Sweden Nationalmuseum Acquires Two Drawings by Oudry

Jean-Baptiste Oudry, View of the Garden in Arcueil, Facing North with the Orangery Terrace and the Peak of the Forest Park or So-Called ‘Talus Cone’, 1744–47 (Stockholm: Nationalmuseum, NMH 55/2019).
◊ ◊ ◊ ◊ ◊
Press release (5 May 2020) from Sweden’s Nationalmuseum in Stockholm:
Nationalmuseum has acquired two drawings with views from the garden and park of Arcueil by the French Rococo master Jean-Baptiste Oudry. The drawings depict a geometrically landscaped garden with elements of a freer park in a state of picturesque decay. The artist presents both immediate visual impressions and more artfully elaborated ones. This type of landscape had previously been completely lacking from the museum’s large collection of works by Oudry.
Jean-Baptiste Oudry (1686–1755) has become known as one of the foremost artists of the French Rococo style. He began as a portrait painter but soon came to specialise in still life painting. His close friends and clients included the Swede Carl Gustaf Tessin, which is also why National museum has so many works by the artist in its collection. Oudry’s activities as a landscape painter are somewhat less known. At times, he is even said to have used a camera obscura in the production of his views.
Starting in 1740, Oudry began to make excursions to scenic Arcueil, located in the southern suburbs of Paris. The place was famous for its beautiful garden and park, which boasted a monumental aqueduct as a backdrop. Today, most of it has vanished or been rendered unrecognisable. The garden complex, which attracted artists such as Oudry, Boucher and Natoire, was created for the Prince of Guise between 1720 and 1730 by the architect Jean-Michel Chevotet. Among Chevotet’s fellow students at the French Academy of Architecture was the Swede Carl Hårleman, and both specialised in landscape architecture. Arcueil was transformed into an intimate formal garden in the spirit of Rococo, with geometric elements such as parterres, ponds and trellis works. The differences in terrain levels on the site created movement and vistas. It was thus also necessary to construct a variety of walls, terraces and stairs, which contributed to the special and complex character of the garden. There was also a wilder and more informal section with a picturesque touch.
It is therefore hardly surprising that Oudry was fascinated by Arcueil. He rented a house that was located directly adjacent to the property, which gave him many opportunities to draw various views. Most are believed to have been executed between 1744 and 1747. Many have an immediate character, revealing that they were drawn outdoors, on site. Others appear more elaborate. Over fifty such views are known to exist, two of which have now been acquired by Nationalmuseum. Of them, the view to the north with the orangery terrace and the peak of the forest park (or so-called ‘talus cone’), is among Oudry’s finest drawings from Arcueil. The artist has worked on a beige paper (which was probably originally blue) with black and white chalk, which he then smudged with a stump (an artist’s tool made of hard rolled paper or chamois leather). Then Oudry used a brush to add highlights in white gouache. In this way he managed to create fine contrasts between sunlit areas and other shady parts of the image. The figures are considered to have been drawn by another hand, perhaps Victoire Chenu or Jacques-Philippe Le Bas, who later (1776) engraved and published this view under the title Ancienne et première vue d’Arcueil.

Jean-Baptiste Oudry, View of the Bosquet in the Garden of Arcueil with Promenade and Garden Shed, 1744–47
(Stockholm: Nationalmuseum, NMH 46/2018).
◊ ◊ ◊ ◊ ◊
While the view from the orangery terrace has the character of a completed drawing, or what Carl Gustaf Tessin called la manière très finie, Oudry’s second drawing is characterised by a seemingly immediate visual sensibility. It was create using chalk and faint white gouache highlights on a grey-blue paper, and reproduces a more informal part of the garden, a bosquet area with a promenade. In the background one can see a garden shed with a somewhat dilapidated fence. In this view, Oudry has depicted a pastoral scene which seems quite distant from the more formal environment of the previous drawing and thus appears to herald the parks of the late 18th century.
Nationalmuseum receives no state funding with which to acquire design, applied art, and artwork; instead, the collections are enriched through donations and gifts from private foundations and funds. The acquisitions have been made possible through a purchase using donations from the Wiros Foundation and the Hedda and Nils D. Qvist Memorial Fund.
Call for Essays | Women and the Art and Science of Collecting
From ArtHist.net:
Women and the Art and Science of Collecting: Eighteenth-Century Collecting Beyond Europe
Edited by Dr. Arlene Leis and Dr. Kacie Wills
Abstracts due by 1 July 2020, with case studies due by 31 October 2020 and longer essays due 1 December 2020
We are inviting chapter abstracts for a collection of essays designed for academics, specialists, and enthusiasts interested in the interrelations between art and science in women’s collections and collecting practices beyond Europe in the long 18th century. This volume will follow our forthcoming compendium on the topic entitled, Women and the Art and Science of Collecting in Eighteenth-Century Europe, published by Routledge. This book recovers women’s histories through numerous interdisciplinary discourses pertaining to the subject of collecting, and it examines their interests, methodologies, and practices in relation to cultures of art and science.
In the second volume, we continue this discussion and consider women’s relationships to collecting of European and non-European objects, gathered, exchanged, and displayed within colonies and with indigenous cultures beyond Europe. Responding to ideas about indigenous collecting raised by Nicholas Thomas, Jennifer Newell, Greg Dening, Anne D’Alleva, Adriana Craciun, Mary Terrall, and others, we also aim to consider intercultural exchanges and collections of objects relatively unknown to Europeans. European collecting often traces its roots to biblical mythologies, such as the stories of Adam (naming and owning) and Noah (rescuing and preserving). What are the histories of collecting beyond Europe? And in what ways did women actively participate in or challenge those stories?
We hope to explore a diverse range of theoretical contexts, such as art historical, material culture, feminist, social, performance, gender, colonial, archival, and literary. We welcome essays that take a material culture approach and are particularly keen on research that makes use of new archival resources. We encourage interdisciplinary perspectives and are especially interested in essays that reveal the way in which women’s collections outside of Europe participated in cultures of art and science.
The compendium will consist of around ten essays of 6,000–6,500 words (with footnotes), each with up to four illustrations. In addition to these more traditional essays, we are looking for shorter (circa 1,000 words) case studies on material objects of interest from the period. The subject of women’s collections and art and science is also central to these smaller contributions, and each will include one illustration.
We aim to address the following topics and questions:
• The practice of collecting as cultural construct
• Decolonizing collecting
• What motivated women to collect in places outside of Europe? What were they collecting? How were women’s collections beyond Europe similar or different to their European counterparts?
• Women’s travel, immigration, exploration and the mobility of objects
• Collaborations
• Classification, taxonomies and methodologies of collecting outside of Europe
• Religious collections
• Display
• Collecting for power and status
• Preservation, creation and learning
• The aesthetics of collecting beyond Europe
• Women’s exchanges/interactions with indigenous populations
• Collections formed as a means of making sense of the world
All inquiries should be addressed to Arlene Leis, aleis914@gmail.com or Kacie Wills, kacie.wills@gmail.com . Essay abstracts of 500 words and 300 word abstracts for smaller case studies are due July 1, 2020 and should be sent along with a short bio to: kacie.wills@gmail.com and aleis914@gmail.com. Finished case studies will be due October 31, 2020, and long essays will be due December 1, 2020.
New Book | The Edinburgh History of Reading
Spread across the volumes are essays addressing the long eighteenth century, including topics of illustrations and visual culture. From Edinburgh UP:
Mary Hammond and Jonathan Rose, eds., The Edinburgh History of Reading, 4 volumes (Edinburgh: Edinburgh University Press, 2020), 1512 pages, 978-1474478717, £350. [Each volume is also sold individually.]
Bringing together the latest scholarship from all over the world on topics ranging from reading practices in ancient China to the workings of the twenty-first-century reading brain, the 4 volumes of The Edinburgh History of Reading demonstrate that reading is a deeply imbricated, socio-political practice, at once personal and public, defiant, and obedient. It is often materially ephemeral, but it can also be emotionally and intellectually enduring.
Volume Titles
Early Readers, edited by Mary Hammond, with contents listed here.
Early Readers presents a number of innovative ways through which we might capture or infer traces of readers in cultures where most evidence has been lost. It begins by investigating what a close analysis of extant texts from 6th-century BCE China can tell us about contemporary reading practices, explores the reading of medieval European women and their male medical practitioner counterparts, traces readers across New Spain, Peru, the Ottoman Empire and the Iberian world between 1500 and 1800, and ends with an analysis of the surprisingly enduring practice of reading aloud.
Modern Readers, edited by Mary Hammond, with contents listed here.
Modern Readers explores the myriad places and spaces in which reading has typically taken place since the eighteenth century, from the bedrooms of the English upper classes, through large parts of nineteenth-century Africa and on-board ships and trains travelling the world, to twenty-first-century reading groups. It encompasses a range of genres from to science fiction, music and self-help to Government propaganda.
Common Readers, edited by Jonathan Rose, with contents listed here.
Common Readers casts a fascinating light on the literary experiences of ordinary people: miners in Scotland, churchgoers in Victorian London, workers in Czarist Russia, schoolgirls in rural Australia, farmers in Republican China, and forward to today’s online book discussion groups. Chapters in this volume explore what they read, and how books changed their lives.
Subversive Readers, edited by Jonathan Rose, with contents listed here.
Subversive Readers explores the strategies used by readers to question authority, challenge convention, resist oppression, assert their independence and imagine a better world. This kind of insurgent reading may be found everywhere: in revolutionary France and Nazi Germany, in Eastern Europe under Communism and in Australian and Iranian prisons, among eighteenth-century women reading history and nineteenth-century men reading erotica, among postcolonial Africans, the blind, and pioneering transgender activists.
New Book | Tastemakers: British Dealers and the Anglo-Gallic Interior
Forthcoming from The Getty (in July) . . .
Diana Davis, The Tastemakers: British Dealers and the Anglo-Gallic Interior, 1785–1865 (Los Angeles: Getty Research Institute, 2020), 320 pages, ISBN: 978-1606066416, $65.
In this volume, Diana Davis demonstrates how London dealers invented a new and visually splendid decorative style that combined the contrasting tastes of two nations. Departing from the conventional narrative that depicts dealers as purveyors of antiquarianism, Davis repositions them as innovators who were key to transforming old art objects from ancien régime France into cherished ‘antiques’ and, equally, as creators of new and modified French-inspired furniture, bronze work, and porcelain. The resulting old, new, and reconfigured objects merged aristocratic French eighteenth-century taste with nineteenth-century British preference, and they were prized by collectors, who displayed them side by side in palatial interiors of the period.
The Tastemakers analyzes dealer-made furnishings from the nineteenth-century patron’s perspective and in the context of the interiors for which they were created, contending that early dealers deliberately formulated a new aesthetic with its own objects, language, and value. Davis examines a wide variety of documents to piece together the shadowy world of these dealers, who emerge center stage as traders, makers, and tastemakers.
Diana Davis specializes in the interface between collectors, dealers, and the art market in the late eighteenth and early nineteenth centuries.
C O N T E N T S
Acknowledgments
Note to the Reader
Introduction
Part 1 — Trade, Taste and Retail
1 ‘The Revised Taste of Louis the Fourteenth’
2 ‘Nos Amis, Les Enemies!: Britain and France
3 ‘The Wily Brocanteur‘
4 ‘The New Race of Connoisseurs’
Part 2 — The Dealer-Producer
5 Manufacturers of Antique Furniture
6 ‘Matt and Burnished Gold’
7 ‘China Painted and Gilt’
8 ‘A Burst of Splendour’: The Anglo-Gallic Interior
Conclusion
Appendix 1 Selected Dealer Biographies
Appendix 2 Sale Catalogs
Sources and Bibliography
About the Author
Illustration Credits
Index
Call for Papers | Piranesi @300
From the updated Call for Papers, which also includes Italian and French versions:
Piranesi @300
Rome, 27–30 January 2021
Proposals due by 31 July 2020 (extended from the original April deadline)
Organized by Mario Bevilacqua and Clare Hornsby
Concluding the year celebrating the 300th anniversary of the birth of Giovanni Battista Piranesi (1720–1778), this conference aims to reveal new aspects of his life and works, their contexts, and critical fortune, and we are seeking proposals for a comparison of interdisciplinary themes and innovative methodologies.
In the light of current uncertainties, we plan to host the conference both live in Rome and via online platforms to facilitate international participation.
Some ideas of themes that could be addressed:
Piranesi as Artist, Theorist, Entrepreneur, and Merchant
Many aspects of Piranesi’s life and work still remain in the shadows: we hope to discover new documentary data, new drawings, new interpretations, new networks.
Piranesi and History
The Mediterranean civilizations, the fall of the Empire, the Middle Ages and the Renaissance. Egypt, Etruria, Greece, Rome. From the fall of the Empire to the Renaissance. Piranesi and the texts of his books, the birth of archaeology, the philosophy of history in 18th-century Europe.
Piranesi: Europe, America, the World
Piranesi as ‘global’ artist. His lasting reputation—from Rome across 18th-century Europe—takes on different aspects in different European contexts: England, France, Germany, Russia—and in the more distant United States and Latin America, Australia and Japan, maintaining close yet changing relationships with art, literature, photography, and cinema.
Piranesi as Architect: Monument, City, Utopia
Though constantly designing, he was the architect of only one building, S. Maria del Priorato on the Aventine hill yet Piranesi always signed himself ‘architect’. His vision of Roman architecture and of the ancient metropolis states certainties and raises concerns about the dystopian future of the global city.
Piranesi in the Global 21st Century: New Methods for New Paths of Research
We can ask questions about Piranesi in the context of contemporary scenarios. His work continues to provoke reflection, inspire new projects and interpretations.
The languages of the conference are English, Italian, and French, and the event will be open to the public. We invite doctoral students, postdoctoral researchers, established scholars to submit proposals for papers that contain new research or use new approaches. These will fall into two groups:
1) 15-minute presentations on one event, object, or discrete theme
2) 30-minute presentations on wider issues
Please send a 250-word CV and an abstract in English, French, or Italian of either 500 words (for a 15-minute talk) or 1000 words (for 30-minute talk); the abstract should make clear the new content of the contribution. Submissions should be sent to Piranesi300@gmail.com by July 31st 2020. We plan to offer accommodation in Rome to speakers at the conference though we are not able to assist with travel costs. We propose to publish a volume of the papers of the conference.
Supporting Institutions
Centro Studi Cultura e Immagine di Roma / Biblioteca Nazionale Centrale
Istituto Centrale per la Grafica
The British School at Rome
Académie de France à Rome – Villa Médicis
Conference Organisers
Mario Bevilacqua and Clare Hornsby
Scientific Committee
Francesca Alberti (Académie de France à Rome), Fabio Barry (Stanford University), Mario Bevilacqua (Università degli Studi di Firenze, CSCIR), Clare Hornsby (British School at Rome), Giorgio Marini (Ministero Beni Culturali), Heather Hyde Minor (Notre Dame Rome), Susanna Pasquali (Sapienza Università di Roma), Frank Salmon (Cambridge University), Giovanna Scaloni (Istituto Centrale per la Grafica).
HECAA Launches New Website
HECAA is pleased to announce its new website! To visit, go to hecaa18.org where you can explore exciting content like featured artworks, recently published member books, and resources for graduate students. All active members will have access to the HECAA forum, where you can share ideas, exchange teaching materials, and more.
And no worries: Enfilade will continue largely as it has up to now, including its affiliation with HECAA. It’s been clear—really since this site launched in 2009—that Enfilade’s audience overlaps with HECAA but is also much broader. The launch of the new HECAA site means that the organization now has the website it has long deserved. I’m delighted with the new site and look forward to how it will develop. Kudos to the officers (outgoing and incoming) and to the board members who have brought it to fruition.
I’m confident that many Enfilade readers would enjoy the additional resources and community that HECAA has to offer. Membership is affordable, with an annual student rate of $10 and a professional rate of $30. So please consider joining. And please keep checking in here.
–Craig Hanson
New Book | Restoring Williamsburg
Distributed by Yale University Press:
George Humphrey Yetter and Carl Lounsbury, Restoring Williamsburg (The Colonial Williamsburg Foundation, 2019), 296 pages, ISBN: 978-0300248357, $50.
Today best known as the world’s largest ‘living history’ museum, Williamsburg was the capital of the colony of Virginia in the 1700s and the setting for key debates leading to the American Revolution. Inspired by growing interest in America’s colonial heritage, W. A. R. Goodwin, supported by John D. Rockefeller, Jr., initiated a major restoration in the 1920s and 1930s that has allowed visitors to see how Williamsburg looked in the 18th century. Restoring Williamsburg expands on Williamsburg Before and After, a now-classic book with more than 200,000 copies in print, offering an updated and nuanced look at the continuing process of restoration. In addition to capturing moments throughout the site’s transformation, the book offers important considerations about modern curatorial practices and changing approaches to historic preservation.
Lavishly illustrated with more than 350 photographs, watercolors, sketches, maps, and other illustrations, Restoring Williamsburg features new images from both before and after the restoration. This is an important contribution not only to architectural history and restoration practices but also to our understanding of the town that continues to inspire Americans to think about their history.
George Humphrey Yetter, who wrote Williamsburg Before and After, is the former associate curator of architectural drawings at the Colonial Williamsburg Foundation. Carl R. Lounsbury is the former Shirley and Richard Roberts Architectural Historian at the Colonial Williamsburg Foundation and currently teaches history at the College of William and Mary.
On Television and Online | Opening Up The Soane

The three episodes of Opening Up The Soane will be uploaded to museum’s website a day after each episode airs on London Live.
• Episode 1, Restoring the Recesses — 20 April (airs 19 April, 8PM)
• Episode 2, Restoring the Private Apartments — 27 April (airs 26 April, 8PM)
• Episode 3, A Triumph of Restoration — 4 May (airs 3 May, 8PM)
You can watch the series live on London Live,Freeview 8 | Sky 117 | Virgin 159 | YouView 8
In the meantime, you can read about the Opening Up The Soane project, or explore the Museum online using Explore Soane. While the Soane Museum is temporarily closed, the institution is ever more reliant on your support to protect and maintain Sir John Soane’s house and collection.
New Book | Fancy in Eighteenth-Century European Visual Culture
From the Oxford University Studies in The Enlightenment series:
Melissa Percival and Muriel Adrien, eds., Fancy in Eighteenth-Century European Visual Culture (Liverpool: Voltaire Foundation in association with Liverpool University Press, 2020), 325 pages, ISBN: 978-1789620030, £65 / $100.
Fancy in the eighteenth century was part of a rich semantic network, connecting wit, whimsicality, erotic desire, spontaneity, deviation from norms and triviality. It was also a contentious term, signifying excess, oddness and irrationality, liable to offend taste, reason and morals. This collection of essays foregrounds fancy—and its close synonym, caprice—as a distinct strand of the imagination in the period. As a prevalent, coherent and enduring concept in aesthetics and visual culture, it deserves a more prominent place in scholarly understanding than it has hitherto occupied. Fancy is here understood as a type of creative output that deviated from rules and relished artistic freedom. It was also a mode of audience response, entailing a high degree of imaginative engagement with playful, quirky artworks, generating pleasure, desire, or anxiety. Emphasizing commonalities between visual productions in different media from diverse locations, the authors interrogate and celebrate the expressive freedom of fancy in European visual culture. Topics include: the seductive fictions of the fancy picture, Fragonard and galanterie, fancy in drawing manuals, pattern books and popular prints, fans and fancy goods, chinoiserie, excess and virtuality in garden design, Canaletto’s British capricci, urban design in Madrid, and Goya’s Caprichos.
Melissa Percival is Professor of French, Art History, and Visual Culture at the University of Exeter. She has published widely on theories of facial expression, fantasy figures, and portraits, with particular reference to eighteenth-century France; these include a monograph on Fragonard’s fantasy figures. Muriel Adrien is Associate Professor of art history and visual culture within the English Department at the University of Toulouse. She has published numerous articles on 18th- and 19th-century British and American art, especially as related to scientific contexts. She is chief editor of the online scholarly journal Miranda.
C O N T E N T S
List of figure
Acknowledgements
• Melissa Percival, Introduction
• Emmanuel Faure-Carricaburu, The Fantasy Figures of Jean-Baptiste Santerre and the Limits of Generic Frameworks of Interpretation
• Christophe Guillouet, The Parisian World of Printmaking at the Heart of the Invention of a Genre? Poilly, Courtin, and Bonnart’s Fantaisies, 1713–28
• John Chu, Windows of Opportunity: The French Fantasy Figure and the Spirit of Enterprise in Early-Eighteenth-Century Europe
• Martin Postle, Modelling for the Fancy Picture in Eighteenth-Century England
• Bénédicte Miyamoto, The Influence of Drawing Manuals on the British Practice and Reception of Fancy Pictures
• Guillaume Faroult, A Galant Fantasy: Fragonard’s Fantasy Figures and The Music Lesson in Relation to Van Dyck, Watteau, and Carle Vanloo
• Pierre-Henri Biger, Fans, Fantasy, and Fancy
• Melissa Percival, Fancy as a Mode of Consumption
• Vanessa Alayrac-Fielding, ‘A Butterfly Supporting an Elephant’: Chinoiserie, Fantaisie, and ‘the Luxuriance of Fancy’
• Laurent Châtel , The Garden as Capriccio: The Hortulan Pleasures of Imagination and Virtuality
• Béatrice Laurent, Grand Tour Capricci
• Xavier Cervantes, Venetian Reminiscences and Cultural Hybridity in Canaletto’s English-period Capricci and Vedute
• Adrián Fernández Almoguera, From the Private Cabinet to the Suburban Villa: Caprices and Fantasies in Eighteenth-Century Madrid
• Andrew Schulz, Satire and Fantasy in Goya’s Caprichos
• Alice Labourg, ‘Fancy Paints with Hues Unreal’: Pictorial Fantasy and Literary Creation in Ann Radcliffe’s Gothic Novels
Summaries
List of Contributors
Bibliography
Index
New Book | A Fistful of Shells
From The U of C Press:
Toby Green, A Fistful of Shells: West Africa from the Rise of the Slave Trade to the Age of Revolution (Chicago: The University of Chicago Press, 2019), 640 pages, ISBN: 978-0226644578, $40.
By the time the “Scramble for Africa” among European colonial powers began in the late nineteenth century, Africa had already been globally connected for centuries. Its gold had fueled the economies of Europe and the Islamic world for nearly a millennium, and the sophisticated kingdoms spanning its west coast had traded with Europeans since the fifteenth century. Until at least 1650, this was a trade of equals, using a variety of currencies—most importantly, cowrie shells imported from the Maldives and nzimbu shells imported from Brazil. But, as the slave trade grew, African kingdoms began to lose prominence in the growing global economy. We have been living with the effects of this shift ever since.
With A Fistful of Shells, Toby Green transforms our view of West and West-Central Africa by reconstructing the world of these kingdoms, which revolved around trade, diplomacy, complex religious beliefs, and the production of art. Green shows how the slave trade led to economic disparities that caused African kingdoms to lose relative political and economic power. The concentration of money in the hands of Atlantic elites in and outside these kingdoms brought about a revolutionary nineteenth century in Africa, parallel to the upheavals then taking place in Europe and America. Yet political fragmentation following the fall of African aristocracies produced radically different results as European colonization took hold.
Drawing not just on written histories, but on archival research in nine countries, art, oral history, archaeology, and letters, Green lays bare the transformations that have shaped world politics and the global economy since the fifteenth century and paints a new and masterful portrait of West Africa, past and present.
Toby Green is a senior lecturer in Lusophone African history and culture at King’s College London and is author of The Rise of the Trans-Atlantic Slave Trade in Western Africa, 1300-1589.
C O N T E N T S
List of Maps
Foreword
Note on Spellings/Names
Glossary
Introduction
Part One
Causes: Economic Divergence in West and West- Central Africa
Timelines for Part One
1 ‘Three Measures of Gold’: The Rise and Fall of the Great Empires of the Sahel
2 Causeways across the Savannah: From Senegambia to Sierra Leone
3 Ready Money: The Gold Coast and the Gold Trade
4 Rivers of Cloth, Masks of Bronze: The Bights of Benin and Biafra
5 The Kingdom of Kongo: From Majesty to Revolt
Coda to Part One
Part Two
Consequences: Politics, Belief and Revolutions from Below
Timeline for Part Two: West African Political History, c. 1680–1850
Prologue to Part Two
6 ‘With Boots Worth 3 Slaves’: Slavery and Value in the Eighteenth Century
7 On a War Footing: The ‘Fiscal- Military State’ in West African Politics
8 Feeding Power: New Societies, New Worldviews
9 Transnational Africas, Struggle and the Rising of Modernity
10 Warrior Aristocracies and Pushback from Below
11 Let them Drink Rum! Islam, Revolution and the Aristocracy
Conclusion
Bibliography
Notes
List of Illustrations
Index



















leave a comment