Enfilade

Exhibition | Sketching among the Ruins

Posted in exhibitions by Editor on January 28, 2023

Landscape of a circular wall surrounding arched ruins with mountains and blue sky in background and lone figure in foreground.

Louise-Joséphine Sarazin de Belmont, The Roman Theater, Taormina, 1825, oil on paper, mounted on board, 42 × 58 cm
(New York: Thaw Collection, jointly owned by the Metropolitan Museum of Art and the Morgan Library & Museum, 2009.400:102)

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Now on view at The Morgan:

Sketching among the Ruins
The Morgan Library & Museum, New York, 25 October 2022 — 12 November 2023

By the mid-eighteenth century, the practice of sketching outdoors with oil paint had become popular among landscape artists. Furthermore, a study trip through Europe, often centered on a stay in Italy, had evolved as a customary part of artists’ training. Italy’s cities and countryside, filled with remnants of ancient monuments, offered artists stimulating subject matter, and the portability of oil sketching facilitated the firsthand study of ruins and their surroundings. While some painters carefully recorded these structures’ textures and colors, as well as how light fell upon them, others invented scenes by reimagining remains of the past or by envisioning the future deterioration of the present. Whether real or fictional, ruins and their surrounding landscape offered poignant juxtapositions—at once testimonies to the majesty of human achievement and to the inevitable triumph of time over our endeavors.

Sketching among the Ruins highlights oil sketches given jointly to the Morgan and the Metropolitan Museum of Art by Eugene V. Thaw, a trustee of both institutions.

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Thaw died in January of 2018 at the age 90. For an overview of his wide-ranging career as a dealer and collector, see Steven M. L. Aronson, “Celebrating Eugene Thaw’s Legacy,” Architectural Digest Pro (25 November 2018).

Exhibition | In and around Piranesi’s Rome

Posted in exhibitions by Editor on January 28, 2023

Several figures wading in a stream that flows under the arch of a cavernous space with brown and blue wash.

Charles-Louis Clérisseau, Travelers in the Interior of the ‘Temple of Mercury’ at Baiae, ca. 1761, opaque watercolor, 27 × 47 cm
(NY: The Morgan Library & Museum, 1985.62)

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Now on view at The Morgan:

In and around Piranesi’s Rome: Eighteenth-Century Views of Italy
The Morgan Library & Museum, New York, 10 January — 4 June 2023

By the mid-eighteenth century, the Grand Tour, a study trip through Europe with a period of residence in Italy, had become a fixture in the education of European aristocrats and the training of artists. These young travelers were eager to return home with reminders of their experience, which contributed to a demand for paintings, prints, and drawings of Italian views, or vedute. Rome and the vestiges of its ancient past were especially popular subjects, as is also reflected in the nearby display of oil sketches. The burgeoning genre spawned specialized artists (vedusti), particularly at the French Academy in Rome, a center of creative exchange for not only academy members but also other artists active across the city.

Artists took various approaches to vedute. Some adopted a documentary route, recording archeological and architectural sites, occasionally enlivened with figures. Others altered elements of an existing view or invented an entirely fictive scene, known as a capriccio. In both real and imagined modes, a powerful influence and creative force was the Italian Giovanni Battista Piranesi (1720–1778), who for some time maintained a workshop across the street from the French Academy and interacted with many of its artists.

Exhibition | Fortune and Folly in 1720

Posted in books, catalogues, exhibitions by Editor on January 27, 2023

Installation view of Fortune and Folly in 1720
The New York Public Library, 2022

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At the NYPL (and on view during this year’s CAA conference) . . .

Fortune and Folly in 1720
New York Public Library, 23 September 2022 — 19 February 2023

Curated by Nina Dubin, Meredith Martin, and Madeleine Viljoen

In 1720, everyday citizens converged on the banking streets of Paris, London, and Amsterdam, speculating in New World trading companies and other maritime ventures. By the close of that year, an unprecedented bull market would culminate in the world’s first international financial crash. Orchestrated by the insolvent governments of France and England, and fueled by illusions of colonial wealth, these investment bonanzas—henceforth known as the Mississippi and South Sea Bubbles—have remained synonymous with the temptations of get-rich-quick schemes and the dangers of herd behavior. Three centuries and many booms and busts later, their imprint is indelible. Not only did the bubbles accelerate the growth of a financial system overflowing with stock shares, newly created banknotes, and other mysterious paper devices imbued with financial alchemy—they also illustrated the power of trust and dread, faith and fear, as drivers of market volatility.

The works on display draw from the collections of The New York Public Library and include a trove of caricatures from a Dutch volume known as The Great Mirror of Folly (Het groote tafereel der dwaasheid). Published as the crisis was unfolding, these prints portray the bewildering forces of modern economic life. Loaded with jokes, often of a scatological nature, The Great Mirror of Folly lifts the curtain on a farcical political theater whose stars include bankers and statesmen—and that’s just for starters. Offering tragicomic depictions of malevolent traders, hoodwinked investors, and villainous seductresses, the prints hold up a mirror to our own age, with its ever more complex monetary instruments and periodic meltdowns. They also reflect on the intersections between art and finance, reminding us that both are products of human imaginings.

Madeleine Viljoen, Nina Dubin and Meredith Martin, Meltdown! Picturing the World’s First Bubble Economy (Turnhout: Harvey Miller, 2020), 157 pages, ISBN: 978-1912554515, $65 / €50.

New Book | The Great New York Fire of 1776

Posted in books by Editor on January 27, 2023

From Yale UP:

Benjamin Carp, The Great New York Fire of 1776: A Lost Story of the American Revolution (New Haven: Yale University Press, 2023), 360 pages, ISBN: 978-0300246957, $30.

Who set the mysterious fire that burned down much of New York City shortly after the British took the city during the Revolutionary War?

New York City, the strategic center of the Revolutionary War, was the most important place in North America in 1776. That summer, an unruly rebel army under George Washington repeatedly threatened to burn the city rather than let the British take it. Shortly after the Crown’s forces took New York City, much of it mysteriously burned to the ground. This is the first book to fully explore the Great Fire of 1776 and why its origins remained a mystery even after the British investigated it in 1776 and 1783. Uncovering stories of espionage, terror, and radicalism, Benjamin L. Carp paints a vivid picture of the chaos, passions, and unresolved tragedies that define a historical moment we usually associate with “life, liberty, and the pursuit of happiness.”

Benjamin L. Carp is professor of history at Brooklyn College and the CUNY Graduate Center. He is the author of Defiance of the Patriots: The Boston Tea Party and the Making of America and Rebels Rising: Cities and the American Revolution. He lives in New York City.

Online Salon | Promenades on Paper: 18th-C. French Drawings

Posted in exhibitions, lectures (to attend), online learning by Editor on January 27, 2023

From AHNCA:

Virtual Salon on The Clark’s Exhibition of Eighteenth-Century French Drawings from the BnF
Online, Wednesday, 1 February 2023, 7pm ET

The Association of Historians of Nineteenth-Century Art and the Dahesh Museum join with the Clark Art Institute for a Virtual Salon on the Clark’s current exhibition Promenades on Paper: Eighteenth-Century French Drawings from the Bibliothèque nationale de France. Focusing on select drawings from the exhibition, curators Esther Bell, Anne Leonard, and Sarah Grandin will offer a varied and lively picture of artistic practices in the years leading up to and just after the French Revolution. This event is free and open to the public, but registration is required. Please register here.

Esther Bell is Deputy Director and Robert and Martha Berman Lipp Chief Curator at the Clark Art Institute. Prior to joining the Clark, Bell was the curator in charge of European paintings at the Fine Arts Museums of San Francisco. Bell has published essays and organized exhibitions on a range of subjects, from seventeenth-century genre painting to eighteenth-century theater to nineteenth-century millinery.

Anne Leonard is Manton Curator of Prints, Drawings, and Photographs at the Clark Art Institute. In addition to curating numerous exhibitions of works on paper, she is co-editor of The Routledge Companion to Music and Visual Culture (2014) and author/editor of Arabesque without End: Across Music and the Arts, from Faust to Shahrazad (2022).

Sarah Grandin is Clark-Getty Paper Project Curatorial Fellow at the Clark Art Institute. She specializes in French works on paper and the material culture of the ancien régime. She has published essays on typography, drawing, and Savonnerie carpets, and is preparing a monograph on issues of scale in the graphic and decorative arts under Louis XIV.

New Book | Décoration intérieure et plaisir des sens, 1700–1850

Posted in books by Editor on January 26, 2023

From Editoriale Artemide and GRHAM:

Noémi Duperron, Barbara Jouves-Hann, Maxime Georges Métraux, Marc-André Paulin, and Bérangère Poulain, eds., Décoration intérieure et plaisir des sens, 1700–1850 (Rome: Artemide edizioni, 2022), 168 pages, ISBN: 978-8875754204, €30. With contributions by Muriel Barbier, Élisabeth Caude, Christina Contandriopoulos, Aurélien Davrius, Joséphine Grimm, Johanna Ilmakunnas, Olivier Jandot, Desmond-Bryan Kraege, Ulrich Leben, Frédéric Leblanc, and Erika Wicky.

Book coverDès le début du XVIIIe siècle, l’idée de plaisir—comme recherche de sensations agréables—devient une composante essentielle et constante de la société. Selon l’historien Paul Hazard, la sensation permet alors à l’individu de prendre conscience de l’existence du monde qui l’entoure, et devient une préoccupation centrale pour les hommes de lettres et les artistes. Dans les espaces intérieurs, ce nouveau rapport de proximité entre l’homme sensible et les murs, le mobilier ou les objets du décor se ressent au travers des interrogations sur la place du plaisir sensoriel dans la distribution, l’ameublement et l’ornementation.

Ce paradigme est au cœur des articles présentés dans cet ouvrage. Focalisés sur la production européenne entre 1700 et 1850, leurs auteurs examinent les sensations sous l’angle de la culture matérielle, des normes sociales ou de l’usage des différentes pièces du logement, que celui-ci ait été édifié, théorisé ou simplement imaginé. En s’appuyant sur des méthodologies variées, les différentes études montrent le rôle central joué par le plaisir, le confort, la commodité ou encore l’agrément dans la conception des intérieurs à cette période. Affectant toutes les échelles de l’habitat, de la construction du bâtiment à la décoration de ses recoins les plus intimes, les sens du toucher, de l’odorat, de la vue ou de l’ouïe sont autant d’éléments auxquels les architectes, les artistes et les artisans devaient prêter attention pour satisfaire les exigences de leurs utilisateurs aux perceptions aiguisées.

Noémi Duperron est assistante diplômée à l’Université de Genève où elle enseigne l’histoire de l’art de la période moderne. Elle conduit une thèse de doctorat sur les représentations et les interprétations de l’Iliade d’Homère dans les arts français et britanniques au XVIIIe siècle sous la direction des Professeurs Jan Blanc et Christian Michel. Elle a conduit ses recherches portant essentiellement sur les échanges franco-britanniques, la peinture d’histoire et la réception de l’Antiquité grecque dans différentes institutions comme la Wallace Collection, la Biblioteca Herziana – Max Planck Institut für Kunstgeschichte ou encore le Warburg Institute.

Barbara Jouves-Hann est ingénieure de recherche, chargée du projet « Recherche et Restauration » pour le DIM PAMIR, Région Île-de-France. Elle est également responsable des études et de la recherche chez Madelénat Architecture et enseigne à l’Université Paris 1 Panthéon- Sorbonne ainsi qu’à l’Institut national du patrimoine. Sa thèse de doctorat, exécutée sous la direction du Professeur Thierry Lalot, a été soutenue à l’Université Paris 1 Panthéon-Sorbonne en 2019 sous le titre La conservation et la restauration des tableaux des collections privées à Paris entre 1789 et 1870 (à paraître aux Éditions de la Sorbonne).

Maxime Georges Métraux est historien de l’art, membre de l’équipe de la galerie Hubert Duchemin et chargé d’enseignement à l’Université Paris 1 Panthéon Sorbonne. Il a été commissaire scientifique de l’exposition Chic Emprise : Cultures, usages et sociabilités du tabac à l’époque moderne (2019, La Rochelle, musée du Nouveau Monde). Il a dernièrement publié dans le catalogue de l’exposition Les Animaux du Roi (2021, Versailles, château de Versailles) et Renoir, Monet, Gauguin. Images of a Floating World – The Kojiro Matsukata and Karl Ernst Osthaus collections (2022, Essen, Museum Folkwang).

Marc-André Paulin est restaurateur du patrimoine en ébénisterie et responsable de l’atelier de restauration mobilier au Centre de recherche et de restauration des Musées de France. Il prépare actuellement une thèse de doctorat à l’université de Lille sur l’ébéniste Jean-Henri Riesener.

Bérangère Poulain est maître-assistante en histoire de l’art de la période moderne à l’Université de Genève. Sa thèse de doctorat, exécutée sous la direction du Professeur Jan Blanc et la codirection du Professeur Christian Michel, a été soutenue à l’Université de Genève en 2020 sous le titre «Nouvelles couleurs, nouvelles jouissances». La polychromie des boiseries françaises au siècle des Lumières.

S O M M A I R E

Avant-Propos — Noémi Duperron, Barbara Jouves-Hann, Maxime Georges Métraux, Marc-André Paulin et Bérangère Poulain

I. En quête de sens : théorie et imaginaire 
• Blondel et l’architecture dans le ‘goût moderne’ : la machine à habiter au service du plaisir des sens au XVIIIe siècle — Aurélien Davrius
• Fraicheur, senteurs et procédés rédactionnels : Le génie de l’architecture de Le Camus de Mézières à la lumière de la théorie des jardins — Desmond-Bryan Kraege
• La rhétorique des sens : la visite de Madame de Maisonneuve au Dôme des Invalides — Christina Contandriopoulos

II. Plaisir des sens : de l’objet à l’espace
• Formes, matérialité et usages du mobilier en France au XVIIIe siècle — Ulrich Leben
• Le cabinet particulier du roi Louis XIV à Versailles : secrets autour des transformations d’un bureau — Élisabeth Caude et Frédéric Leblanc
• « Une tente sous laquelle on dort » : l’alcôve et le lit d’alcôve dans la chambre au XVIIIe siècle — Muriel Barbier
• Construire le boudoir idéal : état de l’influence réciproque de la littérature sur les traités d’architecture au XVIIIe siècle — Joséphine Grimm

III. Les sens en éveil : pratiques et usages
• L’odeur des vernis ou la toxicité du confort au XVIIIe siècle — Erika Wicky
• Le confort thermique, l’ordre spatial et les objets dans les demeures suédoises au XVIIIe siècle — Johanna Ilmakunnas
• Le feu caché. Introduction du confort thermique et métamorphoses de l’économie des sens (France, 1700–1850) — Olivier Jandot

Résumés
Index

 

Exhibition | Looking Up: Studies for Ceilings, 1550–1800

Posted in exhibitions by Editor on January 26, 2023

Eighteenth-century design for a ceiling

Ferdinando Galli Bibiena, A Grand Illusionistic Ceiling, 1720/1740, pen and brown ink with gray and brown washes over graphite on laid paper
(Washington, DC: National Gallery of Art, 1994.73.1)

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From the NGA:

Looking Up: Studies for Ceilings, 1550–1800
National Gallery of Art, Washington DC, 29 January — 9 July 2023

Curated by Jonathan Bober

In modern architecture and contemporary interior design, ceilings have lost much of their original, complex meaning, becoming neutral fields or featuring generic decoration. However, in the European tradition that spanned nearly four centuries, ceilings were where the most ambitious, compelling, and meaningful painted compositions appeared.

Drawing of a coffered dome with Apollo and Phaeton

Felice Giani, A Coffered Dome with Apollo and Phaeton, ca. 1787, pen and brown ink with gray, blue, and pink washes over black chalk on wove paper (Washington, DC: National Gallery of Art, 1991.81.1).

Looking Up: Studies for Ceilings, 1550–1800 presents some 30 examples of the evolution of ceiling decoration. These works move from architectural frameworks housing conventional paintings to the illusion of a single, soaring space teeming with figures and dynamic movement during the baroque, and then on to the geometric organization and idealized form associated with neoclassism. Some of the drawings are vibrant preliminary studies; others are large-scale models that give a sense of the experience of the intended final composition. Studies of single motifs and individual figures reveal how these grand projects enticed viewers to pause and look up.

The exhibition is curated by Jonathan Bober, Andrew W. Mellon Senior Curator of Prints and Drawings, National Gallery of Art.

New Book | Schloss Hubertusburg

Posted in books by Editor on January 25, 2023

Johann Christoph von Naumann, Hubertusburg, begun in 1721 under Augustus the Strong, Elector of Saxony and King of Poland; it then served as the residence of his son Augustus III. The palace was site of the signing of the 1763 Treaty of Hubertusburg that ended the Seven Years’ War (Wikipedia entry; photo from Wikimedia Commons, May 2013).

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From Sax-Verlag and Sachsen.de:

Landesamt für Denkmalpflege Sachsen, ed., Schloss Hubertusburg / Band I: Essays / Band II: Katalog der Architekturzeichnungen, Reihe Arbeitshefte des Landesamtes für Denkmalpflege Sachsen, Band-Nr. 30 (Markkleeberg: Sax-Verlag, 2022), 1240 pages, ISBN 978-3867292825, €40.

Schloss und Garten von Hubertusburg in Wermsdorf gelten als größte barocke Residenzanlage in Sachsen und gehören zu den spektakulären Bau- und Kunstdenkmälern von internationaler Bekanntheit.

Trotz des kontinuierlichen Bauunterhalts durch den Freistaat, vier großer Ausstellungen der Staatlichen Kunstsammlungen Dresden in den letzten Jahren, dem Wirken eines lokalen engagierten Fördervereins sowie zahlreicher Veranstaltungen fristet Schloß Hubertusburg sowohl in der Öffentlichkeit als auch im wissenschaftlichen Kontext immer noch ein randständiges Dasein.

Mit dem Arbeitsheft 30 liegen in dem ausführlichen Katalogband erstmals sämtliche, zum heutigen Zeitpunkt verfügbare Bau- und Gartenpläne aus dem 17. Jahrhundert bis zum Jahr 1945 zu Hubertusburg vor, aus bedeutenden sächsischen und europäischen Sammlungen, wissenschaftlich erschlossen und aufbereitet. Neben einer fotografischen Bestandsaufnahme werden neue Erkenntnisse zur Bau- und Gartengeschichte, zur ursprünglichen Raumausstattung wie der Königlichen Gemäldegalerie, Hof-Konditorei und Hofkellerei vorgestellt, gartenarchäologische Methoden sowie kunsthistorische Betrachtungen zur Schlosskapelle, aber auch restauratorische und denkmalpflegerische Fragen thematisiert. Die beiden zusammengehörigen Bände werden in einem Schutzschuber geliefert.

I N H A L T

Band I

Geleit- und Vorworte

• Louise Walleneit — Wände, die ausatmen
• Ingo Fischer — Zwei Schlösser in Einem
• Tim Tepper — Wandel und Spuren. Zur Geschichte von Hubertusburg und denkmalpflegerische Schlussfolgerungen für eine zukünftige Nutzung
• Hartmut Ritschel — Die Kapelle von Schloss Hubertusburg
• Michael Lange — Giovanni Battista Grone – das Deckenbild in der Kapelle von Schloss Hubertusburg
• Ralf Witthaus / Text: Barbara Rübartsch — Der Garten in mir – Ein Aktionskunstwerk im Sommer 2019
• Henrike Schwarz — Prachtgarten, Pachtland, Patientengarten und was bringt die Zukunft? Eine Würdigung des Schlossgartens Hubertusburg
• Hartmut Olbrich — Der Schlossgarten zu Hubertusburg. Archäologie zum Verständnis einer komplexen Anlage
• Eduard Wätjen — Das Kupferstichwerk zu Schloss Hubertusburg von Johann Christoph Naumann
• Thomas Liebsch — Die Gemäldegalerie König Augusts III. von Polen in der Jagdresidenz Hubertusburg
• Tobias Knobelsdorf — Die Plünderung von Schloss Hubertusburg im Frühjahr 1761 in zeitgenössischen Berichten
• Maureen Cassidy-Geiger — K. H. C. H.: The Königliche Hof-Conditorei Hubertusburg
• Johannes Wolff und Martin Kornek — Die Hofkellerei in Schloss Hubertusburg
Gernot Klatte, Die Büchsenkammer des Kurprinzen Friedrich August auf Schloss Hubertusburg
• Mike Huth — Quellenverzeichnis Schloss Hubertusburg

Bibliografie
Verwendete Dokumentationen
Abkürzungen
Abbildungsnachweis
Autoren

Band II

Vorwort

1  Altes Schloss Wermsdorf mit Fasanengarten
2  Weitere Gebäude in Wermsdorf
3  Jagdanlagen im Wermsdorfer Forst

4  Schloss Hubertusburg, 1. Bauphase 1721–1733: Vermessungspläne
5  Das Hubertusburger Jagdrevier 1723–1942
6  Schloss Hubertusburg, 1. Bauphase 1721–1733: Vorentwürfe zum Hauptpalais
7  Schloss Hubertusburg, 1. Bauphase 1721–1733: Grundrisse Hauptpalais
8  Schloss Hubertusburg, 1. Bauphase 1721–1733: Außenbau Hauptpalais
9  Schloss Hubertusburg, 1. Bauphase 1721–1733: Innenräume
10  Schloss Hubertusburg, 1. Bauphase 1721–1733: Nebengebäude
11  Schloss Hubertusburg, 1. Bauphase 1721–1733: Wachthäuser und Kasernen
12  Schloss Hubertusburg, 1. Bauphase 1721–1733: Lust- und Küchengarten
13  Schloss Hubertusburg, 1. Bauphase 1721–1733: Ziegelscheune

14  Schloss Hubertusburg, 2. Bauphase 1733–1763: Gesamtpläne
15  Schloss Hubertusburg, 2. Bauphase 1733–1763: Vorhof
16  Schloss Hubertusburg, 2. Bauphase 1733–1763: Kopfbauten im Vorhof
17  Schloss Hubertusburg, 2. Bauphase 1733–1763: Rundflügel
18  Schloss Hubertusburg, 2. Bauphase 1733–1763: Projekt zum Umbau des Stallhofs 1756
19  Schloss Hubertusburg, 2. Bauphase 1733–1763: Küchenhof
20  Schloss Hubertusburg, 2. Bauphase 1733–1763: Hundeställe und weitere Nebengebäude
21  Schloss Hubertusburg, 2. Bauphase 1733–1763: Gartenpläne
22  Schloss Hubertusburg, 2. Bauphase 1733–1763: Opernhaus 1741
23  Schloss Hubertusburg, 2. Bauphase 1733–1763: Wasserleitungen
24  Schloss Hubertusburg, 2. Bauphase 1733–1763: Vorentwürfe zum Umbau des Hauptpalais
25  Schloss Hubertusburg, 2. Bauphase 1733–1763: Grundrisse des Hauptpalais
26  Schloss Hubertusburg, 2. Bauphase 1733–1763: Ansichten des Hauptpalais
27  Schloss Hubertusburg, 2. Bauphase 1733–1763: Innenräume

28  Schloss Hubertusburg nach 1763: Hauptpalais
29  Schloss Hubertusburg nach 1763: Nebengebäude
30  Schloss Hubertusburg nach 1763: Lagepläne des 19. Jahrhunderts
31  Schloss Hubertusburg nach 1763: Lagepläne des 20. Jahrhunderts
32  Schloss Hubertusburg nach 1763: Vermessungskampagne Friedrich Carl Preßler 1830/31
33  Schloss Hubertusburg nach 1763: Umbauprojekt H. L. Otto 1835

34  Der Planschrank im Archiv des Fachkrankenhauses Hubertusburg

Anhang
Planmaterial zu Schloss und Garten Hubertusburg in historischen Planverzeichnissen
Gebäudebestandsplan und Gebäudenutzung in der Hubertusburger
Schloss- und Gartenanlage seit 1721
Abkürzungen
Abbildungsnachweis

Summer Course | The Age of Rubens

Posted in graduate students, opportunities by Editor on January 25, 2023

From ArtHist.net:

The Age of Rubens: 2023 Summer Course for the Study of the Arts in Flanders
Belgium, 18–28 June 2023

Applications due by 20 February 2023

Annually, the Summer Course brings a select group of 18 highly qualified young researchers to Flanders. They are offered an intensive 11-day programme of lectures, discussions, and visits related to a specific art historical period of Flemish art. The Summer Course provides the participants with a clear insight into the Flemish art collections from the period at hand, as well as into the current state of research on the topic. The 7th edition of the Summer Course will focus on ‘The Age of Rubens’. It will be held 18–28 June 2023. Excursions will be made to Antwerp, Mechelen, Leuven, Scherpenheuvel, Bruges, Ghent, Liège, and Brussels. The language of the Summer Course is English.

Who can apply?
Participants have a master’s degree or are PhD student, junior curator, or restorer, and they are specialised in art in the Age of Rubens. The master’s degree was earned maximum 10 years ago.

Participation fee
The participation fee of the Summer Course is fixed at €1280 (including VAT) per person. The fee includes the full 11-day programme, 10 overnight hotel stays in a single-occupancy room, all transportation within the programme, all entry tickets, 2 receptions, 5 lunches, and 5 dinners. Not included in the participation fee is the transport to and from Belgium.

How to apply?

All applicants should send a resume, a letter of motivation, and a letter of recommendation from a faculty member or a museum professional to an.seurinck@vlaamsekunstcollectie.be.

Grants
In addition to the regular applications materials, candidates applying for financial aid are asked also to send a statement explaining their financial need.

Partners

The Summer Course for the Study of the Arts in Flanders is a joint initiative of the KMSKA (Royal Museum of Fine Arts Antwerp), Musea Brugge, Museum of Fine Arts Ghent, M Leuven, Mu.ZEE Ostend, Ghent University, KU Leuven, the Flemish research centre for the arts in the Burgundian Netherlands, the Rubenianum, and the Flemish Art Collection. Structural content partners for this edition are the KBR (Royal Library of Belgium), The Royal Institute for Cultural Heritage (KIK-IRPA), and the Royal Museums of Fine Arts of Belgium. This edition is coordinated by Flemish Art Collection, KMSKA, and Rubenianum.

New Book | Images on a Mission in Early Modern Kongo and Angola

Posted in books by Editor on January 24, 2023

From Penn State UP:

Cécile Fromont, Images on a Mission in Early Modern Kongo and Angola (University Park: The Pennsylvania State University Press, 2022), 336 pages, ISBN: 978-0271092188, $110. Also available as an ebook.

Early modern central Africa comes to life in an extraordinary atlas of vivid watercolors and drawings that Italian Capuchin Franciscans, veterans of Kongo and Angola missions, composed between 1650 and 1750 for the training of future missionaries. These ‘practical guides’ present the intricacies of the natural, social, and religious environment of seventeenth- and eighteenth-century west-central Africa and outline the primarily visual catechization methods the friars devised for the region. Images on a Mission in Early Modern Kongo and Angola brings this overlooked visual corpus to public and scholarly attention.

This beautifully illustrated book includes full-color reproductions of all the images in the atlas, in conjunction with rarely seen related material gathered from collections and archives around the world. Taking a bold new approach to the study of early modern global interactions, art historian Cecile Fromont demonstrates how visual creations such as the Capuchin vignettes, though European in form and crafstmanship, emerged not from a single perspective but rather from cross-cultural interaction. Fromont models a fresh way to think about images created across cultures, highlighting the formative role that cultural encounter itself played in their conception, execution, and modes of operation. Centering Africa and Africans, and with ramifications on four continents, Fromont’s decolonial history profoundly transforms our understanding of the early modern world. It will be of substantial interest to specialists in early modern studies, art history, and religion.

Cécile Fromont is Professor in the History of Art department at Yale University. She is the author of the award-winning book The Art of Conversion: Christian Visual Culture in the Kingdom of Kongo (2014) and the editor of Afro-Catholic Festivals in the Americas: Performance, Representation, and the Making of Black Atlantic Traditions (2019), the latter also published by Penn State University Press.

C O N T E N T S

List of Illustrations
List of Tables
Acknowledgements

Introduction
1  ‘Nonsense’: Capuchin Images of Kongo and Angola Against Italian Preconceptions
2  Practical Guides to the Mission: The Capuchin Central-African Corpus
3  Images and Devotion
4  Images as Method
5  Images against Idolatry
6  With ‘the Consent of the People, and the Secular Arm of the Prince’
7  Penned by Encounter: Capuchins, Central Africans, and the Making of a Cross-Cultural Discourse
Conclusion

Notes
Bibliography
Index

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