Colonial Williamsburg Acquires Rare 1780 Map
Press release (7 May 2019) from Colonial Williamsburg:
A Map of South Carolina and a Part of Georgia…, published by William Faden (1750–1836) after William Gerard De Brahm (1718–ca. 1799) after Thomas Jeffreys (ca. 1710–1771), London, 1780; black and white line engraving with period hand color on laid paper, in two sheets: top sheet 28 × 48 inches, bottom sheet 28 × 48 inches (Colonial Williamsburg Foundation, Museum Purchase, 2019-59, A&B).
The Colonial Williamsburg Foundation has recently acquired a very rare copy of A Map of South Carolina and a Part of Georgia published in 1780 by William Faden based on a 1757 version made by the cartographers William Gerard De Brahm and published by Thomas Jefferys. Although other copies are known to exist, this example, which is in pristine condition with vibrant original color, is the first known to have become available in several decades. The large-scale map (about 4½ feet tall by 4 feet wide) is a significantly revised version of the 1757 document by De Brahm, and when paired with this earlier version of the map (a copy already exists in the Colonial Williamsburg collection) the two maps tell a compelling story. Together they show a visual comparison about the extent to which the South Carolinians and Georgians settled the western frontiers of their colonies during the period between the French and Indian War and the American Revolution.
“Colonial Williamsburg collects objects such as the Faden map not only for their inherent beauty, but for their intrinsic value as documents of past peoples, places, and events,” said Ronald L. Hurst, the Foundation’s Carlisle H. Humelsine Chief Curator and Vice President for Collections, Conservation, and Museums. “Remarkably well preserved, the Faden map will be used with other cartographic documents and three-dimensional objects to illustrate the movement of cultural groups from the seacoast to the southern backcountry on the eve of the Revolution.”
To best understand why this map is so extraordinary beyond its scarcity, one needs to first understand who made it, how it was originally intended for use and how it came to be revised over time, beginning with the original 1757 version. The story begins with the map’s cartographer, William Gerard De Brahm (1717–1798). Born in southern Germany, he served as a military engineer in the Bavarian army until 1748 and thereafter was expelled from Bavaria for renouncing his Catholic faith in favor of Protestantism. With the encouragement of the Bishop of Augsburg, Samuel Urlsperger, he led a group of 156 German Protestants to settle in the Salzberger community of Ebenezer, Georgia, in 1751. Shortly after his arrival, his skills as a trained surveyor and engineer were recognized in both Georgia and South Carolina, and by 1752 De Brahm was selected by Governor James Glen of South Carolina to design and construct a system of fortifications for Charleston. Two years later, De Brahm was appointed Surveyor General of South Carolina. Realizing that there would be a war with France, the British Board of Trade requested that each colony supply maps of their topographical surveys, the resulting map depicted geography that was vastly superior to any previous map of the region.
De Brahm used his training as an engineer to create a map that aimed to assist colonists in settling the vast wilderness of the region. He meticulously and scientifically represented details, such as settlements, land quality, climate, coastlines, waterways, and the suitability of soil for agricultural growth. The map delineates plantation landscapes belonging to European settlers, while the cartouche depicts the enslaved Africans who would be forced to work the land. Native Americans’ lands in the interior of the Colonies are mentioned sporadically, but much of the map was left blank, suggesting endless possibilities for European settlement. Once all the information was compiled, De Brahm sent the map to the Board of Trade in England, which then approved it and commissioned cartographer, engraver, and map seller Thomas Jeffreys, who served as Geographer to King George III, to publish it. The resulting map, published in London on October 20, 1757 (during the French and Indian War), illustrates the progress as well as the potential of the area.
The second version of the map was published at the height of the Revolution. By 1778, the British had taken Savannah, and in April 1780, once Charleston fell to the British, the focus of the war shifted to the Southern Colonies. Given the contemporary interest in the region, Thomas Jeffreys’s successor, William Faden, altered the 1757 copperplates with updated information on the region, publishing it in June 1780. The revisions were so major that some scholars consider the result to be virtually a new map. This new version included county names, roadways, new place names, and settlements across the entire map, revealing the amount of new information that was gathered over a span of less than 20 years during a time when Britain was focused on expanding and populating its empire in North America and the backcountry of South Carolina was opened up for English settlement. The alterations were largely based on the surveys gathered by John Stuart, the Superintendent of Indian Affairs for the Southern District from the 1760s to his death in 1779. Stuart frequently complained to royal officials in Britain that he lacked accurate maps of the backcountry to conduct his work, which frequently involved boundary disputes between Native Americans and settlers. He provided his findings to the Board of Trade, who, in turn, hired Faden to publish the updated version. The 1780 edition of the map reflects the westward movement of the population.
“De Brahm’s map of South Carolina and Georgia was viewed in the period, as it is today, as a remarkable achievement of eighteenth-century cartography,” said Katie McKinney, Colonial Williamsburg’s assistant curator of maps and prints. “The blank space on the 1757 map is one of its most striking features, which never aimed to detail the backcountry landscape. It makes sense that when looking to publish a map on the region that Faden would use De Brahm’s map as a template to incorporate new information about these Southern colonies. Compared to the earlier version, this map will allow us to better interpret the westward movement of people and objects in the region throughout the eighteenth century.”
The Georgetown Precinct reflects the extensive revisions made to the 1757 map on the 1780 map. The original map primarily illustrated topography and land use as evidenced by the detail, whereas the 1780 map focused on roadways, waterways, landowners and settlement. The 1780 map shows the intricate rivers and streams that made up the Pee Dee River. Georgetown Precinct thrived financially in the eighteenth century as home to some of the wealthiest indigo and rice planting operations in the low country, which relied on the work of enslaved laborers.
The Art Museums of Colonial Williamsburg remain open during construction of an entirely donor-funded $41.7 million expansion. Additional information about the Art Museums and Colonial Williamsburg is available online.
Call for Papers | Public Good(s)
Public Good(s)
Biennial Conference of the Aphra Behn Society and the Frances Burney Society
Caroline Marshall Draughon Center for Arts & Humanities, Auburn University, 5–9 November 2019
Proposals due by 15 May 2019
Auburn University College of Liberal Arts will host the biennial joint meeting of the Aphra Behn and Frances Burney Societies November 5–9, 2019 at the Caroline Marshall Draughon Center for Arts & Humanities, located at historic Pebble Hill in Auburn, Alabama. In the spirit of the College’s work supporting humanities outreach to the public, we seek papers, roundtables, and workshops that engage with the idea of public good(s). As Behn and Burney both knew, public action is both vital and fraught, and working towards a better world can take many forms. We seek presentations and workshops that engage with the questions around public engagement and advocacy, historically and practically.
• How do we share what we know about the long tradition of women’s work in the arts in new ways to new audiences?
• What strategies do we have when faced with apathy or even hostility?
• How do the lives and work of women from the long eighteenth-century (1660–1840) speak to our current concerns?
• How do we grapple with misinformation, archival absences, and other challenges?
• Most importantly and most urgently: how do we decolonize the study of women writers and artists in keeping with the principles of #BIPOC18, #Bigger6 and #LitPOC values?
Formats
• Individual Papers: Traditional (12–15 minute) papers, to be delivered on panels.
• Roundtables: Groups of 4–5 speakers, each speaking for no more than 5 minutes, on a shared topic. Roundtable organizers are encouraged to solicit contributors publicly prior to submission, and to contact the organizers if they would like assistance.
• Workshops: Dedicated small (12 person) room will be set aside from workshops introducing interested attendees to a new method of research, teaching, or outreach. Participants will sign up at registration, and every attempt will be made to ensure that, and materials will be available after the conference. Leaders are sought for sessions on journal article submission, starting a digital project, new pedagogical techniques, managing a social media presence, outreach projects, and the like.
Keynote address by Dr. Patricia Matthew (Montclair State University), Thursday, 7 November 2019
More information is available here»
Exhibition | Hogarth: Cruelty and Humor
Press release for the exhibition:
Hogarth: Cruelty and Humor
The Morgan Library & Museum, New York, 24 May — 22 September 2019
Curated by Jennifer Tonkovich
William Hogarth, Gin Street, 1750–51, red chalk, some graphite, on paper, incised with stylus (New York: The Morgan Library & Museum, purchased by Pierpont Morgan in 1909).
The Morgan Library & Museum announces a new exhibition of satirical drawings and prints by renowned artist William Hogarth (1697–1764). Best known for his humorous political commentary, Hogarth’s work engaged a broad audience and agitated for legislative and social change. His intricate drawings and richly anecdotal scenes depict the ills and injustices of eighteenth-century urban life, exploring the connections between violence, crime, alcohol abuse, and cruelty to animals. He hoped his graphic work would amuse, shock, and ultimately edify his audience. Hogarth: Cruelty and Humor tells the story of Hogarth’s iconic images and the social realities of life in Georgian London that inspired him to advocate for reform through popular works of art. It is the first show at the Morgan devoted to this artist, whose style was so influential in British art that the word ‘Hogarthian’ remains a recognizable way of describing works of satire.
Featuring over twenty works, the show investigates Hogarth’s creative process and examines his embrace of humor, highlighting the Morgan’s exceptional cache of preparatory drawings for his two most acclaimed print series from 1751: Beer Street and Gin Lane, and The Stages of Cruelty. Hogarth’s prints documenting the dangerous impact of the gin craze, Beer Street and Gin Lane, generated popular support for the 1751 Gin Act and other reform efforts, while the Stages of Cruelty reflects the growing anxiety about episodes of human brutality in London. Included in the show are the only other two known studies related to the Stages of Cruelty; these works reveal the complex generative process of the series. Also on view are drawings from The Royal Collection Trust that represent Hogarth’s first and last forays into satire.
Fiercely independent, Hogarth was driven to innovate in order to elevate the status of British art, creating new genres and modes of expression in his painting, printmaking, and drawing. His compositions are rich with narrative detail. It was his adoption of such ‘low’ subjects, no less than his use of humor, that led him to struggle to be taken seriously throughout his career.
“William Hogarth’s works should be enjoyed for their artistry, humor, and activism, and as such hold a special place in our drawings and prints collection,” said Colin B. Bailey, director of the museum. “The artist was a keen observer of his city, and his visual anecdotes were a brilliant means of communicating to a wider public.”
“Looking closely at Hogarth’s passion for socially relevant subjects reveals the challenges he faced in being known as a satirical artist,” said Jennifer Tonkovich, Eugene and Clare Thaw Curator of Drawings and Prints. “I think our current appetite for satire allows us to appreciate Hogarth’s tremendous intelligence and ambition in constructing narratives that he hoped would change the world around him.”
S E L E C T E D P R O G R A M M I N G
Laurel Peterson, Crafting Cruelty: Hogarth’s Innovative Drawing Methods
Tuesday, June 18, noon
William Hogarth achieved substantial artistic and commercial success in his lifetime, both as a printmaker and as a painter. Despite his enduring fame, Hogarth’s drawings are today little known and rarely studied. Laurel Peterson, Moore Curatorial Fellow in the Department of Drawings and Prints, will offer new insights into Hogarth’s practice as a draftsman, shedding light on the evolution of his drawing style and the role played by drawings in the development of his most iconic satirical prints. Co-sponsored by the Sir John Soane’s Museum Foundation.
Hogarth’s Gin Craze Festival
Friday, July 19, 6:00pm
Join us for an evening of revelry inspired by the Gin Craze of the 1750s! Enjoy gin-inspired bites and craft cocktails at Morgan Café and curatorial gallery talks at 6:00 and 7:30pm in the exhibition Hogarth: Cruelty and Humor. At 7:00pm we will screen the 1946 film Bedlam, which was inspired by William Hogarth’s A Rake’s Progress.
Bedlam, directed by Mark Robson (1946, 79 minutes)
Friday, July 19, 7:00pm
In 1760s London, an actress campaigns to reform a horrific hospital for the insane, but instead finds herself committed to the institution by the corrupt head of the asylum. Starring Boris Karloff and Anna Lee, Bedlam was the last in a series of stylish horror films produced by Val Lewton for RKO Radio Pictures.
Meredith Gamer, Hogarth: Cruelty and Crime
Thursday, 12 September, 6:30pm
Meredith Gamer, Assistant Professor of Art History at Columbia University, will explore the origins, evolution, and multi-layered meanings of William Hogarth’s The Four Stages of Cruelty (1751). A tale of neglect and abuse, murder and punishment, the series was—by eighteenth-century standards—one of Hogarth’s ‘lowest’ works. Paradoxically, however, it is also one of his most ambitious, for it aims to combat some of our most basic human frailties through the medium of art. Co-sponsored by the Sir John Soane’s Museum Foundation.
Summer School | Rethinking the Baroque
From H-ArtHist:
Summer School | Rethinking the Baroque (Seventeenth and Eighteenth Centuries), New Historical and Critical Perspectives
Turin, 2–7 September 2019
Applications due by 31 May 2019
The Fondazione 1563 invites scholars who are younger than 40; active in the disciplines of history, art history, architecture, and literature; and who hold a PhD, a certificate of specialization, a 2nd-level master’s, or are enrolled in the second year of such study courses to apply to participate in the Summer School Rethinking the Baroque (XVII and XVIII Centuries): New Historical and Critical Perspectives. Candidates need to have a knowledge of Italian and English corresponding at least to a level B2. The courses of the Summer School will all be taught in Italian.
Participation in the Summer School is free. The Foundation will also cover the costs of the living expenses (accommodation and food) for the period running from the night of September 1 to the night of September 6 included, as identified by the Foundation. In addition, the Foundation will cover the costs of the guided tours, the transfer from/to the venue of the school. Travel expenses to and from Torino are, however, not covered by the Foundation.
Candidates must apply through the specific application form found here by 5.00pm of 31 May 2019. Candidates must upload their CV and an abstract of current or ongoing research. The research should present new critical perspectives relevant to the subject of the Summer School.
The Summer School will take place from September 2 to September 7, 2019 at the historical residency ‘Vigna di Madama Reale’, Strada Comunale San Vito Revigliasco 65, 10133 (Torino), or in a different venue in Torino that will be established by the Foundation.
The Summer School will address periods and turning points of cultural production in the field of art, architecture, literature, music, theatre, and history in Europe in the XVII and XVIII centuries, and it will further develop the critical reflection on the studies dedicated to the Baroque and its chronology.
The Summer School will be structured as follows:
• Lectures by experts in different disciplines, including Professor Franco Benigno (Professor of Modern History at the Scuola Normale Superiore, Pisa) and Professor Ingrid Rowland (Department of History, University of Notre Dame).
• Discussions in small seminar groups on cross-disciplinary issues related to historical criticism and methodologies, conducted with the support of scholars who won the scholarships of the Baroque.
Study Programme at the Foundation in the years 2013–17
• Formative sessions on digital humanities and digital tools applied to research
• Occasions to present and discuss participants’ research
• A presentation of the exhibition Roma, Torino, Parigi 1680–1750, a product of the project Antico e Moderno: Roma, Torino, Parigi 1680–1750, curated by Michela di Macco and Giuseppe Dardanello and developed by the Foundation. The exhibition will be on view at Venaria Reale in Spring 2020
• Guided tours to key art historical places in Torino, with particular attention to the Royal Museums and their collections
During the Summer School—and particularly during the workshop sessions—participants will have the opportunity to exchange critical and methodological points of view on the research they submitted when they applied for the summer school. The outcomes of these sessions might be included in papers for a future collective publication in an electronic version with ISBN, at the Foundation’s expense. A certificate of participation from the Foundation will be provided at the end of the Summer School.
More information is available here»
New Book | The Hand that Rocked the Cradle
Distributed in the US and Canada by The University of Chicago Press:
Sue Laurence, The Hand that Rocked the Cradle: The Art of Birth and Infancy (London: Unicorn Publishing, 2019), 192 pages, ISBN: 978-1911604556, $30.
Throughout the history of art, artists have been drawn to images of birth and infancy. After all, who doesn’t want to look at a baby? This book uses that bounty of imagery to offer a fresh perspective on the history of birth and the early years of life through a rich array of images and objects, including paintings, prints, sculptures, metalwork, jewelry, textiles, ceramics, furniture, and woodwork—as well as images from medical and social history collections.
Exploring a long chronological scope, from around 1300 to the turn of the twentieth century, Sue Laurence provides insight into the enduring nature of many traditions and experiences related to childhood and infancy—many of which we tend to assume are of recent vintage, but turn out, when examined closely, to have roots in the medieval era. Packed with beautiful images, and offering surprising new interpretations and contextualization, The Hand That Rocked the Cradle is a treasure trove for any lover of art—or doting parent.
Sue Laurence has served as Head of the V&A Museum of Childhood, where she created many innovative exhibitions as well as securing significant acquisitions. She has also been head of interpretation at the National Archives and a curator at the Florence Nightingale Museum.
Steven Parissien Named Palace House Chief Executive
Press release (via ArtDaily). . .
Palace House, The National Heritage Centre for Horseracing and Sporting Art, in Newmarket, announced the appointment of Professor Steven Parissien as its new Chief Executive. Parissien will assume the role in June 2019, taking over from Chris Garibaldi, who is stepping down in order to embark on full-time research at the University of Cambridge.
Beginning in 2010, Garibaldi delivered the ambitious £19m project to create a national gallery of British sporting art—alongside a new national horseracing museum—in the palace that Charles II originally built for himself in Newmarket, Suffolk. In its first year (2016), Palace House attracted around 30,000 visitors, was short-listed for the Art Fund Museum of the Year in 2017, and in 2018 became an Arts Council National Portfolio Organisation.
Parissien was Director (and subsequently Chief Executive and Artistic Director) of Compton Verney Art Gallery and Park in Warwickshire from 2009 to November 2018. Since then he has completed a project as a directorial consultant at the Bata Museum in Toronto, Canada. Under his leadership, Compton Verney saw its visitor numbers soar, whilst the historic manor house and Lancelot ‘Capability’ Brown landscape were extensively restored. Parissien also introduced a series of critically-acclaimed and hugely popular exhibitions including Turner and Constable (2013), Canaletto in Britain (2015), Britain in the Fifties (2016), and Whistler and Nature (2018). Parissien introduced a number of commercial initiatives, including a lucrative wedding and corporate hire business. At the same time, Compton Verney’s Education and Learning team developed extensive relations with local schools, children’s centres, care homes, and other organisations—enabling under-engaged and under-represented groups to access high-quality artistic experiences on their doorstep. Parissien was also instrumental in building partnerships with museums, galleries, and arts organisations across the UK, whilst also forging strong links with some of the country’s most respected higher education institutions, most notably the Universities of Oxford (whose partnership enabled the re-launch of the Victorian Women’s Library in 2017), Warwick, and Coventry. The latter awarded Parissien a Visiting Professorship in 2015.
Announcing the appointment of his successor, Mr. Garibaldi said: “It has been a true privilege to lead the organisation over the nine years of my tenure, and I am extremely proud of what has been achieved over that time by the incredibly dedicated team at Palace House. It has been an honour to have been part of such an exciting project. I am delighted to be handing over to Professor Parissien whose outstanding work at Compton Verney is well known and makes him, in my opinion, the perfect choice. I couldn’t be more pleased that the Board has recruited Steven to take Palace House through the next stage of its extraordinary history and I wish him every success in his new post.”
Rachel Hood, Chair of Trustees said: “I would like to take this opportunity to reiterate the Trustees’ and my sincere thanks for the tremendous job that Chris has done to produce such a brilliant Museum and we all wish him well on his return to academia. We are absolutely thrilled to have recruited Professor Parissien as our new Chief Executive. We looked far and wide for a suitable candidate and are immensely pleased to have persuaded Steven to return from Canada to take forward our ambitions for the organisation.”
Commenting on his appointment Professor Parissien said: “I am absolutely delighted to be returning to the UK and taking over the reins from Chris at Palace House. They have achieved a vast amount as an organisation over the past nine years with him at the helm, and I am incredibly excited to be bringing my experiences at Compton Verney and in the wider museum sector to help lead them in their—and indeed my—ambitions and plans for the future and growth of Palace House, The National Heritage Centre for Horseracing and Sporting Art.”
At Christie’s | Asian Art
Press release (via Art Daily) . . .
Art d’Asie (Sale 17457)
Christie’s, Paris, 12 June 2019
Imperial embroidered silk robe dating from the end of the Qianlong period (1736–1795). Estimate: €80,000–120,000.
On 12 June, Christie’s Paris will present its Asian Art sale (17457), which will offer high quality items, including a large range of works of art coming from European private collections.
The section dedicated to China will offer a beautiful white jade and rust ‘double-gourd’ vase. Dating from the Qianlong period (1736–1795), named for the sixth emperor of the Qing dynasty, this vase is meticulously carved and stands on a delicate circular foot. It is adorned with a double handled decorated with bats flying among clouds; the upper and lower parts are respectively embellished with the characters ‘da’ and ‘ji’, thus forming the term ‘da ji’, which means ‘great luck’. The neck is flanked with two handles holding a mobile ring with a bat carved in relief with outstretched wings holding a lingzhi (auspicious mushroom). The decoration of this remarkable object comprises promising symbols such as its double-gourd shape, associated with prosperity and abundance (estimate: €150,000–200,000).
The sale will also offer an imperial vase made of cloisonné enamel of striking beauty from the Kangxi period (1662–1722). Baluster-shaped, resting on a flared foot decorated with archaic chilong, the whole is enhanced with crenelated ridges in gilt-bronze. The body is decorated with stylized lotus, as well as the foot and the neck. The latter is highlighted by three gilt-bronze ram heads and chiseled nails intersected with banana leaves (estimate: €70,000–90,000).
Asian art lovers will have the chance to acquire an exceptional imperial embroidered silk robe dating from the end of the Qianlong period and the early Jiaqing period (1796–1820). The embroideries adorning this item are extremely delicate, as evidenced by the nine ‘five-claw’ dragons in the pursuit of the flaming pearl represented in gold and silver threads. In addition, the subtle shades of colors and the stylized clouds evoking ruyi heads are shown in multi-colour threads. The whole is embroidered on a bright yellow background, above a terrestrial diagram which emerges from tumultuous waves below which appears a large band of lishui, echoed on the sleeves as well. The neck is highlighted by a border embroidered with dragons on a black background (estimate: €80,000–120,000).
Coming from a French private collection, a celadon-glazed vase with molded decoration with a Qianlong impressed six-character seal mark will also be offered at auction. The body is magnified with molded decoration of blooming peonies among elegantly arranged foliage leaves. Separated by a band of ruyi and a band of stylized flowers, the tubular neck is embellished with petals and foliage (estimate: €100,000–150,000).
Other highlights include a superb zitan cabinet from the Qianlong period. This cabinet is composed of two very finely worked door panels. Four dragons, in pursuit of the inflamed pearl, seem to fly on a background of stylized clouds evoking ruyi heads. The gilt-bronze hinges are finely incised with dragons also represented on a background of clouds; the central fitting is decorated with stylized ‘shou’ characters and two small mobile plates adorned with bats (estimate: €120,000–150,000).
The section dedicated to Japan will offer a stunning samurai armor dating from the second half of the Edo period, at the end of the 18th century. Two coats of arms are visible, one representing the character ‘ue’, the other figuring an oxalis (katabami) flower probably belonging to the Sakai clan. The armor also includes an eboshi style helmet topped by two wakidate in the shape of lacquered wood horns. The frontal ornament depicts the sun in gilded wood. The breastplate is made of yokohagi-dô natural iron while its upper front and back parts as well as the shoulders are covered with brass inlaid of gold hira zogan decorated with coat of arms and foliages (estimate: €20,000–30,000).
Finally, the Asian Art department will be pleased to present, in its next sale, a rock crystal deer from the former personal collection of Coco Chanel. Executed during the Qing dynasty, the statuette represents a seating deer with its head turned to the right, holding a branch of lingzhi in its mouth (estimate: €2,000–3,000). Presented under a glass protection, the auspicious animal symbolizing longevity has adorned the coffee table of Coco Chanel’s suite at the Ritz Hotel for years.
Call for Papers | Art and the Sea
From H-ArtHist:
Art and the Sea
Centre for Port and Maritime History Annual Conference
Liverpool John Moores University, 13 September 2019
Proposals due by 1 July 2019
Interest in maritime art and its role in art history has reignited in recent years, and this conference provides an opportunity for examination and reassessment of this field. The theme of Art and the Sea lends itself to interdisciplinary approaches and subject matter. It is anticipated that interest will arise from those working in art history, transport history, sociology, maritime studies, natural history, engineering, biology, and other areas. Submissions for conference papers on the theme of Art and the Sea from these and other disciplines are welcome.
The sea and maritime travel are subjects of universal fascination. For centuries, the sea inspired both fear and fascination and, unsurprisingly, these emotions fuelled artists and craftspeople to create work in response. Traversing the sea was often laborious which led to sailors developing new crafts or to vessels being decorated to entertain or provide interest. For the 2019 CPMH Conference, we consider these themes and aim to discover what current, cutting-edge research is revealing about the role of art and design in relation to the sea. We encourage the discussion of previous debates in the light of new evidence or approaches and the introduction of entirely new subject matter and methods. The conference theme is deliberately broad in scope, but potential themes / topics for discussion could include (but are not limited to)
• Maritime vessels as sites for art or art making
• The depiction of ships / ports / sea conditions in art
• Ship figureheads (significance / symbolism / creation)
• Art under the surface of the sea
• Maritime artists and their role in art history
• Museology of maritime art
• The intersection of natural history and maritime art
• Interior design of vessels
• Use of images of the sea for commercial purposes
Registration fees are £10 for non-concessions or free for concessions. There will be a conference reception during the evening of Friday, 13 September. Details will be circulated to delegates in due course. To submit an abstract for this year’s conference, please email a 250-word abstract to Dr Emma Roberts, CPMH Committee (e.e.roberts@ljmu.ac.uk) by the 1st of July 2019.
The Centre for Port and Maritime History—a collaborative venture between The University of Liverpool, Liverpool John Moores University, and Merseyside Maritime Museum—exists to further and facilitate historical research on port cities and their relationship to maritime endeavour and enterprise. Launched in 1996, the Centre builds on two Liverpool-based traditions. The School of History at The University of Liverpool has long been a respected centre for research and teaching in maritime history, particularly through the work of Francis Hyde, Peter Davies, and Sheila Mariner. Equally, curatorial staff at the Museum have established a strong record of research in the field, and of making their collections accessible to the scholarly community. The Centre is intended as an enabling forum, offering a focus for existing activity and a vehicle for launching new initiatives.
New Book | History of Illustration
From Bloomsbury:
Susan Doyle, Jaleen Grove, and Whitney Sherman, eds., History of Illustration (London: Fairchild Books, 2018), 592 pages, ISBN: 978-1501342110 (hardback), $240 / ISBN: 978-1501342103 (paperback), $90.
History of Illustration covers image-making and print history from around the world, spanning from the ancient to the modern. Hundreds of color images show illustrations within their social, cultural, and technical context, while they are ordered from the past to the present. Readers will be able to analyze images for their displayed techniques, cultural standards, and ideas to appreciate the art form. This essential guide is the first history of illustration written by an international team of illustration historians, practitioners, and educators.
Susan Doyle is Chair and Associate Professor at Rhode Island School of Design in Providence.
Jaleen Grove is a Post-Doctoral Fellow at the Douglas B. Dowd Modern Graphic History Library at Washington University.
Whitney Sherman is Director of the MFA in Illustration Practice at Maryland Institute College of Art.
C O N T E N T S
Preface
Acknowledgements
Introduction
I. Illustrative Traditions in Europe, Asia, and Africa
1 Image and Meaning, Prehistory to 1500 by Robert Brinkerhoff and Margot McIlwin Nishimura
2 Illustration in Printed Matter in Early Modern Europe, 1400–1660 by Susan Doyle
3 Pluralistic View of Indian Images: 2nd BCE to the 1990s by Binita Desai and Nina Sabnani
4 Illustrative Traditions in the Muslim Context by Irvin Cemil Schick
5 Chinese Illustration before 1900 by Sonja Kelley and Frances Wood
6 Prints and Books in Japan’s Floating World by Daphne Rosenzweig
7 Illustration in Latin America from Pre-Columbian to Modern 1990s by Maya Stanfield-Mazzi
8 Illustration in the African Context by Bolaji Campbell with contributions by Winifred Lambrecht
II. Images as Knowledge, Ideas as Power
9 Observation and the Representation of Natural Science Illustration, 1450–1900 by Shelley Wall
10 Visualizing Bodies: Anatomical and Medical Illustration from the Renaissance to the Nineteenth Century by Shelley Wall
11 Dangerous Pictures: Social Commentary in Europe, 1720–1860 by Robert Lovejoy
12 From Reason to Romanticism by Hope Saska
III. The Advent of Mass Media
13 Illustration on British and North American Printed Ephemera of the Nineteenth and Early Twentieth Centuries by Graham Hudson
14 Illustration in the Expansion of the Graphic Journalism and Magazine Fiction in Europe and North America, 1830–1900 by Brian Kane and Page Knox
15 Beautifying Books and Popularizing Posters: Illustration in the Later Nineteenth Century by Susan Ashbrook and Alison Syme
16 Fantasy and Children’s Book Illustration Nineteenth and Early Twentieth-Century England by Alice Carter
17 Six Centuries of Fashion Illustration by Pamela Parmal
IV. Diverging Paths in 20th-Century American and European Illustration
18 American Narratives: Periodical Illustration in the Late Nineteenth and Early Twentieth Century by Mary Holahan with contributions by Alice Carter and Joyce Schiller
19 Avant-garde Illustration, 1900–1950 by Jaleen Grove
20 Diverse American Illustration Trends in Periodicals, 1915–1940 by Roger Reed
21 Wartime Imagery and Propaganda, 1890–1950 by Thomas LaPadula
22 Illustrating Alternate Realities in Pulps and Other Popular Fiction by Nicholas Egon Jainschigg with contributions by Robert Lovejoy
23 Overview of Comics and Graphic Narratives by Brian M. Kane with contributions by Loren Goodman and Michelle Nolan
V. The Evolution of Illustration in an Electronic Age
24 The Shifting Postwar Marketplace: Illustration Competes with Growing Media Options in the United States and Canada, 1940–1970 by Stephanie Plunkett
25 Children’s Book Illustration, 1920–2000 by H. Nichols B. Clark
26 Countercultures: Underground Comix, Rock Posters, and Protest Art, 1960–1990 by Robert Lovejoy
27 Print Illustration in the Postmodern World by Whitney Sherman
28 Medical Illustration after Gray’s Anatomy: 1859 to the Present by David M. Mazierski
29 Digital Forms by Nanette Hoogslag and Whitney Sherman
Bibliography
Glossary
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DMA Names Julien Domercq Assistant Curator of European Art
Press release (29 April 2019) from the DMA:
Julien Domercq has been named The Lillian and James H. Clark Assistant Curator of European Art at the Dallas Museum of Art. The appointment was announced today by Dr. Agustín Arteaga, the DMA’s Eugene McDermott Director. Domercq joins the DMA after serving as the Vivmar Curatorial Fellow at the National Gallery in London from 2016 to 2018. He will begin his new role in Dallas on May 14, 2019.
Under the direction of Dr. Nicole R. Myers, the Museum’s Barbara Thomas Lemmon Senior Curator of European Art, Domercq will actively contribute to the European department’s robust research, exhibition, and collection programs. The DMA’s European collection encompasses more than 1,900 paintings, sculptures, and works on paper from the Renaissance to the mid-20th century. Domercq will focus his efforts on the Old Master collection, rethinking its presentation and interpretation in the galleries and strategizing on collection growth in this area. Among his first exhibition projects are focused presentations of master paintings by Caravaggio and Frans Hals.
“Julien is a remarkable young talent, with impressive scholarship and international experience working in one of Europe’s most important public art institutions,” said Arteaga. “He has an incredible passion for making the presentation of European art exciting and accessible to a wide and multi-generational audience. This practice aligns well with the DMA’s mission to connect people and art. As we usher in a dynamic chapter in the European Art Department that was announced by the extraordinarily generous gift in 2013 of the Marguerite and Robert Hoffman Fund for European Art Before 1700, we are excited to welcome Julien to Dallas, and look forward to the work that he and Nicole Myers will accomplish together.”
At the National Gallery, London, Domercq curated the exhibition Drawn in Colour: Degas from the Burrell (2017), a presentation of 23 works by Edgar Degas loaned from the Burrell Collection in Glasgow paired with selections from the National Gallery’s collection. The Guardian praised the exhibition as “a ravishing, revealing window on Degas’s inner world.” He assisted in the final stages of the exhibition Painters’ Paintings: From Freud to Van Dyck (2016) and also worked on major redisplays of the post-1800 and Italian Renaissance galleries, including reimagining the presentation of the National Gallery’s paintings by Titian and Raphael.
“With his breadth in European Old Masters, Julien will bring fresh eyes and new scholarship to the extant collection while expanding our holdings to reflect the DMA’s encyclopedic aim. I am excited for us to work together to reinvigorate the Museum’s Old Master exhibition program, an area that has been relatively underserved,” added Myers. “We are thrilled to welcome him to the curatorial team.”
Additionally, Domercq has contributed to a number of catalogues published by the National Gallery, London; Houghton Hall, Norfolk; and the Royal Academy of Arts, London. He has written articles as well as online reviews for Apollo magazine.
Domercq earned his bachelor’s (with first class honors) and master’s (with distinction) degrees in art history from King’s College, Cambridge, where he is currently completing his PhD. While there, his doctoral research was supported by a prestigious Gates Scholarship. His dissertation research explores shifts in European depictions of indigenous people in the Pacific Islands at the end of the 18th century.
“I am delighted to be moving to Dallas to join the curatorial team of the DMA at a time it is being dynamically reimagined under Dr. Arteaga’s direction,” said Domercq. “From my very first visit to Dallas, I was impressed by the central role the Museum plays for its community. Today, I am thrilled to be joining this great civic institution, with encyclopedic collections that reflect the vibrant multicultural city it serves. I am looking forward to immersing myself in the Dallas community and to devising ambitious Old Master exhibitions in partnership with other institutions internationally, collaborating on innovative programming and research with my new colleagues, and caring for, interpreting, and growing the DMA’s European Old Master collection, making it ever more accessible to the people of Dallas, and beyond.”
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