Enfilade

Published by Museum Tusculanum Press and distributed by The University of Chicago Press:

John Erichsen and Mikkel Venborg Pedersen, The Danish Country House (Copenhagen: Museum Tusculanum Press, 2014), 253 pages, ISBN: 978-8763543064, 51€ / $80.

Denmark’s many manors are a treasure trove of natural and cultural riches. As well as the scenic beauty and magnificent architecture they have to offer, they also stand as monuments to more than five centuries of Danish history. The landscapes and buildings of Denmark’s manors form a fascinating universe and a key part of the country’s cultural heritage. Denmark’s famous fairytale author Hans Christian Andersen and the internationally renowned storyteller Karen Blixen (Isak Dinesen) were both fascinated by the unique atmosphere of the Danish country house, which—as their fairy tales and stories reveal—was a lasting source of inspiration in their writings. Also today, the cultural and natural environment of the manor appeals to the heart and soul. This book provides the reader with the key to understanding and experiencing this cultural heritage. More than one hundred of Denmark’s 700 manors are now partially or wholly open to the public. This book is your guide to them all.

John Erichsen, M.A. in History and Art History, is the former director of The Museum of Copenhagen and Vice Director of The National Museum of Denmark. Since 1997 he has run the cultural history research and publishing company HISTORISMUS. He has published extensively, also on the cultural history of the manor.

Mikkel Venborg Pedersen, PhD and DPhil. in European Ethnology and Cultural History. Senior researcher at The National Museum of Denmark. He has worked professionally with both elite and mass culture in Early Modern Europe, and has published extensively on cultural history, as well as on ethnological and historical theory and methodology.

First published in 2013, Studies in Ephemera was recently released in paperback:

Kevin Murphy and Sally O’Driscoll, eds., Studies in Ephemera: Text and Image in Eighteenth-Century Print (Lewisburg, PA: Bucknell University Press, 2015), 318 pages, ISBN: 978-1611484946 (hardback), ISBN: 978-1611486612 (paperback), ISBN: 978-1611484953 (ebook), $90 / $45.

Studies in Ephemera: Text and Image in Eighteenth-Century Print brings together established and emerging scholars of early modern print culture to explore the dynamic relationships between words and illustrations in a wide variety of popular cheap print from the seventeenth to the early nineteenth century. While ephemera was ubiquitous in the period, it is scarcely visible to us now, because only a handful of the thousands of examples once in existence have been preserved. Nonetheless, single-sheet printed works, as well as pamphlets and chapbooks, constituted a central part of visual and literary culture, and were eagerly consumed by rich and poor alike in Great Britain, North America, and on the Continent. Displayed in homes, posted in taverns and other public spaces, or visible in shop windows on city streets, ephemeral works used sensational means to address themes of great topicality. The English broadside ballad, of central concern in this volume, grew out of oral culture; the genre addressed issues of nationality, history, gender and sexuality, economics, and more.

Richly illustrated and well researched, Studies in Ephemera offers interdisciplinary perspectives into how ephemeral works reached their audiences through visual and textual means. It also includes essays that describe how collections of ephemera are categorized in digital and conventional archives, and how our understanding of these works is shaped by their organization into collections. This timely and fascinating book will appeal to archivists, and students and scholars in many fields, including art history, comparative literature, social and economic history, and English literature.

Kevin D. Murphy is professor and executive officer in the PhD Program in Art History at the CUNY Graduate Center. He is the author of Jonathan Fisher of Blue Hill, Maine: Commerce, Culture, and Community on the Eastern Frontier (2010), as well as articles on nineteenth- and twentieth-century subjects in the Journal of the Society of Architectural Historians, Winterthur Portfolio, and the Journal of Urban History.

Sally O’Driscoll teaches English at Fairfield University. Her work on eighteenth-century literature and culture has appeared in such journals as Signs, Tulsa Studies in Women’s Literature, and Eighteenth-Century: Theory and Interpretation.

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C O N T E N T S

Illustrations
Acknowledgments

1  Introduction — ‘Fugitive Pieces’ and ‘Gaudy Books’: Textual, Historical, and Visual Interpretations of Ephemera in the Long Eighteenth Century, Kevin D. Murphy and Sally O’Driscoll

Part I: Definitions and Categorizations
2  Of Grubs and Other Insects: Constructing the Categories of ‘Ephemera’ and ‘Literature’ in Eighteenth-Century British Writing, Paula McDowell
3  Digitizing Ephemera and Its Discontents: EBBA’s Quest to Capture the Protean Broadside Ballad, Patricia Fumerton
4  What Gets Printed from Oral Tradition: Anna Gordon’s Ephemeral Ballads, Ruth Perry
5  Approaches to Ephemera: Scottish Broadsides, 1679–1746, Adam Fox
6  Ephemera at the American Antiquarian Society: Perspectives on Commercial Life in the Long Eighteenth Century, Georgia Barnhill

Part II: Text and Image
7  Making Sense of Broadside Ballad Illustrations in the Seventeenth and Eighteenth Centuries, Alexandra Franklin
8  ‘A Battleground Around the Crime’: The Visuality of Execution Ephemera and Its Cultural Significances in Late Seventeenth-Century England, Tara Burk
9  From ‘The Easter Wedding’ to ‘The Frantick Lover’: The Repeated Woodcut and Its Shifting Roles, Theodore Barrow
10  What Kind of Man Do the Clothes Make? Print Culture and the Meanings of Macaroni Effeminacy, Sally O’Driscoll

Bibliography
Index

From Somogy:

Geneviève Bresc-Bautier, Les Chasseurs de Marly et les œuvres de Nicolas Coustou au musée du Louvre (Paris: Somogy éditions d’Art, 2015), 144 pages, ISBN: 978-2757207598, 19€.

Le sculpteur Nicolas Coustou a manifesté ses talents à la fin du règne de Louis XIV et au début du règne de Louis XV par de grands marbres, animés par un souffle épique ou par la grâce féminine. La plupart de ses œuvres destinées au parc de Marly sont désormais exposées dans la cour Marly au Louvre. Art royal, officiel, il est cependant traversé de touches personnelles, faites de dynamisme, et d’un sens puissant des volumes que magnifient des draperies volantes et des mouvements contrastés.

Le parc de Marly et son décor appartiennent aux grandes réalisations du règne de Louis XIV. C’est en effet sur cette colline, déjà habitée mais en lisière des grandes forêts de chasse, que Louis XIV a choisi de se faire construire, par Jules Hardouin-Mansart, une résidence plus intime que Versailles. Alors que les bâtiments ont été détruits à la Révolution, et que le parc reste seul à évoquer la grandeur passée, la sculpture a été transférée dès le XVIIIe siècle au jardin des Tuileries. Le musée du Louvre, gestionnaire du jardin, s’en trouve donc l’héritier et a entrepris depuis 1870 la sauvegarde et l’exposition des œuvres provenant du parc de Marly. En 1993, l’ouverture de la cour Marly qui présente la majeure partie des sculptures connues a été l’occasion de mettre en valeur les marbres les plus célèbres, dont les emblématiques Chevaux de Marly d’Antoine Coysevox et de Guillaume Coustou.

En 1703, une commande prestigieuse fut adressée à Nicolas Coustou, neveu d’Antoine Coysevox, celle de deux grands groupes en marbre, Méléagre tuant le cerf  et Méléagre tuant le sanglier, première œuvre d’envergure pour l’artiste. Dès 1706, les Chasseurs sont achevés et mis à une place d’honneur à proximité du Pavillon royal de Marly.

Le Louvre expose déjà dans la cour Marly l’ensemble des sculptures de la grande perspective du domaine de Marly : les chevaux de Coysevox, les groupes de fleuves, les statues de Neptune, Amphitrite, la Seine et la Marne, et les deux groupes de trois statues qui étaient situées non loin des deux Méléagre, Faune, Adonis et des Nymphes. Les deux Méléagre étaient les seules pièces manquantes à ce grand axe, rythmé par des statues qui se répondent deux à deux. Ils sont le complément du groupe d’Adonis et des Nymphes, pour évoquer la glorification de la nature sauvage qui est un thème majeur de l’iconographie du lieu, fait d’eaux et de bois.

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S O M M A I R E

Nicolas Coustou, dans le sillage de son oncle et de son frère

À Rome : la découverte de l’antique

Sous l’égide de l’Académie de peinture et de sculpture

Sous l’autorité de Jules Hardouin-Mansart
Jules César

Les œuvres de Nicolas Coustou dans le parc de Marly
Les premiers vases
Les vases de pierre
Les plombs dorés
Les groupes et les grands vases du bassin des Nappes
Les vases aux instruments de musique champêtre
La Seine et la Marne
Les deux groupes de Chasseurs
Le Chasseur et les Nymphes chasseresses
Apollon poursuivant Daphné

Sous la direction de Robert de Cotte

Monuments funéraires
Le Tombeau du prince de Conti

Les portraits
Portrait du Grand Dauphin
Louis XV en Jupiter

La cour Marly et les sculptures du parc de Louis XIV

Catalogue des œuvres de Nicolas Coustou au musée du Louvre

Bibliographie

From Ashgate:

Leslie Ellen Brown, Artful Virtue: The Interplay of the Beautiful and the Good in the Scottish Enlightenment (Farnham: Ashgate Publishing, 2015), 284 pages, ISBN: 978-1472448484, $120.

During the Scottish Enlightenment the relationship between aesthetics and ethics became deeply ingrained: beauty was the sensible manifestation of virtue; the fine arts represented the actions of a virtuous mind; to deeply understand artful and natural beauty was to identify with moral beauty; and the aesthetic experience was indispensable in making value judgments. This book reveals the history of how the Scots applied the vast landscape of moral philosophy to the specific territories of beauty—in nature, aesthetics and ethics—in the eighteenth century. The author explores a wide variety of sources, from academic lectures and institutional record, to more popular texts such as newspapers and pamphlets, to show how the idea that beauty and art made individuals and society more virtuous was elevated and understood in Scottish society.

Leslie Ellen Brown is Professor Emerita of Music at Ripon College. Her earliest publications were in the field of early eighteenth-century French opera, with her later work concentrating on eighteenth-century Scottish studies.

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C O N T E N T S

Introduction
1  The Senses
2  Virtue
3  Beauty
4  Sentiment
5  Taste
6  Experience
7  Cultivation
8  Traditions

Afterword
Select Bibliography
Index