Exhibition | Renaissance and Baroque Bronzes from the Hill Collection
From The Frick:
Renaissance and Baroque Bronzes from the Hill Collection
The Frick Collection, New York, 28 January — 15 June 2014
Curated by Denise Allen
Giuseppe Piamontini, Prince Ferdinando di Cosimo III on Horseback, ca. 1695, bronze, 25 inches (62.5 cm), The Collection of Mr. and Mrs. J. Tomilson Hill
The Frick Collection will be the only venue for the first public exhibition of this private collection devoted to the bronze figurative statuette. The nearly forty sculptures included in the show are of exceptional quality and span the fifteenth through the eighteenth century, exemplifying the genre from its beginnings in Renaissance Italy to its dissemination across the artistic centers of Europe.
The Hill Collection is distinguished by rare, autograph masterpieces by Italian sculptors such as Andrea Riccio, Giambologna, and Giuseppe Piamontini. Its holding of works by the Giambologna school evokes the splendor of the late Renaissance courts, while the richness of the international Baroque is represented by Alessandro Algardi’s religious sculptures and by a remarkable assemblage of seventeenth- and eighteenth-century French bronzes in the classical mode. The Hill Collection reveals the range of artistry, invention, and technical refinement characteristic of sculptures created when the tradition of the European statuette was at its height. The exhibition is accompanied by an illustrated scholarly catalogue edited by Patricia Wengraf with
contributions by Claudia Kryza-Gersch, Dimitrios Zikos, and Denise Allen,
organizing curator of the exhibition at The Frick Collection.
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Patricia Wengraf, ed., Renaissance and Baroque Bronzes from the Hill Collection (London: Paul Holberton Publishing, 2014), 384 pages, ISBN: 978-1907372636, $125.
This richly illustrated and beautifully produced scholarly catalog of the superlative collection of Renaissance and Baroque bronze figurative statuettes from the Hill Collection, accompanies an exhibition of the collection at The Frick Collection, New York opening late January 2014. Spanning the 15th through the 18th century, the sculptures presented are of exceptional quality and exemplify the bronze statue or statuette from its beginnings in Renaissance Italy to its dissemination across the artistic centers of Europe.
The Hill Collection is distinguished by rare, autograph masterpieces by Italian sculptors such as Andrea Riccio and Giambologna, and has the most important collection of Baroque bronzes by Giuseppe Piamontini in the world. Its holding of works by the Giambologna school – the strongest found in any single collection, with the sole exception of the Museo Nazionale del Bargello, Florence – evokes the splendor of the late Renaissance courts, while the richness of the international Baroque is represented by religious sculptures by Alessandro Algardi, northern bronzes by Adriaen de Vries and Hubert Gerhard, and a remarkable assemblage of French 17th- and early 18th-century bronzes in the classical mode, by Barthelemy Prieur and from the circle of Ponce Jacquiot. The Hill Collection reveals the range of artistry, invention and technical refinement characteristic of sculptures created when the tradition of the European statuette was at its height.The catalog includes detailed biographies of each of the artists represented and is introduced with essays by the distinguished authors.
Patricia Wengraf is one of the world’s leading dealers in bronzes, sculpture and works of art, and in her particular specialty, bronzes of the 15th-18th centuries, her knowledge and connoisseurship are of world repute. Denise Allen is Curator of Renaissance Paintings and Sculpture at The Frick Collection. Claudia Kryza-Gersch is Curator of Renaissance Sculpture at the Kunsthistorisches Museum, Vienna. Dimitrios Zikos is Curator at the Museo Nazionale del Bargello in Florence. Rupert Harris is the leading conservator of metalwork and sculpture in the UK.
Fashioning Identities: Types, Customs, and Dress in a Global Context
From the conference website:
Fashioning Identities: Types, Customs, and Dress in a Global Context
Hunter College, City University of New York, 17–19 October 2013
Pictorial imagery of local types, traditions, and dress has a long history. From costume books and street criers to travel albums and Hispanic costumbrismo, such representations captured people and daily life in a purportedly realistic manner, often emphasizing specificity over universal themes. Popular types, customs, and dress served as both sources of national pride and exotic spectacles of regional traditions. These depictions of local color often valued certain practices, regions, or types over others and were directed to native and foreign audiences alike. They came to have a global reach, serving as authoritative vehicles to disseminate values and beliefs about an individual place or people and cementing imperial ambitions, political ties, and economic networks. This symposium will explore the nuanced and complex ways in which such representations of peoples, places, and cultures—sometimes viewed as portraying a static or conservative vision—simultaneously engaged with the increasingly industrialized and global world.
T H U R S D A Y , 1 7 O C T O B E R 2 0 1 3
7:00 pm, Kossack Lecture Hall, Hunter North 1527
Keynote Address: Natalia Majluf (Director of the Museo de Arte de Lima), Materiality: José Gil de Castro and the Portraiture of Things
F R I D A Y , 1 8 O C T O B E R 2 0 1 3
Ida K. Lang Recital Hall, Hunter North 424
9:30–11:15 Ethnographies
Heather A. Hughes (University of Pennsylvania), Good Habits, Bad Habits: The Global Order in Robert Vaughan’s Months
Mariana Françozo (Leiden University and the National Museum of Ethnology, The Netherlands), Early Modern Comparative Ethnography: The ‘Locke Drawings’ Collection and the Representation of Indigenous Peoples in Global Perspective, c. 1680–1750
Deborah Dorotinsky (Instituto de Investigaciones Estéticas, UNAM, Mexico City), It Is Written in Their Faces: Seri Women and Facial Painting in Photography
11:15 Coffee
11:30–1:00 Intersections of Tradition & Modernity
Vanesa Rodríguez-Galindo (UNED, Madrid), Contemporary Customs in Late Nineteenth-Century Madrid: Points of Convergence between the Popular and the Modern in the Illustrated and Comical Press
Lynda Klich (Hunter College, CUNY), Circulating Indigenism in Mauricio Yáñez’s Postcards from Mexico
Denise Birkhofer (Allen Memorial Art Museum, Oberlin College), Enrique Díaz’s Parade of Progress: Fashioning a Streamlined Mexican Future
1:00–3:00 Lunch
3:00–5:00 Exoticism & Empire
Matthew Keagle (Bard Graduate Center), Uniform Schemas: The Abstraction of Dress and The Unity of Uniforms
Elisabeth Fraser (University of South Florida), The Ottoman Costume Album and Inclusive Empire: Louis Dupré in Ottoman Greece
Victoria L. Rovine (University of Florida), Fashion at the Intersection of French and African Colonial Cultures
S A T U R D A Y , 1 9 O C T O B E R 20 1 3
Ida K. Lang Recital Hall, Hunter North 424
9:30–11:00 Gender Anxieties
Ann Jones (Smith College), Merchandising Gender: Women’s Dress and Women’s Duties in Two Sixteenth-Century Costume Books, Jost Amman’s Frauenzimmer/Gynaeceum and Cesare Vecellio’s Habiti antichi et moderni (1590 and 1598)
Leyla Belkaïd (University of Lyon), A Stylistic Change and Its Pictorial Representation: The Algiers Dress in Western Imagery
Maya Jiménez (Kingsborough Community College, CUNY), The Myth of the Bahiana in Nineteenth-Century Photography
11:00 Coffee
11:30–1:00 Social & Civic Life
Eugenia Paulicelli (Queens College and The Graduate Center, CUNY), Performing Dress: Love, Politics and “venezianità” in Giacomo Franco’s Habiti d’huomini et donne venetiane
Sarah Buck (Florida State University), Les Costumes grotesques (c. 1695): Prints and Professional Habits in the ancien régime
Emily Morgan (Iowa State University), ‘True Types of the London Poor’: Street Life in London‘s Transitional Typology
1:00–3:00 Lunch
3:00–5:00 Masquerade & Appropriation
Ashley Bruckbauer (University of North Carolina at Chapel Hill), Playing the Ambassador and the ‘Other’: Cultural Cross-dressing and French Foreign Policy in the Eighteenth and Early-Nineteenth Centuries
Tara Zanardi (Hunter College, CUNY), The Mantón de Manila at the Crossroads of Identity
Teresa Eckmann (University of Texas at San Antonio), Playing the Devil’s Advocate with a Twist: Julio Galán and Lo mexicano
Charlene Lau (York University), Sartorial Remembrance: Bernhard Willhelm and Tirolean Folk Dress
New Book | From Still Life to the Screen
From Yale UP:
Joseph Monteyne, From Still Life to the Screen: Print Culture, Display, and the Materiality of the Image in Eighteenth-Century London (London: Paul Mellon Centre for Studies in British Art, 2013), 292 pages, ISBN: 978-0300196351, $85.
From Still Life to the Screen explores the print culture of 18th-century London, focusing on the correspondences between images and consumer objects. In his lively and insightful text, Joseph Monteyne considers such themes as the display of objects in still lifes and markets, the connoisseur’s fetishistic gaze, and the fusion of body and ornament in satires of fashion. The desire for goods emerged in tandem with modern notions of identity, in which things were seen to mirror and symbolize the self. Prints, particularly graphic satires by such artists as Matthew and Mary Darly, James Gillray, William Hogarth, Thomas Rowlandson, and Paul Sandby, were actively involved in this shift. Many of these images play with the boundaries between the animate and the inanimate, self and thing. They also reveal the recurring motif of image display, whether on screens, by magic lanterns, or in “raree-shows” and print-shop windows. The author links this motif to new conceptions of the self, specifically through the penetration of spectacle into
everyday experience.
Joseph Monteyne is associate professor in the history
of art at the University of British Columbia.
Fellowships | Winterthur Museum Research Fellowship Program
Winterthur Museum Research Fellowship Program, 2014–15
Applications due by 15 January 2014
Winterthur Museum, Garden & Library announces its Research Fellowship Program for 2014–15, consisting of short- and long-term fellowships open to academic, independent, and museum scholars, to support advanced study of American art, culture, and history.
Fellowships include NEH, dissertation, and short-term fellowships. Fellows have full access to library collections of more than 87,000 volumes and one-half million manuscripts and images, searchable online at winterthur.org. Fellows may conduct object-based research in the museum’s collections of 90,000 artifacts and artworks made or used in America to 1860.
Applications are due January 15, 2014. For more details and to apply, visit the website or e-mail Rosemary Krill at rkrill@winterthur.org.
Call for Articles | Constructions of the Exotic
Constructions of the Exotic in Europe and North America, 18th–21st Centuries
Special Issue of Material Culture Review
Manuscripts due by 15 December 2013
Material Culture Review solicits articles for a special issue on the theme of constructing the exotic. We are looking for articles that examine the question of how a person, an object or a work of art comes to be seen as exotic. How is ‘foreignness’ constructed? How is one culture appropriated and domesticated by another?
The goal here is not to show the constructed nature of the concept of the exotic. Rather, papers should emphasize the processes by which something is made exotic, including the stories that surround an object, the ways in which an object is exhibited, and how the representation of an object affects whether or not it is perceived as foreign. We invite papers that examine exoticization and domestication in relation to territory and place, agency and identity – papers that examine not only what is exoticized but also who does the exoticizing and how they do it. We are particularly interested in analyses of the exotic in Europe and North America that are grounded in social and political contexts.
Proposed Research Topics
1. Representation
The first topic has to do with representations that blur the border between documentation and fiction, realism and exoticism. How do certain items construct certain identities? For example, how do Indian clothing, Chinese dishes, and tobacco accessories contribute to the identity of those who wear or use them? How are these objects used in the art world, in the theatre, or in people’s homes? How do 18th-century engravings used to illustrate stories of voyages, as well as more ‘scientific’ representations (photographs, museums, etc.) produced at the beginning of the 19th century, construct the exotic? Papers on this topic will look at what actually makes something appear exotic, what increases or decreases the ‘foreign’ quality in the eyes of the maker and consumer.
2. Display
The second topic pays attention to the material culture, words, and gestures surrounding objects – to displays that make them look exotic or, on the contrary, domestic. Here, it is important to examine how the objects are displayed in their place of purchase, in people’s homes, and in museums. How are they exhibited? What physical context (furniture, frames, light) is used to present them? What words are used to describe them? Do these things qualify the objects as exotic or, rather, do they underemphasize their ‘foreign’ quality?
3. Materiality
Once the things are acquired, how are they repaired, reformed, or recomposed? What kind of material trans-formations do these imported, re-territorialized objects undergo? It may be through a process of hybridization with other artifacts. Exoticization can also happen through a process of integration: a fragment inserted into a piece of furniture can alter the entire object. However, exoticism is reinforced, for example, in the bronze or silver rings on an Asian vase. We encourage papers that study the process of fragmentation, extension, and the use of specific materials (precious and tropical wood, stone, metal, etc.) in the creation of ‘exotic’ objects.
Articles should be 20–30 double-spaced pages, including endnotes. In addition, we encourage the submission of
· research reports (10–20 pages, including endnotes)
· exhibition reviews (10–15 pages, including endnotes)
· research notes (5–10 pages)
· book reviews (notes and comments less than 5 pages) on this theme
Articles are expected in English or French. Please submit manuscripts by December 15, 2013 to Noémie Etienne at ne477@nyu.edu.
New Book | Guide to the Sculpture in the Mansion House
From Paul Holberton Publishing:
Julius Bryant, ‘Magnificent Marble Statues’: A Guide to the Sculpture in the Mansion House (London: Paul Holberton Publishing, 2013), 144 pages, ISBN: 978-1907372551, £20.
The Mansion House, the palatial city residence of the Lord Mayor of London, is home to one of the capital’s finest collections of British sculpture from the 18th and 19th centuries. Forming part of the spectacular setting for official functions, as well as the background to busy offices and the home of the Lord Mayor and his family, the sculpture ranges from handsome chimneypieces and elaborate stuccowork wall decorations to heroic single statues of figures from British literature and history.
Described by the architectural historian Nicolaus Pevsner as “magnificent marble statues,” the sculptures are almost unknown to the general public. Their significance, however, is much greater than as an example of the changing fortunes of Victorian sculpture and of the fluctuating attitudes of the Corporation of London to art patronage. Taken as a whole, the sheer range and variety is exceptional. After the monuments in Westminster Abbey and St Paul’s Cathedral and the galleries of the Victoria and Albert Museum, Mansion House presents the most extensive permanent exhibition of British sculpture in London. It differs from these rival collections in the range of its sculpture, from Palladian chimneypieces carved by City stonemasons and virtuoso Rococo plasterwork by anonymous stuccadors to heroic ideal statues made to rival the greatest works from antiquity and the Renaissance.
The time has come for a fresh appreciation of these “magnificent marble statues.” The first book on the sculpture ever published, this beautifully illustrated study reveals the subjects of the sculptures, the stories behind the commissions and the importance of the artists themselves. New photography highlights the qualities of the individual sculptures in their historic settings. A unique insight to the challenges and delights of living, working and raising a family in Mansion House is given in an introductory essay by the Lady Mayoress, Clare Gifford. The sculptures and architecture are described by Julius Bryant, Keeper of Word and Image at the Victoria and Albert Museum. This beautifully produced new handbook provides a companion volume to The Harold Samuel Collection, Dutch and Flemish Pictures at the Mansion House (Paul Holberton Publishing, 2012) by Michael Hall and Clare Gifford.
Fellowship | Postdoctoral Curatorial Fellowship at The Met
The Andrew W. Mellon Postdoctoral Curatorial Fellowship at The Metropolitan Museum of Art
Applications due by 15 October 2013
The Andrew W. Mellon Postdoctoral Curatorial Fellowship allows emerging scholars to become fully integrated into a curatorial department at The Metropolitan Museum of Art and conduct research on a specific pre-determined curatorial project. Projects are available in European Paintings, Modern and Contemporary Art, Islamic Art, Musical Instruments, or The Robert Lehman Collection. Alongside departmental curators and with guidance from a supervisor, fellows gain comprehensive training through exposure to a full range of curatorial work and opportunities to conduct scholarly research within the Museum. One Mellon Postdoctoral Curatorial fellow will be selected for 2014–2016.
Candidates must hold a doctoral degree (or international equivalent) in art history or archaeology in a field related to one of the areas listed above and conferred within five years from the start date of the fellowship (between September 1, 2008, and September 1, 2013). The fellow will receive an annual salary of $50,392 plus research and travel expenses up to a maximum of $6,000 and fringe benefits.
Further information is available here»
Fellowships | Art History Fellowships at The Met
Metropolitan Museum of Art, Art History Fellowships, 2014–15
Applications due by 1 November 2013
Art History Fellowships are offered for PhD candidates, postdoctoral researchers, and senior museum professionals interested in furthering their scholarly research within one of the Museum’s curatorial departments. Working with supervisors and departmental staff, fellows are able to utilize the Museum’s collections as a way to expand their own research and dialogue about art in their field. Throughout their time at the Museum fellows may contribute to departmental projects that complement their research. They will also share their research at the spring fellows’ colloquia in which they give a brief presentation on their work in progress. All fellowships must take place between September 1, 2014, and August 31, 2015. The stipend amount for one year is $42,000 for senior fellows and $32,000 for pre-doctoral fellows, with up to an additional $6,000 for travel. Health care benefits are included.
Further information is available here»
Lecture | Anne Lafont on Proposals for an Atlantic Portraiture
From the Institute of Fine Arts at NYU:
Anne Lafont | Proposals for an Atlantic Portraiture: Paris, Philadelphia, Saint-Domingue, ca. 1800
Institute of Fine Arts–NYU, New York, 8 October 2013
Anne Lafont will consider visual cultures of alterity in the era of Atlantic Revolutions (eighteenth and nineteenth century). First, she will identify an unrecognized body of works and discuss the opportunity of studying it as a whole. Next she will address the pictorial and academic category of portraiture when discussing images of Haitian heroes. Finally, she will consider how three stylistic communities – Paris, Philadelphia, Saint-Domingue – are working together across continents
Anne Lafont is an Associate Professor of Modern Art History at the University of Paris-Est Marne la Vallée and Chief Editor of Perspective, la revue de l’INHA (French National Institute of Art History). A former fellow at the Villa Medici, she devoted her thesis to the painter Anne-Louis Girodet and has since worked on artistic theory and eighteenth- and nineteenth-century visual arts, with a special attention to the revolutionary period, race and aesthetics, and gender issues.
Tuesday, October 8, 12:30pm
Institute of Fine Arts-NYU, Loeb Room, 1 East 78th Street, New York
Reservations are required; please click here.
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Rendez-vous
In Fall 2013, the Institute of Fine Arts, NYU inaugurates Rendez-vous, a seminar on French art (18th to 20th centuries) held monthly throughout the 2013–2014 academic year. International scholars are invited to present their research in an informal and creative setting for approximately 30 minutes, followed by an open discussion with students and colleagues. Rendez-vous focuses on French art in the broadest sense: ‘French’ is interpreted in an extensive way, including global exchanges, political dimension and colonial history, and ‘Art’ includes painting, architecture and sculpture, but also material and visual culture. Rendez-vous offers an occasion to learn about current innovative research by international and engaging scholars. The seminar aims to open up an exchange of methodologies, thoughts and ideas in a participatory atmosphere.
Rendez-vous is organized by Noémie Etienne, IFA/Mellon Postdoctoral Fellow (2013–2015). These lectures begin at 12:30pm in the Loeb Room at the Institute of Fine Arts. They are open to the public, but RSVPs are required.
Upcoming Lectures
8 November 2013 | Chonja Lee, University of Zurich
L’Âme de Lotus: Floral Animations in French Art around 1900
9 December 2013 | Merel van Tilburg, Centre allemand d’histoire de l’art, Paris
Embroidery and Tapestry as History Painting in Belgium and France around 1900: Colonialist Exhibition Pieces by Hélène de Rudder and Georges Rochegrosse
17 February 2014 |Carole Blumenfeld, Palais Fesch-Musée des Beaux-arts d’Ajaccio
Marguerite Gérard: The Most Successful Genre Painter of her Time
Call for Papers | Collecting Prints & Drawings
Collecting Prints & Drawings
Kloster Irsee, 13–15 June 2014
Proposals due by 30 November 2013
Organized by Andrea M. Gáldy, Sylvia Heudecker, and Angela M. Opel
Cabinets of prints and drawings belong to the earliest art collections of Early Modern Europe. From the sixteenth century onwards some of them acquired considerable fame which necessitated an ordered and scientific display. This interdisciplinary conference brings together art historians, historians, curators and collectors and explores topics such as: when, how and why did cabinets of prints and drawings become a specialised part of princely and private collections? How important were collections of prints and drawings for the self-representation of a prince or connoisseur among specialists and social peers? Is the presentation of a picture hang in a gallery, for example by Charles Eisen for the Royal Galleries at Dresden, to be treated as documentary evidence? In how far do we find art historical approaches of systematisation or aesthetic concepts realised within the collections? Are there notable differences in the approach to collecting, presentation and preservation of prints and drawings in diverse parts of the world? What was the afterlife of such collections? What is the interest of institutions in pursuing the activities of art collecting and sponsorship today (banks, industry, foundations, universities)?
Please send your 250-word proposal on these and related themes together with a one-paragraph bio to the organisers at collecting_display@hotmail.com by 30 November 2013.
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