Enfilade

Exhibition | Ladies of Quality and Distinction

Posted in exhibitions, lectures (to attend) by Editor on September 22, 2018

Press release for the exhibition now on view at The Foundling:

Ladies of Quality and Distinction
The Foundling Museum, London, 21 September 2018 — 20 January 2019

Andrea Soldi, Portrait of Isabella Duchess of Manchester, 1738 (London: Whitfield Fine Art).

This autumn, for the first time, visitors to the Foundling Museum will have an opportunity to discover portraits and stories of the remarkable women who supported the establishment and running of London’s Foundling Hospital. Marking 100 years of female suffrage, Ladies of Quality and Distinction resets the focus of the Hospital’s story and radically re-hangs the Museum’s Picture Gallery.

Despite its male face, women permeate every aspect of the Hospital story—as mothers, supporters, wet nurses, staff, apprentice masters, artists, musicians, craftsmen, and foundlings. Yet for almost 300 years, history has placed these women as a footnote in the story. The Museum is redressing this balance by bringing these overlooked stories to the fore.

Following a successful campaign via Art Happens, the Art Fund’s crowdfunding platform, the Museum brings together portraits of the ‘ladies of quality and distinction’ who signed Thomas Coram’s original petition to King George II in 1735, calling for the establishment of a Foundling Hospital. Working closely with eighteenth-century specialist Elizabeth Einberg, the Museum has identified portraits of these duchesses in public and private collections across the UK. Hung together for the first time, these paintings will temporarily replace the portraits of male governors that line the walls of the Museum’s Picture Gallery, reuniting the Ladies on the site of the charity they helped establish, and highlighting their role in shaping British society today. Included are magnificent court portraits by leading eighteenth-century painters William Hogarth, Thomas Hudson, and Godfrey Kneller. The majority of the portraits are in private collections, having remained within the family or ancestral home. Some paintings have not been on public display for many years.

Downstairs in the Museum’s exhibition gallery, the lives of the women who supported the day-to-day running of the institution will be brought to life. Women worked in many different roles at the Hospital, from laundresses and scullery maids, to cooks and matrons. Beyond its walls the organisation was supported by a small army of wet nurses who fostered the children in their infancy, as well as inspectors who supervised them. It was not until the twentieth century that the first woman was appointed Governor. Nevertheless, many female supporters of similar social class to the Hospital Governors gave valued advice, particularly around the proper care of infants, girls, and female staff.

Highlighted stories include: Mrs Prudence West, a female inspector and the only woman to run a branch Hospital; Miss Eleanor Barnes, one of the earliest female Governors of the Hospital; Mrs Elizabeth Leicester, an early matron of the Foundling Hospital who oversaw some of its most challenging years; and Jane Pett, a dry nurse highly acclaimed for her exceptional care.

Caro Howell, Director of the Foundling Museum said: “Women of every social class permeate every aspect of the Foundling Hospital story. After centuries of omission, their revolutionary, catalytic and invaluable contributions can at last be celebrated. We are incredibly grateful to the 336 donors who supported our Art Happens campaign to make this important exhibition possible.”

This exhibition forms part of the Museum’s year-long programme of exhibitions, displays, and events to mark the centenary of female suffrage, by celebrating women’s contribution to British society, culture, and philanthropy from the 1720s to the present day. The Museum raised over £20,000 towards this exhibition through a successful Art Happens crowdfunding campaign. The Museum is incredibly grateful to all our exhibition donors, including the 336 donors who gave to our Art Happens campaign, our main corporate exhibition sponsor Saxton Bampfylde, and to Art Fund, whose support made conservation of paintings loaned for this exhibition possible.

P R O G R A M M I N G

Georgian Women
The Foundling Museum, London, 19 October 2018

Discover what it meant to be a woman during this period and how three writers have brought the era to life. Speakers include Imogen Hermes Gowar, author of the Women’s Prize for Fiction shortlisted novel The Mermaid and Mrs Hancock; writer and television presenter Janet Ellis, author of The Butcher’s Hook; and Katharine Grant, whose novel Sedition was described by The Guardian as “subversive and unmissable.” Cash bar on the night. The programme begins at 19:00 (doors open at 18:30). Tickets £15 (£12.50 concessions and Foundling Friends). Details, including booking information, are available here.

Film Screening: The Duchess
The Foundling Museum, London, 9 November 2018

Join us for a unique cinema experience and enjoy the sensational 18th-century drama The Duchess, screened in the Picture Gallery. Keira Knightley and Ralph Fiennes star in this film exploring the life of Georgiana Spencer, Duchess of Devonshire, as she struggles to protect her children from her unscrupulous husband and social pressures, and find her independence. The film begins at 19:00. Tickets are £12. Details, including booking information, are available here.

Wikithon: Ladies Of Quality & Distinction
The Foundling Museum, London, 17 November 2018

Join our Wikipedia edit-a-thon and help us bring the overlooked stories of women and the Foundling Hospital to the fore. Bring your laptop and prepare with our Edit-a-thon guide. Led by researchers from the project Editing the Long Nineteenth Century: Recovering Women in the Digital Age in partnership with the Birkbeck Centre for Nineteenth-Century Studies, the session begins at 13:00 and lasts until 16:00; it is free, but booking is essential. This event is part of the Being Human Festival, organized by the School of Advanced Study, University of London, in partnership with the Arts & Humanities Research Council and the British Academy.

Call for Papers | ASECS 2019, Denver

Posted in Calls for Papers by Editor on July 7, 2018

Frederic C. Hamilton Building, Denver Art Museum (Photo: Wikimedia Commons, August 2010). The Hamilton building, by Daniel Libeskind, opened in October 2006. Works from the Berger Collection Educational Trust have been on long-term loan at DAM since 1996; in February of this year 65 works of British art from the trust—including paintings by Thomas Gainsborough, Angelica Kauffman, George Stubbs, and Benjamin West—were donated to the museum. A selection will be on view beginning 3 March 2019 in Treasures of British Art: The Berger Collection, organized by Kathleen Stuart, curator of the Berger Collection at the DAM.

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From ASECS:

2019 American Society for Eighteenth-Century Studies Conference
Denver, 21–23 March 2019

Proposals due by 15 September 2018

Proposals for papers to be presented at the 50th annual meeting of the American Society for Eighteenth-Century Studies, in Denver, are now being accepted. Proposals should be sent directly to the session chairs no later than 15 September 2018. Along with our annual luncheon and business meeting, HECAA will be represented with the Anne Schroder New Scholars’ Session, chaired by Christina Lindeman. A selection of additional sessions that might be relevant for HECAA members is included below. A full list of panels is available as a PDF file here.

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Anne Schroder New Scholars Session
Christina K. Lindeman (University of South Alabama), clindeman@southalabama.edu

This is an open session intended for advanced graduate students and early career scholars in the art and architectural history of the eighteenth century.

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Picturing the Stage (Theatre and Performance Studies Caucus)
Michael Burden (Oxford University), michael.burden@new.ox.ac.uk

What is the relationship between the moving action of live theatre and the static ‘pictures’ that both adorned the stage and visually represented it? How did eighteenth-century audiences (and how do modern scholars) ‘picture’ or imagine stage action? The stage, by definition, makes ‘pictures’. In an eighteenth-century theatre, the proscenium arch forms a picture frame through which the theatre-goer viewed the action, and onstage pictures, such as moveable scenery, added dimension to the play text. Offstage, meanwhile, theatrical pictures proliferated, especially images of performers, both in conventional portraits, in character, and as caricatures. Pictures were also used in support of the dramas themselves; one of the great publishing schemes of the eighteenth century, John Bell’s plays, was accompanied by a series of prints of performers ‘in character’. Capturing stage action on the page or canvas, however, was not an easy task and presents the artist with a series of challenges, and it presents us with versions of the same challenges in interpreting the results. We invite papers on any aspect of the topic and encourage participants to be creative in interpreting the title of the panel.

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Interfaces (Roundtable, Digital Humanities Caucus)
Mattie Burkert (Utah State University), mattie.burkert@usu.edu and Collin Jennings (Miami University Ohio), jenninc@miamioh.edu

Interfaces are thresholds that separate and mediate; they are surfaces through which users encounter tools, as well as protocols that allow different systems to interact. Interfaces are central to digital scholarly work, enabling the operations of databases, archives, and exhibitions that provide new forms of access to historical materials. Interface design often prioritizes ease of use, but recent critiques of search engines and social media platforms have shown how streamlined, user-friendly interfaces can obscure choices made about what is displayed and how. Humanities scholars have a role in these conversations, both in critiquing existing interfaces and in developing new approaches. How, we might ask, can we design interfaces that highlight principles like transparency and ambiguity without sacrificing usability? We invite proposals that explore interface models for digital projects, as well as ones that examine how eighteenth-century authors and illustrators engaged what we might anachronistically call interfaces. These could include experimental forms (Chambers’s “view of knowledge,” Priestley’s timeline) or reflections on the limits of such sites (Sterne’s blank page). How can we reconsider Enlightenment interfaces, and how do interfaces affect the way we produce knowledge in eighteenth-century studies? How might a focus on interface change the way we approach our materials?

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Forms of Empire (Roundtable, Race and Empire Caucus)
Sunil Agnani (University of Illinois-Chicago), jukim@fordham.edu

Some recent scholarship on literary and aesthetic form has been framed as a corrective to critical overemphasis on historical, political, and cultural contexts. This panel asks, however, whether paying attention to a particular historical subject—namely, empire—actually precludes the study of form. After all, eighteenth-century writers and artists depicting empire experimented with genres ranging from travel narrative to porcelain ware. The administration of empire also depended heavily on forms like illustrations and maps. This roundtable thus seeks brief papers on the relationship between aesthetics and empire. Papers on diverse forms and geographical locales are welcome. Also welcome are papers that address the problems involved in aestheticizing the types of exploitation that constituted eighteenth-century empire. What were the limits of such a project in the eighteenth century, and what are the limits of the project of considering both aesthetics and empire today? Note: this roundtable will be a companion session to the Race and Empire Caucus’s other roundtable on “Forms of Resistance.” To encourage dialogue across sessions, organizers will ask participants in one roundtable to serve as respondents for the other. Papers will be circulated in advance.

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Ireland, Scotland, and the Sublime Landscape (Irish Caucus)
Michael Griffin (University of Limerick), Michael.J.Griffin@ul.ie

In 1739 Susanna Drury’s painting The Giant’s Causeway offered a glimpse of a sublime aesthetic in landscape painting in Ireland. Dr. Johnson’s description of the subject of Drury’s painting as “worth seeing, but not worth going to see” suggests, in spite of its dismissive tone, a domesticated appreciation for the wild Irish landscape. There has been a significant recent interest in the influence of Scotland and Ireland in and on the evolution of a Romantic aesthetic. To this panel we invite papers which discuss the influence of Irish and Scottish culture, not just on the culture of the Romantic period traditionally defined (1789–1830) but going back to an earlier moment when ideas of sublimity were being applied in innovative ways: to the representation of landscape in Ireland and Scotland, but also to representations by Irish and Scottish writers and artists of sublime landscapes more generally. A core consideration will be the extent to which sublimity in landscape complimented or complicated national and/or regional enlightenments. Proposals can be interdisciplinary, and we would welcome considerations of painters alongside literature and aesthetics. Please send a 300-word abstract for a 20-minute paper, along with a 50-word biographical note.

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The Black Legend (Ibero-America Society for Eighteenth-Century Studies)
Catherine Jaffe (Texas State University), cj10@txstate.edu and Karen Stolley (Emory University), kstolle@emory.edu

The Black Legend, the negative opinion of Spaniards and the Spanish Empire as cruel and intolerant, first emerged in response to accounts of Spanish abuses during the sixteenth-century conquest period and lived on in the eighteenth century in the context of evolving imperial, religious and commercial rivalries. How was the Black Legend envisioned, represented, fictionalized, historicized, critiqued, perpetuated, deployed, debated, dramatized, or denounced, in the transatlantic world during the long eighteenth century, and/or in eighteenth-century studies? We invite 15-minute papers from all fields—literature, history, art history, music, political theory, etc.—that offer fresh perspectives on the Black Legend in the eighteenth century.

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Queer Female Networks (Roundtable, Aphra Behn Society)
Jade Higa (University of Hawaii), jadehiga@hawaii.edu

In her poem, “To my Excellent Lucasia, On Our Friendship,” Katherine Philips writes, “thou art all that I can prize, / My joy, my life, my rest.” Restoration era poems of love between women by writers such as Philips establish and emphasize the importance of female networks throughout the eighteenth century. From 1660 to 1830, women supported each other in politics, art, literature, the theater, and more. In these networking relationships, women also developed strong attachments to one another that many scholars have recognized as at least homosocial if not homoerotic. This roundtable will further the conversation surrounding these queer female networks of the long eighteenth-century. Questions might include but are not limited to: What did specific queer female networks accomplish? How do these female networks complicate the false homo/hetero binary? How are implications of queerness a necessary element of these female networks? Proposals on these questions, on specific female relationships, or on any other subject related to queer female networks are welcome.

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Community Colleges and the Eighteenth Century (Roundtable)
Chloe Northrop (Tarrant County College), chloe.northrop@tccd.edu

Due to the growth of community colleges in America, many graduate students and early career scholars are finding employment opportunities in these institutions. In the past, community colleges have been on the sidelines of the conventional academic hierarchy. While the focus of community colleges mainly surrounds teaching survey level courses, the purpose of this roundtable will be to examine how scholars of the eighteenth century remain connected to the academic world of their respective disciplines. Furthermore, this roundtable will also focus on methods of instruction that incorporates the eighteenth century into classrooms. These presentations will illuminate both the barriers and opportunities present in the community college setting. We welcome proposals from all disciplines connected with community colleges and from full time and adjunct professors.

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The Lives of the Plants
Katie Sagal (Cornell College), aksagal@gmail.com

With the recent rise in critical plant studies as a vector for understanding the relationship between humans and nature, it is worth reflecting in 2019 on how eighteenth-century thinkers understood the relationship between humanity and vegetality. Where the conventional narrative of man’s inevitable and triumphal dominion over nature has long since been disrupted by early eco-criticism (like Carolyn Merchant’s landmark book The Death of Nature), this panel hopes to continue to rethink the possible intersections between people and plants in the Enlightenment. This panel thus proposes to think both about and beyond traditional narratives of taxonomizers, explorers, and collectors to sort through the complex and complicated nodes between humans (always a part of nature) and plant life (always a part of the human experience). We might also think specifically about the “lives of the plants” in ways that are separate from and not reliant upon human intervention. Papers might cover any aspect of the relationship between humans and plants in the eighteenth century, encompassing critical perspectives on medicine, science, pornography, fiction, poetry, visual arts, and so on.

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Women and Whiteness
Katharine Jensen (Louisiana State University), kjensen@lsu.edu

Inspired by Sue Lanser’s 2018 Presidential Address, this panel seeks multiple approaches to the racial/racist/class assumptions informing representations of women and whiteness in the eighteenth century. Whether literary, historical, or visual, the papers might consider: Are women portrayed and privileged as white to counter what were perceived as threats by people of color? Is this privileging linked to class as well, or instead, and why? Are women of color ever portrayed as ‘white’ and why? How do representations of women and whiteness do political work to enlist readers’ or viewers’ emotions and to what end?

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Scholarship across the Aisle: Establishing Meaningful Scholarly Relationships outside of One’s Linguistic/Cultural Tradition (Roundtable)
Logan J. Connors (University of Miami), logan.connors@miami.edu and Jason H. Pearl (Florida International University), jpearl@fiu.edu

In honor of the organization’s 50th anniversary, this roundtable seeks to reflect upon the disciplinary boundaries that are caused by specific linguistic and cultural traditions and posit new methods for crossing the divides that continue to characterize eighteenth-century studies. We seek a diverse group of scholars with different theoretical approaches and areas of specialization. Participants are encouraged to consider the following questions: what structures prevent us from engaging with scholars outside of our national/linguistic traditions? What can we do to make ASECS more welcoming to people working in areas outside British literature (the most dominant specialization inside the organization)? What can we do to facilitate more interaction among scholars of different fields? It’s common to talk of ‘the global eighteenth century’ and the value of interdisciplinarity— and yet we separate ourselves by subspecialty every year. What would it take for us to work beyond those boundaries and create meaningful interactions (conferences, colloquia, seminars, workshops, etc.) that allow us to learn more from each other?

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Repurposing
Lauren DiSalvo (Dixie State University), lauren.disalvo@dixie.edu and Sarah Sylvester Williams (Independent Scholar), sarahjswilliams@gmail.com

Objects have long been recycled, reused, and repurposed. In the eighteenth century Habsburg Empress Maria Theresa and her children repurposed Mughal paintings for display in gilt boiserie; Chinese porcelain was embellished with gilt handles, rims, and stands; and artists outfitted Roman statues with fully restored limbs and attributes during the Grand Tour. This panel seeks to explore the ways in which materials, ideas, motifs, and subjects were repurposed during the long eighteenth century. We would welcome papers that address the literal reuse of materials, such as old canvases, paper, textiles, etc; the adoption and reuse of visual or literary motifs, tropes, or processes; or the repurposing of a traditional subject for new ends. Submissions from any eighteenth-century discipline are welcome, and topics that are interdisciplinary or global in scope are particularly encouraged.

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Art, Literature, and Medicine in Italy
Francesca Savoia (University of Pittsburgh), savoia@pitt.edu

In the eighteenth-century—in Italy as in the rest of Europe—doctors, scientists, writers, and artists formed an integrated educated elite. A wide range of literary and figurative works testify to a close interplay of medicine, art and literature in this period. Painters, poets, novelists and dramatists—both men and women—drew on medical language and learning for their models of human nature and picked on themes emerging from scientific debates (on the treatment of diseases, the role of diet and lifestyle on health, the action of emotions, the dialectic of body and mind, whether reading and writing were themselves therapeutic or harmful etc.). This session seeks contributions that explore the reception, influence, and representation of medical theories and practices in Italian art and literature of the long eighteenth century.

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The Landscape Garden: In England and Beyond
Janet R. White (University of Nevada, Las Vegas School of Architecture), janet.white@unlv.edu

The eighteenth-century landscape garden has been called England’s most enduring contribution to design of the built environment. This interdisciplinary session invites historians, landscape architects, architects and others to discuss the landscape garden’s impact in England, beyond England, and beyond the eighteenth century. Topics might include such areas as selection and design of follies and pavilions, selection and distribution of plant materials, theoretical underpinnings in the Picturesque, differences between English and Continental examples of the phenomenon, women’s contributions to the design of the garden, travelers’ accounts of garden visits, or manifestations of the landscape garden in later centuries.

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Gesturing toward the Antique
Monica Anke Hahn (Community College of Philadelphia), mhahn@ccp.edu and Craig Hanson (Calvin College), CraigAshleyHanson@gmail.com

More than three decades on from the publication of Haskell and Penny’s seminal work, Taste and the Antique—an extended edition of which is slated for publication in 2019—this panel seeks to broaden, expand, and trouble the examination of classicizing poses and gestures in the eighteenth century. How might a borrowed pose elucidate themes of performativity, ephemerality, portraiture, or satire? What were the commercial, intellectual, poetic, or social stakes of such gestures? How did such evocations of antiquity function within larger aesthetic frameworks—whether a collection, a decorative arts program, or some other stratum of visual culture? We welcome proposals from a wide range of approaches with the goal of complicating and re-evaluating straightforward stylistic narratives, aiming to avoid making too little or too much of the antique along the way.

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Fashioning Power and the Power(s) of Fashion
Jennifer Buckley (University of York), jennifer.buckley@york.ac.uk and Benjamin Jackson (Queen Mary, University of London), b.l.t.jackson@qmul.ac.uk

This session seeks to redress the imbalance in our current understanding of the relationship between fashion, material culture, and gender. It desires to push beyond a notion of female fashion, with all its connotations, to consider how fashion was used by both sexes to simultaneously homogenise and destabilise traditional power relations. From architecture to clothing, books to consumer goods, the manifestations of power, commerce, and even colonialism, are imbued in the material world of the past. These materialisations of power are too often obliquely and uncritically accepted as part of a narrative of clear, delineated power structures. Addressing the relationship between print and material cultures, this panel seeks to re-expose the intricate nuances of power that permeated the eighteenth-century material world. Topics to consider may include, but are not limited to: letterpress printing and the manufacture of printed polemics; bespoke handcrafting and handicrafts; architectural plans; trade cards, magazines and periodicals; taste and politesse; the correlation of texts and textiles.

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Small Things
Chloe Wigston Smith (University of York), chloe.wigstonsmith@york.ac.uk and Beth Fowkes Tobin (University of Georgia), btobin@uga.edu

This panel invites papers that address the scale of material objects, in particular the smaller things that have received less critical attention than larger, substantial goods. We are interested in how the scale of things shapes the cultural and / or literary significance of objects and what size might illuminate more broadly about the value and meanings of material culture. Do small things merit different kinds of attention across genres or types of media? How does monetary value, labor, and time affect perceptions of the minute? What is the place of the small in scholarly conversations about material culture across humanities disciplines? This panel will serve as a starting point for discussion of the same theme at an interdisciplinary conference to be held June 6–7, 2019 at the University of York (organized by Chloe Wigston Smith and Beth Fowkes Tobin).

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Bon Appétit: Dining in the Eighteenth Century
Joanna M. Gohmann (The Walters Art Museum), jgohmann@thewalters.org

In the mid-eighteenth century, chefs began to delight aristocratic taste buds with nouvelle cuisine, a style of French cookery that gradually spread across mainland Europe and transformed food from nourishment into pleasurable, intellectual entertainment. In addition to foodstuff, the material landscape of eating—tablescapes, dining rooms, dishes, furniture, cookbooks etc.—became more complex, specialized, and pleasurable. Porcelain dinner services expanded, cookbooks included more categories of food, dining tables were marketed in a variety of shapes with surprising features, and dining rooms were increasingly elaborate. What cultural work did these transformations in food preparation and consumption achieve? Responding to such publications as E.C. Spary’s Eating the Enlightenment (2012) and Krikorian’s Les rois à table (2011), exhibitions like Winterthur Museum’s Dining by Design (2018), and popular blogs like The History Kitchen, this panel seeks to explore how eighteenth-century consumers understood the century’s new dining practices in relation to the century’s intellectual, social, political and even religious trends. This panel hopes to address the many ways in which individuals encountered these changes in culinary and dining practices—be it through text, visual art, material culture of the table, etc.—and invites participants from all disciplines and areas of specialization.

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Between Art and Labor: Craft in the Global Eighteenth Century
Cassidy Picken (Capilano University), cass.picken@gmail.com

Handicraft is a generative concept within at least two hierarchies of enlightenment thought. Within the realm of political economy, handicrafts are positioned midway between the foraged goods of hunter-gatherers and the manufactured wares of commercial society; within aesthetics, craftwork mediates between the drudgery of labor and the free play of the liberal arts. This panel explores the rise of craftwork as a distinct cultural category during the long eighteenth century. Shifting from accounts of craft that emphasize its ‘traditional’ status, we are interested in artisanal practices that emerged at the interstices of the eighteenth century’s global empires. How might we account for the relationship between the disciplinary formations mentioned above, and the actual practices of making that emerged at the frontiers (external and internal) of mercantile capitalism? What forms of knowledge and intimacy were grounded in the craftwork of women, the enslaved, creoles, indigenous communities, peasants, and domestics? How did poets, novelists, artists, philosophers, and scientists conceive of their crafts in relation to the field of labor?

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Trailing Spouses of the Enlightenment: In the Shadow of the Luminary?
Rori Bloom (University of Florida), ribloom@ufl.edu and Margaret Butler (University of Florida), mbutler@arts.ufl.edu

While the wedding scene continued to provide a happy ending to classical comedies in eighteenth-century theater, the real institution of marriage was undergoing important transformations off the stage and the page. By offering material resources, social connections, emotional support or intellectual stimulation, spouses in creative partnerships made valuable contributions to eighteenth-century culture. This interdisciplinary panel seeks to examine the spousal relationship in the context of cultural creation in the Enlightenment. At certain times, one spouse remained in the shadows to allow the other to shine as a writer, musician or painter, while at others the two shared the limelight, attracting public attention in different ways. Whether as enabler, impresario, teacher, collaborator, the spouses of Enlightenment figures often shaped each other’s careers. In this session, we are not asking whether we would have had Sade without Renée or Elisabeth Vigée Lebrun without Jean Baptiste Pierre Lebrun. Instead, we wish to reexamine assumptions about traditional roles in famous pairs to better understand the impact of creative partnerships on eighteenth-century culture.

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The Colors of Race
Jennifer Chuong (Harvard University), jennifer_chuong@harvard.edu and Oliver Wunsch (Harvard Art Museums), owunsch@gmail.com

Scholars in a variety of disciplines have argued that over the course of the eighteenth century, nascent racial categories began to coalesce around visual distinctions, skin color chief among them. The range of disciplinary perspectives on the topic reflects the many ways that color could be mobilized in the service of human difference, whether through the materials of the artist, the theories of the natural philosopher, or the lexicon of the writer. This panel provides an opportunity to bring together research in these different areas and to explore possible interactions among them. In doing so, we aim to initiate a larger conversation about the relationship between race and visuality in the eighteenth century. We welcome papers that explore the various practices through which color took on racial significance in this period, and we especially invite proposals that address the use of color in more than one setting (e.g. in multiple media, across fields, or for different audiences).

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‘This Unnatural Rebellion’: The Jacobite Rising of 1745
Phineas Dowling (Auburn University), pwd0002@auburn.edu

This panel seeks papers on literary, artistic, and material culture of the long eighteenth century with the goal of exploring the Jacobite Rising of 1745 and its ramifications—whether artistic, cultural, national, martial, political, etc. Topics might include, but are not limited to, the literary culture of the Jacobites (or anti-Jacobites); material culture of the Jacobites; cultural memory of the ’45; representations of the conflict and its participants; depictions or commentary of key figures or events; the political or social aftermath or ramifications of the rebellion; contextualization of the Rising and/or its impact; creative expressions in any medium of the contemporary or memorial experiences of participants and/or onlookers.

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Producers, Creators, Designers: Women Artists
Lindsay Dunn (Texas Christian University), l.m.dunn@tcu.edu and Franny Brock (University of North Carolina at Chapel Hill), mfbrock@live.unc.edu

This panel seeks proposals that consider women’s roles as producers, creators, and designers of art objects, buildings, and interior spaces in the long eighteenth century. We invite papers that further knowledge of women’s artistic production, and indeed, even reclaim their achievements. This panel will continue the conversation on women’s roles, a subject taken up most recently by the exhibition, Becoming a Woman In the Age of Enlightenment: French Art from the Horvitz Collection, curated by Melissa Hyde and the late Mary D. Sheriff. This exhibition, the first to focus specifically on representations of women from a broad range of ages and conditions, sheds light on the philosophical and cultural debates surrounding womanhood in this period. The dominant ideology assigned women to limited roles due to long-held beliefs about gender difference derived from Christianity and scientific and medical tracts. As a result, historians have often relegated women’s involvement in the art world to historical footnote or anecdote, despite a rich tradition of female creativity. Possible topics for this panel include investigations of women artists’ little-known objects and spaces, hierarchies of genre and their gendered implications, the role of women in the Academy, programs of commissioning, and collaborations with colleagues.

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Innovative Course Design Competition
asecsoffice@gmail.com

ASECS invites proposals for a new course on eighteenth-century studies, or a new unit (1–4 weeks of instruction) within a course on the eighteenth century. Proposals may address a specific theme, compare related works from different fields (music and history, art and theology), take an interdisciplinary approach to a social or historical event, or suggest new uses for instructional technology. The unit/course should have never been taught or have been taught very recently for the first time. Applicants should submit a 750–1500 word proposal that focuses sharply on the leading ideas distinguishing the unit/course. The proposal should indicate why particular texts and topics were selected and (if possible) how they worked; ideally, a syllabus will be provided. The competition is open to current members of ASECS. Up to three proposals will be selected for presentation on the Innovative Course Design session at the Annual Meeting; a $500 award will be presented to each of the participants, who also will be invited to submit a twelve-page account of the unit/course, a syllabus, and supplementary materials, for publication on the ASECS website.

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Social Network Analysis (Roundtable)
Jennifer Golightly (Colorado College), jgolightly@coloradocollege.edu

This roundtable will showcase digital projects using social network analysis for better understanding networks of texts, ideas, and/or people over the course of the long eighteenth century. The scope of the roundtable is broad in the hopes of providing fresh ideas about using social network analysis for the study of history and texts. What are the advantages of using this particular approach? What are the limitations? Which tools are most useable for conducting such analysis in the humanities?

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Print Room Pedagogies: Teaching the Eighteenth Century in the Print Room
Hope Saska (CU Art Museum, University of Colorado Boulder), hope.saska@colorado.edu

“Other pictures we look at, his we read.” With this pithy quip, Charles Lamb summed up the expectations brought by Romantic viewers to William Hogarth’s images. Today, Lamb’s distinction between looking at and reading images continues to resonate, especially with curators, faculty, instructors and librarians who regularly use printed images, illustrated books and paintings as core features of our pedagogy. This panel invites papers that address print room pedagogies and asks: how do we provide tangible connections with the visual and material worlds of the eighteenth century? What are the histories of and best practices for using visual culture to teach skills associated with ‘reading’ and/or what we today call ‘close looking’ (perhaps an enhanced version of the ‘looking at’ that Lamb describes)? How might the historical function of the print room connect to its contemporary use for object-based learning? Case studies and histories of the study room are invited, and interdisciplinary studies are most welcome.

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Living with the Ancients
Caroline Gonda (Cambridge University), cjg29@cam.ac.uk and Paul Kelleher (Emory University), pkelleh@emory.edu

This panel seeks papers that offer new perspectives for understanding the surprising, creative, idiosyncratic (in a word, the ‘queer’) conversations that eighteenth-century writers and artists sustained with ancient culture. We are especially interested in how the Classics were ‘used’ as a way to shape and sustain lives that deviated from normative forms of sexual, gendered, and class identity. Further, we suspect that the relationship between the ‘public’ and the ‘private’ will be an important reference point for some or all of our panelists. Some preliminary questions that we have in mind (but ones that are not meant to be prescriptive): what does it mean to quote or commonplace the Classics in private writings and how can this become a way of claiming intellectual and cultural territory? How do impassioned investments in the Classics create a place of refuge and resistance to public identities that constrain or cramp the self? How are ‘modern’ engagements with the ancients simultaneously a dialogue with the Classics and an exploration and fashioning of the self? We welcome papers from all disciplines and national literatures.

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Performance and its Representations
Sarah R. Cohen (University at Albany, SUNY), scohen@albany.edu

This session aims to bring together studies of the performing arts—theater, music, dance—and of the diverse ways in which performance was represented in art and literature. Considerations of architectural staging of performative events and such self-reflective devices as theater-within-theater and fashionable appropriations of costume are encouraged. Priority will be given to papers that address the performing body as a transformational device that breaks down disciplinary boundaries in the arts.

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Changing Faces: New Directions in Portraiture
William W. Clark (Queens College and The Graduate Center, CUNY), wwclark@comcast.net

This session invites papers that study portraits from different, multiple perspectives. Possible avenues of investigation might include (but are not limited to) portraits by Europeans of orientals or colonial subjects, or vice versa; portraiture as a locus of cultural exchange; portraiture and performance theory; portraits of celebrities including performers, heroes, heroines, criminals and/or their victims; the role that furnishings, fashion, and other accoutrements play in the construction of identity; portraits and emotions, given the recent works by Vigarello and Corbin on the history of emotions; science and portraiture, as in medical portraits; politics and portraiture; sexuality and portraits.

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Interactions between Art and Insurance
Sarah Carter (McGill University), sarah.carter@mail.mcgill.ca and Matthew C. Hunter (McGill University), matthew.hunter3@mcgill.ca

From studies of brokered connectivity to forays in new materialism, the movement of artifacts across medial, geographic and temporal boundaries figure significantly in recent accounts of eighteenth-century art and culture. Yet, conspicuously less attention has been paid to the arts’ imbrication with actuarial techniques of insurance robustly used in the period to govern mobile and perishable valuables. The silence is curious. Beyond its central role in assigning value, insurance casts a significant shadow across histories of Anglo-American art. English fire insurance originates with Nicholas Barbon, speculative builder and virtual architect of what we now call ‘Georgian London’. The core collection of London’s National Gallery was built by insurance underwriter John Julius Angerstein. Where else might we find insurance’s impacts on the arts of the long eighteenth century? Indeed, should we be seeking to find any visible imprint at all when reckoning with what Lauren Berlant has called the “actuarial imaginary”? In sum, if knowing “how to pack it, how to track it, and so forth” were key concerns for the arts of the long eighteenth century as Jennifer L. Roberts has claimed, this panel seeks papers expanding upon this provocation: the history of Anglo-American art is a history of insurance.

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Collecting Studies for the Twenty-First Century: Circulation and Disruption
Anne Nellis Richter (American University), arichter@american.edu and Bénédicte Miyamoto (Université Sorbonne Nouvelle – Paris 3), benedicte.miyamoto@sorbonne-nouvelle.fr

The discipline of collecting studies has long focused on the acquisition of objects and the development of prestigious European collections in a period when collectors often represented their collections as perennial documents of family history and unfaltering taste. In honor of ASECS’ 50th anniversary, this panel is intended to take stock of the state of collecting studies and look forward to the new avenues opened up by considering the circulation of art, antiquities and furniture due to personal, political or social upheaval, and to intensifying art market dynamics shaped by war, revolution, and empire. As dealers, auctioneers, and collectors took advantage of such opportunities, modern practices of collecting and displaying art were shaped. What strategies of classification, attribution, provenance and display did an increasingly international art market foster, and what professional or institutional ethos informed these new models? We invite the studies of local to transnational circulation of artefacts from any disciplinary perspective (including material culture, art history, visual studies, museum studies, art market studies, and social history). This panel is designed to continue the 2017 panel “Art Markets: Agents, Dealers, Auctions, Collectors” by Wendy Wassyng Roworth (University of Rhode Island).

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Ancients, Moderns, and the Visual Arts
Aaron Wile (USC), awile@usc.edu and Jason Nguyen (USC), jason.nguyen@usc.edu

In 1687, Charles Perrault rocked the French Academy when he proclaimed that achievements of the present, fostered by Louis XIV, had surpassed those of classical Greece and Rome. Perrault’s declaration ignited a smoldering debate about the relative merits of the ancients and moderns. This debate, known as the Quarrel of the Ancients and Moderns, has long been maligned as pointless and academic, but recent scholarship has shown that it occasioned a profound shift in historical consciousness, calling into question the authority of the past and reconfiguring the values that gave art meaning. Though this work has transformed our understanding of the debate, the role of the visual arts has received relatively little attention. This session seeks to revisit the Quarrel and its relationship to the visual arts, in all media, during the long eighteenth century. How did artists engage with the classical past and its shifting position of authority? How did awareness of cultural and historical difference affect artistic practice? How were notions of modern progress rejected or defended (and how was progress defined in the first place)? And how did the shifts in historical consciousness prompted by the debate affect artistic thinking about temporality, anachronism, and memory?

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Caricature in Song and Graphic Satire
Ian Newman (University of Notre Dame), inewman@nd.edu and Harriet Guest (University of York), harriet.guest@york.ac.uk

Recent studies of the golden age of graphic satire have confirmed the importance of caricature to British culture in the late eighteenth and early nineteenth centuries. Prints by the Cruikshanks, Gillray, Newton, Rowlandson and others have become a mainstay of the critical arsenal, widely recognized as in conversation with newspaper reporting and contributing to networks of gossip about royal scandals, political intrigue, and other rumors of notable figures. Less frequently commented upon, however, is the importance of aurality to the iconography of print—the political ballads, theatrical songs, and culture of singing that is constantly referenced in graphic prints. Yet many of the recognizable caricatures that appeared in print satire—John Bull, Young Billy Pitt, Georgiana the Canvassing Duchess, Farmer George—were developed simultaneously in graphic satire and political ballads; numerous popular songs, such as those composed by Charles Dibdin, were referenced in graphic satire; and graphic prints frequently alluded to the culture of song, often mocking amateur musicians. This panel invites papers on any aspect of the traffic between song and graphic print, with a view to finding a critical language to consider visual satire and song together.

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Art and Material Culture from the Ibero-American Realms
Jeffrey Schrader (University of Colorado Denver), jeffrey.schrader@ucdenver.edu

This panel seeks to consider the art and material culture of Latin America within the “same world, different worlds” paradigms identified by the historian John H. Elliott in his studies of peninsular Spain and its American realms. According to these approaches, one may identify the transatlantic relationship as characterized chiefly either by continuity or by difference. Art historians have implicitly recognized these methods of classifying developments in the New World, although the paradigms deserve greater attention within eighteenth-century studies in light of the political shifts toward independence by the early 1800s. Topics for papers may include portraiture, religious imagery, fashion, architecture, goods transported by the galeón de Manila, the formation of art collections, as well as other themes.

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Going Public: Taking Eighteenth-Century Material Culture into the Public Eye
Mallory Porch (Auburn University), map0030@auburn.edu

Jennie Batchelor’s Lady’s Magazine project, with its public engagement element The Great Lady’s Magazine Stitch-Off, revealed an enthusiastic interest in both the scholarly and the lay community for re-creating and experiencing eighteenth-century material culture. The purpose of this panel is to provide an arena for scholarly inquiry into eighteenth-century material culture, and also to explore the ways in which scholars, costumers, and hobbyists have taken the eighteenth century into the public eye. The purpose of this panel is intentionally broad, with the possible inclusion of topics such as: working with an entity like Winturthur or Fairfax House, costuming for eighteenth-century plays or reenactments, pursuing an in-depth study of one eighteenth-century object, or any other relevant line of inquiry. Panelists are welcome to present innovative presentations and/or traditional papers.

 

Exhibition | Sense of Humor

Posted in exhibitions by Editor on June 25, 2018

Opening next month at the NGA in Washington:

Sense of Humor
National Gallery of Art, Washington, D.C., 15 July 2018 — 6 January 2019

Curated by Jonathan Bober, Judith Brodie, and Stacey Sell

James Gillray, Midas, Transmuting All into Paper, 1797, etching with hand-coloring in watercolor on laid paper, Wright and Evans 1851, no. 168, National Gallery of Art, Washington, 2015.49.1.

Humor may be fundamental to human experience, but its expression in painting and sculpture has been limited. Instead, prints, as the most widely distributed medium, and drawings, as the most private, have been the natural vehicles for comic content. Drawn from the National Gallery of Art’s collection, Sense of Humor celebrates this incredibly rich though easily overlooked tradition through works including Renaissance caricatures, biting English satires, and 20th-century comics. The exhibition includes major works by Pieter Brueghel the Elder, Jacques Callot, William Hogarth, James Gillray, Francisco Goya, and Honoré Daumier, as well as later examples by Alexander Calder, Red Grooms, Saul Steinberg, Art Spiegelman, and the Guerrilla Girls.

The exhibition is curated by Jonathan Bober, Andrew W. Mellon senior curator of prints and drawings; Judith Brodie, curator and head of the department of American and modern prints and drawings; and Stacey Sell, associate curator, department of old master drawings, all National Gallery of Art, Washington.

Display | Publishing at the Paul Mellon Centre

Posted in exhibitions by Editor on May 9, 2018

On view at the Mellon Centre:

Publishing at the Paul Mellon Centre: A Brief History
Paul Mellon Centre for Studies in British Art, London, 19 January — 18 May 2018

Organized by Emily Lees

The new Drawing Room Display and accompanying brochure are designed to give a brief introduction to the beginnings of our publishing history and to highlight the different strands of our list. We begin with the story of our very earliest publications; and then, to showcase the variety of our output, we have asked a selection of colleagues associated with the Centre to tell the stories behind some of our most important books. Inevitably, we only had space for a small selection of our publications in the display itself. However, to see our complete list, the variety of subjects we have covered and the pantheon of authors we have been privileged to work with, you will find a copy of every book we have published in the bookcases in the Drawing Room. All the material in this display is taken from the PMC’s institutional archive and library.

The 36-page brochure accompanying the display includes brief entries by ten contributors and is available online. As Emily Lees writes:

The Paul Mellon Centre’s first fully fledged publications, and the first of its books to be published in association with its long-standing partner, Yale University Press, was Ronald Paulson’s Hogarth: His Life, Art, and Times, which was published in the spring of 1971 (13).

Lecture Series | Thinking about Exhibitions

Posted in lectures (to attend) by Editor on March 12, 2018

This spring’s public lecture course at the Mellon Centre:

Thinking about Exhibitions: Interpretation, Reconstruction, and Curation
Paul Mellon Centre for Studies in British Art, London, Thursdays, 8 March — 12 April 2018 (excluding 29 March)

This five-part lecture course explores an exciting behind-the-scenes look at the research, writing, borrowing, design, and installation processes involved in putting on a major exhibition. Thinking about Exhibitions will use as case studies exhibitions held at major institutions around the world. Viewers can watch the lectures live on our Livestream page. Videos of the lectures will then be made available on our website 24 hours after the lecture.

8 March 2018
Mark Hallett | Looking Back: Three Eighteenth-Century Exhibitions

15 March 2018
Mark Hallett and Christine Riding | Looking Back: Hogarth, 2006–07 (Paris: Musée du Louvre; London: Tate Britain; and Barcelona: Caixa Forum)

22 March 2018
Mark Hallett and Sarah Victoria Turner | Looking Forward: The Great Spectacle: 250 Years of the Summer Exhibition, 2018 (London: Royal Academy)

5 April 2018
Mark Hallett and George Shaw | Looking Forward: George Shaw: A Corner of a Foreign Field, 2018–19 (New Haven: Yale Center for British Art; and Bath: Holburne Museum)

12 April 2018
Looking Back: Curating and Scholarship

The syllabus is available here»

Week One features our Director of Studies, Mark Hallett, discussing the history of exhibitions in Britain and reconstructs three eighteenth-century exhibitions.

Conference | CAA 2018, Los Angeles

Posted in conferences (to attend) by Editor on December 28, 2017

Please pay particular attention to the HECAA session, Imitation, Influence, and Invention in the Enlightenment, chaired by Heidi Strobel and Amber Ludwig, which takes place Wednesday morning at 8:30, and the ASECS session The 1790s, chaired by Julia Sienkewicz, scheduled for Friday afternoon at 2:00. In addition, a few spots for the American Institute for Conservation’s annual ‘Learning to Look’ workshop on Eighteenth-Century Mexican Painting, held at LACMA in connection with the exhibition Pintado en México, 1700–1790: Pinxit Mexici, have generously been reserved for Enfilade readers (please see details below and email Rebecca Rushfield at wittert@juno.com to RSVP). Finally, with more and more thematic offerings, I’ve inevitably missed material relevant to the eighteenth century; so, please don’t be bashful about noting panels omitted below. –CH

106th Annual Conference of the College Art Association
Los Angeles Convention Center, 21–24 February 2018

In 2018, CAA will return to LA for its 106th Annual Conference. The four-day event will be held at the Los Angeles Convention Center from Wednesday, February 21 through Saturday, February 24. The conference consists of over 300 presentations, panel discussions, workshops, special events, and exhibitions exploring the study, practice, and history of art and visual culture. As the best-attended international forum in the visual arts, the Annual Conference creates a community of practitioners, scholars, and the general public seeking to learn and connect. Attendees expand their professional networks, meet with potential employers, and strengthen their skills in professional-development workshops. CAA’s annual gathering facilitates networking opportunities and enables the exchange of ideas and information with colleagues from across the globe.

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Historicizing Loss in Early Modern Europe
Wednesday, 21 February, 8:30–10:00am

Chair: Julia Vazquez (Columbia University)

• Losing Battles: The Memory of Perfection in Sixteenth-Century Italy, Francesca Borgo (Getty Research Institute)
• Villalpando’s View of the Zócalo of Mexico City and the Destruction of the Viceregal Palace in 1692: History or Politics?, Luis Javier Cuesta Hernández (Universidad Iberoamericana, Mexico City)
• Wax, Fire, and the Search for an Imperishable Medium, circa 1754, Oliver Wunsch (Harvard University)

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Imitation, Influence, and Invention in the Enlightenment (HECAA)
Wednesday, 21 February, 8:30–10:00am

Chairs: Heidi A. Strobel (University of Evansville) and Amber Ludwig (Independent Scholar)

• Contextualizing Carmontelle’s Profile Pictures: A Re-examination of an Amateur Artist’s Face-books, Margot Bernstein (Columbia University)
• Invention for imitation: The Troubled Status of Macklin Bible Paintings, Naomi Billingsley (University of Manchester)
• Fashion, Subjectivity, and Sociability in the Amateur Copy: Fleury Richard à la Hortense de Beauharnais, Marina Kliger (New York University)
• Artistic Copies, Imitation, and Exchange Value: The Case of Colonial Mexico’s Academy of Art, Oscar E. Vázquez (University of Illinois at Urbana-Champaign)

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State of the Art (History): Re-Examining the Exam (AHPT)
Wednesday, 21 February, 10:30–12:00

Chairs: Karen D. Shelby (Baruch College, The City University of New York/Art History Teaching Resources) and Virginia B. Spivey (Independent Scholar/Art History Teaching Resources)

• Agency in Test Design as Motivation for Art History Students, Eleanor Moseman (Colorado State University, Department of Art and Art History)
• Assessing Applied Art History: The eBay Project, Lisa Langlois (SUNY Oswego)
• When the Projector Fails: Transforming the Slide Exam, Martha Hollander (Hofstra University)
• Breaking Binaries: The Magic Square Essay Exam, Janice Simon (University of Georgia)
• Reacting to the Past: Game Play as a Replacement for Traditional Assessment Methods, Mary Frances Zawadzki, (Texas A&M)
• One Objective, Four Ways to Meet It: Replacing High-Stakes Exams with Multi-Option Creative Projects, Cara Smulevitz (San Diego Mesa College)
• EVERY BODY: Physical Engagement and Making in Portfolio Assessments for the General Education Art History Survey, Susannah Kite Strang (Arrupe College of Loyola University Chicago)
• Synthesizing the Survey, Illustrating the Timeline: Rethinking History Assignments for Design Students, Alexa Griffith Winton (Ryerson School of Interior Design)
• Alternative Student Projects for Assessment in Art History Courses, Michele Wirt

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The French Fragment: Revolution to Fin-de-Siècle, Part I
Wednesday, 21 February, 10:30–12:00

Chairs: Emily Eastgate Brink (University of Western Australia) and Marika Knowles (Harvard University)

• Painting History in the Shadow of the Guillotine, Stephanie O’Rourke (University of St. Andrews)
• The Artist Underwhelmed by the Grandeur of Antique Monuments: Fragment and Counter-Fragment, Mark Ledbury (University of Sydney)
• Broken Guardians: The Lamassu and Fragmented Historical Vision in Nineteenth-Century France, Sarah C. Schaefer (University of Wisconsin, Milwaukee)
• Fragments and Fragmentary Vision in Nineteenth-Century Architectural Photographs, Peter Sealy (University of Toronto)

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Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part I
Wednesday, 21 February, 10:30–12:00

Chair: Justina Spencer (Carleton University)

• Roots, Routes, and Resignification: The Life Changing Travels of Louis XIV Prints and Medals, Robert Wellington (Australian National University)
• ‘The Noblest Building of all the East’: The Porcelain Pagoda of Nanjing in Europe, 1665–1762, Kara Lindsey Blakley (The University of Melbourne)
• Cultivating a Global Vision from Afar: Travel Journals Depicting the Port of Nagasaki During the Edo Period (1603–1868), Russell Kelty (Art Gallery of South Australia)

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Free/Open Workshop, Learning to Look: Eighteenth-Century Mexican Painting
Wednesday, 21 February, 12:30–2:00pm

Organized by Rebecca Rushfield

For this installment of the American Institute for Conservation’s annual ‘Learning to Look’ workshop, Ilona Katzew, curator, and Joe Fronek, conservator, will discuss the material aspects of works in the LACMA exhibit, Pintado en México, 1700–1790: Pinxit Mexici, in the museum’s galleries with participation from workshop attendees. Advance registration required. Please RSVP to Rebecca Rushfield at wittert@juno.com by February 16, 2018.

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Art, Agency, and the Making of Identities at a Global Level, 1600–2000, Part I
Wednesday, 21 February, 2:00–3:30pm

Chairs: Noémie Etienne (Bern University) and Yaelle Biro (The Metropolitan Museum of Art)

• The Picturesque in Peking: European Decoration at the Qing Court, Helen Glaister (SOAS, University of London/Victoria and Albert Museum, London)
• A Transnational Loop: Pakistan’s Repossession of the Oriental Carpet Imaginary and its Production, Dorothy Armstrong (Victoria and Albert Museum/Royal College of Art, London)
• The Rivers Folded: Souvenir Accordion Panoramas in the Late Nineteenth-Century Global Tourism, Tingting Xu (University of Chicago)
• Lozi Style: King Lewanika and the Marketing of Barotseland, Karen E. Milbourne (Smithsonian National Museum of African Art)

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Circumventing Censorship in Global Eighteenth-Century Visual Culture
Wednesday, 21 February, 2:00–3:30pm

Chairs: Lauren G. Kilroy-Ewbank (Pepperdine University) and Kristen L. Chiem (Pepperdine University)

• The Pueblo Revolt and the Art of Resistance, Caroline Jean Fernald (Millicent Rogers Museum)
• Ganymede, Eros, and Winged-Phalli, Joseph Cotter (Pennsylvania State University)
• Censoring the Sultan? Imperial Epigraphy and Popular Exegesis, David Simonowitz (Pepperdine University)
• Seditious Words, Innocuous Images? Qing Literary Inquisitions and the Visual Realm, Kristen L. Chiem (Pepperdine University)

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Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part II
Wednesday, 21 February, 4:00–5:30pm

Chair: Justina Spencer (Carleton University)

• Matters of Resemblance and Remembrance, between Istanbul and Venice, Elizabeth Rodini (Johns Hopkins University)
• Ottoman Diplomatic Ceremonies as seen through the Eyes of the Flemish Artist Pieter Coecke van Aelst (1533), Talitha Maria G. Schepers (The Courtauld Institute of Art)
• Texture, Touch, and Color in the Ottoman Costume Book: On the Interpretation of Transcultural Art, Elisabeth Fraser (University of South Florida)

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All in the Family: Northern European Artistic Dynasties, ca. 1350–1750 (HNA)
Wednesday, 21 February, 4:00–5:30pm

Chair: Catharine Ingersoll (Virginia Military Institute)

• Visualizing the Francken Family Legacy: On the Gallery Paintings of Frans II Francken (1581-1642), Jamie Richardson (Bryn Mawr College)
• David Teniers II as a Brueghel, Lloyd DeWitt (Chrysler Museum of Art)
• Marketing Matriarchy: Maria Sibylla Merian, her Daughters, and their Blooming Watercolors, Catherine Powell (The University of Texas at Austin)
• The Far-flung Bendls: Stylistic Connections between Four Generations of an Early Modern Sculptural Family, Mirka C. Døj-Fetté (Princeton University)

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Objects of Change? Art, Liberalism, and Reform across the Eighteenth and Nineteenth Centuries
Wednesday, 21 February, 4:00–5:30pm

Chairs: Caitlin Beach (Columbia University) and Emily Casey (St. Mary’s College of Maryland)

• Engraving’s ‘Immoveable Veil of Black’: Phillis Wheatley’s Portrait and the Politics of Technique, Jennifer Chuong (Harvard University)
• Fire Prevention, Prefabrication, and Containing: Techniques of Managing Labor across the Early Nineteenth-Century British Atlantic, Jonah Rowen (Columbia University)
• A Visual Riot: Reform and Dissent in The History of Pennsylvania Hall (1838), Emily S. Warner (Vassar College)
• Archive Against Crime: Cesare Lombroso and Seeing the Criminal, Not the Crime, in Post-Risorgimento Italy, Nicole Coffineau (University of Pittsburgh)

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Yale University Press Exhibitor Session: Art and Architecture ePortal
Wednesday, 21 February, 4:00–5:30pm

Chairs: Patricia Fidler (Yale University Press) and Sara Sapire (Yale University Press)

Yale University Press has recently received grants from the Andrew W. Mellon Foundation to create an electronic portal for art and architectural history content. YUP believes that building a dynamic and specialized destination for scholarly content will be of significant value to the field. Backlist and out-of-print titles are currently being converted into ePub for the site and extensive metadata tagging of images is underway. Importantly, fair use is being asserted for the images used on this scholarly platform. While the initial content is from YUP and some of its exclusive museum partners, including its project partner the Art Institute of Chicago, the intention is for the portal to accommodate scholarly content from other university presses and museums. The site has also been built to publish born-digital content, which could provide a welcome new option for scholars and publishers alike, and features the ability to create custom coursepacks for teaching purposes. Members from YUP’s ePortal team will provide a formal demonstration of the beta site and will encourage questions and discussion from attendees. The Press will also collect important feedback from the audience (i.e., potential users) in the form of a questionnaire, which will inform further work on the project.

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Routledge, Taylor & Francis Exhibitor Session: How to Get Published and How to Get Read
Thursday, 22 February, 8:30–10:00am

Chair: Geraldine Richards (Routledge, Taylor & Francis)

This panel discussion is designed for scholars and artists looking to submit an article or book proposal for academic publication. Whether you are a seasoned publishing veteran or new to the publishing landscape, this session offers practical advice on how to get published and how to get read with helpful tricks and tips from journal editors, book authors, and visual arts Routledge staff.

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Envisioning Time in Early Modern China
Thursday, 22 February, 8:30–10:00am

Chair: Daniel M. Greenberg (Columbia University)

• The Temporality of the Rebus, Sophie Volpp (University of California, Berkeley)
• The Artful Time Machine: Horology, Art, and History, Lihong Liu (University of Rochester)
• Guest Ritual and the Shape of History, Daniel Greenberg (Columbia University)
Discussant: Patricio Keith Fleming Moxey (Barnard College)

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The ‘Three Empires’ Redux: Islamic Interregionality in the Age of Modernity (HIAA)
Thursday, 22 February, 10:30–12:00

Chairs: Chanchal Dadlani (Wake Forest University) and Ünver Rüstem (Johns Hopkins University)

• Transcultural Compilations in Eighteenth-Century Ottoman Albums: Connecting the Islamicate World through Material Exchange and Literary Imagination, Gwendolyn Collaço (Harvard University)
• Remembering Rūm: Worldly Milieus and the ‘Bastard’ Architecture of Colonial Modernity in a Hindu Pilgrimage Site, Sugata Ray (University of California, Berkeley)
• The Nasir al-Din Shah Album: A Narrative of Collecting from the Mughals to the Qajars, Naciem Nikkhah (University of Cambridge)
• Imperium Camera: How Photography Revolutionized Islamicate Empires in the Nineteenth Century, Staci Gem Scheiwiller (California State University, Stanislaus)
• Discussant: Anastassiia Botchkareva (Independent Scholar)

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The Audience as Producer, 1750–1900
Thursday, 22 February, 4:00–5:30pm

Chair: Todd Cronan (Emory University)

• On Hogarth’s Murder (Considered as one of the Fine Arts), Gordon Hughes (Rice University)
• The Figure of the Audience in Late Nineteenth-Century French Art, Bridget Alsdorf (Princeton University)
• Paranoiac Vision, Marnin Young (Yeshiva University)
• Art Against the Audience: Mallarmé and Frank Walter Benn Michaels (University of Illinois at Chicago)

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Teaching and Writing the Art Histories of Latin American Los Angeles (AHSC)
Thursday, 22 February, 6:00–7:30pm

• Decolonizing Art History: Institutional Challenges and the Histories of Latinx and Latin American Art, Charlene Villaseñor Black (UCLA, Keynote Speaker)
• Xerografia: Copyart in Brazil, 1970–1990: Local Art Histories and Common Points Across the Art Histories of Vastly Different Countries, Erin Aldana (Guest Curator and Research Scholar, University of San Diego)
• Félix González-Torres as a (Post)Latino Artist, Elizabeth Cerejido (University of Florida, Gainesville)
• Chicana/o Remix: Rethinking Art Histories and Endgames, Karen Mary Davalos (University of Minnesota, Twin Cities)
• Voids of the Aggregate: Materializing Ethnic Mexicans in Mission Revival and Spanish Colonial Revival Architecture in Southern California, Carolyn J. Schutten (University of California Riverside)

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A Critical Conversation on Affect Theory, Neuroscience, and Art-Science Collaborations
Friday, 23 February, 2:00–3:30pm

Chair: Anna Sigrídur Arnar, Minnesota State University Moorhead

• From Novalis to Neuroscience: Models for Art History, James Elkins (School of the Art Institute of Chicago)
• Knowing and Not-Knowing Matter, Sally McKay (McMaster University)
• Neuropower, Warren Neidich (Weissensee Kunst Hochschule Berlin)
• Discussants: Eduardo Kac (School of the Art Institute of Chicago) and Barbara Maria Stafford (University of Chicago, Emerita)

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Collaboration on Paper
Friday, 23 February, 2:00–3:30pm

Chairs: Lisa Pon (Southern Methodist University) and Dario Donetti (Kunsthistorisches Institut in Florenz Max Planck Institute)

• Inventing the New St. Peter’s: Drawing and Emulation in Renaissance Architecture, Dario Donetti (Kunsthistorisches Institut in Florenz Max Planck Institute)
• Drawing Together: Painters and Architects in Eighteenth-Century France, Basile Baudez (Université Paris Sorbonne)
• Drawing as Development: Competition, Collaboration, and Internationalism at the University of Baghdad, Michael Kubo (University of Houston)
• Discussant: Cammy Brothers (Northeastern University)

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The 1790s (ASECS)
Friday, 23 February, 2:00–3:30pm

Chair: Julia A. Sienkewicz (Roanoke College)

• Love and Loss Sublime: Claude-Vernet’s Death of Virginia (1798) at the End of the Eighteenth Century in France, Thomas Beachdel (Hostos Community College, City University of New York)
• The Status of the Artist in the Wake of the French Revolution: A Crisis told through Caricature, Kathryn Desplanque (University of North Carolina)
• Revolution and Artistic Reaction: The French 1790s, Daniella Berman (Institute of Fine Arts, New York University)

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Materials, Makers, and Commissions: Moving Objects between Asia, Europe, and the Americas during Early Modern Globalization
Saturday, 24 February, 10:30–12:00

Chair: Anton Schweizer (Kyushu University)

• Locating the Hispano-Philippine Ivory, Stephanie Porras (Tulane University)
• ‘Please Send a Picture of Feathers…’: Mexican Featherwork in Japan and the Transfer of a New World Phenomenon, Sofía Sanabrais (Independent Scholar)
• The Economy of Japanese Export Lacquer in Eighteenth-Century France, Monika Bincsik (The Metropolitan Museum of Art)
• Puppets for the Margravine: Rediscovering Japanese Ephemera of the Seventeenth Century, Anton Schweizer (Kyushu University)

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Update (added 28 January 2018) — Unfortunately, the original version of this posting omitted the panel Travel, Diplomacy, and Networks of Global Exchange in the Early Modern Period, Part II, scheduled for Wednesday, 21 February, 4:00–5:30pm.

Frick Acquires Gérard’s Portrait of Prince Camillo Borghese

Posted in museums by Editor on December 8, 2017

Press release (5 December 2017) from The Frick Collection:

François-Pascal-Simon Gérard, Camillo Borghese, ca. 1810, oil on canvas, 84 x 55 (New York: The Frick Collection).

The Frick Collection announces its most important painting purchase since 1991 with the acquisition of François-Pascal-Simon Gérard’s full-length portrait of Prince Camillo Borghese, a notable art patron and the brother-in-law of Napoleon Bonaparte. Gérard (1770–1837) was one of the most significant French artists of the first half of the nineteenth century, and this stunning canvas will coalesce seamlessly with the museum’s holdings, which until now have not included his work. Chronologically, the painting sits between the museum’s French masterpieces by Boucher and Fragonard and later works by Ingres, Renoir, Monet, and Manet, while joining contemporaneous portraits by Chinard and David. It will, likewise, find good company in major works of portraiture by Bronzino, Rembrandt, Titian, Holbein, Van Dyck, Gainsborough, Reynolds, Romney, and Hogarth, Goya, and Whistler. Following conservation and technical study this winter and spring at The Metropolitan Museum of Art, Prince Camillo Borghese will go on view at the Frick later in 2018.

Comments Chairman of the Board of Trustees Elizabeth Eveillard, “The Frick’s holdings, as a group, have been compared to a necklace assembled one precious pearl at a time. The sentiment reflects the modest scale of the collection born of its founder’s individual taste, balanced by the absolute requirement of quality. Just as Henry Clay Frick (1849–1919) made a series of unrushed choices, the growth of the collection in nearly one hundred years since his passing has been steady but measured, including sculpture and decorative arts, always meeting the criteria of high quality. With this striking painting, coming to the Frick with an unbroken provenance from the Borghese family, still on its original, unlined canvas, and in its original frame, the Frick has found a rare masterpiece to harmonize with its esteemed holdings.” Adds Director Ian Wardropper, “The last opportunity the Frick had to purchase a major French School painting was nearly thirty years ago, with the acquisition of Watteau’s Portal of Valenciennes. Today, it is deeply rewarding to have the rare opportunity to bring to the museum such an important work as this one, a historic portrait we feel would have compelled Henry Clay Frick. While the portrait has been shown in Rome, it has never been seen publicly in America. We look forward to sharing it in the atmospheric setting of the former Frick residence and among equally well chosen works.”

About the Artist, Portraitist to the Bonaparte Family

Gérard studied with the painter Jacques-Louis David (1748–1825), becoming one of his most talented pupils. At the time of the French Revolution, Gérard produced a number of historic paintings, including his celebrated Belisarius and Cupid and Psyche. In 1796, he painted a portrait of his friend the miniaturist Jean-Baptiste Isabey (1767–1855) and his daughter (all three works can be seen at the Musée du Louvre, Paris). The latter work marked Gérard’s public success as portraitist, and it soon became the primary genre in which he worked. With the advent of Napoleon, the artist found enormous favor with the emperor and his immediate family. Made a Baron of the Empire in 1809, Gérard exhibited a vast number of portraits at the various Paris Salon exhibitions almost every year during the first quarter of the nineteenth century. Even after the fall of Napoleon, in 1815, Gérard’s stellar career continued under the Bourbon Restoration in France.

Gérard’s role as portraitist to the Bonaparte family was the apex of his career. From the early 1800s until the fall of the empire in 1815, he portrayed most members of the imperial family, works that are today highlights of major collections internationally. These include Napoleon in coronation robes (Château de Versailles), his mother, Letizia Ramolino (Scottish National Gallery, Edinburgh), and the Empress Josephine (Hermitage, Saint Petersburg). Napoleon’s brothers Joseph and Louis, brother-in-law Joachim Murat, sisters Elisa and Caroline, and sister-in-law Hortense de Beauharnais also sat at different times for him. The Metropolitan Museum of Art owns large portraits by Gérard of Madame Talleyrand and her celebrated husband, politician Charles Maurice de Talleyrand Périgord.

The Borghese Family: Aristocratic Collectors and Patrons of the Arts

Camillo Borghese was born to one of the most important families of the Roman aristocracy. The family acquired substantial works of fine and decorative arts, patronizing sculptor Giovan Lorenzo Bernini in the seventeenth century and figures such as the silversmith and decorator Luigi Valadier in the eighteenth century. They were also interested in antiquities, and today their collection remains the foundation of the Greek and Roman holdings of the Musée du Louvre. Also a patron of the arts, Prince Borghese is most famously remembered for commissioning from Antonio Canova a full-length sculpture of his wife in the nude, as Victorious Venus. One of the best-known and beloved sculptures in Rome from the moment it was carved, this marble statue of Paolina Borghese is today one of the glories of Villa Borghese.

The family was known for its Napoleonic sympathies, and Camillo moved to Paris in 1796. In 1803 he married Napoleon’s favorite sister, Paolina Bonaparte (1780–1825). It was a tempestuous marriage. At first, the couple lived in gilded splendor between Paris and Rome, where they refurbished the apartments of Camillo’s parents in the Palazzo Borghese; however, they soon became estranged and each took lovers. Paolina was still officially at her husband’s side when, in February 1808, Napoleon effectively put him in charge of Piedmont, Liguria, Parma, and Piacenza. Camillo and Paolina moved from Paris to Turin in April of that year and lived between the Piedmontese capital, Paris, and Rome until April 1814. In 1808, when Camillo and Paolina moved to Turin, they shipped most of the paintings, sculptures, silver, and porcelain from the Palazzo Borghese in Rome to their new residence. In 1814, they returned to Rome, and an inventory drafted on April 25, 1814—lists a portrait of the prince, likely this one, which has become the official and most famous image of him, and is understood from the iconography in the work to have been painted around 1810 in Paris.

Lubaina Himid Wins the 2017 Turner Prize

Posted in today in light of the 18th century by Editor on December 7, 2017


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Lubaina Himid, this year’s Turner Prize winner, engages various themes relevant to the eighteenth century—from porcelain to slavery to Hogarth—within the larger context of African diasporan contributions “to the richness and layering of European culture.” The work is on display at Ferens Art Gallery, Hull for a few more weeks.

Turner Prize 2017
Ferens Art Gallery, Hull, 26 September 2017 — 7 January 2018

Turner Prize, one of the world’s most renowned art prizes, is awarded by Tate to an artist who has exhibited outstanding work in the previous year. The four shortlisted artists for 2017—Hurvin Anderson, Andrea Büttner, Lubaina Himid, and Rosalind Nashashibi—will exhibit their work at Ferens Art Gallery, Hull, from September with the overall winner announced in early December. Through genres such as portraiture, landscape and still life, the four artists explore how art is able to respond to political and social upheaval.

The Burlington Magazine, October 2017

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on October 27, 2017

The eighteenth century in The Burlington:

The Burlington Magazine 159 (October 2017)

A R T I C L E S

• Gauvin Alexander Bailey, “Rococo in Eighteenth-Century Beijing: Ornament Prints and the Design of the European Palaces at Yuanming Yuan,” pp. 778–88.
• J. P. Losty, “Eighteenth-Century Mughal Paintings from the Swinton Collection,” pp. 789–99.

R E V I E W S

• Rose Kerr, Review of John Ayers, Chinese and Japanese Works of Art in the Collection of Her Majesty The Queen (Royal Collection Trust, 2016), pp. 822–23.
• Marjorie Trusted, Review of Alan Chong, ed., Christianity in Asia: Sacred Art and Visual Splendour (Asian Civilizations Museum, 2016), pp. 823–24.
• Milo Beach, Review of Terence McInerney, Divine Pleasures: Painting from India’s Rajput Courts: The Kronos Collections (The Metropolitan Museum of Art, 2016), pp. 824–25.
• Aida Yuen Wong, Review of Petra ten-Doesschate Chu and Ning Ding, eds., Qing Encounters: Artistic Exchanges Between China and the West (Getty Publications, 2015), p. 826.
• David Bindman, Review of Elizabeth Einberg, William Hogarth: A Complete Catalogue of the Paintings (The Paul Mellon Centre for Studies in British Art, 2016), pp. 827–29.
• Robert O’Byrne, Review of Mark Clark, The Dublin Civic Portrait Collection: Patronage, Politics, and Patriotism, 1603–2013 (Four Courts Press, 2016), p. 832.
• Charles Beddington, Review of the exhibition Eyewitness Views: Making History in Eighteenth-Century Europe (The Getty Center, Los Angeles, 2017; Minneapolis Institute of Art, 2017; and The Cleveland Museum of Art, 2018), pp. 856–58.

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Exhibition | The World Turned Upside Down

Posted in exhibitions by internjmb on October 12, 2017

Benjamin West, Death on the Pale Horse, 1796, oil on canvas, 128.5 × 59.5 cm
(Detroit Institute of Arts)

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Now on view at the Haggerty Museum of Art:

The World Turned Upside Down: Apocalyptic Imagery in England, 1750–1850
Haggerty Museum of Art, Marquette University, Milwaukee, 6 October 2017 —  14 January 2018

All that can be annihilated must be annihilated
That the Children of Jerusalem may be saved from slavery.
–William Blake, Milton, ca. 1804–11

The threat of apocalyptic destruction loomed large in eighteenth- and nineteenth-century England, which stood as one of the most powerful nations in the world. Cataclysmic change occurred frequently within and beyond its borders. Political upheavals, natural disasters, and new foreign adversaries led many to believe that the end was at hand. The French Revolution of 1789 in particular was widely seen as the spark of the oncoming apocalypse—whether this was a source of celebration or fear was a matter of significant debate.

At the same time, England’s artistic activity was growing significantly. The Royal Academy of Arts was founded in 1768, and London’s art market saw exponential expansion. In this political and cultural climate, audiences were eager for subjects of destruction and terror. The rise of Romanticism, with its emphasis on the supernatural, grotesque, and terrifying, led artists to explore apocalyptic sources from the Bible to John Milton. Caricaturists couched contemporary events in the language of the apocalypse. Despite their satirical nature, these images often seem prophetic in light of the political changes to come.

The World Turned Upside Down explores the myriad ways that artists in England visualized the apocalypse in a period fraught with political, religious, economic, and cultural change. From political prints to monumental paintings, lavishly illustrated books to cheap pamphlets, apocalyptic imagery pervaded every aspect of English visual culture in this period. The diversity of artistic responses to the dramatic events of the time makes one thing clear: anxiety about the future—of one’s soul and of the English nation as a whole—was inescapable.

William Hogarth, Tailpiece, or The Bathos (detail), 1764, etching and engraving, 31.8 × 33.3 cm
(New York: The Metropolitan Museum of Art)

 

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