New Book | Collecting and Empires
From Brepols:
Maia Wellington Gahtan and Eva-Maria Troelenberg, eds., Collecting and Empires: An Historical and Global Perspective (Turnhout: Harvey Miller Publishers, 2019), 404 pages, ISBN: 978-1909400634, 125€ / $156.
The comparative historical investigation of imperialism through the lens of collecting practices, museum archetypes, and museums proper helps shape our understanding of contemporary aesthetics and diversity management as well as helps identify what is imperial about our own approaches to material culture.
The creation and dissolution of empires has been a constant feature of human history from ancient times through the present day. Establishing new identities and new power relationships, empires also irrevocably altered social structures and the material culture on which those social structures were partly based. The political activities of empires are materially reflected in the movement of objects from periphery to center (and vice versa) and in the formation and display of collections which represent the potential for the production and the dissemination of knowledge. Imperial collecting practices tell stories that are complementary to and go beyond the classical sources of official history, the statistics of social history and even the narratives of collective or individual oral history. Building on previous work on European and Colonial object histories, this collection of essays—for the first time—approaches the subject of collecting and empires from a global and inclusive comparative perspective by addressing selection of the greatest empires the world has known from Han China to Hellenistic Greece to Aztec Mexico to the Third Reich.
C O N T E N T S
• Collection and Power in the Near Eastern World — Alain Schnapp
• The Biopolitics of Collecting: Empires of Mesopotamia — Zainab Bahrani
• Princely Treasures and Imperial Expansion in Western Han China (second/first century BC) — Michèle Pirazzoli-t’Serstevens
• Collecting like Caesar: The Pornography and Paideia of Amassing Artefacts in and after the Roman Empire — Caroline Vout
• From a Culture of the Intimate to a Culture of the Remote. A Latin Epigram Collection between Two Universal Powers: Papal Rome and the Holy Roman Empire — Nadia Cannata and Maia Wellington Gahtan
• The Mexica Empire: Memory, Identity, and Collectionism — Enrique Florescano
• Jahangir’s Hazelnut and Shah Jahan’s Chini Khana: The Collections of the Mughal Emperors — Ebba Koch
• Global Aspects of Habsburg Imperial Collecting — Thomas Da Costa Kaufmann
• Collecting in the Dutch Colonial Empire, Seventeenth and Eighteenth Centuries — Michael North
• The Musée Napoléon as an Imperial Louvre — Dominique Poulot
• The Object Flows of Empire: Cross-Cultural Collecting in Early Colonial India — Tapati Guha-Thakurta
• The Other Victoria and Albert Museum: Royal Souvenirs, Victorian Science and the Itineraries of Empire at the Swiss Cottage Museum, Osborne House — Ruth B. Phillips
• The (Still)Birth of the Ottoman ‘Museum’: A Critical Reassessment — Edhem Eldem
• The Ruin and Restoration of the Russian Art Empire — Katia Dianina
• Collecting and the ‘Visual Evidence of Events’: Exemplary Reflections on Berlin between the Imperial and Post-Imperial Age — Eva Maria Troelenberg
• Looted Art, Booty Art, ‘Degenerate Art’: Aspects of Art Collecting in the Third Reich — Christoph Zuschlag
• The (De)Colonized Object: Museums and the Other in France since 1960 — Daniel J. Sherman
• Signs of Empire: Islamic Art Museums from European Imperialism to the Global Empire of Capital — Wendy Shaw
• Afterword: The Imperial Style of Collecting — Krzysztof Pomian
Colloquium | Les réseaux des académies d’art provinciales
This month at INHA, from the conference programme:
Les réseaux des académies d’art provinciales au Siècle des Lumières: Enjeux et dynamiques d’échanges
Institut national d’histoire de l’art, Paris, 26–28 March 2020
Colloque international du programme ACA-RES
Université Toulouse-Jean Jaurès, FRAMESPA UMR 5136, Labex SMS, en partenariat avec le Centre allemand d’histoire de l’art et l’Institut national d’histoire de l’art dans le cadre de la Carte Blanche 2019
J E U D I , 2 6 M A R S 2 0 2 0
9.30 Mots d’ouverture du colloque
France Nerlich (INHA) et Thomas Kirchner (Centre allemand d’histoire de l’art – Paris)
Conférences introductives
• Pierre-Yves Beaurepaire, (Université Côte d’Azur), Sociabilités, réseaux et échanges des savoirs au siècle des Lumières
• Anne Perrin Khelissa et Émilie Roffidal (Université Toulouse-Jean Jaurès, FRAMESPA UMR 5136), Le programme ACA-RES, résultats et perspectives de recherche
Session 1 : Un levier pour les carrières artistiques ?
Sous la présidence de Charlotte Guichard (ENS, IHMC)
• Catherine Voiriot (Musée du Louvre), Les femmes et les académies des arts, sciences et belles lettres, 1740–1791 : début de recherche
• Gabriel Batalla-Lagleyre (Université de Bourgogne, Centre Georges Chevrier), Exposer en amateur dans les académies : réseaux et identités
12.30 Pause déjeuner
14.00 Reprise de la session 1
• Maël Tauziède Espariat (Université de Bourgogne, Centre Georges Chevrier), Les peintres parisiens et les écoles de dessin provinciales : des connexions inégales
• Hélène Rousteau-Chambon (Université de Nantes), L’école de dessin de Nantes, un creuset pour les architectes
• Stéphanie Trouvé (musée des beaux-arts de Bordeaux), Les cercles académiques bordelais dans la trajectoire du peintre Pierre Lacour (1745–1814)
• Joëlle Raineau (Petit Palais, Paris), Les cercles et établissements académiques : un levier de diffusion et de postérité d’une carrière. L’exemple des affiliations multiples du graveur Nicolas Ponce (1746–1831)
• Marlen Schneider (Université Grenoble Alpes, LARHRA), Les académies d’art allemandes au XVIIIe siècle – un tremplin pour les artistes français ?
V E N D R E D I , 2 7 M A R S 2 0 2 0
9.00 Session 2 : Quelle utilité pour les territoires ?
Sous la présidence de Pascal Julien (Université Toulouse-Jean Jaurès, FRAMESPA UMR 5136)
• Lesley Miller (Victoria & Albert Museum – University of Glasgow), L’école de dessin de Lyon et la production de tissus
• Fabienne Sartre (Université Paul-Valery Montpellier 3), Le statut de la sculpture académique à l’épreuve du terrain : les cas de Toulouse, Montpellier et Marseille
• Catherine Isaac (Université Toulouse-Jean Jaurès, FRAMESPA UMR 5136 – EPHE), Le rôle des académies des sciences et des arts dans la création et l’essor du corps des ingénieurs du Languedoc au XVIIIe siècle
• Aude Gobet (Musée du Louvre), École de dessin et patrimoine : l’enjeu des inventaires révolutionnaires
• Adrián Almoguera (Sorbonne Université, École française de Rome), L’Espagne académique du Siècle des Lumières: Construire un système pour définir un style architectural entre Madrid et Valence (1768-1808)
12.30 Pause déjeuner
14.00 Session 3 : Collections et supports d’apprentissage
Sous la présidence d’Olivier Bonfait (Université de Bourgogne, Centre Georges Chevrier)
• Morwena Joly (Centre des Monuments nationaux), Les modèles morphologiques et anatomiques des académies d’art : des migrations européennes complexes
• Nelly Vi-Tong (Université de Bourgogne, Centre Georges Chevrier), Enseignement artistique et supports d’apprentissage : les exemples de Dijon, Reims et Valenciennes
• Tara Cruzol (Université Toulouse-Jean Jaurès, FRAMESPA UMR 5136), Enseigner la sculpture à l’Académie de Lyon : le traité inédit d’Antoine-Michel Perrache
• Gérard Fabre (musée des beaux-arts de Marseille), Les collections dispersées de l’Académie de peinture et de sculpture de Marseille
• Flore César (Université Paul-Valery Montpellier 3), Le rôle des collections lors de l’instauration des écoles de dessin en province au XVIIIe siècle
• Miguel Faria (Université autonome de Lisbonne), Les modèles pédagogiques des écoles d’art (aulas) portugaises
Conférence conclusive de la journée
• Christian Michel (Université de Lausanne), Complémentarité ou subordination : L’Académie royale de Peinture et de Sculpture et les académies de province
S A M E D I , 2 8 M A R S 2 0 2 0
9.00 Session 4 : Échos internationaux en Europe et outre-Atlantique
Sous la présidence de Gaëtane Maës (Université de Lille, IRHIS)
• Markus Castor (Centre allemand d’histoire de l’art), L’académie des beaux-arts comme histoire institutionnelle : prolégomènes d’une analyse structurelle
• Maria Pia Donato (CNRS, IHMC-Paris), Émulation et propagande : remarques sur les académies italiennes au XVIIIe siècle
• Hugo Tardy (Université Toulouse-Jean Jaurès, FRAMESPA UMR 5136), Le système académique russe construit par ses échanges les ambitions d’un empire face à l’Europe
• Marion Amblard (Université Grenoble Alpes), Des arts manufacturés aux beaux-arts : l’influence des modèles romains et français dans le développement des académies écossaises au XVIIIe siècle
• Reed Benhamou (Indiana University, Bloomington), The Last Provincial Academy: ‘L’Académie des sciences et beaux arts des États-Unis de l’Amérique’
• Ana Maria Tavares Cavalcanti et Sonia Gomes Pereira (Universidade Federal do Rio de Janeiro), L’Académie des Beaux-Arts à Rio de Janeiro, Brésil
Trinity Fine Art Offers Ricci’s Lapiths and Centaurs at TEFAF
Sebastiano Ricci, The Battle of the Lapiths and the Centaurs, early eighteenth century, oil on canvas, 63 × 76 cm (Offered at TEFAF Maastricht 2020 by Trinity Fine Art for approximately one million euros).
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From the press release, via Art Daily (28 February 2020). . .
One of the highlights of TEFAF Maastricht 2020 (7–15 March) will be an extremely rare work by Sebastiano Ricci: The Battle of the Lapiths and the Centaurs, which has been rediscovered after being lost for 60 years. Sebastiano Ricci (1659–1734) revitalised Venetian painting at the beginning of the eighteenth century, and his work marked the transition between the Baroque and Rococo styles. He took the rich colours and luminosity of Veronese and further transformed it by his looser, more airy and spontaneously decorative style always shot through with a clear Venetian light, all traits he passed down in turn to Tiepolo. Ricci was widely travelled, since as one of the main exponents of the Rococo style he was called to many European courts that wished to draw on his talents. He was in France—where he became a close friend of Watteau—in Austria—where he was summoned by Emperor Joseph I to decorate the palace of Schönbrunn, and in England—where he executed a series of large canvases for the newly constructed Burlington House and also sold works to King George III.
Ricci’s work is exceptionally rare on the art market, since his best paintings—allegorical and biblical paintings and frescos of significant dimensions—are already contained in public collections, many of them since the eighteenth century. The works he made for Lord Burlington are now in the Royal Academy, London, and those acquired by King George III are at the Royal Collection, London. Those in the Hermitage have been there since the eighteenth century as have those in the Liechtenstein collection, acquired in 1819; and then there are the many frescos and ceilings in Italian palazzi and churches.
The present monumental work can be dated to the early eighteenth century at which time Ricci’s work displayed a close affinity with that of the Genoese painter, Alessandro Magnasco. It shows Ricci at the height of his powers of composition and as a colourist in this depiction of the story of the Lapiths and Centaurs taken from Ovid’s Metamorphoses, which was a popular choice from the Renaissance onwards for both artists and their humanist patrons since it symbolised both the victory of civilisation over barbarity and intellect triumphing over lust. It also has the added interest of being a collaborative work between Sebastiano and Marco Ricci, the former’s nephew, who is credited with executing many of the background details such as architectural elements and trees.
This work is to be offered by Trinity Fine Art at TEFAF Maastricht 2020, with an asking price of around one million euros. Established in 1984, Trinity Fine Art has earned a reputation as a leading dealer and consultant, offering exceptional works of art and specialising in master paintings, sculpture, and works of art from the Renaissance to the nineteenth century. Its clients include many of the world’s major museums as well as most leading private collections.
New Book | Les foyers artistiques à la fin du règne de Louis XIV
From Brepols:
Anne-Madeleine Goulet, Rémy Campos, Mathieu da Vinha, and Jean Duron, eds., Les foyers artistiques à la fin du règne de Louis XIV (1682–1715): Musique et spectacles (Turnhout: Brepols, 2019), 446 pages, ISBN: 978-2503586199, 65€.
Grâce à la notion de «foyer», une série d’études pluridisciplinaires porte un regard nouveau sur les productions musicales et théâtrales en dehors de la cour de Versailles à la fin du règne de Louis XIV.
Les demeures aristocratiques de Paris et d’Île-de-France ont généralement été perçues comme des lieux périphériques, pâles reflets de la cour de Versailles. En réalité, les hôtels particuliers du Marais, où dominaient les sociabilités féminines, la résidence de Philippe d’Orléans au Palais-Royal, celle de la princesse de Conti à Versailles, les pavillons de plaisance bâtis entre Versailles et Paris, les demeures du duc et de la duchesse du Maine à Sceaux ou encore du roi d’Angleterre en exil à Saint-Germain-en-Laye, s’imposaient comme autant de foyers artistiques fort dynamiques, ouverts au théâtre et à la musique.
Le présent ouvrage, qui prend en considération ces différents lieux d’activité artistique comme un ensemble à la fois complémentaire et concurrent, enquête sur leur hiérarchie, leur fonctionnement concret ainsi que sur les relations qu’ils entretenaient avec la cour. Il met en lumière la tension entre le modèle versaillais, toujours prompt à imposer une norme artistique, et le développement d’autres espaces de création entre 1682 et 1715.
En illustrant la faculté des musiciens provinciaux à s’insérer dans les milieux artistiques de la capitale, en cernant l’identité de ceux qui façonnaient les goûts de leur époque et en considérant aussi les stratégies discursives et politiques qui visaient à constituer en foyers certains lieux de production et de performance alternatifs à la Cour, il propose une image plus complète de la vie musicale et spectaculaire de la France à la fin du règne de Louis XIV.
Direction de l’ouvrage
Anne-Madeleine Goulet, chercheuse en Arts du spectacle au CNRS (CESR).
En collaboration avec
Rémy Campos, professeur d’histoire de la musique au Conservatoire de Paris et responsable de la recherche de la Haute école de musique de Genève.
Mathieu da Vinha, directeur scientifique du Centre de recherche du château de Versailles et spécialiste de la cour de France aux XVIIe et XVIIIe siècles.
Jean Duron, fondateur et directeur (1989–2007) de l’Atelier d’études sur la musique française des XVIIe & XVIIIe siècles du CMBV, et spécialiste de la musique à l’époque de Louis XIV.
C O N T E N T S
• Rémy Campos et Anne-Madeleine Goulet — De la pertinence de la notion de foyer pour l’étude de la musique et des formes spectaculaires à Paris et à Versailles, 1682–1715
La Cour, les cours
• David Hennebelle — « La grande dépense et le fracas ». Recherches sur l’économie matérielle des patronages artistiques de l’aristocratie au tournant des XVIIe et XVIIIe siècles
• Don Fader — Monsieur and Philippe II d’Orléans: A Cultural Influence Beyond their Residences
• Tarek Berrada — La musique dans les appartements : Mlle de Guise, le roi et les princes de Condé
• Thomas Vernet — Musique et théâtre dans la « maison de ville » de Marie-Anne de Bourbon Conti à Versailles
• Catherine Cessac — Les Nuits de Sceaux : derniers feux du Grand Siècle ?
• Laurent Lemarchand — Les arts entre Paris et Versailles: le Palais-Royal de Philippe II d’Orléans ou l’absolutisme rénové
Des musiciens en partage
• Jean Duron — Composer pour les nouveaux foyers : la « fureur » des musiciens d’église au crépuscule du Grand Siècle
• Marie Demeilliez — Les collèges, des foyers pour la musique et la danse de théâtre
• Thomas Leconte — De la cour à la ville : les musiciens du roi face à l’émergence de nouveaux foyers cuturels
• Catherine Massip — Amateurs, professionnels : foyers et professionnalisation progressive des artistes, 1680–1715
Un esprit nouveau
• Christian Biet — Foyers, chaufooirs, chaleur et hétérogénéité des publics au theatre. La séance comme contre-pouvoir ?
• Thierry Favier — Foyers et dynamique des genres musicaux à la fin du règne de Louis XIV
• Nathalie Berton — Le Mercure galant, un révélateur et un passeur de répertoire : l’exemple du petit opéra
• Guy Spielmann — Le « théâtre de société », foyer de création ( ?)
• Louis Delpech — « Abends zu einer Concert de Musique eingeladen » : aspects musicaux du séjour parisien de Friedrich August II de Saxe, 1714–1715
Foyers réels, foyers imaginaires
• Mathieu da Vinha — Fêtes privées entre Versailles et Paris : éléments pour une typologie
• Anne Piéjus — Une galanterie très politique : l’image des foyers artistiques dans le Mercure galant
• Laura Naudeix — Foyers et territoire: l’espace de la musique dans la Comparaison de la musique italienne et de la musique française de Le Cerf de la Viéville
• Barbara Nestola — L’art d’assembler, le choix de partager : la collection de musique italienne des Stuart en France, 1689–1718
• Tatiana Senkevitch — The Making of Taste: Rembrandt and French Painting in the End of the Reign of Louis XIV
• Rebekah Ahrendt — L’activité des foyers musicaux et théâtraux en Europe vers 1700. Une enquête en coulisses
Perspectives
• Jean Boutier — Pour continuer l’enquête
Index des noms propres
Call for Papers | Georgian London Revisited
From The Georgian Group:
2020 Georgian Group Symposium: Georgian London Revisited
Society of Antiquaries, Burlington House, London, 7 November 2020
Proposals due by 20 March 2020
The Georgian Group is organising a day-long symposium on ‘Georgian London Revisited’, to be held at the Society of Antiquaries at Burlington House, London, on Saturday, 7 November 2020. Following the successful conferences run by the Group in previous years on Women and Architecture, and on the architecture of James Gibbs and the Adam brothers, the symposium will highlight changing perspectives and new research on the architecture of London during the ‘long 18th century’ (c.1660–1830) undertaken since the publication of the 1988 edition of Sir John Summerson’s seminal Georgian London (reissued with amendments by Sir Howard Colvin, 2003). Topics may include, but are not limited to, the following:
• Housing and estate development
• Public and commercial buildings
• ‘Improvement’: infrastructure, streets, open spaces, bridges, etc
• Places of entertainment
With this in mind, proposals are invited for 15-minute papers based on original research. Please send abstracts of no more than 200 words and a copy of your CV to Dr Geoffrey Tyack (education@georgiangroup.org.uk) by 20 March 2020. Any questions regarding the symposium should be sent to the same address. Further details will be made available, and tickets will go on sale, in the Spring.
Call for Papers | Cultural Dimensions of Dutch Overseas Expansion
From ArtHist.net:
The Cultural Dimension of Dutch Overseas Expansion
Utrecht University, 28 August 2020
Proposals due by 15 March 2020
“It is only money and not knowledge that our people are seeking [in the East Indies], which is to be lamented”, complained the Amsterdam mayor and VOC governor, Nicolaes Witsen, in 1712. The Dutch trading companies may have been associated with various qualities, but an interest in culture was not one of them. None of the VOC officials even noted the presence of the world’s biggest Buddhist temple, the Borobudur, on the island of Java, leaving its re-discovery to the British in 1814. No Dutch writer tried to emulate the epic celebration of the Portuguese maritime empire by Luís de Camões. Dutch expansion had an obvious impact on the sciences and medicine, as demonstrated in Harold Cook’s Matters of Exchange: Commerce, Medicine, and Science in the Dutch Golden Age (2007). But what, if any, was its impact on culture and the humanities?
Here there is, in fact, a fruitful scholarly field that largely remains to be explored. For example, Dutch lust for money set in motion the first transfer of culture on a truly global scale, when 40 million pieces of Chinese porcelain were shipped from East Asia to Europe and the Americas. ‘Indies shops’ in different Dutch cities sold curiosities from six continents. Travelogues—even when ordered by the VOC and predominantly mercantile in outlook—offered a wealth of ethnographic knowledge for the attentive reader. Scholarly-minded individuals could break the commercial pattern, resulting in the first Western translations of a work in Sanskrit (by Abraham Rogerius, 1651), a work of Hindu iconography (by Philips Angel, 1657), and the main work of Confucius (by Pieter van Hoorn, 1675). They must have relied on the expertise of local native speakers; non-Western perspectives come into even clearer focus with at least three Chinese men who visited the Netherlands and with the Africans who sat for Amsterdam painters.
This conference brings together historians of culture, art, literature, language, philosophy, science, and religion to arrive at a fuller picture of the cultural dimensions of Dutch overseas expansion. The keynote lectures will be given by Dr. Roelof van Gelder and Dr. Mariana Françozo (Leiden University).
Possible themes include:
• Cultural topics (art, literature, language, music, mythology, religion) addressed in travelogues
• Non-Western themes in Dutch literature and drama (from ‘Moortje’ to ‘Zungchin’)
• Representations of the world’s peoples, including enslaved persons and non-Western visitors to the Low Countries
• Trade, consumption, interpretation, and imitation of non-Western material culture
• Translations, dictionaries, and grammars
• Cultural industries (print shops, painting studios, artisan’s workshops) established overseas
• Cultural education in the context of the VOC and WIC
• The impact on culture of cross-cultural encounters, slavery, servitude, and colonialism
• Challenges posed by historiographies, religions, and philosophies from beyond Europe
Working group De Zeventiende Eeuw invites all interested in this topic to send in an abstract (max. 300 words) and curriculum (max. 100 words) for a paper (in English or Dutch) of 20 minutes. Proposals for sessions, consisting of three papers, are also welcome. Deadline for abstracts: 15 March 2020, to Jaap de Haan (j.dehaan@uu.nl).
Organizing Committee: Marjolijn Bol, Surekha Davis, Jaap de Haan, Cora van de Poppe, and Thijs Weststeijn
Call for Papers | Ma thèse en histoire de l’art en 180 secondes
From ArtHist.net:
Ma thèse en histoire de l’art en 180 secondes
Festival de l’histoire de l’art, Fontainebleau, 5–7 June 2020
Proposals due by 15 March 2020
La 10e édition du Festival de l’histoire de l’art aura lieu à Fontainebleau les vendredi 5, samedi 6 et dimanche 7 juin 2020 avec le Japon comme pays invité. Le thème fédérateur choisi cette année est le Plaisir. Dans le cadre de cette édition, il est proposé aux doctorants de participer au concours « Ma thèse d’histoire de l’art en 180 secondes ».
Chaque candidat disposera de trois minutes (180 secondes) pour réaliser un exposé clair et concis de son projet de recherche. Les présentations réalisées par les candidats retenus devront convaincre deux jurys composés d’historiens de l’art et de professionnels. A l’issue du concours, trois prix seront attribués aux trois meilleurs orateurs.
Premier prix: 1000€
Deuxième prix: 500€
Troisième prix: 500€
Les frais de transport et d’hébergement des participants hors région parisienne seront pris en charge sur présentation de justificatifs (jusqu’à 150€).
Call for Papers | Critical Perspectives on Image and Text
From ArtHist.net:
Perlego: Critical Perspectives on Image and Text
University of Oxford, 3–4 July 2020
Proposals due by 1 April 2020
From writings that explore the textuality of images to the use of images in the illumination of texts, the signifying systems of image and word rub up against one another in various ways, making the meeting of text and image a long-standing area of scholarly fascination. The PERLEGO conference takes a critical approach to text-image scholarship, bringing together early career scholars working across different disciplines to explore methodological issues arising at the interface of textual and visual analysis.
With a view to initiating productive conversations about methodology, PERLEGO seeks to draw out strands of critical approaches from across research areas, time periods, and genres, to consider how integrated approaches to image and text analysis can construct robust and polyphonic histories of meaning, production, and interpretation. Hosted in July 2020 at the University of Oxford, this two-day conference unfolds as a series of panels, roundtable discussions, keynote lectures, and a hands-on session at the Ashmolean Museum.
PERLEGO invites abstracts for critical perspectives on image and text in areas including but not limited to the following:
• Visual strategies in texts
• ‘Textual’ strategies in works of art
• The idea of ‘genre’ across text and image
• The graphic act
• Hierarchies of signification
• Disciplinary hierarchies and structures of power
• Historical reconstruction and the period eye
• Text and image in colonial and postcolonial contexts
• Museum labels and taxonomies
We welcome abstracts from researchers and practitioners working in all fields, including (but not limited to): English and Comparative Literature, Art History, Modern Languages, History, Media Studies, Design Studies, and Museum Studies. Please send a 350-word abstract and a short academic bio by 1 April 2020 to perlego2020@gmail.com.
Organisers: Rebecca Bowen (Oxford), Vittoria Fallanca (Oxford), Anna Espinola Lynn (Oxford), and Sophie Koenig (Hamburg). This Conference is generously supported by the AHRC-TORCH Graduate Fund.
The Burlington Magazine, February 2020
The eighteenth century in The Burlington:
The Burlington Magazine 162 (February 2020) — Northern European Art
Anton von Maron, Portrait of Johann Joachim Winckelmann, 1767, oil on canvas, 136 × 99 cm (Weimar: Stadtschloss).
E D I T O R I A L
• “The National Trust at 125,” p. 87.
A R T I C L E S
• Gauvin Alexander Bailey, “A Bavarian Pilgrimage Shrine in Seventeenth-Century Paraguay,” pp. 115–25. The Jesuit priest Anton Sepp was one of the first Germanic missionaries to be admitted to the Spanish territories in South America. Arriving in 1691, he brought with him a copy of the miracle-working sculpture of the Virgin of Altötting in Bavaria, and in 1697 he emphasised the German character of his mission by commissioning a version of the octagonal chapel in which the original was housed.
• Clare Hornsby, “J. J. Winckelmann and the Society of Antiquaries of London: New Documents,” pp. 126–35. Three new documents in the archive of the Society of Antiquaries, published here for the first time, provide evidence about Winckelmann’s aspirations for promoting his works in antiquarian circles in England. They include the first statement in English of his theory of art history, written in 1761.
R E V I E W S
• Arthur Wheelock, Review of the exhibition De Wind is Op!: Climate, Culture and Innovation in Dutch Maritime Painting (New Bedford Whaling Museum, 2019–20), pp. 150–52.
• Olivier Bonfait, Review of Gaëtane Maës, De l’expertise artistique à la vulgarisation au siècle des Lumières: Jean-Baptiste Descamps (1715–1791) et la peinture flamande, hollandaise et allemande (Brepols, 2016), pp. 171–72.
• Anna Arabindan Kesson, Review of Sarah Thomas, Witnessing Slavery: Art and Travel in the Age of Abolition (Yale University Press, 2019), pp. 172–74.
Exhibition | De Wind is Op!
Johanes de Blaauw, Whaleship D’Vergulde Walvis (‘The Golden Whale’) Passing the Tollhouse at Buiksloot on the IJ River, North of Amsterdam, 1759, oil on canvas, 55 × 68 cm (New Bedford Whaling Museum, Kendall Whaling Museum Collection, 2001.100.4604).
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Now on view at the New Bedford Whaling Museum:
De Wind is Op! Climate, Culture and Innovation in Dutch Maritime Painting
New Bedford Whaling Museum, 2 July 2019 — 15 May 2020
Curated by Christina Connett Brophy and Roger Mandle
De Wind is OP! explores our extraordinary collections of Golden Age Dutch and Flemish paintings through a fresh lens. These works interpret around the themes of wind, climate, and sea as the drivers behind a uniquely Dutch national identity represented in maritime works of art of this period. Dutch artists arguably invented seascape painting, and were the first to specialize in this genre. Their influence reverberates in all that followed, from the work of J.M.W. Turner to Winslow Homer to New Bedford artists William Bradford and Albert Pinkham Ryder. The exhibition includes up to 50 paintings, prints, and other related artifacts drawn from the Museum’s Dutch collections, one of the largest and important of this genre outside of the Netherlands. There will also be a complementary exhibition in the fall of 2019 of European and American prints, paintings, and charts related to wind and climate themes.
The sea and seafaring shaped the Dutch collective identity. They were a political entity without precedence, and the art world followed the new cultural and societal models unique to the newly formed Dutch Republic. The Dutch were a dominant superpower in all things maritime, including worldwide trade, military strength, and whaling. They were a world emporium, trading timber, grain, salt, cloth, luxury materials throughout the global waterways. This was a time of great artistic production to keep up with a high demand for collecting, when a baker was as likely to have fine artwork in his home as a banker. Popular taste was for greatly refined compositions, exquisiteness of detail, and plausible reality. Dutch openness to innovation allowed them to manipulate their own watery landscapes with dams and wind power and to design ship modifications that maximized successful access to the Northern seas and the dramatic fluctuating climate during the Little Ice Age. Vulnerability to tidal deluge and to tempests at sea carried moral and nationalistic themes in paintings from this era. These themes and others are the foundation of the exhibition.
This exhibition was timed to coincide with the inaugural Summer Winds 2019 run by the New Bedford group Design Art Technology Massachusetts (DATMA), a creative and educational city-wide platform for discussion and exploration of wind energy. Multiple partners in the cultural sector contributed programs, exhibitions, and educational events to this initiative throughout the summer. De Wind is Op! is a major contribution to the Summer Winds project and serves as a cornerstone of summer programming events. The Museum partnered with the Museum of Fine Arts, Boston (MFA), Harvard Art Museums, and the Dutch Culture USA Program of the Consulate General of the Kingdom of the Netherlands to collaborate on a major symposium in fall 2019 to examine Dutch maritime artwork in accordance with the major exhibition themes.
Curators
Dr. Christina Connett Brophy, The Douglas and Cynthia Crocker Endowed Chair for the Chief Curator
Dr. Roger Mandle, Co-Founder of Design Art Technology Massachusetts (DATMA); Former Deputy Director and Chief Curator of the National Gallery of Art; and former President of the Rhode Island School of Design
A 41-page catalogue is available as a PDF file from the museum website.
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