Exhibition | The Four Continents: Florentine Tapestries
Florentine tapestry after cartoons by Giovanni Camillo Sagrestani, The Continent of America, from a series of The Four Continents, ca. 1730s.
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Opening this month at the Pitti Palace:
The Four Continents: Florentine Tapestries after Drawings by Giovanni Camillo Sagrestani
I Quattro Continenti: Arazzi fiorentini su cartone di Giovanni Camillo Sagrestani
Palazzo Pitti, Florence, 27 September 2016 — 8 January 2017
Curated by Caterina Chiarelli and Daniele Rapino
On display will be four beautiful tapestries woven from cartoons by the painter Giovanni Camillo Sagrestani (1660–1731). It is one of the finest series realized by the Grand Ducal tapestry workshop, signed by the most skillful weavers of that time, among whom Vittorio Demignot (d. 1742), whose apprenticeship took place in Flanders. The Four Continents are represented with extravagant features and creative innovations that reflect the contemporary conception of cultural and historical identities of world lands. Comparable to the finest coeval French examples, their magnificent and elegant composition was largely appreciated: in particular, on the 20th of January 1739, they were used as decorative setup for the triumphal entry into Florence of the new Hapsburg-Lorraine Grand Duke, Francis II, and his wife Maria Teresa, future empress of Austria.
Call for Proposals | History of Collecting Seminars
From The Wallace Collection:
History of Collecting Seminars
The Wallace Collection, London, 2017
Proposals due by 12 September 2016
The seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. In 2017, as in previous years, we plan to organise a series of 10 seminars. We are keen to encourage contributions covering all aspects of the history of collecting, including:
• Formation and dispersal of collections
• Dealers, auctioneers and the art market
• Collectors
• Museums
• Inventory work
• Research resources
The seminars, which are normally held on the 4th Monday of every month during the calendar year, excluding August and December, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists and all those with an interest in the subject. Papers are generally 45–60 minutes long and all the seminars take place at the Wallace Collection between 5.30 and 7pm. If interested, please send a short text (500–750 words), including a brief CV, indicating any months when you would not be available to speak, by 12 September 2016. For more information and to submit a proposal, please contact: collection@wallacecollection.org.
Please note that we are able to contribute up to the following sums towards speakers’ travelling expenses on submission of receipts:
• Speakers within the UK – £ 80
• Speakers from Continental Europe – £ 140
• Speakers from outside Europe – £ 200
Remaining lectures in this year’s schedule include:
26 September: Silvia Davoli, Paul Mellon Centre Research Curator, Strawberry Hill House, The Horace Walpole Collection: Researching the Strawberry Hill Sale of 1842: A Real Baedeker’s Guide of Taste
31 October: Hannah Kinney, DPhil candidate, History of Art, University of Oxford: Con fiducia: Commissioning Copies of Antiquities in Eighteenth-Century Florence
28 November: Jessica Feather, Allen Fellow at the Paul Mellon Centre: Collecting the Modern Aesthetic: Britain at the fin de siècle
All lectures start at 17:30 in the Lecture Theatre. Booking not required.
Nicholas Serota To Step Down as Tate Director
From the Tate press release (8 September 2016). . .
Tate’s Board of Trustees today announced that Nicholas Serota will step down as Director of Tate next year. The process of finding a new director will begin immediately and is being guided by a specially appointed committee of trustees and external advisers including senior artists.
Nicholas Serota, © Hugo Glendinning, 2016
Tate’s Chairman, Lord Browne said: “We have been privileged to have in Nicholas Serota one of the world’s greatest museum directors and a leader for the visual arts on a global stage. Under his leadership Tate has become a preeminent cultural organisation nationally and internationally and one of the most visited in the world. He has championed British art and artists throughout the world while at the same time ensuring that Tate has become a much loved, open and accessible institution for the public. He leaves Tate in a strong position on which to build for the future. We wish him well as he takes on new responsibilities which will be for the benefit of all the arts.”
Nicholas Serota said: “It has been an exciting challenge to work with successive Chairmen, trustees and groups of extremely talented colleagues to develop the role of Tate in the study, presentation and promotion of British, modern and international art. Over the past thirty years there has been a sea-change in public appreciation of the visual arts in this country. Tate is proud to have played a part in this transformation alongside other national and regional museums and the new galleries that have opened across the country in places like Walsall, Margate, Wakefield, Gateshead and Nottingham. Tate has always been fortunate to have enjoyed the support of artists and to have benefitted from the international acclaim for the work of British artists in recent years. I leave an institution that has the potential to reach broad audiences across the UK and abroad, through its own programmes, partnerships and online.”
Nicholas Serota is a champion of visual arts throughout the UK and abroad. During his 28 years at Tate, he has helped to make Tate an organisation respected throughout the world. It was his vision that led to the creation of Tate Modern and the redefinition of the original gallery at Millbank as Tate Britain. He led the creation of Tate St Ives and has also sought to strengthen the role of Tate as a national institution through the further development of Tate Liverpool in taking a leading part in the celebration of the city as European City of Culture in 2008 and by establishing partnerships with galleries across the country through the Plus Tate programme.
During his term the range of Tate’s collection has broadened to include photography and the geographical reach has been extended across the world, taking a more global view. The collection has also been strengthened by major acquisitions of historic British art, including Wright of Derby’s An Iron Forge 1772, Reynolds’s The Archers 1769, Turner’s Blue Rigi 1842 and Constable’s Salisbury Cathedral from the Meadows 1831. Additions to the modern collection have included major works by Bacon, Beuys, Bourgeois, Brancusi, Duchamp, Horn, Mondrian, Richter and Twombly, amongst many others. The contemporary collection has been developed into one of the strongest in the world. He was instrumental in helping to secure the ARTIST ROOMS collection given to Tate and the National Galleries of Scotland by Anthony d’Offay as a collection to be shown across the UK. In the past ten years, he has curated some of Tate’s most acclaimed and popular exhibitions including Donald Judd, Howard Hodgkin, Cy Twombly, Gerhard Richter and Henri Matisse: The Cut-Outs.
He will take up the part-time role of Chairman of the Arts Council on 1 February 2017 and will continue at Tate until later in the year.
Martin Roth To Step Down as V&A Director
From the V&A press release(5 September 2016). . .
Martin Roth, Director of the V&A since September 2011, has announced to staff today he will leave his role in the Autumn after five years in post. Martin has presided over a succession of critically acclaimed exhibitions, most notably David Bowie is and Alexander McQueen: Savage Beauty, achieving record visitor numbers, which last year reached the highest level in the Museum’s 150 year history—as well as the ambitious refurbishment of multiple galleries showcasing the V&A’s world-leading collections, including most recently the new Europe 1600–1815 galleries. He has also overseen major developments including construction of the new Exhibition Road entrance, courtyard and gallery, due to open in 2017, as well as developing significant strategic partnerships in Shenzhen, Dundee and with V&A East in the Queen Elizabeth Park, East London.
Martin Roth, © Victoria & Albert Museum, London.
Under his directorship, Martin has established the new Design, Architecture and Digital Department and spearheaded new and socially responsive programming, from the Disobedient Objects exhibition to the current Engineering Season. He has also forged many innovative new partnerships, not least with the Venice Biennale, World Economic Forum and International Olympic Committee. The Museum was recently awarded Art Fund Museum of the Year 2016, the biggest museum prize in the world, and praised for its “exceptional imagination, innovation and achievement across the previous 12 months.”
Martin Roth said: “It’s been an enormous privilege and tremendously exciting to lead this great museum, with its outstanding staff and collections, and I’m proud to have steered it to new successes and a period of growth and expansion, including new partnerships around the UK and internationally. Our recent accolade as Art Fund Museum of the Year feels like the perfect moment to draw to a close my mission in London and hand over to a new director to take the V&A forward to an exciting future.”
Nicholas Coleridge, Chairman of the Trustees of the V&A said: “Martin’s tenure as Director has been marked by a highly successful period of creativity, expansion and reorganisation of the V&A. He has made a significant contribution to the success of this museum, and the Trustees are immensely grateful for all that he has achieved here. We are now starting the process of looking
for someone to take on the role and are fortunate to have an exceptional team in place to lead its activities and help build its future with the new Director.”
Martin intends to devote more time to various international cultural consultancies and plans to spend more time with his wife Harriet and their children, in Berlin and Vancouver. The V&A’s Board of Trustees will now begin the search to find a new Director.
Call for Papers | ASECS 2017, Minneapolis
Just a reminder that that the due date for ASECS 2017 proposals is next Thursday (15 September). Send them in!
2017 American Society for Eighteenth-Century Studies Conference
Hyatt Regency Minneapolis, 30 March — 2 April 2017
Proposals due by 15 September 2016
Proposals for papers at the at the 48th annual meeting of the American Society for Eighteenth-Century Studies, at the Hyatt Regency Minneapolis, are now being accepted. Proposals should be sent directly to the session chairs no later than 15 September 2016. Along with our annual luncheon and business meeting, HECAA will be represented with the Anne Schroder New Scholars’ Session, chaired by Jessica Fripp. A selection of other sessions that might be relevant for HECAA members is also included here»
Conference | French Royal Furniture by Jean-Henri Riesener
In connection with the exhibition now on view, Waddeson Manor is hosting this conference:
A Closer Look: Spotlight on French Royal Furniture by Jean-Henri Riesener
The National Trust and Waddesdon Manor (Rothschild Collections) Annual Conference
Waddesdon Manor, Buckinghamshire, 20 September 2016
To book a place, please call 01296 653226 between 10am and 4pm. The fee for the day is £25, which includes all catering; the fee can be paid with a debit or credit card. Please let us know if you have any dietary requirements. The nearest railway station is Aylesbury Vale Parkway (5–10 minutes from Waddesdon), and it is advisable to pre-book a taxi from the station to Waddesdon Manor. Another option is Aylesbury Station (10–15 minutes from Waddesdon); as a rule, there are taxis outside the station.
P R O G R A M M E
10:00 Registration and coffee
10:30 Welcome and introduction, Christopher Rowell (Furniture Curator, National Trust) and Pippa Shirley (Head of Collection, National Trust / Waddesdon Manor)
10:40 Riesener at Waddesdon Manor
• Emily Roy (Curator) and Ulrich Leben (Associate Curator), Introduction to the Exhibition and Research Project
• Lindsay Macnaughton (Oxford University Intern), Grammar and the Garde-Meuble de la Couronne: Chests of Drawers by Jean-Henri Riesener, 1774–84
• Juliet Carey (Senoir Curator), A Newly Discovered Portrait of Riesener
11:30 Riesener at the Wallace Collection
• Helen Jacobsen (Head of Curatorial Team, Wallace Collection): The 4th Marquess of Hertford’s Taste for Riesener, 1840–70
• Jürgen Huber (Senior Conservator, Wallace Collection): Riesener Revealed: Documentation and Observation…The Journey So Far
12:00 Rufus Bird (Deputy Surveyor of The Queen’s Works of Art, Royal Collections Trust), George IV and Riesener
12:15 Yannick Chastang (Independent Conservator), Riesener’s Floral Marquetry
12:30 Questions and discussion
13:00 Lunch
14:30 Bertrand Rondot (Chief Curator, Château de Versailles), Versailles, Riesener’s Palace
14.50 Wolf Burchardt (Furniture Research Curator, National Trust), Continental Furniture in National Trust Houses
15:10 Matthew Hirst (Curator, Woburn Abbey), French and Francophile Furniture in the Woburn Abbey Collection
15:30 Miriam Schefzyk (PhD Candidate, Westfälische Wilhelms-Universität Münster & École Pratique des Hautes Études, Paris), Furniture with Porcelain Plaques at Waddesdon Manor
15:45 Carolyn Sargentson (Senior Lecturer in Art History, University of Sussex), A Business Model for Refinement? Riesener’s 1773 Commission for Pierre de Fontanieu
16:05 Questions and discussion
16:30 Tea
16:45 Entry to see the Riesener exhibition and collections
17:30 Wine reception
New Book | The Architecture of Percier and Fontaine
Coming this fall from Routledge:
Iris Moon, The Architecture of Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (New York: Routledge, 2016), 260 pages, ISBN: 978-1472480163, $150.
French architects Charles Percier (1764–1838) and Pierre-François-Léonard Fontaine (1762–1853) became the most celebrated decorators of the French Revolution and achieved success as the official architects of Napoleon Bonaparte. This book explores how Percier and Fontaine created the Empire style and a system of decoration that engaged with the difficult politics of the period. Taking seriously the architects’ achievements in interior decoration, furnishings, theater designs, and publications during the early and most active period of their collaborative practice, their integral role in reestablishing the luxury market in Paris after the Terror, cultivating the taste of a new clientele, and creating sites of power through their interior decorations are explored. From meeting rooms designed to resemble military encampments to gilded imperial thrones that replaced Bourbon fleur-de-lys with Napoleonic bees, the architects moved beyond a Neoclassical idiom in order to transform the symbols of monarchy and revolution into an imperial ideology defined by a contradictory aesthetics. At the heart of Percier and Fontaine’s decorative work and central to grasping the politics of the Empire style is a dialectical tension between the search for a monumental architecture of permanence and the reliance upon portable, collapsible, and mobile forms. Percier, Fontaine and the Politics of the Empire Style will contribute new interdisciplinary perspectives on the relationship of the decorative arts and architecture with the political culture of post-revolutionary France and how interior decoration engendered a new awareness of time, memory, and identity.
Iris Moon is a visiting assistant professor in the School of Architecture at Pratt Institute. She specializes in eighteenth and nineteenth-century European art, architecture, and the decorative arts.
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C O N T E N T S
List of Illustrations
Acknowledgements
Introduction: Finding Revolutionary Architecture in the Decorative Arts
1 Visionary Friendship at the End of the Ancien Régime
Clean Sheets and Water Magic
Architects in Training
Roman Fever
Solo Missions
An Etruscan Friendship
2 Propulsion and Residue: Constructing the Revolutionary Interior
Rome à Rebours
Staging Antiquity and Austerity
Revolutionary Rearrangements
Seek, Record, Destroy
The Eternal Return of Luxury
3 The Recueil de décorations intérieures: Furnishing a New Order
Paper Studios
Furnishing Techniques
Strategies of Redaction
Consuming Desires
Writing Against Fashion
Between the Lines
Empire Styles
4 The Platinum Cabinet: Luxury in Times of Uncertainty
Pastoral Pastimes
Incorruptible Precision
Fast Times in Consulate Paris
Haunting Season
5 Tent and Throne: Architecture in a State of Emergency
Après Coup
Fantasies of the Ideal Villa
A Permanent Work in Progress
Little Pleasures
The Moving Bivouac
Political Theology
Divorcing the Past
Coda: Revolutionary Atonement
Exhibition | Character Mongers
James Gillray, High Change in Bond Street, ou, La Politesse du Grande Monde, published March 27th 1796 by H. Humphrey, etching with hand coloring (The Lewis Walpole Library, 796.03.27.01+).
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From The Lewis Walpole Library:
Character Mongers, or, Trading in People on Paper in the Long 18th Century
The Lewis Walpole Library, Farmington, CT, 10 October 2016 — 27 January 2017
Curated by Rachel Brownstein and Leigh-Michil George
In the course of the long eighteenth century—the Age of Caricature, and of The Rise of the Novel—the British reading public perfected the pastime of savoring characters. In a flourishing print culture, buying and selling likenesses of people and types became a business—and arguably an art. Real and imaginary characters—actual and fictional people—were put on paper by writers and graphic artists, and performed onstage and off. The exigencies of narrative, performance, and indeed of community conspired to inform views of other people—friend and foe, fat and thin—as tellingly, characters. “For what do we live,” Jane Austen’s Mr. Bennet would ask rhetorically in 1813, “but to make sport for our neighbours and laugh at them in our turn?”
This exhibit will feature images by William Hogarth, James Gillray, Thomas Rowlandson, Thomas Patch, Edward Francis Burney, Francis Grose, and G.M. Woodward, excerpts from novels by Jane Austen, Frances Burney, Henry Fielding, and Laurence Sterne, and examples of graphic collections published by Matthew and Mary Darly and Thomas Tegg that marketed caricature as entertainment.
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Public Talk | Eating People
Rachel Brownstein (Professor Emerita, Brooklyn College and The Graduate Center, CUNY)
The Lewis Walpole Library, Farmington, CT, Wednesday, 16 November 2016, 7:00pm
Offered in collaboration with the Farmington Libraries. Advance registration required.
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Graduate Student Seminar | Character and Caricature
Rachel Brownstein (Professor Emerita, Brooklyn College and The Graduate Center, CUNY)
The Lewis Walpole Library, Farmington, CT, Friday, 18 November 2016
Caricature relies on a double take: you recognize both the person represented and the artist’s critical, comic view, register both the familiar and the strange. Basic to what E.H. Gombrich called “the cartoonist’s arsenal” is the contrast between extremes, differences in scale (fat and thin, short and tall) that define a character in relation to another (the thing it is not). Pairings proliferate, sometimes by accident, always by design.
History has a hand in the process. The fathers of Charles James Fox and William Pitt were also political rivals, and Fox in fact was plump and Pitt skinny. But as Simon Schama imagines it, the artist James Gillray, commissioned in 1789 to produce a formal portrait of Pitt, could not but see him with a caricaturist’s eye, as “angular where Fox was sensual, repressed where Fox was spontaneously witty, … the upper lip stiff as a board, where both of Fox’s were fat, shiny cushions.” Schama speculates, “How could he resist? He didn’t. The ‘formal portrait’ looked like a caricature, or at the very least a ‘character.’” Is the one a version of the other?
Coming with different questions from different disciplines, we will consider caricatures by Gillray and others, bringing fresh perspectives to the questions they raise about the relation of caricature to character and to being ‘a character,’ as well as to the trick of contrast, to historical context, and to point of view.
The program is open by application. Preference will be given to graduate students. For further details contact Cynthia Roman, cynthia.roman@yale.edu. Yale Shuttle to and from New Haven. Accommodation at the Library’s Timothy Root House may be available at no charge upon inquiry.
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Talk with Edward Koren
Edward Koren (Cartoonist, The New Yorker Magazine)
Sterling Memorial Library Lecture Hall, New Haven, 13 December 2016, 5:30pm
“In my cartoon drawings, I like getting things right… What captures my attention is all the human theater around me. I can never quite believe my luck in stumbling upon riveting minidramas taking place within earshot (and eyeshot), a comedy of manners that seem inexhaustible. And to be always undercover makes my practice of deep noticing more delicious. I can take in all the details as long as I appear inattentive—false moustache and dark glasses in place. All kinds of wonderful moments of comedy happen right under my nose…”
On Cartooning, by Edward Koren
Edward Koren’s iconic images record the comedy of manners in society and politics that have captured his attention for decades. In this talk, he will reflect on his career as a New Yorker artist, and on the many and diverse influences that have contributed to the development of his thinking and drawing.
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The Art of Observational Satire: A Conversation
Rachel Brownstein and Edward Koren, moderated by Cynthia Roman
Beinecke Rare Book and Manuscript Library, New Haven, Friday, 14 December 2016, 2:00pm
Edward Koren, a long-time cartoonist, and Rachel Brownstein, a literary scholar, will reflect on the enduring tradition of social satire. Space is limited. Please register in advance.
Note (added 17 October 2016) — The original posting incorrectly listed the 13 December talk as scheduled for mid-afternoon. My apologies for any confusion –CH.
Conference | Art in the British Country House
Joseph Mallord William Turner, The South Wall of the Square Dining-Room (Petworth), 1827, gouache on paper, 13.8 × 18.8 cm
(London: Tate).
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From the Paul Mellon Centre for Studies in British Art:
Art in the British Country House: Collecting and Display
Paul Mellon Centre for Studies in British Art, London, 7 October 2016
This conference is the first in a series associated with the Paul Mellon Centre’s flagship research project Art in the British Country House: Collecting and Display, which investigates the collection and display of works of art in the country house in Britain from the sixteenth century to the present day.
The crucial importance of the country house to understanding the history of art-collection and display in Britain is indisputable and of long-standing interest to historians of British art. This project, in turning a fresh eye on the collections of art associated with the country house, builds on exciting new developments within this area of scholarship, which shed new light on the wide range of motivations and circumstances that have shaped such collections. The project extends to the country house a growing scholarly interest in modes of pictorial display, which has hitherto tended to focus on the display of paintings, sculpture and prints within more urban and public environments, and on the exhibition space in particular.
The conference will consist of eight papers, followed by a keynote lecture. The papers will be grouped together in themes over four sections, addressing subject matter ranging from the mid-seventeenth century to the late nineteenth century. In the keynote lecture Adriano Ayminino will address the aspects of the history and methodology of country house scholarship over the past hundred years.
General Admission: £20 (+ admin fee)
Concession ticket: £15 (+ admin fee)
The concession rate is available for students and 60+. Ticket prices include refreshments, lunch and drinks reception
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P R O G R A M M E
9:00 Registration
9:30 Welcome and Introduction by Martin Postle
9:45 Emily Burns (University of Nottingham), The Grand Designs of Sir Justinian Isham: Investigating the Patronage, Collecting and Display at Lamport Hall during the Interregnum
10:10 Amelia Smith (Birkbeck College, University of London), “The most capital masters dispers’d all over the house”: Displays of Art at Longford Castle in the Late Eighteenth Century
10:55 Coffee
11:25 Susan Gordon (University of Leicester), ‘Bronzo Mad’: The Choice, Order and Location of General James Dormer’s Sculpture, Collection at Rousham, Oxfordshire
11:50 Joan Coutu (University of Waterloo), The Future of the Past: Copies of Antique Statues at Wentworth Woodhouse
12:35 Lunch
13:50 Peter Björn Kerber (J. Paul Getty Museum), The Audio- Visual Charles Jennens
14:15 Andrew Loukes (Petworth House, National Trust) ‘Solid, liberal, rich and English’: Patronage and Patriotism at Petworth in the Early 19th Century
15:00 Tea and coffee
15:30 Caroline McCaffrey-Howarth (University of Leeds) Forming Hierarchies and Creating Dialogues: Ferdinand de Rothschild’s Display of Sèvres Porcelain at Waddesdon Manor
15:55 Nicola Pickering (London Transport Museum), Mayer Amschel de Rothschild and Mentmore Towers: Displaying le goût Rothschild
16:40 Keynote Speaker: Adriano Aymonino (University of Buckingham)
17:45 Drinks Reception
New Book | Lancelot Brown and the Capability Men
The Capability Brown Festival 2016 has marked the 300th anniversary of the landscape designer’s birth in August 1716. This week, a major conference addressing Brown and his international significance takes place in Bath, and now come the books!
Distributed by The University of Chicago Press:
David Brown and Tom Williamson, Lancelot Brown and the Capability Men: Landscape Revolution in Eighteenth-Century England (London: Reaktion Books, 2016), 352 pages, ISBN: 978-1780236445, $45.
Lancelot ‘Capability’ Brown is often thought of as the innovative genius who single-handedly pioneered a new, naturalistic style of landscape design, but he was in fact only one of many landscape designers in Georgian England. Published to commemorate the three hundredth anniversary of Brown’s birth, this book casts important new light on his world-renowned work, his eventful life, and the wider and robust world of landscape design in Georgian England.
David Brown and Tom Williamson argue that Brown was one of the most successful designers of his time working in a style that was otherwise widespread—and that it was his skill with this style, and not his having invented it, that linked his name to it. The authors look closely at Brown’s design business and the products he offered clients, showing that his design packages helped define the era’s aesthetic. They compare Brown’s business to those of similar designers such as the Adam brothers, Thomas Chippendale, and Josiah Wedgwood, and they contextualize Brown’s work within the wider contexts of domestic planning and the rise of neoclassicism. Beautifully illustrated throughout, this book celebrates the work of a master designer who was both a product and harbinger of the modern world.
David Brown is a tutor of landscape history at the University of Cambridge. Tom Williamson is professor of landscape history at the University of East Anglia and the author of many books, including An Environmental History of Wildlife in England, 1650–1950.
C O N T E N T S
1 The World of Mr Brown
2 Gardens and Society, 1700–1750
3 The ‘Brownian’ Landscape
4 The Brown Connection
5 Landscape and Modernity
6 Alternatives and Oppositions
Conclusion: Afterlife and Legacy
References
Bibliography
Acknowledgements
Photo Acknowledgements
Index
Enfilade 
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