Enfilade

I noted this exhibition last year when it went on display in Scotland, but I didn’t realize it would also be on view in London. The description on The British Museum’s website provides additional information. I saw the exhibition Friday evening, and I think it’s fabulous (a nice complement to the British Library’s exhibition Terror and Wonder: The Gothic Imagination, even as they do very different things). There are stunning eighteenth-century images, and the period anchors the show more than the descriptions might suggest (including gorgeous prints after Salvator Rosa). –CH

From The British Museum:

Witches and Wicked Bodies
Scottish National Gallery of Modern Art, Edinburgh, 27 July — 3 November 2013
The British Museum, London, 25 September 2014 — 11 January 2015

Saul and the Witch of Endor, after Salvator Rosa.
Click on the image for details.

This exhibition will examine the portrayal of witches and witchcraft in art from the Renaissance to the end of the 19th century. It will feature prints and drawings by artists including Dürer, Goya, Delacroix, Burne-Jones and Dante Gabriel Rossetti, alongside classical Greek vessels and Renaissance maiolica.

Efforts to understand and interpret seemingly malevolent deeds—as well apportion blame for them and elicit confessions through hideous acts of torture—have had a place in society since classical antiquity and Biblical times. Men, women and children have all been accused of sorcery. The magus, or wise practitioner of ‘natural magic’ or occult ‘sciences’, has traditionally been male, but the majority of those accused and punished for witchcraft, especially since the Reformation, have been women. They are shown as monstrous hags with devil-worshipping followers. They represent an inversion of a well-ordered society and the natural world.

The focus of the exhibition is on prints and drawings from the British Museum’s collection, alongside a few loans from the V&A, the Ashmolean, Tate Britain and the British Library. Witches fly on broomsticks or backwards on dragons or beasts, as in Albrecht Dürer’s Witch Riding backwards on a Goat of 1501, or Hans Baldung’s Witches’ Sabbath from 1510. They are often depicted within cave-like kitchens surrounded by demons, performing evil spells, or raising the dead within magic circles, as in the powerful work of Salvator Rosa, Jacques de Gheyn and Jan van der Velde.

Francisco de Goya turned the subject of witches into an art form all of its own, whereby grotesque women conducting hideous activities on animals and children were represented in strikingly beautiful aquatint etchings. Goya used them as a way of satirising divisive social, political and religious issues of his day. Witches were also shown as bewitching seductresses intent on ensnaring their male victims, seen in the wonderful etching by Giovanni Battista Castiglione of Circe, who turned Odysseus’s companions into beasts.

During the Romantic period, Henry Fuseli’s Weird Sisters from Macbeth influenced generations of theatre-goers, and illustrations of Goethe’s Faust were popularised by Eugène Delacroix. By the end of the 19th century, hideous old hags with distended breasts and snakes for hair were mostly replaced by sexualised and mysteriously exotic sirens of feminine evil, seen in the exhibition in the work of Edward Burne-Jones, Dante Gabriel Rossetti and Odilon Redon.

The exhibition includes several classical Greek vessels and examples of Renaissance maiolica to emphasise the importance of the subject in the decorative arts.

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This year marks the 250th anniversary of the publication of Horace Walpole’s ’s The Castle of Otranto, and the British Library celebrates with an exhibition exploring the the relationship between the Gothic and the British imagination up to the present. The wall colors are from Farrow & Ball, with Lulworth Blue (No. 89) providing the backdrops for most of the Walpole material at the beginning of the exhibition, along with Great White (No. 2006), before things go really dark with Pitch Black (No. 256) and Rectory Red (No. 217). Of course, there’s Rectory Red in this show.

From the BL:

Terror and Wonder: The Gothic Imagination
British Library, London, 3 October 2014 — 20 January 2015

Curated by Tim Pye

John Giles Eccardt, Portrait of Horace Walpole, 1754 (London: National Portrait Gallery)

Two hundred rare objects trace 250 years of the Gothic tradition, exploring our enduring fascination with the mysterious, the terrifying and the macabre. From Mary Shelley and Bram Stoker to Stanley Kubrick and Alexander McQueen, via  posters, books, film and even a vampire-slaying kit, experience the dark shadow the Gothic imagination has cast across film, art, music, fashion, architecture and our daily lives.

Beginning with Horace Walpole’s The Castle of Otranto, Gothic literature challenged the moral certainties of the 18th century. By exploring the dark romance of the medieval past with its castles and abbeys, its wild landscapes and fascination with the supernatural, Gothic writers placed imagination firmly at the heart of their work—and our culture. Iconic works, such as handwritten drafts of Mary Shelley’s Frankenstein, Bram Stoker’s Dracula, the modern horrors of Clive Barker’s Hellraiser, and the popular Twilight series, highlight how contemporary fears have been addressed by generation after generation.

Dozens of press images can be found here»

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Dale Townsend, ed., Terror and Wonder: The Gothic Imagination (London: The British Library, 2014), 224 pages, softcover, ISBN: 978-0712357913, £25 / hardcover, ISBN: 978-0712357555, £35.

The Gothic imagination, that dark predilection for horrors and terrors, spectres and sprites, occupies a prominent place in contemporary Western culture. First given fictional expression in Horace Walpole’s The Castle of Otranto of 1764, the Gothic mode has continued to haunt literature, fine art, music, film and fashion ever since its heyday in Britain in the 1790s. Terror and Wonder, which accompanies a major exhibition at the British Library, is a collection of essays that trace the numerous meanings and manifestations of the Gothic across time, tracking its prominent shifts and mutations from its eighteenth-century origins, through the Victorian period, and into the present day. Edited and introduced by Dale Townshend, and consisting of original contributions by Nick Groom, Angela Wright, Alexandra Warwick, Andrew Smith, Lucie Armitt and Catherine Spooner, Terror and Wonder provides a compelling and comprehensive overview of the Gothic imagination over the past 250 years

Dale Townshend is Senior Lecturer in Gothic and Romantic Literature at the University of Stirling, Scotland. His most recent publications include The Gothic World (with Glennis Byron; Routledge, 2014) and Ann Radcliffe, Romanticism and the Gothic (with Angela Wright; Cambridge University Press, 2014).

C O N T E N T S

Dale Townshend, Introduction
Nick Groom, Gothic Antiquity: From the Sack of Rome to The Castle of Otranto
Angela Wright, Gothic, 1764–1820
Alexandra Warwick, Gothic, 1820–1880
Andrew Smith, Gothic and the Victorian Fin de siècle, 1880–1900
Lucie Armitt, Twentieth-Century Gothic
Catherine Spooner, Twenty-First-Century Gothic
Martin Parr, Photographing Goths: Martin Parr at the Whitby Goth Weekend

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From the exhibition press release (2 October 2014). . .

Terror and Wonder: The Gothic Imagination opens at the British Library exploring Gothic culture’s roots in British literature and celebrating 250 years since the publication of the first Gothic novel.

Tintern Abbey, watercolour, 1812 (London: British Library)

Alongside the manuscripts of classic novels such as Frankenstein, Dracula, and Jane Eyre, the exhibition brings the dark and macabre to life with artefacts, old and new. Highlights of the exhibition include a vampire slaying kit and 18th- and 19th-century Gothic fashions, as well as one of Alexander McQueen’s iconic catwalk creations. Also on display is a model of the Wallace and Gromit Were-Rabbit, showing how Gothic literature has inspired varied and colourful aspects of popular culture in exciting ways over centuries.

Celebrating how British writers have pioneered the genre, Terror and Wonder takes the first Gothic novel, The Castle of Otranto by Horace Walpole, and exhibits treasures from the Library’s collections to carry the story forwards to the present day. Eminent authors over the last 250 years, including William Blake, Ann Radcliffe, Mary Shelley, Charles Dickens, the Brontës, Edgar Allan Poe, Bram Stoker, MR James, Mervyn Peake, Angela Carter and Neil Gaiman, underpin the exhibition’s exploration of how Gothic fiction has evolved and influenced film, fashion, music, art and the Goth subculture.

An early illustration of a ‘wicker man’ from Nathaniel Spencer’s The Complete English Traveller (1771)

Lead curator of the exhibition, Tim Pye, says: “Gothic is one the most popular and influential modes of literature and I’m delighted that Terror and Wonder is celebrating its rich 250 year history. The exhibition features an amazingly wide range of material, from stunningly beautiful medieval artefacts to vinyl records from the early Goth music scene, so there is truly something for everyone.”

From Nosferatu to the most recent zombie thrillers, the exhibition uses movie clips, film posters, costume designs and props to show how Gothic themes and literature have been adapted for stage and screen, propelling characters like Dracula, Jekyll and Hyde and Frankenstein’s monster to mainstream fame. Exciting exhibits on loan to the Library include Clive Barker’s original film script and sketches for Hellraiser, as well as Stanley Kubrick’s annotated typescript of The Shining.

Showing how Gothic fiction has inspired great art, the exhibition features fine paintings and prints, such as Henry Fuseli’s Hamlet, Prince of Denmark and Nathaniel Grogan’s Lady Blanche Crosses the Ravine, a scene taken directly from the Queen of Terror Ann Radcliffe’s The Mysteries of Udolpho. These classic images precede dramatic contemporary artworks, such as Jake and Dinos Chapman’s series Exquisite Corpse, showing how the dark and gruesome still inspire today’s artists.

Celebrating the British Goth scene, we are delighted to reveal a brand new series of photographs of the Whitby Goth Weekend by the award-winning photographer Martin Parr. Commissioned specially for this exhibition, the photographs take a candid look at the biannual event, which takes place in the town famously featured in Dracula, capturing its diversity and energy.

Earlier this year the Library announced that we are putting our literary treasures online for the world to see with a new website, Discovering Literature. Many of the Gothic literary greats featuring in the exhibition, including the Brontës, Charles Dickens and Wilkie Collins, can be explored amongst the Romantic and Victorian literature now available online.

The Library has partnered with BBC Two and BBC Four to celebrate all things Gothic this autumn with a new season of programmes exploring the literature, architecture, music and artworks that have taken such a prominent place in British culture.

A host of famous literary faces will look back on Frankenstein’s creation in A Dark and Stormy Night: When Horror Was Born, while in The Art of Gothic: Britain’s Midnight Hour Andrew Graham-Dixon looks back at how Victorian Britain turned to the past for inspiration to create some of Britain’s most famous artworks and buildings. In God’s own Architects: The First Gothic Age, Dr Janina Ramirez looks at Perpendicular Gothic, Britain’s first cultural style and Dan Cruickshank looks back at Gothic architecture’s most influential family in A Gothic Dynasty: A Victorian Tale of Triumph and Tragedy. BBC Four delves into the archives uncovering classic performances from Siouxsie and the Banshees, Bauhaus, The Cure, Sisters of Mercy, The Mission and more in Goth at the BBC.

For the second year running the Library, GameCity and Crytek are running an exciting video game competition, Off the Map, this time with a Gothic edge. Following last year’s winners, who recreated London before the Great Fire, this year entrants will use ruined abbeys, the town of Whitby or Edgar Allan Poe as inspiration for a brand new interactive game.

A wide range of literary, film and music events will accompany the exhibition, with speakers including writers Susan Hill, Sarah Waters, Audrey Niffenegger and Kate Mosse, actor Reece Shearsmith, comedian Stewart Lee and musician Brian May.

From the Museum Van Loon (with thanks to Hélène Bremer for noting it). . .

Adriaan de Lelie and the Eighteenth-Century Family Portrait
Museum Van Loon, Amsterdam, 17 October 2014 — 19 January 2015

Adriaan De Lelie, Jan van Loon and His Family, 1786
(Amsterdam: Museum van Loon)

From 17 October 2014 Museum Van Loon will show works by Adriaan de Lelie (1755–1820). It is the first time that so much of De Lelie’s œuvre will be on view to the public. Most of the paintings are from private collections. Next to paintings by De Lelie, family portraits by famous contemporaries like Tischbein, Regters, Laquy and Quinkhard are on display. The thirty paintings on show give a perfect reflection of family bliss and the lavish interiors of the 18th century.

Although little has been published about De Lelie, he is without doubt one of the most important portrait painters of his time. He was born in Tilburg, and after having studied in Antwerp and Düsseldorf, he settled in Amsterdam where he quickly integrated in the upper classes. With his keen eye for detail, refined palette, and smooth hand he was a successful portraitist. Governors, bankers, notaries, officers, professors, and wealthy merchants had themselves painted by him. Thus De Lelie literally gave face to Amsterdam at the turn of the century.

As a family home, Museum Van Loon is the place for showing family portraits. With this exhibition it intends to disclose its own 18th-century collection of paintings and to offer the public the unique opportunity to view the oeuvre of De Lelie and his contemporaries in the house of one of his large commissioners. For visitors the historic perspective is strengthened by the connection between the paintings, furniture, tapestry and carpets in the rooms as one will see one’s immediate surroundings in the museum reflected in the 18th-century interiors in the paintings.

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From W Books:

Josephina de Fouw, Adriaan de Lelie (1755–1820) en het achttiende-eeuwse familieportret (Zwolle: W Books, 2014), 64 pages, ISBN: 978-9462580398, €15.

Adriaan de Lelie behoort zonder meer tot de belangrijkste portretschilders van zijn tijd. Zijn wieg stond in Tilburg en na een studietijd in Antwerpen en Düsseldorf vestigde hij zich definitief in Amsterdam. Daar wist hij al snel door te dringen in de kringen van de gegoede burgerij. Met zijn oog voor detail en verfijnde palet was hij een veelgevraagd portrettist. Notabelen, bankiers, notarissen, officieren, hoogleraren en vermogende koopmannen: allen lieten zich door de schilder vereeuwigen. De Lelie heeft zo letterlijk een gezicht gegeven aan het Amsterdam van rond de eeuwwisseling.

In deze eerste publicatie gewijd aan De Lelie wordt een beeld geschetst van deze portretten en wordt ingegaan op de karakteristieken van zijn familieportretten. Ook wordt zijn werk vergeleken met voorgangers en tijdgenoten, zoals Tibout Regters, Tischbein en Laquy.

From the Museum Huelsmann

Wie es uns gefällt: Kostbarkeiten aus der Sammlung Rudolf-August Oetker
Museum Huelsmann, Ravensberger Park, Bielefeld, 14 September 2014 — 28 January 2015

Thomas Lawrence, Princess Clementine de Metternich, ca. 1818–20.

Die umfangreiche Kunstsammlung des Bielefelder Unternehmers, Sammlers und Mäzens Rudolf-August Oetker (1916–2007) gehört in der Sammlungsgeschichte Deutschlands zu den wenigen privaten Beispielen des 20. Jahrhunderts.

Ausgewählte Kostbarkeiten der Malerei des Barock, Rokoko und Klassizismus sowie des europäischen Kunsthandwerks, darunter selten gezeigte Porzellane, auserlesenes Silber und fürstliche Schatzkunst repräsentieren den individuellen, aber auch universellen Charakter des Sammlers und stehen im Kontext des 18. Jahrhunderts, dem Jahrhundert, das das Aufkommen des individuellen Geschmacks betont.

Installation photos from the firm DesignPosition are available here»

The exhibition flyer is available as a PDf file here»

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From Hirmer Verlag:

Monika Bachtler, ed., Wie es uns gefällt: Kostbarkeiten aus der Sammlung Rudolf-August Oetker (Munich: Hirmer Verlag, 2014), 144 pages, ISBN: 978-3777422930, 35€.

Die umfangreiche Sammlung des Bielefelder Unternehmers Rudolf-August Oetker ist eines der wenigen Beispiele der Geschichte privaten Sammelns in Deutschland während des 20. Jahrhunderts, das gleichermaßen universelle wie individuelle Maßstäbe setzte. Anhand der daraus ausgewählten Kostbarkeiten der Malerei des Barock und Rokoko und des europäischen Kunsthandwerks entsteht ein kulturgeschichtlich plastisches Bild dieser Zeit, aber auch eine Vorstellung vom repräsentierenden Charakter einer persönlich geprägten Ankaufstrategie. Das Katalogbuch spiegelt die Opulenz dieser Sammlerwelt in Bildern und Texten wider.