel.

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Networks and Practices of Connoisseurship in the Global Eighteenth Century
Valérie Kobi (Universität Hamburg), valerie.kobi@uni-hamburg.de; and Kristel Smentek (MIT), smentek@mit.edu

The eighteenth century was the age of the connoisseur, the disciplined interpreter and assessor of artworks whose authority, like that of the natural philosopher, was founded on his (more rarely her) extensive and sustained visual analysis of physical things. An era of accelerating trade and imperial conquest, the eighteenth century was also a period of an expanding global consciousness. This panel seeks to link eighteenth-century connoisseurship to a corresponding awareness of the diversity of artistic practice in different regions of the globe. Studies of connoisseurship have tended to be local, focusing, for example, on Western European or Chinese art to the exclusion of works from unfamiliar artistic traditions to which eighteenth-century art experts, collectors, and colonial administrators were also increasingly exposed. Questions we are interested in pursuing include: What were the channels through which encounters with art from afar were made possible? What methods were used to analyze and categorize art from other parts of the globe? And how might a recognition of the conventionality of artmaking have shaped local definitions of art and artistic quality in such regions as Asia, the colonial Americas, and Europe? We welcome papers that investigate the social, institutional, and commercial networks of international information and object exchange that facilitated eighteenth-century engagements with unfamiliar art. Proposals that introduce new interdisciplinary and methodological approaches are especially encouraged.

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Raw: Materials, Merchants, and Movement
Brittany Luberda (Baltimore Museum of Art), bluberda@artbma.org

During the eighteenth century, maritime trade networks circulated goods ranging from mahogany to silver, cotton to ginseng. How did the influx or movement of mass raw material transform social or visual environments? Papers are invited which explore the extraction or transportation of raw goods between municipalities or continents from any decade or geography. Topics might include the establishment or disruption of material movement due to war, economy, taste, or invention, human trafficking, environmentalism, or artistic production. Speakers are also welcomed to focus on a specific product, object, anecdotal history, literary record, or conceptual framework related to material acquisition and mobility. The moderator will open with a history of silver mining in Potosi, Bolivia and its reappraisal in a present-day museum display of pan- American colonial histories.

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Material Forms
Chloe Wigston Smith (University of York), chloe.wigstonsmith@york.ac.uk

This panel focuses on how material objects were shaped by empire, colonialism and geographic circulation in the eighteenth century. It engages, in particular, the form and aesthetics of objects that moved through different spaces and regions of the global eighteenth century. How were ceramics and textiles, and other products, redesigned for export to specific destinations? How did individuals adapt imported goods by altering their appearance and affordances? What kind of material entanglements emerged in the contact zones? What kind of hybrid and intercultural objects were created? What do these remade, reworked, and refashioned things illuminate about the intersections of material culture and empire? The panel invites especially papers that address the transculturation of material objects. We hope to assemble an interdisciplinary group of papers, so proposals from across humanities disciplines are especially welcome. Please send an abstract of no more than 300 words and a brief biography.

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Imagining the Future in Ruins
Thomas Beachdel (Hostos, CUNY), trb202@nyu.edu

Ruins were popular for artists, writers, travelers, and tastemakers throughout Europe during the eighteenth century. By their very nature, ruins are dualistic, acting as sites of memory and erasure, sites of presence and transience, evocative of grand, sublime ideas while at the same time falling physically to dust. Ruins represent a way of thinking about the future. In his Paris Salon writing of 1767, Denis Diderot evoked the present and an imagined future: “…in our imagination we scatter over the ground the rubble of the very buildings we still inhabit in that moment…we are sole survivors of an entire nation that is no more…Such is the first tenet of the poetics of ruins.” Reflecting this, French artist Hubert Robert showed pendant paintings at the Paris Salon of 1796 with the Louvre as their subject. Project for the Transformation of the Grand Gallery of the Louvre shows how the Grand Gallery might appear upon its completion, while Imaginary View of the Grand Gallery of the Louvre in Ruins shows it as a future ruin, projecting it as a far distant image of monumentality. Worldwide, as we stand on the brink of an uncertain, or much different future than imagined, Diderot’s poetics of ruins takes on a reinvigorated meaning. This panel seeks papers that not only address the significance of ruins as a means of imagining the future, both as a symbol of loss and greatness or continuity, but also, more widely, how the future was imagined in the global eighteenth century.

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Ephemeral Objects
Matthew Gin (Harvard University), matthewgin@gmail.com

The term ‘ephemeral’ can be used to describe a wide variety of objects. There are, on the one hand, things like pamphlets, tickets, and broadsheets that have been traditionally categorized as ephemera. While on the other are objects that also existed only momentarily but are more difficult to categorize. By way of example are sugar sculptures, napkin art, and the elaborate temporary decorations built for festivals. Ephemeral objects abounded in the eighteenth century and especially notable is the sheer volume of printed matter that emanated from the Republic of Letters. The survival rate for ephemeral material from the eighteenth century, broadly speaking, is relatively poor but what does remain serves as vital evidence of the politics and culture of this period. This panel invites papers that address ephemeral objects either directly or obliquely. Among the questions to be considered are: in what ways do ephemeral things actually prove to be enduring? And how might they confound ideas about permanence? Through what media are ephemeral objects perpetuated and known? And what limitations and opportunities do these sources present? How do texts capture the momentariness of an object or image? What do ephemeral items reveal about histories of collecting, sociability, or consumption? Papers that take an interdisciplinary or global approach to these and other pertinent questions are especially welcome.

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‘Canada or the Tower’: Finding, Depicting, and Imagining Canada
Cristina S. Martinez (University of Ottawa), martinezcsm@gmail.com

In 1763, with the conclusion of the Seven Year’s War, Canada was annexed to the British Empire. Alluding to the important political event is the anonymous print Canada or the Tower. In it, John Wilkes (exactly as portrayed by William Hogarth’s earlier satirical print) sits next to a devil-like Lord Bute, coins in hand, who is nudging the politician to accept a bribe while poking him with a stick on which is inscribed ‘have Canada or to the Tower’, indicating that Wilkes had to choose between governance of Canada or prison. His supporter, Lord Temple, leans on Wilke’s chair to exclaim ‘O! Liberty O! my Country’. In The Death of General Wolfe (1770), a landmark history painting by Benjamin West, a Native American, the St. Lawrence River and a glimpse of Québec city are shown. In these works and others, is Canada seen as a land of opportunities, a commodity to exploit, or a territory fraught with difficulties and people to overcome? This panel invites reflections on how a real or imagined Canada came into view throughout the eighteenth century. How were its landscape, foreboding climate, geographical position, inhabitants and tales represented in prints and drawings, literature, theatre and other arts? How did these, in turn, shape public opinion, policies, legislation, viewpoints on taxation, etc.? The panel solicits proposals on these matters as well as on the myths and fabulations that rendered Canada an attractive or a feared land.

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Note (added (30 June 2020) — The original Call for Papers did not include Kristin O’Rourke’s session on The Visual Gothic; the posting has been updated to include it here, along with an updated full CFP (as a PDF file with link at the top and here).

Online Public Lecture Course | Georgian Provocations

Posted in lectures (to attend) by Editor on June 5, 2020

From PMC:

Georgian Provocations: Six Iconic Works of Art from Eighteenth-Century Britain
Paul Mellon Centre, London, 28 May — 9 July 2020

Georgian Provocations is a one-off summer public lecture course, delivered online, and designed to provide an accessible and stimulating introduction to the art of the period. In this series of six 30-minute lectures, Hallett and Postle focus on six seminal paintings from the Georgian era and investigate their contents, contexts, and impact. Together, they reveal many of the ideas and issues that coursed through British visual culture between the 1730s and the 1790s, and demonstrate the riches that continue to be gained from looking intensively at an individual work of art. Lectures will be released weekly from 28 May to 2 July at 3pm (GMT).

An associated conversation on July 9 will be streamed live via Zoom Webinar at 6pm (GMT), providing a Q&A session with series presenters Mark Hallett and Martin Postle, who will talk about the pictures they focused upon in their lectures and their respective approaches to discussing the works in question.

28 May 2020
Mark Hallett, Walking the Streets: William Hogarth’s The Four Times of Day by William Hogarth (1736–38)

4 June 2020
Martin Postle, Variations on a Theme: Richard Wilson’s The White Monk (ca. 1755–65)

11 June 2020
Martin Postle, All Done from Nature: George Stubbs’s Whistlejacket (1762)

18 June 2020
Martin Postle, The Artist as Intellectual: Joshua Reynolds’s Self-Portrait as President of the Royal Academy (1780)

25 June 2020
Mark Hallett, Displaying the Hero: John Singleton Copley’s The Death of Major Peirson (1784)

2 July 2020
Mark Hallett, Making an Impact: Thomas Lawrence’s Arthur Atherley (1792)

9 July 2020
Georgian Provocations: A Conversation, streamed live via Zoom Webinar at 6pm (GMT); register via Eventbrite here.

Walpole Library Fellowships for 2020–21

Posted in fellowships by Editor on April 4, 2020

The Lewis Walpole Library is delighted to announce the recipients of Visiting Fellowships and Travel Grants for 2020–21:


Hillary Burlock (Queen Mary University of London), Politics and Pirouettes: The Intersection of Politics and Social Dance in Late Georgian Britain, George B. Cooper Fellowship

Katherine Charles (Washington College), Inside Stories: Interpolated Tales and the Eighteenth-Century Novel

Mita Choudhury (Purdue University Northwest) Mapping Cosmopolitanism and the Global Space at Home

Daniel Froid (Purdue University), Enlightenment Devilry: Forbidden Epistemologies and the Devil in Eighteenth-Century British Literature 

Monica Hahn (Community College of Philadelphia), Harlequins of Empire: Staging Native Identity in British Imperial Art, ca. 1776, Joseph Peter Spang Fellowship

Sarah Hancock (Carnegie Mellon University), The ‘Peculiar Science’ of Flowers in the British Landscape Garden

Yuko Ito (Gakushuin University), Writing Richard III: Drama, History, and Translation in the Long Eighteenth Century

Emrys Jones (Kings College London), The Levee: A Cultural History

Ziona Kocher (The University of Tennessee, Knoxville), Cross-Dressing on the Eighteenth-Century Stage

Thomas Leonard-Roy (Harvard University), Horace Walpole and the Pleasures of Hatred, ASECS/LWL Fellowship

John Munns (University of Cambridge), Life and Work of Thomas Kerrich

Giorgina Paiella (University of California, Santa Barbara), The Early Modern Android Automaton: Affect, Assembly, and Modern-Day Resonances

Robert Phiddian (Flinders University), Graphic Humor, from Hogarth to Gillray, Charles J. Cole Fellowship

Matthew Potter (Northumbria University), The Afterlife of Georgian Political Cartoons

Edwin Rose (University of Cambridge), Classifying and Publishing Nature in Late Eighteenth-Century Britain

Tess Somervell (University of Leeds), Georgic Climates: Writing the Weather in Eighteenth-Century Poetry

Alexis Wolf (University of Leeds), Material Perspectives of Revolution in the Manuscripts of Mary and Agnes Berry, Roger W. Eddy Fellowship

Travel Grants

 Tymon Adamczewski (Kazimierz Wielki University), The (im)Materiality of Extra-Illustration: Multimodality, Iteration, and the Eighteenth-Century Book

Carmen Casaliggi (Cardiff Metropolitan University), Rethinking Transnational  Networks in Paris: Madame du Deffand, Adam Smith, and the Condorcet Circle

Daniel Cook (University of Dundee), Gulliver’s Afterlives

Laura Engel (Duquesne University), The Art of the Actress

Kaitlin Pontzer (Cornell University), The Authority of Feeling: Jacobite Sentiment and Affective Allegiance in Britain after 1688