Enfilade

From Presses Universitaires du Septentrion:

Youri Carbonnier, Sophie Raux, Christophe Renaud, François Rousselle, eds., avec Youri Carbonnier, Laura Louvrier-Masquelier, Nicolas Moucheront, Mylène Pardoen, Sophie Raux, Sophie Reculin, Christophe Renaud, François Rousselle, Rémi Synave, Watteau, Gersaint, et le pont Notre-Dame à Paris au temps des Lumières: Les enjeux d’une restitution numérique (Villeneuve-d’Ascq: Éditeur Presses Universitaires du Septentrion, 2021), 208 pages, ISBN: 978-2757432839, 22€. Also available in a PDF edition.

Le pont Notre-Dame fut l’un des ponts habités les plus extraordinaires de Paris. Son histoire reste attachée à un événement : la présentation éphémère en façade de la boutique de Gersaint de la fameuse Enseigne peinte par Watteau en 1720. À quoi ressemblait ce pont monumental avant la destruction de ses habitations? Pourquoi L’Enseigne de Gersaint eut-elle un tel retentissement? Comment se projeter dans cet univers si étranger à notre expérience actuelle des ponts parisiens? Comment dépasser l’image mentale que chacun peut se faire à partir des sources qui nous sont parvenues? Autant de questions qui ont motivé cette restitution numérique du pont Notre-Dame. En s’attachant à restituer le sens des espaces et des volumes de son architecture disparue, ainsi qu’à rendre sensible l’ambiance lumineuse et sonore de son environnement, ses auteurs offrent une exploration inédite en 5D du pont, ainsi qu’une réflexion sur l’apport des technologies numériques à la recherche historique.

S O M M A I R E

Sophie Raux
• Introduction : Un dialogue entre présent et passé

Youri Carbonnier
• Le pont Notre-Dame
• Des maisons sur un pont
• La pompe du pont Notre-Dame

Sophie Raux
• Le pont Notre-Dame et le commerce d’art à Paris

Christophe Renaud
• Restitutions historiques et photoréalisme
• Notions de simulation d’éclairage

Sophie Reculin
• Ombres et lumières sur le pont Notre-Dame : la première simulation de l’éclairage public durant l’époque moderne

Nicolas Moucheront
• L’histoire du pont Notre-Dame au XVIIIe siècle : enjeux professionnels et épistémologiques

François Rousselle
• La restitution du pont Notre-Dame en 3D temps réel

Mylène Pardoen
• De l’ambiance sonore

Sophie Raux
• De quoi L’enseigne de Gersaint était-elle l’image ?
• Jean Antoine Watteau (Valenciennes, 1684 – Nogent-sur-Marne, 1721)
• Edme-François Gersaint (Paris, 1694 – Id., 1750)

Laura Louvrier, François Rousselle, Rémi Synave
• Restituer l’intérieur de la boutique de Gersaint : questions méthodologiques et techniques

François Rousselle
• Des applications adaptées aux supports de restitution

Youri Carbonnier
• Paysage restitué, paysage recréé, paysage rêvé ?
• Apports et limites de la restitution 5D du pont Notre-Dame

Index des noms
Liste des auteurs
Remerciements

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Also see, Sophie Raux, “Virtual Explorations of an 18th-Century Art Market Space: Gersaint, Watteau, and the Pont Notre-Dame,” Journal18, Issue 5 Coordinates (Spring 2018), https://www.journal18.org/2542. DOI: 10.30610/5.2018.3

From Rizzoli:

Victoria Botana de Beauvau-Craon, with photographs by Miguel Flores-Vianna and foreword by Jean-Louis Deniot, Château de Haroué: The Home of the Princes de Beauvau-Craon (New York: Rizzoli, 2021), 272 pages, ISBN: 978-0847870929, $65.

A dazzling tour of Château de Haroué, the epitome of opulent French style and one of today’s must-see examples of vibrant eighteenth-century architecture and design.

Located in a remote village in the Lorraine region of northeastern France, the estate of Chateau de Haroue is an unrivaled treasure of Gallic culture and heritage. Built between 1720 and 1729 for Marc de Beauvau, Prince de Beauvau-Craon, constable of Lorraine and viceroy of Tuscany, his descendants have inhabited the castle and kept it going in high style ever since. Here, readers are invited to discover the château’s impressive architecture and fashionably chic interior design. Newly commissioned photographs by Miguel Flores-Vianna alongside archival documents offer unprecedented access to 82 sumptuous rooms, which are enlivened by dynamic tapestries and family portraits, a breathtaking artwork collection, and stately antique furniture. Informative texts by Victoria Botana de Beauvau, one of France’s preeminent modern-day aristocrats and an It girl in Parisian society, paint a picture of the castle’s architectural splendors, lifestyle, notable events, and her family’s unique approach to keeping history alive.

Victoria Botana de Beauvau is a creative director and producer. Miguel Flores-Vianna is a renowned Argentine-born, London-based photographer whose images regularly appear in Architectural Digest and Cabana magazine. Jean-Louis Deniot is a French interior designer and a close friend of the de Beauvau-Craon family.

From Routledge:

Stephen G. Hague and Karen Lipsedge, eds., At Home in the Eighteenth Century: Interrogating Domestic Space (New York: Routledge, 2021), 378 pages, ISBN 978-0367276799, $160.

The eighteenth-century home, in terms of its structure, design, function, and furnishing, was a site of transformation—of spaces, identities, and practices. Home has myriad meanings, and although the eighteenth century in the common imagination is often associated with taking tea on polished mahogany tables, a far wider world of experience remains to be introduced. At Home in the Eighteenth Century brings together factual and fictive texts and spaces to explore aspects of the typical Georgian home that we think we know from Jane Austen novels and extant country houses while also engaging with uncharacteristic and underappreciated aspects of the home. At the core of the volume is the claim that exploring eighteenth-century domesticity from a range of disciplinary vantage points can yield original and interesting questions, as well as reveal new answers. Contributions from the fields of literature, history, archaeology, art history, heritage studies, and material culture brings the home more sharply into focus. In this way At Home in the Eighteenth Century reveals a more nuanced and fluid concept of the eighteenth-century home and becomes a steppingstone to greater understanding of domestic space for undergraduate level and beyond.

Stephen G. Hague is an Associate Professor of Modern European History at Rowan University. He specializes in British and British imperial history and is the author of The Gentleman’s House in the British Atlantic World, 1680–1780 (2015). He researches and writes on the intersections of political, social, cultural, and architectural history.

Karen Lipsedge is an Associate Professor in English Literature, at Kingston University, England. Her research focuses on eighteenth-century domestic space, material culture, and society and its representation in British eighteenth-century literature and art. She is the author of Domestic Space in the Eighteenth-Century British Novel (2012).

C O N T E N T S

Introduction, Stephen Hague and Karen Lipsedge

Part I: The Organization and Arrangement of Space
1  Paula Humfrey, Staging Fictions for Domestic Privacy in Early Eighteenth-Century London Households
2  Karen Lipsedge, Reading Pamela through the Domestic Parlour: Rooms, Social Class, and Gender
3  Kristin Distel, ‘I will not be thus constrained’: Domestic Power, Shame, and the Role of the Staircase in Richardson’s Clarissa
4  Julie Park, ‘A Small House in the Country: Cottage Dreams and Desires in the Eighteenth-Century English Imagination

Part II: Money, Value, and Consumption
5  Stephen Hague, ‘I am now determined to inform you what I am sure will amaze you’: Objects, Domestic Space, and the Economics of Gentility
6  Beth Cortese, Home Economics: Female Estate Managers in Long Eighteenth-Century Fiction and Society
7  Gillian Williamson, Genteel, Respectable, and Airy: The Lodgings Market in London, 1770–1800
8  Deborah L. Miller, “Great earthly riches are no real advantage to our posterity”: Space, Archaeology, and the Philadelphia Home

Part III: Different Perspectives on Home
9  Victoria Barnett-Woods, Transatlantic Domesticity and the Limits of a Genre in A Woman of Colour
10  Margaret A. Miller, Making Room: Queer Domesticity in Jane Austen’s Emma and the Anne Lister Diaries
11  Jon Stobart, Servants’ Furniture: Hierarchies and Identities in the English Country House
12  Katie Barclay, Making the Bed, Making the Lower-Order Home in Eighteenth-Century Scotland
13  Laura Keim, Hierarchies of the Home: Spaces, Things, and People in the Eighteenth Century
14  Oliver Cox, Twenty-First Century Visitors in Eighteenth-Century Spaces: Challenges and Opportunities

Conclusion: Assessing Eighteenth-Century Domestic Space, Stephen Hague and Karen Lipsedge

From PU Rennes:

Guillaume Glorieux, L’art du XVIIIe siècle (Rennes: Presses Universitaires de Rennes, 2021), 342 pages, ISBN: 978-2753582668, 25€.

Des dernières lueurs du règne de Louis XIV, qui s’éteint à Versailles en 1715, à la disparition de Catherine II de Russie en 1796 à Saint-Pétersbourg, ce livre aborde la création artistique en Europe au siècle des Lumières. Entre les deux dates s’écoule un siècle marqué par de profonds bouleversements dans la production artistique et, plus encore, dans la façon dont l’art s’inscrit dans la société. Source de délectation, l’oeuvre d’art fait aussi l’objet de débats et de critiques, à une époque qui voit l’essor d’une réflexion sur l’art et ses finalités. L’effervescence créatrice qui caractérise la période s’exprime dans tous les domaines, la peinture, l’architecture, la sculpture et les arts décoratifs. Ce livre se propose de parcourir le XVIIIe siècle—ses grands artistes, les oeuvres majeures et les principaux courants—dans un cheminement chronologique attentif aux données sociales, politiques et culturelles.

Professeur des universités et historien de l’art, Guillaume Glorieux est directeur de l’enseignement et de la recherche de L’École des Arts joailliers, avec le soutien de Van Cleef & Arpels, après avoir enseigné à l’université Rennes 2. Il est l’auteur de plusieurs livres sur la peinture, le commerce du luxe et les arts décoratifs, dont Watteau (Citadelles & Mazenod, 2011) et À l’enseigne de Gersaint. Edme-François Gersaint, marchand d’art sur le pont Notre-Dame (1694–1750) (Champ Vallon, 2002, prix Eugène-Carrière de l’Académie française). Son dernier livre porte sur les métiers et les savoir-faire de la joaillerie : Les Arts joailliers. Métiers d’excellence (Gallimard / L’École des Arts Joailliers, 2019).

S O M M A I R E

Introduction

1  Les fantaisies de l’art rocaille
2  Les bouleversements de la peinture
3  L’exotisme dans les arts au XVIIIe siècle
4  Scénographies urbaines
5  Un art porteur de sens : les Lumières et les arts
6  Marché de l’art et collectionnisme
7  Sentiment, nature et subjectivité : le préromantisme
8  Néoclassicisme et retour à l’ordre

Conclusion

Analyses d’œuvres
Images des œuvres
Chronologie
Bibliographie

From Rizzoli:

Carlo Gasparri, Raniero Gnoli, and Alvar González-Palacios, with photographs by Massimo Listri, Villa Albani Torlonia: The Cradle of Neoclassicism (New York: Rizzoli, 2021), 336 pages, ISBN: 978-8891832146, $150.

Villa Albani Torlonia, with its collections, the Italian garden, and the hemicycle of the Kaffeehaus, is a sublime testimony of that particular antiquarian taste which came to the fore in the mid-eighteenth century, that for which Rome became a favorite destination on the Grand Tour. The classicist dream of Cardinal Alessandro Albani (1692–1779) was preserved thanks to the Torlonia family, who purchased the villa in 1866, enlarging the collection and the gardens and restoring the most important cardinal residence of the eighteenth century.

More than 300 images by the great Italian master Massimo Listri recount the history of this extraordinary cultural heritage for the very first time. An immersive journey leads the reader between its collections of ancient masterpieces. Statues, bas-reliefs, and fountains are ensconced between the various buildings and gardens of the villa in a composition of environments, landscapes, and works of art forever waiting to be discovered.

Massimo Listri is a photographer who has published more than 70 books and has exhibited his work at numerous solo exhibitions throughout the world. Carlo Gasparri is emeritus professor at the University of Naples Federico II and has authored several books about archaeology and Greek and Roman art. Raniero Gnoli is an Orientalist and historian of religions. Alvar González-Palacios is an author and art historian and former collaborator of FMR magazine.

From Oxford UP:

William Fitzgerald, The Living Death of Antiquity: Neoclassical Aesthetics (Oxford: Oxford University Press, 2021), 288 pages, ISBN: 978-0192893963, £75 / $100.

The Living Death of Antiquity examines the idealization of an antiquity that exhibits, in the words of Johann Joachim Winckelmann, “a noble simplicity and quiet grandeur.” Fitzgerald discusses the aesthetics of this strain of neoclassicism as manifested in a range of work in different media and periods, focusing on the late eighteenth and early nineteenth centuries. In the aftermath of Winckelmann’s writing, John Flaxman’s engraved scenes from the Iliad and the sculptors Antonio Canova and Bertel Thorvaldsen reinterpreted ancient prototypes or invented new ones. Earlier and later versions of this aesthetic in the ancient Greek Anacreontea, the French Parnassian poets, and Erik Satie’s Socrate, manifest its character in different media and periods. Looking with a sympathetic eye on the original aspirations of the neoclassical aesthetic and its forward-looking potential, Fitzgerald describes how it can tip over into the vacancy or kitsch through which a ‘remaindered’ antiquity lingers in our minds and environments. This book asks how the neoclassical value of simplicity serves to conjure up an epiphanic antiquity, and how whiteness, in both its literal and its metaphorical forms, acts as the ‘logo’ of neoclassical antiquity, and functions aesthetically in a variety of media. In the context of the waning of a neoclassically idealized antiquity, Fitzgerald describes the new contents produced by its asymptotic approach to meaninglessness, and how the antiquity that it imagined both is and is not with us.

After taking a BA in Classics at Oxford (1974) and a PhD in Comparative Literature at Princeton (1980), William Fitzgerald taught for 23 years at the University of California, San Diego and Berkeley. He returned to the UK in 2003 and taught at Cambridge University until 2007, when he became Professor of Latin Language and Literature at King’s College London. He has published books and articles on Latin literature, especially poetry, and on classical reception.

C O N T E N T S

1  Introduction: Why Neoclassicism?
2  The Iliad Backtranslated: Alexander Pope and John Flaxman
3  Sculpture between the Graceful and the Heroic: Antonio Canova and Bertel Thorvaldsen
4  Voicing Antiquity: The Anacreontea and Charles Leconte de Lisle’s Études Latines
5  Modernism, Neoclassicism, and Irony: Erik Satie’s Socrate
Conclusion