New Book | Travel, Collecting, and Museums of Asian Art
While addressing the nineteenth century, Ting Chang’s new book will be of interest to many dix-huitièmistes, particularly in connection with Edmond de Goncourt; in chapter four, Chang explores how Goncourt’s collection of Asian art and his writings on the subject supported his larger vision of an eighteenth-century revival. It’s part of Ashgate’s series on the Histories of Material Culture and Collecting, 1700–1950:
Ting Chang, Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris (Aldershot: Ashgate, 2013), 210 pages, ISBN: 978-1409437765, $100 / £55.
Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris book examines a history of contact between modern Europe and East Asia through three collectors: Henri Cernuschi, Emile Guimet, and Edmond de Goncourt. Drawing on a wealth of material including European travelogues of the East and Asian reports of the West, Ting Chang explores the politics of mobility and cross-cultural encounter in the nineteenth century. This book takes a new approach to museum studies and institutional critique by highlighting what is missing from the existing scholarship — the foreign labours, social relations, and somatic experiences of travel that are constitutive of museums yet left out of their histories. The author explores how global trade and monetary theory shaped Cernuschi’s collection of archaic Chinese bronze. Exchange systems, both material and immaterial, determined Guimet’s museum of religious objects and Goncourt’s private collection of Asian art. Bronze, porcelain, and prints articulated the shifting relations and frameworks of understanding between France, Japan, and China in a time of profound transformation. Travel, Collecting, and Museums of Asian Art in Nineteenth-Century Paris thus looks at what Asian art was imagined to do for Europe. This book will be of interest to scholars and students interested in art history, travel imagery, museum studies, cross-cultural encounters, and modern transnational histories.
Ting Chang teaches art history at the University of Nottingham. She has published in The Art Bulletin, Oxford Art Journal, and Les Cahiers Edmond et Jules de Goncourt.
C O N T E N T S
Introduction
1: The historical terms of Euro-Asian object acquisition
2: Gold, silver, and bronze: Cernuschi’s collection and re-appraisals of Europe and Asia
3: The labour of travel: Guimet and Régamey in Asia
4: Equivalence and inversion: France, Japan and China in Goncourt’s cabinet
Conclusion
Bibliography
Index
Exhibition | The Nude Male in Art
Press release masculin (1 July 2013) from the Musée d’Orsay:
Masculin / Masculin: L’homme nu dans l’art de 1800 à nos jours
Musée d’Orsay, Paris, 24 September 2013 — 2 January 2014
Curated by Ophélie Ferlier, Xavier Rey, Ulrich Pohlmann, and Tobias G. Natter
Pierre et Gilles, Mercury, 2001 © Pierre et Gilles (Courtesy Galerie Jérôme de Noirmont, Paris)
Jean-Baptiste Frédéric Desmarais, The Shepherd Paris, 1787 (Ottawa, National Gallery of Canada)
While it has been quite natural for the female nude to be regularly exhibited, the male nude has not been accorded the same treatment. It is highly significant that until the show at the Leopold Museum in Vienna in the autumn of 2012, no exhibition had opted to take a fresh approach, over a long historical perspective, to the representation of the male nude. However, male nudity was for a long time, from the 17th to 19th centuries, the basis of traditional Academic art training and a key element in Western creative art. Therefore when presenting the exhibition Masculine / Masculine, the Musée d’Orsay, drawing on the wealth of its own collections (with several hitherto unknown sculptures) and on other French public collections, aims to take an interpretive, playful, sociological and philosophical approach to exploring all aspects and meanings of the male nude in art. Given that the 19th century took its inspiration from 18th-century classical art and that this influence still resonates today, the Musée d’Orsay is extending its traditional historical range in order to draw a continuous arc of creation through two centuries down to the present day. The exhibition will include the whole range of techniques: painting, sculpture, graphic arts and, of course, photography, which will have an equal place in the exhibition.
To convey the specifically masculine nature of the body, the exhibition, in preference to a dull chronological presentation, takes the visitor on a journey through a succession of thematic focuses, including the aesthetic canons inherited from Antiquity, their reinterpretation in the Neo-Classical, Symbolist and contemporary eras where the hero is increasingly glorified, the Realist fascination for truthful representation of the body, nudity as the body’s natural state, the suffering of the body and the expression of pain, and finally its eroticisation. The aim is to establish a genuine dialogue between different eras in order to reveal how certain artists have been prompted to reinterpret earlier works. In the mid-18th century, Winckelmann examined the legacy of the divine proporzioni of the body inherited from Antiquity, which, in spite of radical challenges, still apply today having mysteriously come down through the history of art as the accepted definition of beauty. From Jacques-Louis David to George Platt-Lynes, LaChapelle and Pierre et Gilles, and including Gustave Moreau, a whole series of connections is revealed, based around issues of power, censorship, modesty, the boundaries of public expectation and changes in social mores.
Winckelmann’s glorification of Greek beauty reveals an implicit carnal desire, relating to men as well as women, which certainly comes down through two centuries from the “Barbus” group and from David’s studio, to David Hockney and the film director James Bidgood. This sensibility also permeates the turn of the 19th and 20th centuries as it questions its own identity, as we see in the extraordinary painting École de Platon [School of Plato], inexplicably purchased by the French state in 1912 from the Belgian artist Delville. Similarly, the exhibition will reveal other visual and intellectual relationships through the works of artists as renowned as Georges de La Tour, Pierre Puget, Abilgaard, Paul Flandrin, Bouguereau, Hodler, Schiele, Munch, Picasso, Bacon, Mapplethorpe, Freud and Mueck, while lining up some surprises like the Mexican Angel Zarraga’s Saint Sébastien [Saint Sebastian], De Chirico’s Les Bains mystérieux [Mysterious Baths] and the erotica of Americans Charles Demuth and Paul Cadmus.
This autumn therefore, the Musée d’Orsay will invite the visitor to an exhibition that challenges the continuity of a theme that has always interested artists, through unexpected yet productive confrontations between the various revivals of the nude man in art. The exhibition has been organised by the Musée d’Orsay in collaboration with the Leopold Museum in Vienna.
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The catalogue is published jointly by by the Musée d’Orsay and Flammarion:
Guy Cogeval, Claude Arnaud, Philippe Comar, Damien Delille, Ophélie Ferlier, Ulrich Pohlmann, Xavier Rey, Masculin / Masculin: L’homme nu dans l’art de 1800 à nos jours (Paris: Musée d’Orsay / Flammarion, 2013), 304 pages, ISBN: 978-2081310094, 40€.
Masculin/Masculin montre combien les professions de foi esthétiques, dogmes et prises de position plastiques du XIXe siècle en matière de nudité masculine puisent leurs origines au classicisme du XVIIIe siècle et demeurent encore présents aujourd’hui. Les oeuvres y sont envisagées sous l’angle de l’histoire sociale et culturelle, ou des enjeux de politique actuelle concernant la redéfinition de la perception du corps, la permissivité dans sa représentation et son usage, son pouvoir et son intimité, ou encore du rapport entre les sexes et de l’évolution de la masculinité.
Véritable dialogue entre peintures, sculptures, arts graphiques et photographies, le catalogue tisse des liens entre les époques grâce à d’inattendues et fécondes confrontations, les oeuvres contemporaines apportant un éclairage nouveau sur les siècles précédents. L’éclectisme revendiqué dans le choix des oeuvres, sans pour autant occulter les représentations les plus douloureuses de l’homme nu, aboutit à une célébration de la beauté qui ne dissimule pas sa joie et à un plaisir trop longtemps passé sous silence alors même qu’il est indissociable du genre. L’originalité n’est donc pas recherchée pour elle-même, mais davantage érigée en sésame ouvrant à un renouvellement du regard porté sur des oeuvres parfois extrêmement célèbres, visant à bousculer des lectures et à créer des correspondances.
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Note (added 12 October 2013) — Doreen Carvajal, “With Money Tight, Museums Embrace Nudes,” The New York Times (11 October 2013).
. . . the crowds are coming [to the Musée d’Orsay], averaging more than 4,500 people a day, triple the amount for a show at the same time last year, according to museum figures. The exhibition — which includes works by Picasso and Edvard Munch as well as more contemporary nudes by David Hockney, Andy Warhol and Robert Mapplethorpe — has provoked a wide range of responses inside and outside France. “A confused show” the French daily newspaper Le Monde weighed in, “devoid of any historical reflection.” But the show still was the buzz of Paris Fashion Week. And Marie Claire, a women’s beauty magazine, anointed it the “hottest event” of autumn. And sizzle is what a number of major European institutions seek this fall, hoping that a focus on sex will entice visitors and broaden their appeal to younger generations and a demographic who are more likely to read Marie Claire than Le Monde. . .
The full article is available here»
New Book | Life in an Eighteenth-Century Country House
From Amberley:
Peter and Carolyn Hammond, Life in an Eighteenth-Century Country House (Stroud,
Gloucestershire: Amberley, 2012) 160 pages, ISBN 978-1445608655, £13.
Grove House and its extensive estate in Chiswick were owned in the eighteenth century by Humphrey Morice, a not very successful politician and an animal lover. The story of the house has been reconstructed by Carolyn and Peter Hammond who have studied the country home for almost a decade.
A wealth of period detail comes from the rare survival of letters written by the head groom to the lord of the house while he was in Italy for his health. They are a window into the daily life on the estate, describing the rather turbulent relationships between the servants in the house and the sometimes exciting events from the outside world. There was an attempted armed robbery, the theft of the walnut crop and the arrival of the Poor Law officers from a neighbouring parish to attempt to force one of the stable lads to pay for an illegitimate child he had apparently fathered…
Here is real life in the country house during the period of English history, immortalized by the fiction of Jane Austen.
Discussion | Perspectives on the English Country House
The National Trust & Apollo present
Perspectives on the English Country House: Preserving our Cultural Heritage
The National Portrait Gallery, London, 23 September 2013
This event celebrates the publication of this year’s National Trust Historic Houses and Collections Annual. The journal features essays that bring to light the great range of research currently being undertaken at the Trust’s properties, giving us a better and deeper perspective on its work.
Speakers include:
Simon Jenkins, Chairman of the National Trust
Oscar Humphries, Publisher of Apollo Magazine
Nicky Haslam, English interior designer
Robert Sackville-West, on his ancestral home, Knole House
Professor Maurice Howard, speaking about The Vyne
Chaired by Oscar Humphries, Publisher of Apollo Magazine, and Simon Jenkins, Chairman of the National Trust, this panel discussion will examine the personal stories behind a number of great houses, exploring the different ways in which people are connected to, or have been influenced by them – whether that means shaping their aesthetics, their cultural politics, or their academic research.
Discussion begins 7pm. Drinks reception afterwards. Tickets £20. Click here to book tickets.
Exhibition | Tiepolo, Guardi, and Their World
Press release (3 September 2013) from The Morgan:
Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings
The Morgan Library & Museum, New York, 27 September 2013 — 5 January 2014
Organized by William M. Griswold and Jennifer Tonkovich
Giambattista Tiepolo, Psyche Transported to Olympus, pen and brown ink, brown wash, over black chalk (New York: The Morgan Library & Museum, photo by Graham S. Haber)
The eighteenth century witnessed Venice’s second Golden Age. Although the city was no longer a major political power, it reemerged as an artistic capital, with such gifted artists as Giambattista Tiepolo, his son Domenico, Canaletto, and members of the Guardi family executing important commissions from the church, nobility, and bourgeoisie, while catering to foreign travelers and bringing their talents to other Italian cities and even north of the Alps. Drawn entirely from the Morgan’s collection of eighteenth-century Venetian drawings—one of the world’s finest—Tiepolo, Guardi, and Their World chronicles the vitality and originality of an incredibly vibrant period. The exhibition will be on view from September 27, 2013 to January 5, 2014.
“In the eighteenth century, as the illustrious history of the thousand-year-old Venetian Republic was coming to a close, the city was favored with an array of talent that left a lasting mark on western art,” said William M. Griswold, director of the Morgan Library & Museum and principal curator of the exhibition. “The names Tiepolo, Canaletto, and Guardi are almost synonymous with the time and place, and their paintings and frescoes are the works most commonly associated with the Settecento in Venice. But their greatness as painters is only part of a much larger story. The drawings in this exhibition, chosen entirely from the Morgan’s collection, bring to light the full spirit of eighteenth-century Venetian art and the many extraordinary individuals who participated in the resurgence of cultural activity that characterized the final years of the Republic.”
The Morgan has more than two hundred sheets by Giambattista Tiepolo, spanning his long and immensely successful career. Over thirty are on view in the exhibition, including a monumental early drawing of Hercules, dozens of luminous studies in pen and washthe frescoed ceilings for which Tiepolo was most famouand a late study for an overdoor decoration that he created in Madrid, where he lived and worked from 1762 until his death in 1770.
Many of Tiepolo’s most beautiful drawings relate to the vast fresco depicting Apollo accompanied by other deities and the Four Continents, which the artist painted in 1740 on a ceiling in the Palazzo Clerici, Milan. Several works in the show, such as a drawing of Father Time and Cupid, relate directly to the finished fresco. A number of others were ultimately rejected by Tiepolo, or instead relate to the spectacular oil sketch for the Palazzo Clerici ceiling that now belongs to the Kimbell Art Museum, in Fort Worth.
Giambattista Tiepolo, The Virgin and Child Seated on a Globe, pen and brown ink, brown and ochre wash, over black chalk
(New York: The Morgan Library & Museum)
A highlight of the exhibition is Tiepolo’s remarkable drawing The Virgin and Child Seated on a Globe, which like a number of other sheets on view formerly belonged to an album of exceptionally large, finished studies once in the collection of Prince Alexis Orloff. The sheet may be a rare example of the artist’s designs for metalwork, in this case perhaps a processional mace for the Scuola Grande dei Carmini, Venice.
Giovanni Battista Piazzetta was a half a generation older than Giambattista Tiepolo, and he exercised a profound influence on the work of the younger artist. The exhibition includes nine of the Morgan’s more than two hundred drawings by Piazzetta, including figure studies, drawings of ideal heads made for sale to collectors, and a selection of sheets that relate to the artist’s work as a designer of book illustrations.
Sebastiano Ricci played a crucial role in reorienting Venetian painting toward a new, painterly grand manner inspired by such earlier masters as Paolo Veronese. Ricci’s paintings, distinguished by their bright colors and flickering brush work, were a source of inspiration for later eighteenth-century Venetian artists. In addition to two drawings by him, the exhibition also features five sheets by Sebastiano’s nephew and pupil Marco Ricci. Best known for his imaginary landscapes, the younger Ricci’s drawings reflect diverse influences, including Renaissance and later Italian painters and printmakers, and even seventeenth-century Dutch art.
View painting—or vedutismo—flourished in eighteenth-century Venice, and both local collectors and foreign grand tourists eagerly sought images that replicated or merely evoked the unique topography of the city. Such topographical views and architectural capricci inspired by Venice’s architecture, canals, and lagoon were the specialty of Canaletto, who is represented in the exhibition with five drawings. These range from sketches made on the spot to finished works intended for sale. Francesco Guardi similarly excelled in depictions of Venice and nearby locations. Two of his drawings on view depict the richly decorated bucintoro, the state barge on which the doge journeyed each year on Ascension Day to reenact Venice’s symbolic marriage to the sea. Guardi’s drawing of Count Giovanni Zambeccari’s balloon ascent—launched from a platform in the Bacino di San Marco in 1783—is a faithful record of an event, whereas other works by the artist mingle the real with the imaginary.
The Morgan is one of the world’s principal repositories of drawings by Giovanni Battista Piranesi, an artist whose spirited work reflects a variety of influences, from late Baroque stage design to the monuments of ancient Rome. Although few of his surviving drawings were made in his native Venice, the Morgan has a small group, of which a selection is on display. These include a magnificent, large sketch of a gondola, several designs for the interior decoration of Venetian palaces, and one of a very small number of freely drawn figural compositions that apparently date to the first years of the artist’s career.
The last truly great Venetian artist of the period was Domenico Tiepolo, who lived until the first decade of the nineteenth century and saw the collapse of the Venetian Republic in 1797. In 1740 Domenico entered his father Giambattista’s busy workshop, where he rapidly became a key member. The influence of his father was profound, and many drawings by the younger Tiepolo relate to those of Giambattista, but Domenico’s tremulous pen work and layering of wash set his work apart from that of the older artist.
Between 1786 and 1790, Domenico Tiepolo executed a series of more than three hundred New Testament scenes. Six of the Morgan’s twenty-three sheets from the series are on display, including a moving Christ on the Mount of Olives, Saints Peter and John at the Beautiful Gate, and The Holy Family Arrives at the Robbers’ Farm, an unusual subject derived from the Apocrypha.
In another series of about eighty large drawings the artist depicted scenes of Venetian life during the final years of the Republic. The six drawings from the series in the exhibition wittily describe the foibles and excesses of the artist’s contemporaries from all walks of life, including a quack dentist, a storyteller, a bride-to-be with her prospective mother-in-law, and bewigged magistrates.
Toward the very end of his life Domenico Tiepolo undertook one last, important series of drawings: theatrical vignettes chronicling birth, childhood, youthful advenmiddle age, illness, death, and resurrection of the Commedia dell’Arte character Punchinello. Begun in 1797, the year the last doge stepped aside and the thousand-yold Republic of Venice ceased to exist, these drawings are among the greatest achievements of eighteenth-century Venetian art.
In addition, Tiepolo, Guardi, and Their World presents drawings by some of the many lesser-known artists who worked alongside Sebastiano Ricci, Piazzetta, and Giambattista Tiepolo. These include Gaspare Diziani, Franceso Fontebasso, Mattia Bortoloni, Pietro Longhi, Pietro Antonio Novelli, Francesco Tironi, and Giacomo Guardi, whose postcard-like Venetian views in gouache on paper mark the end of a long, glorious tradition.
G A L L E R Y T A L K S
Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings
Friday, October 18, 6:30 pm
An informal exhibition tour with Edward Payne, Moore Curatorial Fellow in the Morgan’s Department of Drawings and Prints. Free with museum admission
Tiepolo, Guardi, and Their World: Eighteenth-Century Venetian Drawings
Friday, November 8, 6:30 pm
William M. Griswold, Director of the Morgan, will lead an informal tour of the exhibition. Free with museum admission
Symposium Bringing Art into Being in the Early Modern Period
From The Courtauld:
Bringing Art into Being in the Early Modern Period
The Courtauld Institute of Art, London, 26 October 2013
Organised by Anya Matthews and Giulia Martina Weston
Complex narratives spanning months, years or even decades exist behind the single bracketed date attached to artworks to indicate their moment of execution or completion. This one-day symposium will explore the ‘ante-natal’ development of early modern art from its conception to its ‘quickening’ and eventual birth. The process fascinated contemporary theorists and continues to raise questions for modern art historians. For example, when was an artistic project considered finished or unfinished? What terms were used to indicate the various stages of bringing an artwork into being, and what implications did these terms have for authorship and authenticity? The creation of art is not the work of a moment or achieved at a single stroke; it involves a series of transpositions from idea to study or plan, from sketch to painting, from plan to building and so on. How did early modern art reflect on the process of its own making?
Ticket/entry details: £16 (£11 students, Courtauld staff/students and concessions). Book online. Or send a cheque made payable to ‘The Courtauld Institute of Art’ to: Research Forum Events Co-ordinator, Research Forum, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, stating ‘Fifth Early Modern Symposium’. For further information, email ResearchForumEvents@courtauld.ac.uk.
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P R O G R A M M E
9.00 Registration
9.30 Introduction – Anya Matthews and Giulia Martina Weston (The Courtauld Institute of Art)
9.40 Session 1: Inspiration and the Artistic Idea
• Nikola Piperkov (Université Paris I Panthéon, Sorbonne), V(isita) I(nteriora) T(errae) R(ectificando) I(nvenies) O(ccultum) L(apidem): Pieter Brueghel the Elder’s and Adriaen de Vries’ Mercury and Psyche, an Allegory of Artistic and Alchemical Creation
• Anne Bloemacher (University of Münster), Raphael on Invention: Work in Progress Before the Materialisation of the Object
• James Hall (Independent art historian and critic), Sex and Genius: Raphael and Titian as Competing Models of the Creative Artist
• Vasco Nuno Figueiredo de Medeiros (University of Lisbon), Between Heuresis and Mimesis: Artistic Science and the Iconopoiesis as Mediators of the Creative Process
11.30 Coffee and Tea Break
12.00 Session 2: Breaking Boundaries
• Joris Van Gastel (University of Warwick), The Sculptor’s Drawing: An Embodied Approach
• Sefy Hendler (Tel Aviv University): A Paragone in Progress: Parmigianino Recto-Verso Study for Moses
• Claire Gapper (Independent architectural historian), Designing and Executing Decorative Plasterwork in the 16th and 17th Centuries
13.20 Break for lunch
14.20 Session 3: Out of Time
• Carolin Behrmann (Kunsthistorisches Institut in Florence -Max-Planck-Institut), In/action: The Non-Finito as Sculptural ‘Actio’
• David Gilks (Queen Mary, University of London), An Impossible Monument: Bringing the French Pantheon Into Being, 1791-94
• Foteini Vlachou (University of Lisbon), The ‘Trial’ and Tribulations of Sequeira’s Allegory of Junot Protecting
the City of Lisbon
• Letha Chien (University of California, Berkeley), The Frustrated Ongoing Saga of the Decorations at the Scuola Grande di San Marco
16.10 Coffee and tea break
16.40 Session 4: Artistic Experimentalism: Practices and Methods
• Kamini Vellodi (Independent art historian and practicing artist), Tintoretto’s Stage-Method: A Modern Constructivism
• Carrie Anderson (Massachusetts College of Art and Design, Boston), Translation and Translocation: Rethinking the Materiality of the ‘Old Indies’ Series
• Stefan Albl (University of Vienna), From Drawing to Painting: The Genesis of Pietro Testa’s Adorations of
the Shepherds and Some Considerations on His Working Methods
18.00 Reception
Forthcoming Book | The Pantheon: From Antiquity to the Present
Due next year from Cambridge UP:
Tod A. Marder and Mark Wilson Jones, eds., The Pantheon: From Antiquity to the Present (New York: Cambridge University Press, 2014), 350 pages, ISBN: 978-0521006361, $120.
The Pantheon is one of the most important architectural monuments of all time. Thought to have been built by Emperor Hadrian in approximately 125 AD on the site of an earlier, Agrippan-era monument, it brilliantly displays the spatial pyrotechnics emblematic of Roman architecture and engineering. The Pantheon gives an up-to-date account of recent research on the best preserved building in the corpus of ancient Roman architecture from the time of its construction to the twenty-first century. Each chapter addresses a specific fundamental issue or period pertaining to the building; together, the essays in this volume shed light on all aspects of the Pantheon’s creation, and establish the importance of the history of the building to an understanding of its ancient fabric and heritage, its present state, and its special role in the survival and evolution of ancient architecture in modern Rome.
C O N T E N T S
1. Introduction, Tod A. Marder and Mark Wilson Jones
2. Agrippa’s Pantheon and its origin, Eugenio La Rocca
3. Dating the Pantheon, Lise M. Hetland
4. The conception and construction of drum and dome, Giangiacomo Martines
5. Sources and parallels for the design and construction of the Pantheon, Gene Waddell
6. The Pantheon builders: estimating manpower for construction, Janet DeLaine and Christina Triantafillou
7. Building on adversity: the Pantheon and problems with its construction, Mark Wilson Jones
8. The Pantheon in the Middle Ages, Erik Thunø
9. Impressions of the Pantheon in the Renaissance, Arnold Nesselrath
10. The Pantheon in the seventeenth century, Tod A. Marder
11. Neo-classical remodelling and reconception, 1700–1820, Susanna Pasquali
12. A nineteenth-century monument for the state, Robin B. Williams
13. The Pantheon in the modern age, Richard Etlin
Call for Nominations | 2014 Charles C. Eldredge Prize
2014 Charles C. Eldredge Prize
Nominations due by 1 December 2013
Winner of the 2006 Charles C. Eldredge Prize: Margaretta Lovell, Art in a Season of Revolution: Painters, Artisans, and Patrons in Early America (University of Pennsylvania Press, 2005).
The Smithsonian American Art Museum invites nominations for the 2014 Charles C. Eldredge Prize, an annual award for outstanding scholarship in American art history. Single-author books devoted to any aspect of the visual arts of the United States and published in the three previous calendar years are eligible. To nominate a book, send a letter explaining the work’s significance to the field of American art history and discussing the quality of the author’s scholarship and methodology. Self-nominations and nominations by publishers are not permitted. The deadline for nominations is December 1, 2013.
Funding for the Charles C. Eldredge Prize is provided by the American Art Forum, a patrons’ support organization of the Smithsonian American Art Museum. The prize was instituted to honor Charles C. Eldredge, who founded the American Art Forum in 1986 during his tenure as director of the museum.
Symposium | Courtly Rococo in Thuringia
As noted at the Portal Kunstgeschichte:
Höfisches Rokoko in Thüringen: Kunst um Krohne und Pedrozzi
Schloss Heidecksburg, Rudolstadt, Thüringen, 25–26 October 2013
Registration due by 8 October 2013
Der Blickpunkt des Symposiums richtet sich vornehmlich auf das architektonische Werk Gottfried Heinrich Krohnes (1703–1756) und Giovanni Battista Pedrozzis (1711–1778), das den Höhepunkt des Rokoko in Thüringen markiert. Die zu untersuchenden Architekturen und Ausstattungen werden dabei insbesondere nach den zugrunde liegenden Strategien und Intentionen herrschaftlicher Repräsentation befragt.
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F R E I T A G , 2 5 O K T O B E R 2 0 1 3
10.00 Begrüßung durch die Veranstalter Helmut-Eberhard Paulus und Peter-Michael Hahn
10.15 Helmut-Eberhard Paulus (Stiftung Thüringer Schlösser und Gärten), Einführung I: Rokoko – Stil oder Epoche?
10.30 Peter-Michael Hahn (Universität Potsdam), Einführung II: Kulturtransfer und Modernität. Ein altes Herzogtum rüstet auf
10.45 Ernst Badstübner (Berlin), Krohne und seine Auftraggeber in Thüringen
11.15 Heiko Laß (Hannover), Krohnes Lustschlosstypus – Dornburg und die Folgen
11.45 Vinzenz Czech (Universität Potsdam), Die Heidecksburg und das Zeremoniell am Rudolstädter Fürstenhof im 18. Jahrhundert
12.15 Diskussion
12.30 Mittagspause
13.30 Lutz Unbehaun (Thüringer Landesmuseum Heidecksburg), Führung durch Schloss Heidecksburg zum Thema „Schloss Heidecksburg als Zeichen und Symbol territorial-herrschaftlicher Macht in Thüringen“
14.45 Wolfgang Jahn (Ebermannstadt), Pedrozzi in seiner Bayreuther Zeit
15.15 Verena Friedrich (Julius-Maximilians-Universität Würzburg), Rocaillen für Rudolstadt. Der Rokokostuck Giovanni Battista Pedrozzis auf Schloss Heidecksburg in Rudolstadt
15.45 Diskussion
16.15 Kaffeepause
16.45 Eva Krems (Universität Münster), Raumstrukturen im höfischen Rokoko
17.15 Katja Heitmann (Philipps-Universität Marburg), A la mode – Raumkunst des Rokoko am Rudolstädter Hof
17.45 Abschlussdiskussion
18.30 Festvortrag Ulrich Schütte (Philipps-Universität Marburg) „Künstler und Architekten bey Hofe“
S A M S T A G , 2 6 O K T O B E R 2 0 1 3
8.30 Abfahrt nach Dornburg
10.00 Führung durch das Rokokoschloss Dornburg
11.45 Abfahrt nach Jena
12.30 Mittagessen im Schwarzen Bären, Jena
14.00 Weiterfahrt nach Molsdorf
15.30 Führung durch Schloss Molsdorf
16.30 Rückfahrt nach Rudolstadt Ankunft gegen 17.30 Uhr
September 2013 Issue of ‘The Art Bulletin’
The eighteenth century from the September issue:
Matthew M. Reeve, “Gothic Architecture, Sexuality, and License at Horace Walpole’s Strawberry Hill,” The Art Bulletin 95 (September 2013): 411–39.
From 1747 Horace Walpole and a close circle of male friends and associates designed, decorated, and furnished Strawberry Hill, the remarkable neo-Gothic villa in Twickenham, a fashionable suburb of London. An examination of the role of Walpole’s sexuality in the design and reception of the house and its furnishings, following the lead of recent studies in literature, historiography, and the history of sexuality, reveals the interrelations between the revival of the Gothic as one of the “modern styles” of eighteenth-century architecture and fundamental changes in human sexuality characterized by the rise of a “third sex.”
In addition, the “Notes from the Field” feature addresses the theme of time, with the following responses drawing on the eighteenth century:
Malcolm Bull, “Time,” The Art Bulletin 95 (September 2013): 360–62.
Ludmilla Jordanova, “Time,” The The Art Bulletin 95 (September 2013): 364–67.
Gerrit Walczak, “Time,” The Art Bulletin 95 (September 2013): 377–79.
David E. Wellbery, “Time, The Art Bulletin 95 (September 2013): 379–80.
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