ASECS 2016, Pittsburgh
2016 American Society for Eighteenth-Century Studies Conference
Pittsburgh, 30 March — 2 April 2016
The 2016 ASECS conference takes place in Pittsburgh at the Omni William Penn. HECAA will be represented by the Anne Schroder New Scholars’ Session, chaired by Janet White and scheduled for Friday morning. Our annual luncheon and business meeting is also scheduled for Friday. A selection of additional panels is included below (of the 219 sessions scheduled, many others will, of course, interest HECAA members). For the full slate of offerings, see the program.
H E C A A E V E N T S
Anne Schroder New Scholars’ Session (Historians of Eighteenth-Century Art and Architecture)
Friday, 1 April, 8:00–9:30
Chair: Janet R. WHITE, University of Nevada, Las Vegas School of Architecture
1. Fanny BROCK, University of North Carolina Chapel Hill, “Drawing the Amateur: Draftsmanship and the Amateur in Eighteenth-Century France”
2. Daniella BERMAN, Institute of Fine Arts / New York University, “Creating French History: The Uses and Abuses of the Concours de l’An II”
3. Hannah Wirta KINNEY, Oxford University, “Con Fiducia: Commissioning Copies of Antiquities in Late-Medicean Florence”
4. Paul HOLMQUIST, McGill University, “L’harmonie tient tout dans un equilibre parfait: Re-enacting Origins in Claude Nicolas Ledoux’s Ideal City of Chaux”
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Historians of Eighteenth-Century Art and Architecture Luncheon
Friday, 1 April, 1:00–2:30
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O T H E R S E S S I O N S R E L A T E D T O T H E V I S U A L A R T S
T H U R S D A Y , 3 1 M A R C H 2 0 1 5
Picturing the News
Thursday, 31 March, 8:00–9:30
Chair: Leslie RITCHIE, Queen’s University
1. Rachael KING, University of California, Santa Barbara, “The Appearance of News in The London Gazette and The Tatler”
2. Darryl DOMINGO, University of Memphis, “‘To Catch the Reader’s Eye’: Seeing the Sights in Eighteenth-Century Newspaper Advertisements”
3. Laura ENGEL, Duquesne University: “Fashioning Faces: Portraits of Actresses, Princesses, and Queens in Late Eighteenth-Century Periodicals”
4. Jocelyn ANDERSON, The Cortauld Institute of Art, “‘Discovered in the Ruins’: British Newspaper Reports of Italian Antiquities”
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Freemasonry and the Arts
Thursday, 31 March, 8:00–9:30
Chair: Rebecca Dowd GEOFFROY-SCHWIDEN, University of North Texas
1. Bethany CENCER, State University of New York, Stony Brook,
“Masonic Harmony and Masculinity in the Music of the Noblemen and Gentlemen’s Catch Club, London 1761–1794”
2. Mary GREER, Independent Scholar, “The Secret Subscribers to C. P. E. Bach’s Oratorio Die Israeliten in der Wüste: The Masonic Connection”
3. Reva WOLF, State University of New York, New Paltz, “Goya’s Art and the Spirit of Freemasonry”
4. Nan WOLVERTON, American Antiquarian Society, “Masonic Ideologies and the Visual Arts: Paul Revere as Master Artisan and Grand Master”
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Oriental Networks: Culture, Commerce and Communication, 1662–1842
Thursday, 31 March, 9:45–11:15
Chair: Greg CLINGHAM, Bucknell University
1. Noriyuki HATTORI, University of Osaka, “Trafficking Spices, Silver, and Japan: Representations of the Amboina Massacre”
2. Chihyin HSIAO, University of Glasgow, “Affordable Luxury? Chinese Porcelain in the Inventories of the London Court of Orphans”
3. Madalina VERES, Central European University/Institute for Advanced Study, “The Habsburg Monarchy’s Contribution to the Global Enlightenment”
4. James WATT, University of York, “Charles Lamb and Networks of Empire”
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In the 1720s. . . (Roundtable)
Thursday, 31 March, 9:45–11:15
Chair: Regina JANES, Skidmore College
1. Maximillian NOVAK, University of California, Los Angeles, “Masquerade, Murder and Excess: Defoe’s Roxana in the 1720s”
2. Karen LIPSEDGE, Kingston University, “Men Made Homes, and Homes Made Men”
3. William E. RIVERS, University of South Carolina, “Nicholas Amhurst’s Writing as a Window on the Complex, Interconnected World of the 1720s”
4. Celestina SAVONIUS-WROTH, University of Illinois, Urbana-Champaign, “Jovial Devotion: Attacking and Defending Ritual and Popular Culture in the 1720s”
5. Malinda Gar SNOW, Georgia State University, “The Country House in Defoe’s Tour thro’ the Whole Island of Great Britain: Money Well Spent”
6. Anne Betty J. WEINSHENKER, Montclair State University, “Tombeaux des princes: A Unique Political-Cultural Painting Cycle”
7. Mattie BURKET, University of Wisconsin, Madison, “Predatory Lending: The South Sea Bubble and The Conscious Lovers”
8. Noel CHEVALIER, University of Regina, “‘Their Crimes conspir’d to make ’em Great’: Pirate Narratives and Political Morality in the 1720s”
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Violence and Death in Eighteenth-Century Visual Culture
Thursday, 31 March, 9:45–11:15
Chair: Amy FREUND, Southern Methodist University
1. Meredith GAMER, Yale University, “‘The Sheriff’s Picture Frame:’ Art and Execution in Eighteenth-Century Britain”
2. Catherine GIRARD, Columbia University, “Embedded Oudry: Drawing with Hunters”
3. Anne Nellis RICHTER, Independent Scholar, “‘This once elegant mansion’: Representing Revolutionary Violence in England in the 1790s”
4. Lela GRAYBILL, University of Utah, “Violence, Visibility, and the Neoclassical Idiom”
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Intersections of Digital and Public Humanities: New Media and New Audiences for (Roundtable)
Thursday, 31 March, 9:45–11:15
Chair: Jessica RICHARD, Wake Forest University
1. Martha F. BOWDEN, Kennesaw State University
2. Craig HANSON, Calvin College
3. Tonya-Marie HOWE, Marymount Univeristy
4. Emrys JONES, University of Greenwich
5. John O’BRIEN, University of Virginia
6. Alaina PINCUS, University of Illinois
7. Laura RUNGE-GORDON, University of South Florida
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Widows and Working Women: Making a Living without a Husband
Thursday, 31 March, 11:30–1:00
Chair: Amber LUDWIG, Honolulu Museum of Art
1. Jaclyn GELLER, Central Connecticut State University, “Widows, Spinsters, and Other Marriage Refugees: Satiric Utopianism in Sarah Scott’s Millennium Hall”
2. Evangeline VAN HOUTEN, University of Connecticut, “Charlotte Charke’s Perilous Play”
3. Christina LINDEMAN, University of South Alabama, “Collaboration as a Veil: The Widowed Anna Dorothea Therbusch”
4. Lois LEVEEN, Novelist, “Kitty Fisher Found It: Commodity Capitalism and the Creation of Celebrity in Eighteenth-Century England”
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The Objects of Performance
Thursday, 31 March, 11:30–1:00
Chair: Ashley BENDER, Texas Woman’s University
1. Kalissa HENDRICKSON, Arizona State University, “Indian Gowns in Comedies of Seduction”
2. Daniel GUSTAFSON, The City College of New York, City University of New York, “Corpsing Lothario”
3. Deirdre O’ROURKE, Independent scholar, “The Sculptures from Elkanah Settle’s The Empress of Morocco”
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Satirical Images: Between Sociability, Animosity, and Entertainment
Thursday, 31 March, 2:30–4:00
Chair: Kathryn DESPLANQUE, Duke University AND Jessica FRIPP, Texas Christian University
1. Pascal DUPUY, Université de Rouen, “The English Caricature and its Public: An Analytical Essay”
2. Dominic HARDY, Université du Québec à Montréal, “Recovered Laughter: An Inquiry into the Role of Women in the Authorship and Circulation of Caricature in Montréal, c. 1808–1811”
3. Allison M. STAGG, Technische Universität Berlin, “Friend or Foe? The Social Atmosphere for Political Caricatures in the Early Republic”
4. Andrew SCHULZ, The Pennsylvania State University, “Reading Between the (Etched) Lines: The Anonymous Manuscript Commentaries on Goya’s Caprichos”
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Framing the Eighteenth Century: Borders and Peripheries in Visual Culture
Thursday, 31 March, 2:30–4:00
Chairs: Blythe C. SOBOL, Institute of Fine Arts / New York University AND Daniella BERMAN, Institute of Fine Arts / New York University
1. Margot BERNSTEIN, Columbia University, “Inside Out: Crossing Thresholds and Blurring Boundaries with Eighteenth-Century Sedan Chairs”
2. Laurel PETERSON, Yale University, “Taking it All In: the Unity of Painting and Carving in the Country House Interior”
3. Agueda ITURBE-KENNEDY, Université Laval, Québec/ Université Pari IV, Paris, “Framing the Eighteenth-Century City: Jean-Gabriel Legendre’s Project”
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Inside the Artist’s Studio
Thursday, 31 March, 4:15–5:45
Chair: Heather MCPHERSON, University of Alabama at Birmingham
1. Wendy Wassyng ROWORTH, University of Rhode Island, “A Celebrity Artist’s Studio in Rome”
2. Francesca BOVE, University of East Anglia, Norwich, “The Modern Artist’s Studio: George Morland and the ‘curious scenery of his painting room’”
3. Sarah BAKKALI, University of Paris X Nanterre, “Friendship, Sociability, and the Art Market inside The Isabey Studio”
4. Susanne ANDERSON-RIEDEL, University of New Mexico, “Between Studio and Academy: Shifting Training Practices for Graphic Artists”
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Members’ Reception
Thursday, 31 March, 6:00–7:00, William Penn Ballroom
F R I D A Y , 1 A P R I L 2 0 1 5
Anne Schroder New Scholars’ Session
(Historians of Eighteenth-Century Art and Architecture)
Friday, 1 April, 8:00–9:30
Chair: Janet R. WHITE, University of Nevada, Las Vegas School of Architecture
1. Fanny BROCK, University of North Carolina Chapel Hill, “Drawing the Amateur: Draftsmanship and the Amateur in Eighteenth-Century France”
2. Daniella BERMAN, Institute of Fine Arts / New York University, “Creating French History: The Uses and Abuses of the Concours de l’An II”
3. Hannah Wirta KINNEY, Oxford University, “Con Fiducia: Commissioning Copies of Antiquities in Late-Medicean Florence”
4. Paul HOLMQUIST, McGill University, “L’harmonie tient tout dans un equilibre parfait: Re-enacting Origins in Claude Nicolas Ledoux’s Ideal City of Chaux”
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Empires of Print
Friday, 1 April, 8:00–9:30
Chair: Douglas FORDHAM, University of Virginia
1. Robbie RICHARDSON, University of Kent, “How Peter Williamson Became an Indian”
2. Holly SHAFFER, Dartmouth College, “Gods, Gold, and Antiquities: Edward Moor’s Narrative of the Anglo-Maratha Alliance Against Tipu Sultan of Mysore, 1790–1792”
3. Catriona KENNEDY, University of York, “Egypt Through Military Eyes: Illustrating the British Army’s 1801 Egyptian Campaign”
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Representing the Fragment
Friday, 1 April, 8:00–9:30
Chair: Olaf RECKTENWALD, McGill University
1. Jennifer DONNELLY, University of Pittsburgh, “‘Ces ombres immortelles’: Life and Death at the Musée des monuments français”
2. Rachel SCHNEIDER, Missouri University of Science and Technology, “Materializing the Literary Fragment”
3. Christopher Drew ARMSTRONG, University of Pittsburgh, “1700: Recasting Mediterranean Fragments in Global Context”
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Re-Framing the Picturesque
Friday, 1 April, 9:45–11:15
Chair: William C. SNYDER, St. Vincent College
1. Garland BEASLEY, University of Nevada, Las Vegas, “Observations Before the River Wye: The Rise of the Picturesque”
2. Peter C. MESSER, Mississippi State University, “Jeremy Belknap’s Picturesque Republic”
3. Tom HOTHEM, University of California, Merced, “Natural Fictions: Picturesque Aesthetics and the Eighteenth-Century Novel”
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‘The Delight of the Eye’: Eighteenth-Century Painting and/as Decoration – I
Friday, 1 April, 9:45–11:15
Chair: Yuriko JACKALL, National Gallery of Art AND Katherine BRION, Kalamazoo College
1. Aaron WILE, Harvard University, “Antoine Coypel’s Galerie d’Enée: Ancients, Moderns, and the Experience of Painting”
2. Susanna CAVIGLIA, University of Chicago, “Weighty Matters in Delightful Images: Rococo Painting and the Embodiment of a New Ideology”
3. Alden GORDON, Trinity College, “Painting and the Decorative Interior in France: The Innovations of the Marquis de Marigny for both Public and Private Patronage”
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ASECS / BSECS Plenary Lecture
Friday, 1 April, 9:45–11:15
Presiding: Heather MCPHERSON, University of Alabama, Birmingham
Shearer WEST, Sheffield University, “Selfiehood: Celebrity, Singularity and the Enlightenment”
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ASECS / BSECS Plenary Lecture Follow-up (Roundtable)
Friday, 1 April, 11:30–1:00
Chair: Michael YONAN, University of Missouri
1. Douglas FORDHAM, University of Virginia
2. Melissa HYDE, University of Florida
3. Kate JENSEN, Louisiana State University
4. Heather MCPHERSON, University of Alabama, Birmingham
5. Mary SHERIFF, University of North Carolina at Chapel Hill
Respondent: Shearer WEST, Sheffield University
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Disability Aesthetics: Tobin Sieber’s Legacy (Disability Studies Caucus)
Friday, 1 April, 11:30–1:00
Chairs: Stan BOOTH, University of Winchester AND Jason FARR, Texas A&M University, Corpus Christi
1. Abby COYKENDALL, Eastern Michigan University, “Unbecoming Aesthetics: Horace Walpole’s Castle of Otranto”
2. Jarred WIEHE, University of Connecticut, “Broken Bodies and English Taste: Samuel Foote and Disability Aesthetics”
3. Alden CAVANAUGH, Indiana State University, “Problem Skin: Greuze’s Portrait of Wille and Facial Disfigurement”
4. Tamar LEROY, University of Maryland, “Wartime and Crip Time in George Farquhar’s The Recruiting Officer”
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Sleeping through the long Eighteenth Century
Friday, 1 April, 11:30–1:00
Chair: Leah BENEDICT, University at Buffalo
1. Matt RIGILANO, University at Buffalo, “Extraordinary Sleepers and the Biopolitics of Early Modern Coma”
2. Jill CAMPBELL, Yale University, “‘Spare My Slumbers’: Sleep, Voice, and Memorialization in Eighteenth-Century Sculpture and Ekphrastic Verse”
3. Ana RUEDA,University of Kentucky, “Goya’s ‘Sleep of Reason’ and Other States of Somnolence”
4. Nicholas E. MILLER, Washington University in St. Louis, “‘My Long Sleep of Insensibility’: Corpse-Hopping and Consciousness in Robert Montgomery Bird’s Sheppard Lee”
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Historians of Eighteenth-Century Art and Architecture Luncheon
Friday, 1 April, 1:00–2:30
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Presidential Address, Awards Presentation, and ASECS Business Meeting
Friday, 1 April, 2:30–4:30
Presiding: Felicity NUSSBAUM, University of California, Los Angeles
Srinivas ARAVAMUDAN Duke University, “From Enlightenment to Anthropocene”
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‘The Delight of the Eye’: Eighteenth-Century Painting and/as Decoration – II
Friday, 1 April, 4:30–6:00
Chair: Yuriko JACKALL, National Gallery of Art AND Katherine BRION, Kalamazoo College
1. Jennifer GERMANN, Ithaca College, “The Status of the Decorative in the Portraits of Constance-Gabrielle-Magdeleine and Joseph Bonnier de la Mosson by Jean-Marc Nattier”
2. Edward STERRETT, The Getty Research Institute, “From Ornamental Print to Monumental Painting: The Elaboration of the Rococo in the Work of François Boucher”
3. Heidi STROBEL, University of Evansville, “‘A mere copier of nature can never produce anything great’: Mary Linwood, Sir Joshua Reynolds, and the Art of Making Copies”
S A T U R D A Y , 2 A P R I L 2 0 1 5
Tableaux Vivants: Life and/as Art
Saturday, 2 April, 8:00–9:30
Chairs: Noémie ETIENNE, Getty Research Institute AND Meredith MARTIN, New York University
1. Eugenia Zuroski JENKINS, McMaster University, “The Unstill Life of the Nautilus Cup”
2. Valérie KOBI, Bielefeld University, “Staging Life: The Preparation of Medical and Natural History Specimens in Eighteenth-Century Europe”
3. Charles KANG, Columbia University, “Re/constructive Surgery: Displaying the Bodily Interior in Late Eighteenth-Century France”
4. Amelia RAUSER, Franklin and Marshall College, “Whiteness: Modern Galateas”
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Music, Art, Literature (Society for Eighteenth-Century Music)
Saturday, 2 April, 9:45–11:15
Chair: Janet K. PAGE, University of Memphis
1. Kathryn Shanks LIBIN, Vassar College, “The ‘Music Room’ in a Bohemian Castle: Gabriele von Auersperg’s Souvenir de Senftenberg en 1814”
2. Elizabeth LIEBMAN, Independent Scholar, “The Bird Organ in Eighteenth-Century Art and Sound”
3. Lisa de ALWIS, University of Colorado, Boulder, “Famous and Forgotten Works that Influenced Viennese Theatrical Censorship”
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Portraiture Before 1750 – I
Saturday, 2 April, 9:45–11:15
Chair: Jennifer GERMANN, Ithaca College
1. Allison LEIGH, The Cooper Union for the Advancement of Science and Art, “Investing the Body: Russian Portraiture Before 1750”
2. Janine Yorimoto BOLDT, The College of William & Mary, “Boys in Livery: Picturing Slavery in English and Colonial American Portraiture”
3. Tara ZANARDI, Hunter College, “Tastemaker and Policy Shaper: Queen Isabel de Farnesio as Patron and Politician”
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Queer Lives? (Roundtable)
Saturday, 2 April, 9:45–11:15
Chair: George HAGGERTY, University of California, Riverside
1. Tom KING, Brandeis University, “Elizabeth Barry”
2. Ellen LEDOUX, Rutgers University, Camden, “Hannah Snell and Mary Jane Talbot”
3. Jason FARR, Texas A&M University, Corpus Christi, “William Hay”
4. Lisa MOORE, University of Texas at Austin, “Anna Seward”
5. Margaret WALLER, Pomona College, “Napoleon and La Mésangère”
6. Caroline GONDA, St. Catharine’s College, Cambridge, “Anne Damer”
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Rethinking the Academic Conference (Roundtable) (Women’s Caucus Professional Panel)
Saturday, 2 April, 9:45–11:15
Chair: Emily FRIEDMAN, Auburn University
1. Laura MILLER, University of West Georgia, “Removing Barriers to Junior Scholars at ASECS”
2. Emily M.N. KUGLER, Howard University, “Creating Resources and Scholarly Community: Examples from FemTechNet’s DOCC Summer Workshops and Disrupting DH”
3. Lauren HOLT, The Galloway School, “From Passive to Active: Participation beyond Q&A”
4. Rebecca SHAPIRO, City University of New York, “Closed Mouths do not Mean Closed Minds”
5. Susan LANSER, Brandeis University, “Fostering Intellectual Sociability”
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Clifford Lecture
Saturday, 2 April, 11:30–12:30
Presiding: Kathleen WILSON, State University of New York, Stony Brook
John BREWER California Institute of Technology, “Fire and Ice: Travel and the Natural Sublime in the Age of Enlightenment”
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Portraiture Before 1750 – II
Saturday, 2 April, 2:00–3:30
Chair: Jennifer GERMANN, Ithaca College
1. Liza OLIVER, Wellesley College, “The Portrait Between India and France”
2. Amy FREUND, Southern Methodist University, “Full Length, Four Legs: Early Eighteenth-Century Animal Portraiture”
3. Aurore CHÉRY, Université Jean Moulin/Lyon 3, “‘Being the Second One’: Were the Marriages of Marie Lezczynska and Marie-Josèphe de Saxe Second Hand Celebrations?”
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Felines and Philosophers
Saturday, 2 April, 3:45–5:15
Chair: Michael YONAN, University of Missouri
1. Tracey HUTCHINGS-GOETZ, Indiana University, “‘Catching the Cat’; or, Feeling the Feline in Enlightenment Sensualist Philosophy”
2. Adela RAMOS, Pacific Lutheran University, “‘This admirable machine’: Mousers, Mousetraps, and Species in William Guthrie’s The Life and Adventures of a Cat”
3. Karissa BUSHMAN, University of Alabama at Huntsville, “Ferocious to Friendly Felines in Goya’s Art”
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Food and Gender: Feeding the Eighteenth Century – II (Women’s Caucus Scholarly Panel)
Saturday, 2 April, 3:45–5:15
Chair: Lucinda COLE, University of Illinois Urbana-Champaign
1. Sarah Sylvester WILLIAMS, University of Missouri, Columbia, “Pigeon Pie or Peaches? Depictions of Food and Gender in Eighteenth-Century Paintings of Hunt Luncheons”
2. Leslie ARONSON, Saginaw Valley State University, “Women, Food, and the Threat Against Manhood: Consumption in the Expedition of Humphrey Clinker”
3. Corey GOERGEN, Emory University, “‘grotesque mixtures’: Feminine Intoxication in Edgeworth’s Belinda”
Dutch Royal Barge Returns to Het Scheepvaartmuseum
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Press release (14 October 2015) from Amsterdam’s National Maritime Museum:
After an eight-year absence, the Royal Barge will once again be on display at Het Scheepvaartmuseum. At a spectacular opening event on Wednesday evening, framed by the pipers and drummers of the Marine Corps, the Royal Barge was presented to more than 300 guests. Just one week before this event, the 200-year old barge and its new boathouse were transported across land and water. In the home port of Amsterdam, the doors will be opened to visitors every morning.
The director-general of Het Scheepvaartmuseum, Pauline Krikke, is overjoyed at the return of the crown jewel of the museum’s collection. “It is a momentous occasion to celebrate the return of the barge after such a long absence,” she says. “The Royal Barge is restored and seaworthy. The museum is incredibly grateful to all the people who helped to make this possible.”
The Royal Barge, also referred to as the ‘Golden Coach of the water’ (‘de gouden koets te water’), was given a thorough overhaul. With a donation of one million euros from the BankGiro Lottery, the Cultuur Lottery, and specialist input from AkzoNobel, this unique barge was completely renovated and restored to once again be admired in all its magnificence. Now, this public favourite has finally returned to Het Scheepvaartmuseum. With the new set-up in the boathouse, the beautiful golden ornaments are closer than ever before and can be admired in detail by the visitors.
The Royal Barge is a rowing barge that was built at the Navy shipyard in Rotterdam in 1816 for King William I. Since then, the Royal Barge has been used by the head of state for official events such as state visits, jubilees, naval reviews, and the launching of new ships. The barge marked its final voyage in 1962 with the silver wedding anniversary of Queen Juliana and Prince Bernhard, and was then retired from service.
The National Maritime Museum (Het Scheepvaartmuseum) tells the story of how the sea has defined Dutch culture. Visitors follow their own paths through twelve exciting and interactive exhibitions to discover 500 years of maritime history. Highlights of world-class collections are displayed in unforgettable exhibitions. A few of the exhibitions (like The Tale of the Whale and Life Onboard) are specially designed for families. The museum draws approximately 330,000 visitors per year, putting it among the top ten Amsterdam museums and making it a major attraction for both domestic and foreign tourism. Het Scheepvaartmuseum is located in ‘s Lands Zeemagazijn, an historic Golden Age building dating from 1656.
Exhibition | Le dauphin, l’artiste et le philosophe
Opening this week at the Château de Fontainebleau:
Le dauphin, l’artiste et le philosophe: Autour de l’Allégorie à la mort du dauphin de Lagrenée l’Aîné
Château de Fontainebleau, 17 October 2015 — 25 January 2016
Curated by Marine Kisiel
Louis Jean François Lagrenée, Le Dauphin mourant entouré de sa famille (Château de Fontainebleau)
Le château de Fontainebleau poursuit la mise en lumière de ses collections en consacrant, à l’automne 2015, une exposition à l’Allégorie à la mort du dauphin, une œuvre de Louis Lagrenée, dit l’Aîné.
Le 20 décembre 1765, Louis-Ferdinand, dauphin de France, s’éteint au château de Fontainebleau. Il est le fils de Louis XV et le père des futurs Louis XVI, Louis XVIII et Charles X. Le détail de sa vie ne nous est parvenu que par les représentations—livresques et artistiques—dont il a fait l’objet. Elles ont favorisé une reconstruction biographique posthume, souvent idéalisée, imprégnée par le contexte de l’opposition entre le parti dévot et les Encyclopédistes.
Exposée au Salon de 1767, l’Allégorie à la mort du dauphin participe de cette floraison artistique. Elle a suscité de nombreuses réactions, notamment celle de Diderot. D’abord critique acerbe du tableau, Diderot prend toutefois part, quelques année plus tard, à l’élaboration du mausolée d’un dauphin auquel tout semblait pourtant l’opposer.
En faisant converger les figures du dauphin, de Lagrenée et de Diderot, l’exposition se propose d’éclairer d’un jour nouveau cette allégorie, et d’examiner sa place dans les représentations de la mort et de l’immortalité que nous a léguées le siècle des Lumières.
L’exposition Le dauphin, l’artiste et le philosophe marque le 250e anniversaire de la mort du Dauphin Louis-Ferdinand et introduit une saison culturelle dédiée à Louis XV au château de Fontainebleau.
Additional information is available here»
Call for Papers | Serious Fun: Expressions of Play
From the Call for Papers:
Serious Fun: Expressions of Play in the History of Art and Architecture
The 32nd Annual Boston University Graduate Symposium on the History of Art and Architecture
Museum of Fine Arts, Boston, 26–27 February 2016
Proposals due by 21 November 2015
In all of its forms, play is a vital expressive force. Whether theatrical or athletic, rollicking or subversive, play has enacted a pivotal role in shaping cultural life. The 32nd Annual Boston University Graduate Student Symposium on the History of Art and Architecture invites submissions that consider aspects of play as form, content, process, and methodological framework.
Possible subjects include, but are not limited to:
• representations of play
• entertainment, games, and toys
• spaces of play, leisure, and recreation
• play as practice
• political control of play
• play as dissent or activism
• word play
• the naughty and the bawdy
• revelry and whimsy
• play and performance
• play as creative force
We welcome submissions from graduate students at all stages of their studies, working in any area or discipline. Please send an abstract (300 words or less), paper title, and a CV to the Symposium Coordinator, Catherine O’Reilly, at bugraduatesymposiumhaa@gmail.com. The deadline for submissions is Saturday, November 21, 2015. Selected speakers will be notified before January 1, 2016. Papers should be 20 minutes in length and will be followed by a question and answer session.
The Symposium will be held Friday, February 26 – Saturday, February 27, 2016, with a keynote lecture (TBD) on Friday evening at the Boston University Art Gallery at the Stone Gallery and graduate presentations on Saturday in the Riley Seminar Room of the Museum of Fine Arts, Boston.
This event is generously sponsored by The Boston University Center for the Humanities; the Boston University Department of History of Art & Architecture; the Museum of Fine Arts, Boston; the Boston University Graduate Student History of Art & Architecture Association; and the Boston University Art Gallery at the Stone Gallery.
MA in the Art Market and the History of Collecting, U of Buckingham
MA in the Art Market and the History of Collecting
The University of Buckingham
Full and partial scholarships available
A one-year MA offered by the University of Buckingham and the National Gallery in association with Waddesdon Manor (Rothschild Collections) investigates American and European art markets and cultures of collecting from the Renaissance to the present day. The course is taught by staff from the University of Buckingham, the National Gallery and Waddesdon Manor.
A unique feature of the course will be access to two of the greatest surviving art dealers’ archives: Agnew’s, acquired by the National Gallery in 2014, and Colnaghi’s, housed since February 2014 in the Windmill Hill Archive, Waddesdon Manor. It is the first MA in the UK to offer, under the guidance of experts, practical training on how to use, unlock and analyse these rich holdings.
Full and partial scholarships available generously funded by P & D Colnaghi & Co Ltd. Apply now for January 2016. For further information see the website or contact: Claire Prendergast, Claire.Prendergast@Buckingham.ac.uk or Jeremy Howard jeremy.howard@buckingham.ac.uk.
New Book | Qing Encounters: Artistic Exchanges
From Getty Publications:
Petra ten-Doesschate Chu and Ning Ding, eds., Qing Encounters: Artistic Exchanges between China and the West (Los Angeles: Getty Publications, 2015), 320 pages, ISBN 978-1606064573, $55.
Qing Encounters: Artistic Exchanges between China and the West examines how the contact between China and Europe in the eighteenth and early nineteenth centuries transformed the arts on both sides of the East-West divide. The essays in the volume reveal the extent to which images, artifacts, and natural specimens were traded and copied, and how these materials inflected both cultures’ visions of novelty and pleasure, battle and power, and ways of seeing and representing. Artists and craftspeople on both continents borrowed and adapted forms, techniques, and modes of representation, producing deliberate, meaningful, and complex new creations. By considering this reciprocity from both Eastern and Western perspectives, Qing Encounters offers a new and nuanced understanding of this critical period.
Petra ten-Doesschate Chu is professor of art history and museum studies and director of graduate studies in Museum Professions at Seton Hall University. Ning Ding is professor of art history and theory and vice-dean at the School of Arts, Peking University.
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C O N T E N T S
Foreword
Acknowledgments
Petra ten-Doesschate Chu and Ning Ding, Introduction
Part I: Collection and Display
• Richard Vinograd, Hybrid Space of Encounter in the Qing Era
• Anna Grasskamp, Frames of Appropriation: Foreign Artifacts on Display in Early Modern Europe and China
• Kristel Smentek, Global Circulations, Local Transformations: Objects and Cultural Encounter in the Eighteenth Century
• Mei-Mei Rado, Encountering Magnificence: European Silks at the Qing Court during the Eighteenth Century
Part II: Knowledge and Information Exchange between China and the West
• John Finlay, Henry Bertin and the Commerce in Images between France and China in the Eighteenth Century
• Che-Bing Chiu, Vegetal Travel: Western-European Plants in the Garden of the Emperor of China
• Yuen Lai Winnie Chan, Nineteenth-Century Canton Gardens and East-West Plant Trade
• Marcia Reed, Imperial Impressions: The Qianlong Emperor’s Print Suites
Part III: Modes and Meaning of (Adopted) Techniques of Representation
• Yue Zhuang, Hatching in the Void: Ritual and Order in Bishu Shanzhuang Shi and Matteo Ripa’s View of Jehol
• Ya-Chen Ma, War and Empire: Images of Battle during the Qianlong Reign
• Kristina Kleutgehn, From Science to Art: The Evolution of Linear Perspective in Eighteenth-Century Chinese Art
• Lihong Liu, Shadows in Chinese Art: An Intercultural Perspective
Part IV: Chinoiserie, Européenerie, Hybridity
• Yeewan Koon, Narrating the City: Pu Qua and the Depiction of Street Life in Canton
• Greg M. Thomas, Chinoiserie and Intercultural Dialogue at Brighton Pavilion
• Stacey Sloboda, Surface Contact: Decoration in the Chinese Taste
• Jennifer Milam, Betwixt and Between: ‘Chinese Taste’ in Peter the Great’s Russia
Biographical Notes on Contributors
Illustration Credits
Index
Conference | A Revolution in Taste: Francis Haskell’s Nineteenth Century
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From the conference website:
A Revolution in Taste: Francis Haskell’s Nineteenth Century
St John’s College and the Ashmolean Museum, Oxford, 23–24 October 2015
A two-day conference is to be held at St John’s College, Oxford and the Ashmolean Museum to explore the work of art historian Francis Haskell (1928–2000). Writing at the intersection of cultural history, art history and the history of ideas, Haskell made a seminal contribution to the study of the formation of taste in nineteenth-century Britain and Europe.
The conference will revisit terrain mapped out by Haskell in Rediscoveries in Art, namely the transformation of the art world between the 1770s and 1870s, a period when war, revolution, plunder and state-formation brought fundamental changes to the knowledge of and trade in Old Master paintings. Distinguished speakers include scholars and curators from Britain, France and Italy. The conference aims to comprehend the forces which transformed how art was acquired, displayed and interpreted in the nineteenth century. But it will also grapple with the methodological and philosophical issues raised by Haskell’s provocative approach to the history of collecting.
Both days of the conference will be held in the auditorium of St Johns College, Oxford. Delegates at the conference will receive lunch, teas and coffee, and a wine reception at the Ashmolean on Friday 23rd from 18.00 to 19.30 (this event is free although places are limited so it is essential to register). The fee for attending both days is £80 for professionals (£35 for students); the cost of attending for just one day is £45 for professionals (£20 for students). Registration for the conference is open until October 15th. To book, please follow this link.
The conference is organized by Dr Tom Stammers, cultural historian at the University of Durham and visiting Deakin Fellow in Oxford (2014–15). For all inquiries contact Tom directly (t.e.stammers@durham.ac.uk) or write to the conference email address francishaskell2015@gmail.com.
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F R I D A Y , 2 3 O C T O B E R 2 0 1 5
9.30 Registration
10.00 Welcome remarks by Tom Stammers
10.10 Keynote 1 | Nicholas Penny
Chair: Craig Clunas
11.00 Session 1 | Rediscoveries in Post-Revolutionary Europe
Chair: Christina Anderson
• Charlotte Guichard, Naming the Artist: Attribution and Artistic Expertise at the End of the Eighteenth Century
• Xanthe Brooke, William Roscoe (1753–1831) and His Collection of North European Renaissance Art in Liverpool
• Véronique Gerard-Powell, The Altamira Collection and the Sale of Spanish Art in London
12.30 Lunch
13.30 Session 2 | Art and Interpretation in Nineteenth-Century France
Chair: Frances Suzman Jowell
• Camille Mathieu, Breaking Up the Museum of Rome: Mobility and the Antique in the Napoleonic Era, 1796–1817
• Richard Wrigley, Ingres’ Monsieur Bertin and the Vicissitudes of Bourgeois Taste
• Juliet Simpson, Reimagining the Northern Nineteenth Century: Art and the Politics of Patrimony in the French Third Republic
15.00 Coffee
15.30 Session 3 | Private Palaces of Art
Chair: Arthur Macgregor
• Susanna Avery-Quash, Rediscovering John Julius Angerstein’s ‘Other’ Art Collection at ‘Woodlands’, Blackheath
• Stephen Lloyd, From Venice to Knowsley: The Rediscovery and Conservation of Borgognone’s Series of Paintings on Silver-gilt Leather, The Children of Israel
• Pauline Prévost-Marcilhacy, The Pereire Brothers and Collecting in the Second Empire
17.15 Keynote 2 | Charles Hope
Chair: Geraldine Johnson
18.00 Wine Reception at the Ashmolean
19.30 Dinner at the Ashmolean Restaurant
S A T U R D A Y , 2 4 O C T O B E R 2 0 1 5
9.30 Registration
9.45 Keynote 3 | Stephen Bann
Chair: Julia Langbein
10.30 Session 4 | History, Images and Criticism
Chair: Ludmilla Jordanova
• Donata Levi, Rediscovering Crowe
• Jenny Graham, Afterlives: Rewriting Giorgio Vasari in the Nineteenth Century
• Jon Whiteley, Francis Haskell and Nineteenth-Century French Art
12.30 Lunch
13.00 Session 5 | Exhibitions and Ephemeral Museums
Chair: Linda Whiteley
• Jeremy Warren, A Nineteenth-Century Phenomenon: The Birth of the New Kunstkammer
• Cécilia Hurley Griener, Juggling with Masterpieces in the Long Nineteenth Century
• Bénédicte Savoy, Les Spoliations Napoléonniennes (communication en français)
14.30 Coffee
15.00 Session 6 | Collecting Dynasties
Chair: Adriana Turpin
• Charles Sebag-Montefiore, The Barings: A Dynasty of Art Collectors
• Dora Thornton, Reinterpreting a Rothschild Schatzkammer at The British Museum: The Waddesdon Bequest
• Tom Stammers and Silvia Davoli, Orléans and Bonaparte in Exile: Collecting at the End of the Age of Revolutions
16.30 Keynote 4 | Pascal Griener
Chair: Matthew Walker
17.15 Closing discussion, with Larissa Haskell
Exhibition | Lawrence Weiner: Within a Realm of Distance at Blenheim
Lawrence Weiner, Far Enough Away as To Come Readily to Hand, installed in the First State Room at Blenheim Palace. Photo by Hugo Glendinning.
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Press release, via Art Daily (11 October 2015) . . .
Lawrence Weiner: Within a Realm of Distance
Blenheim Palace, Woodstock, Oxfordshire, 10 October — 20 December 2015
Blenheim Art Foundation presents a new exhibition by American artist and founding figure of Conceptual Art, Lawrence Weiner, titled Within a Realm of Distance. On view now at Blenheim Palace, the exhibition showcases works conceived by the artist over the past several decades, in addition to significant works created especially for the Palace. Integrated throughout the ornate interior as well as the monumental exterior of the 18th-century building, the exhibition demonstrates the artist’s practice of using language as a medium to create a multitude of sculptural forms, viewed in contrast to the traditional backdrop of the UNESCO World Heritage site.
Lawrence Weiner is regarded as one of the most influential artists working today with a career spanning over fifty years. The exhibition, conceived by the artist in close collaboration with Blenheim Art Foundation and co-curator Christian Gether, Director, ARKEN Museum of Modern Art, features a new and ambitious body of work presented in a building that dates back to 1704 and which famously became the birth place of British Prime Minister Sir Winston Churchill in 1874. Existing as an idea rather than a physical object, Weiner invites visitors to experience his work in tandem with the rich heritage of the Palace.
Using the Palace as a support structure for his artistic vision, Weiner has created several site-specific installations, allowing visitors to experience his work and the building’s historic collections simultaneously. The work—which gives the exhibition its name Within a Realm of Distance—is made up of brightly coloured and three-dimensional urethane and vinyl lettering, strikingly situated on the frieze of the Palace’s main entrance. The ceiling of the Long Library, which runs the entire length of the Palace’s West Front making it one of the longest rooms in a private house in Britain, now features the work More than Enough after being almost untouched for the last 200 years. Site-specific pieces have also been made for the west side of the Great Hall where the words Near & Far & Equal Measure at Some Point, are located above the arch, and the text So Far Flung adorns the Green Drawing Room.
Additional works include Far Enough Away as To Come Readily to Hand, an almost four metre pvc banner with vinyl overlay, has replaced the tapestry depicting the Battle of Blenheim hanging in the First State Room. In the Chapel, is A Penny Here, A Penny There, above the marble monument to the first Duke and Duchess and their two sons. Found Alone after Any Given Time, consisting of seven embroideries displaying differing texts, are also hung in place of existing drawings and prints throughout the Palace and presented as a homily. The works are both subtly and strikingly juxtaposed against the art and architecture of the Palace, creating something completely unique.
Within a Realm of Distance is the second exhibition by Blenheim Art Foundation, a programme of contemporary art which sees exhibitions presented at the Palace by internationally acclaimed contemporary artists, and follows the inaugural exhibition Ai Weiwei at Blenheim Palace (2014). The Foundation was established by Lord Edward Spencer-Churchill, whose family have resided at Blenheim Palace since the early 18th century, and whose brother is the 12th Duke of Marlborough. A dedicated collector of contemporary art, Lord Edward has long held the ambition to launch a contemporary art programme at Blenheim Palace, and realised Blenheim Art Foundation in 2014 with its Director, Michael Frahm.
Michael Frahm, Director, Blenheim Art Foundation, said, “During the months of October through to December, to visit Blenheim Palace will be a new experience and one that is rooted in a consideration of our own relation to objects and the world around us. Weiner’s sculptures meet history in a way that has never been done before at Blenheim Palace and we hope this will challenge, excite and inspire our visitors. The exhibition is a testament to Weiner’s past achievement and an assured demonstration of his continued creative exuberance.”
Lord Edward Spencer Churchill, Founder, Blenheim Art Foundation, said, “We are truly delighted and excited to be showing Lawrence Weiner Within a Realm of Distance at Blenheim Palace. This our second show after the phenomenally successful inaugural show by Ai Weiwei. Lawrence’s work speaks for itself, and he is a giant of the contemporary art scene. One of the fathers of modern conceptualism and a man of vast intellect and humanity; we are so excited to welcome him and his ideas to Blenheim.”
Lawrence Weiner said, “…where we are in the midst of where we were, the relationships of objects to objects in relation to human beings.”
Lawrence Weiner (b.1942) lives and works in West Village, New York and is considered a seminal figure in the founding of Conceptual Art. Weiner is one of the most radical artists to use language as his artistic medium and in 1969 Weiner cemented his mode of practice in a Statement of Intent, which, considered a pivotal moment at the beginning of the artistic movement, stipulated that his statements were the artwork whilst both their production and interpretation “rests with the receiver.”
Recent and current solo exhibitions include: Straight Down to Below: Lawrence Weiner (part of Artist Rooms on Tour at Tate Modern and National Galleries of Scotland), Woodhorn Museum, Northumberland, 25 October – 19 April 2015; All In Due Course, South London Gallery, London, 26 September – 23 November 2014; The Grace of A Gesture (curated by Thomas Kellein), Written Art Foundation in conjunction with the 55th Venice Biennale, Palazzo Bembo, Venice, 29 May – 4 November 2013; As Far As The Eye Can See, Whitney Museum of American Art, New York, 15 November – 10 February 2008. He participated in documenta 5, 6, 7, and 13 (1972, 1977, 1982, 2012); the 36th, 41st, 50th and 55th Venice Biennales (1972, 1984, 2003, 2013); and the 27th Biennale de Sao Paulo (2006).
Lecture | Margaret Oppenheimer, ‘Madame Jumel Collects’
Next month at the Mid-Manhattan Library:
Margaret Oppenheimer, ‘Madame Jumel Collects’
Mid-Manhattan Library, New York, 12 November 2015
Eliza Jumel, seen in a lithograph she commissioned in 1852 (Collection of the Morris-Jumel Mansion)
The amazing Eliza Jumel—raised in a brothel, indentured as a servant, and confined to a workhouse while her mother was in jail—rose to become one of the richest women in New York. Along the way, she turned herself into an art connoisseur, acquiring more than 240 paintings while living in Paris between 1815 and 1817. In this richly illustrated lecture, art historian Margaret Oppenheimer will bring Jumel’s pioneering collection back to life, discussing the paintings, their owner, and the early nineteenth-century art scene in New York and Paris. Oppenheimer is the author of the new biography The Remarkable Rise of Eliza Jumel: A Story of Marriage and Money in the Early Republic, forthcoming from Chicago Review Press on November 1.
Thursday, November 12, 6:30–8pm; admission is free.
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Margaret A. Oppenheimer, The Remarkable Rise of Eliza Jumel: A Story of Marriage and Money in the Early Republic (Chicago: Chicago Review Press, 2015),
352 pages, ISBN: 978-1613733806, $30.
Eliza Jumel (1775–1865) was born in poverty in Providence, Rhode Island, and died one of the richest women in New York. During her rise from the workhouse to Paris’s place Vendôme, she acquired a fortune from her first husband, a French merchant, and nearly lost it to her second, the notorious Aaron Burr. Divorcing him promptly amid lurid charges of adultery, she lived on triumphantly to the age of ninety, astutely managing her property and public persona. After her death, a titanic battle over her estate went all the way to the United States Supreme Court . . . twice. During the decades-long fight over Eliza’s dollars, claimants adapted her life history to serve their own ends. Family members described a woman who earned the gratitude of Napoleon I and shone at the courts of Louis XVIII and Charles X. Their opponents painted a less flattering picture: they said Eliza bore George Washington an illegitimate son, defrauded her first husband, and even plotted his death.
Margaret A. Oppenheimer holds a Ph.D. in art history from New York University. She is the author of The French Portrait: Revolution to Restoration (2005), the collaborating writer of the first edition of Art: A Brief History (2000), and a contributor to A Personal Gathering; Paintings and Sculpture from the Collection of William I. Koch (1996). Her articles on eighteenth- and nineteenth-century French art have appeared in Apollo, the Gazette des Beaux-Arts, the Metropolitan Museum Journal, and other publications. In her off-hours from working as a writer and copy editor, she volunteers as a docent at the Morris-Jumel Mansion in New York City, Eliza Jumel’s former home.
Exhibition | Titian to Canaletto: Drawing in Venice
Giovanni Antonio Canal, known as Canaletto (1697‒1768), An Island in the Lagoon, pen, brown ink with grey wash over ruled pencil lines on blue paper, 20 x 27.9 cm (Ashmolean Museum, University of Oxford).
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Press release (28 August 2015) for the exhibition opening this week at the Ashmolean:
Titian to Canaletto: Drawing in Venice
Ashmolean Museum of Art and Archaeology, Oxford, 15 October 2015 — 10 January 2016
Curated by Catherine Whistler
Featuring a hundred drawings from the Uffizi, the Ashmolean, and Christ Church, Oxford, Titian to Canaletto is a groundbreaking exhibition based on new research. Venetian art has long been associated with brilliant colours and free brushwork, but drawing has been written out of its history. This exhibition highlights the significance of drawing as a concept and as a practice in the artistic life of Venice. It reveals the variety of purposes and techniques in drawing from Bellini, Titian and Tintoretto to Tiepolo and Canaletto. In a parallel exhibition, Jenny Saville Drawing, one of the UK’s most celebrated contemporary artists, Jenny Saville, has produced new work on paper and canvas in response to the Venetian Old Masters.
Giovanni Battista Piazzetta (1682‒1754), Head of a Youth, black and white chalks on brownish paper, 31.5 x 29.9 cm (Ashmolean Museum, University of Oxford)
Putting the words ‘drawing’ and ‘Venice’ together seems paradoxical. Writing on Venetian art has located creativity and artistic ambition in painting above all, emphasizing the materiality and sensuous effects achieved by Venetian artists. The intellectual and reflective qualities encapsulated in drawing are seen as irrelevant in the artistic world of Venice. The idea that Venetian artists did not use or value drawing was articulated in Florence, in Giorgio Vasari’s Lives of the Artists of 1568. Vasari’s influential statements were repeated and elaborated by later writers, so that in 1770s London, Joshua Reynolds confidently asserted that artists in Venice did not care about drawing with all of its virtues of discrimination and judgement, and that they went straight to working with brushes on canvas. This potent literary tradition had a major impact on the survival of drawings.
Titian to Canaletto presents new research which traces continuities in Venetian drawing over three centuries, from around 1500 to the foundation of the first academy of art in Venice in 1750. The exhibition emphasizes the role of drawing from sculpture and from life in the education and identities of Venetian artists, and it reveals tensions between theory and practice in the activities of artists and of collectors. Venetian artists used drawing for innovating and experimenting, or as a tool for research and observation; a variety of drawings were made and admired as works of art in their own right. The exhibition poses questions about the survival and value of drawings: does the fact that we have so few by Titian mean that he did not draw? Why were many Venetian drawings thought unworthy of collecting?
Ironically, while the story that Venetian artists did not respect drawing was first told in Florence, one of the world’s great collections of Venetian drawings is held at the Uffizi where many drawings were acquired in the mid-seventeenth century for Leopoldo de’Medici. Not only are there masterpieces by Carpaccio, Bassano, Titian and Tintoretto, and high-quality works by lesser-known seventeenth- century artists, there are also drawings that reveal early attitudes to collecting and connoisseurship. The Uffizi will also lend drawings by Tiepolo that have never been shown before, to be grouped with the Ashmolean’s own superb collection. Pioneering collectors in England owned Venetian drawings, and loans of important works by Veronese and Tintoretto will come from the intact early eighteenth-century collection at Christ Church, Oxford, together with the extraordinary Portrait of a man, by Giovanni Bellini.
Dr Catherine Whistler, Keeper of the Department of Western Art, Ashmolean Museum, and curator of the exhibition, says: “The beauty and visual impact of these drawings speak eloquently of the importance of drawing in Venice. We hope this exhibition will challenge traditional views of Venetian art and provoke new thinking on some of the greatest names in Italian art from the Renaissance to the eighteenth century.”
Dr Alexander Sturgis, Director of the Ashmolean, says: “The Ashmolean is bringing to a close its year of drawings exhibitions with this landmark show. Titian to Canaletto includes some of the Ashmolean’s greatest treasures, brought together with examples from two of the world’s finest collections of Old Master drawings—that of the Uffizi and the Christ Church Picture Gallery. Many of the works in the exhibition have not been displayed in public since the 1950s. The captivating beauty of these drawings is evident in the response they have elicited from one of this country’s most distinguished contemporary artists, Jenny Saville, who has produced a new body of work inspired by pieces in the exhibition and her enduring love of Venetian art.”
In Jenny Saville Drawing, Jenny Saville will present a body of drawings, including several new and unseen works in a dedicated exhibition space that accompanies Titian to Canaletto: Drawing in Venice. The rich material and gestural qualities of Venetian drawings have been an inspiration for the thoughtful yet visceral works on paper and canvas that will be on view. For Jenny Saville, the blurred or grainy charcoal marks and the agile, robust pen lines of Venetian artists such as Titian or Palma Giovane become catalysts for exploring the nature and power of drawing, in new, highly charged works of art.
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The catalogue is distributed by ACC:
Catherine Whistler, ed., Drawing in Venice: Titian to Canaletto (Oxford: Ashmolean Museum/ Woodstocker Books, 2015), 256 pages, ISBN: 978-1854442994, $45.
Featuring over a hundred drawings from the outstanding collections of graphic art at the Uffizi, Florence, and the Ashmolean, and Christ Church, Oxford, Drawing in Venice is based on ground-breaking new research and accompanies an Ashmolean-Uffizi collaborative exhibition (2015–16) which traces continuities in Venetian drawing over three centuries, from around 1500 down to the foundation of the first academy of art in Venice in 1750.
Venetian art has long been associated with brilliant colours and free brushwork, but drawing has been written out of its history. This book highlights the significance of drawing as a concept and as a practice in the artistic life of Venice. It reveals the variety of aims, purposes, and techniques in drawing through the works of the Venetian Renaissance masters Giovanni Bellini, Titian, and Tintoretto to those of the great eighteenth-century artists, Giovanni Battista Tiepolo and Canaletto.
Dr Catherine Whistler is Keeper of the Western Art Department at the Ashmolean Museum, University of Oxford. Her previous publications include Michelangelo and Raphael Drawings (1990); Drawings by the Carracci from British Collections (joint author, 1996); Opulence and Devotion: Brazilian Baroque Art (2001); and Graceful and True: Drawings in Florence c.1600 (joint author, 2003).
C O N T E N T S
Essays
1 Catherine Whistler, Drawing in Venice from Titian to Canaletto: Practice and Perception
2 Giorgio Marini, Disegni a stampa: Drawing Practice and Printmaking in Venice from the Sixteenth to the Eighteenth Centuries
3 Marzia Faietti, Giorgio Vasari’s ‘Life of Titian’: Critical Misinterpretations and Preconceptions Concerning Venetian Drawing
4 Jacqueline Thalmann, General John Guise and His Collection of Venetian Drawings
Catalogue Entries
Glossary of Materials and Techniques of Drawing
Artists’ Biographies
Bibliography
Enfilade 
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