Publication : « Historical Style : Fashion and the New Mode of History, 1740-1830 ».

CAMPBELL Timothy, Historical Style : Fashion and the New Mode of History, 1740–1830, Philadelphie, University of Pennsylvania Press, 2016, 440 p.

CAMPBELL Timothy, Historical Style : Fashion and the New Mode of History, 1740–1830, Philadelphie, University of Pennsylvania Press, 2016, 440 p.

Présentation de l’éditeur :

Historical Style connects the birth of eighteenth-century British consumer society to the rise of historical self-consciousness. Prior to the eighteenth century, British style was slow to change and followed the cultural and economic imperatives of monarchical regimes. By the 1750s, however, a growing fashion press extolled, in writing and illustration, the new phenomenon of periodized fashion trends. As fashion fads came in and out of style, and as fashion texts circulated and obsolesced, Britons were forced to confront the material persistence of out-of-date fashions. Timothy Campbell argues that these fashion texts and objects shaped British perception of time and history by producing new curiosity about the very recent past, as well as a new self-consciousness about the means by which the past could be understood.
In a panoptic sweep, Historical Style brings together art history, philosophy, and literary history to portray an era increasingly aware of itself. Burgeoning consumer society, Campbell contends, highlighted the distinction between the past and the present, created an expectation of continual change, and forged a sense of history as something that could be tracked through material objects. Campbell assembles a wide range of writings, images, and objects to render this eighteenth-century landscape: commercial dress displays and David Hume’s ideas of novelty as historical form; popular illustrations of recent fashion trends and Sir Joshua Reynolds’s aesthetic precepts; fashion periodicals and Sir Walter Scott’s costume-saturated historical fiction. In foregrounding fashion to trace eighteenth-century historicism, Historical Style draws upon the interdisciplinary, multimedia archival impressions that fashionable dress has left behind, as well as the historical and conceptual resources within the field of fashion studies that literary and cultural historians of eighteenth-century and Romantic Britain have often neglected.

Timothy Campbell teaches English at the University of Chicago.

Plus d’informations sur le site de l’éditeur.

Publication : « Renaissance de l’anatomie ».

CUIR Raphaël, Renaissance de l'anatomie, Paris, Hermann, 2016, 316 p.

CUIR Raphaël, Renaissance de l’anatomie, Paris, Hermann, 2016, 316 p.

Présentation de l’éditeur :

Ce livre est le premier à se concentrer sur un paradoxe des images anatomiques de la Renaissance au XVIIIe siècle : la mise en scène de squelettes et d’écorchés animés, bien que leur état suppose qu’ils ne soient plus en mesure de l’être. Cette approche met en lumière la profonde cohérence entre théorie de l’art et théorie de l’anatomie à la Renaissance, qui se développent dans le même cadre de pensée – la rhétorique humaniste – et sont déterminées par un concept philosophique dominant – le finalisme. Au finalisme scientifique correspond un finalisme esthétique et tous deux se complètent dans la conception des images anatomiques où ils se mêlent à un finalisme symbolique, d’ordre moral, eschatologique ou érotique. La mise en évidence d’une anatomie finaliste permet de distinguer l’émergence, à la fin du XVIIe siècle, d’une anatomie cartésienne. Elle renonce progressivement à la rhétorique finaliste de l’anatomie, elle fait abstraction de la vie et évacue progressivement toute connotation symbolique de l’image. Elle consacre ainsi la conception du corps comme objet de connaissance, déjà présente dans l’anatomie finaliste où, cependant, même disséqué, le corps ne cessait d’avoir une âme, d’être.

Raphaël Cuir est critique et historien d’art, Président de l’AICA France, docteur de l’École des hautes études en sciences sociales. Ses recherches portent sur les représentations du corps de la Renaissance à nos jours.

Plus d’informations sur le site de l’éditeur.

Publication : « Le Caravage par le détail ».

ZUFFI Stefano, Le Caravage par le détail, Paris, Hazan, 2016, 272 p.

ZUFFI Stefano, Le Caravage par le détail, Paris, Hazan, 2016, 272 p.

Présentation de l’éditeur : 

Quatrième volume d’une collection où l’œuvre d’un maître ancien célèbre est commentée, à partir de détails significatifs, par un historien de l’art et spécialiste réputé.- L’ouvrage s’articule autour des thèmes caractéristiques de l’œuvre du Caravage, tels les natures mortes, les gestes, les cinq sens, le corps, les portraits, etc.- Toutes les œuvres auxquelles des détails ont été empruntés sont reproduites en totalité, accompagnées de leurs données techniques.- Une biographie et une bibliographie succinctes complètent l’ouvrage.

L’historien de l’art milanais Stefano Zuffi (né en 1961) a publié pour Electa de nombreux ouvrages de popularisation culturelle, traduits en plusieurs langues.

Plus d’informations sur le site de l’éditeur.

Journée d’étude : « Figures du Dandy de Van Dyck à Oscar Wilde ».

Joseph Wright of Derby, Sir Brooke Boothby, 1781, toile, 148 x 207 cm, Londres, Tate Collection.

Joseph Wright of Derby, Sir Brooke Boothby, 1781, toile, 148 x 207 cm, Londres, Tate Collection.

Type : journée d’étude.
Date de la manifestation : mardi 13 septembre 2016 à partir de 14h.
Lieu : Paris, Petit Palais.


En prémisse à l’exposition Oscar Wilde qui ouvrira au Petit Palais à la fin du mois de septembre, ce colloque réunissant de grands spécialistes internationaux d’histoire de la peinture analysera l’évolution de la figure du dandy à travers le portrait masculin du XVIIe à la fin du XIXe siècle.

Programme :

Alexis Merle du Bourg, Historien de l’art
Van Dyck peintre des dandys : Correspondances et discordances.

Guillaume Kientz, Conservateur au département des Peintures, Musée du Louvre
Grands peintres et « petimetres » Le dandysme dans le portrait espagnol de Velázquez à Goya.

Hugh Belsey, Senior Research Fellow, Paul Mellon Centre for Studies in British Art, London
Sans le moindre soupçon de barbarisme : l’Angleterre de la fin du XVIIIe siècle adopte des manières étrangères.

Philippe Bordes, Professeur d’Histoire de l’art, Université Lyon 2
L’élégance républicaine à travers le portrait masculin (1789-1799).

Erica Hirshler, Croll Senior Curator of American Paintings, Museum of Fine Arts, Boston
John Singer Sargent et le dandy.

Jean David Jumeau-Lafond, Historien de l’Art
Portraits fin de siècle : du dandy à l’esthète.

Appel à communication : « La première impression : visages, vêtements et corps. 1600-1800 — ’First Impressions’ : Faces, Clothes, and Bodies, 1600-1800 ».

Jean Raoux, Une dame devant son miroir, ca. 1720, huile sur toile, 79 x 64 cm, Londres, Wallace Collection.

Jean Raoux, Une dame devant son miroir, ca. 1720, huile sur toile, 79 x 64 cm, Londres, Wallace Collection.

Type : Appel à communication.
Date de la manifestation : 10 novembre 2016.
Lieu : York, university of York.
Date limite : 29 août 2016.

In the early modern world, ‘first impressions’ played a central role in the establishment and maintenance of individual and group identities; faces, clothes, and bodies provided a number of sensory clues as to a person’s gender, social status, age, and even health. Appearances were described, depicted, and consumed. However, anxiety over the potential for outward appearances to confuse, disguise, or deceive also gained increasing momentum in this period – ‘first impressions’ were not always as they seemed. Emulation and the erosion of the social hierarchy caused particular alarm, and even the most respectable members of society were now understood to be vulnerable to deception. Clothing, cosmetics, and deportment could all alter appearance and render ‘first impressions’ as shifting and uncertain. In addition, the dissemination of images and descriptions of appearances across the social hierarchy markedly increased throughout the period;the explosion of print culture meant that descriptions of felons were now widely circulated in newspapers, for example, whilst satirical prints prompted a familiarity with images of public figures. Lire la suite

Appel à communication : « Habitual behaviour in early modern Europe, 1500–1750 ».

Klaes Molenaer, Les Musiciens, s.d., huile sur toile, 19.7 x 20.3 cm, Kelvingrove Art Gallery and Museum. (c) Glasgow Museums

Klaes Molenaer, Les Musiciens, s.d., huile sur toile, 19.7 x 20.3 cm, Kelvingrove Art Gallery and Museum. (c) Glasgow Museums

Type : Appel à communication.
Date de la manifestation : 1er et 2 juin  2017.
Lieu : Sheffield, university of Sheffield.
Date limite : 16 novembre 2016.

What habits, practices, or routines, made up day-to-day life in Europe between 1500-1750? At what point was habitual behaviour, such as excessive drinking, considered problematic? And how did ideas about habitual practice fit into early modern concepts of body and self?

This two-day interdisciplinary conference aims to draw together scholars working on material culture, digital humanities, medicine, consumption, daily routine, practice, theory, and more, and invites them to consider their research under the heading of ‘habit’. We welcome papers on habitual behaviour, customs and practices, and daily routines, whether mealtimes or medicine, venery or vinosity. Lire la suite

Appel à communication : « More than meets the page : Printing Text and Images in Italy, 1570s-1700s ».

Abraham Bosse, L’atelier du graveur au burin et à l’eau-forte, 1643
. © The Trustees of the British Museum.

Abraham Bosse, L’atelier du graveur au burin et à l’eau-forte, 1643
. © The Trustees of the British Museum.

Type : Appel à communication.
Date de la manifestation : 4 mars 2017.
Lieu : Warwick, university of Warwick.
Date limite : 31 août 2016.

For Italy, the ‘long seventeenth century’ was a period of considerable financial challenges. This was especially evident on the book market. Nevertheless, thanks to new techniques and formats which mutually related text and images within the same publication, innovative genres were born that were marketed towards both ends of the audience spectrum, from the learned to the illiterate.

‘More than meets the page: Printing Text and Images in Italy, 1570s-1700s’ aims to investigate the ways in which the consolidation of the book and print trade influenced the development of such new book genres from the late sixteenth to the early eighteenth century. The products emerging in the wake of these processes reached consumers throughout distant countries, between Italy and the rest of Europe. Moreover, various professionals and skilled workers earned their living thanks to the print market, from the production to the distribution of printed items. For instance, workshops of woodcutters specialized exclusively in book illustrations, such as for scientific treatises, and publishers regularly sent participants to fairs throughout Europe. The new commercial items, moreover, contributed to the spread of cultural phenomena, for instance the Grand Tour through its souvenir prints that were sometimes incorporated in atlases. Lire la suite

Publication : « Pierre Gouthière : Virtuoso Gilder at the French Court ».

BAULEZ Christian (dirs.) et VIGNON Charlotte (dirs.), Pierre Gouthière : Virtuoso Gilder at the French Court, Londres, Giles, 2016, 408 p.

BAULEZ Christian (dirs.) et VIGNON Charlotte (dirs.), Pierre Gouthière : Virtuoso Gilder at the French Court, Londres, Giles, 2016, 408 p.

Présentation de l’éditeur :

Pierre Gouthière: Virtuoso Gilder at the French Court celebrates the life of Pierre Gouthière (1732-1813), considered to be one of the best Parisian bronze chasers and gilders of the 18th century. Gouthière became gilder to Louis XV in 1767, and is credited with inventing a new type of gilding that left a matte finish—dorure au mat—one of the hallmarks of his work. Although incredibly successful in his day, Gouthière died in relative obscurity and poverty; unlike some of his contemporaries, his works never regained popularity after the French Revolution.

The inclusion of detailed entries and plates of forty works positively attributed to Gouthière, five essays by leading experts which examine Gouthière’s life, career, clientele, and gilding techniques, as well as examples of his work from US, Russian, and British collections, ensure that this beautiful volume is an invaluable new resource on Gouthière. Moreover, this is the first major study on Gouthière since 1920.

Charlotte Vignon is curator of Decorative Arts at The Frick Collection, New York. Christian Baulez is an historian of French 18th–century decorative arts and architecture and former chief curator at the Musée de Versailles. Anne Forray- Carlier is curator of 17th- and 18th-Century Decorative Arts at the Musée des Arts Décoratifs, Paris. Joseph Godla is chief conservator at the Frick Collection. Helen Jacobsen is chief curator at the Wallace Collection, London. Luisa Penalva is curator of Gold, Silver, and Jewelry Collections at the Museu Nacional de Arte Antiga, Lisbon. Anna Saratowicz-Dudyńska is curator of Silver and Bronze at the Royal Castle, Warsaw. Emmanuel Sarméo is an independent scholar.

Plus d’informations sur le site de l’éditeur.

Publication : « Republic of Taste Art, Politics, and Everyday Life in Early America ».

KELLY Catherine, Republic of Taste : Art, Politics, and Everyday Life in Early America, Philadelphia, University of Pennsylvania Press, 2016, 352 p.

KELLY Catherine, Republic of Taste : Art, Politics, and Everyday Life in Early America, Philadelphia, University of Pennsylvania Press, 2016, 352 p.

Présentation de l’éditeur :

Since the early decades of the eighteenth century, European, and especially British, thinkers were preoccupied with questions of taste. Whether Americans believed that taste was innate—and therefore a marker of breeding and station—or acquired—and thus the product of application and study—all could appreciate that taste was grounded in, demonstrated through, and confirmed by reading, writing, and looking. It was widely believed that shared aesthetic sensibilities connected like-minded individuals and that shared affinities advanced the public good and held great promise for the American republic.
Exploring the intersection of the early republic’s material, visual, literary, and political cultures, Catherine E. Kelly demonstrates how American thinkers acknowledged the similarities between aesthetics and politics in order to wrestle with questions about power and authority. Judgments about art, architecture, literature, poetry, and the theater became an arena for considering political issues ranging from government structures and legislative representation to qualifications for citizenship and the meaning of liberty itself. Additionally, if taste prompted political debate, it also encouraged affinity grounded in a shared national identity. In the years following independence, ordinary women and men reassured themselves that taste revealed larger truths about an individual’s character and potential for republican citizenship. Lire la suite

Publication : « Uomini e Dei : Il ’600 genovese dei collezionisti ».

ORLANDO Anna (dir.), Uomini e Dei : Il ’600 genovese dei collezionisti, Gênes, Sagep, 2016, 168 p.

ORLANDO Anna (dir.), Uomini e Dei : Il ’600 genovese dei collezionisti, Gênes, Sagep, 2016, 168 p.

Présentation de l’éditeur :

Frutto di 25 anni di studio a setacciare nelle collezioni private i dipinti liguri del Sei e Settecento, la mostra Uomini e dei. Il ’600 genovese dei collezionisti (Palazzo della Meridiana, Genova, 19 febbraio-5 giugno 2016), curata da Anna Orlando, è accompagnata da un catalogo che costituisce un’ottima opportunità di aggiornamento scientifico di un capitolo sempre aperto degli studi.
Alla prefazione di Ezia Gavazza, nome di riferimento per il barocco genovese, segue un saggio di Anna Orlando e la schedatura scientifica di una sessantina di quadri, alcuni dei quali inediti, dei più importanti autori del periodo: Ansaldo, Assereto, Benso, Valerio Castello, il Grechetto, Gregorio De Ferrari, Orazio De Ferrari, Fiasella, Guidobono, Magnasco, Paggi, Piola, Strozzi.
Alla firma della Orlando affiancano il lavoro quelle di altri studiosi, specialisti dei singoli pittori, funzionari della Soprintendenza o curatori di Musei: Raffaella Besta, Luca Leoncini, Agnese Marengo, Anna Manzitti, Margherita Priarone, Maurizio Romanengo, Daniele Sanguineti.

Plus d’informations sur le site de l’éditeur.

Publication : « The Villa Laurentina of Pliny the Younger in an 18th-Century Vision ».

MIZIOLEK Jerzy, The Villa Laurentina of Pliny the Younger in an 18th-Century Vision, Rome, L’Erma di Bretschneider, 2016, 250 p.

MIZIOLEK Jerzy, The Villa Laurentina of Pliny the Younger in an 18th-Century Vision, Rome, L’Erma di Bretschneider, 2016, 250 p.

Présentation de l’éditeur :

The book deals with a paper reconstruction of Pliny the Younger’s (c. AD 61–112) villa near Ostia, some twenty kilometres from Rome. This unique work was created in Rome in the years 1777–78 by a young Pole, Count Stanisław K. Potocki (1755–1821) in cooperation with Giuseppe Manocchi and other outstanding artists of the time. The work, originally in the Potocki collection in Wilanów, is today housed in the iconographic collection of the National Library, Warsaw. It contains over thirty large-format, color drawings. In the late 18th century, probably during his last sojourn in Italy (1795–97), Count Potocki wrote a 24-page-long commentary to his work, entitled Notes et Idées sur la Villa de Pline. This hitherto unpublished manuscript commentary and reconstruction drawings of the villa are now published together with a virtual visualisation of the villa produced in 3D Studio Max 2014. Lire la suite

Publication : « Women Artists in Early Modern Italy : Careers, Fame, and Collectors ».

BARKER Sheila (dir.), Women Artists in Early Modern Italy : Careers, Fame, and Collectors, Turnhout, Brepols, 2016, 176 p.

BARKER Sheila (dir.), Women Artists in Early Modern Italy : Careers, Fame, and Collectors, Turnhout, Brepols, 2016, 176 p.

Présentation de l’éditeur :

Enhancing our understanding of early Italian female painters including Sofonisba Anguissola and introducing new ones such as Costanza Francini and Lucrezia Quistelli, this volume studies women artists, their patrons, and their collectors, in order to trace the rise of the social phenomenon of the woman artist.

In ten chapters spanning two centuries, this collection of essays examines the relationships between women artists and their publics, both in early modern Italy as well as across Europe. Drawing upon archival evidence, these essays afford abundant documentary information about the diverse strategies that women found for carrying out their artistic careers, from Sofonisba Anguissola’s role as a lady-in-waiting at the court of Felipe II of Spain, to Lucrezia Quistelli’s avoidance of the Florentine market in favor of upholding the prestige of her family, to Costanza Francini’s preference for the steady but humble work of candle painting for a Florentine confraternity.

Lire la suite

Publication : « Rembrandt : The Painter Thinking ».

VAN DE WETERING Ernst, Rembrandt : The Painter Thinking, Berkeley, University of California Press, 2016, 340 p.

VAN DE WETERING Ernst, Rembrandt : The Painter Thinking, Berkeley, University of California Press, 2016, 340 p.

Présentation de l’éditeur :

Even during the artist’s lifetime, contemporary art lovers considered Rembrandt van Rijn to be an exceptional artist. In this revelatory sequel to the acclaimed Rembrandt : The Painter at Work, renowned Rembrandt authority Ernst van de Wetering investigates precisely why the artist, from a very early age, was praised by prominent connoisseurs. He argues that Rembrandt, from his very first endeavors in painting, embarked on a journey past all the foundations of the art of painting that, according to (up until now misinterpreted) contemporary written sources, were considered essential in the seventeenth century. Rembrandt never stopped searching for solutions to the pictorial problems that confronted him; this led over time to radical changes in course that can’t simply be attributed to stylistic evolution or natural development. In a quest as rigorous and novel as the artist’s, van de Wetering reveals how Rembrandt became the best painter the world had ever seen. Gorgeously illustrated throughout, this groundbreaking exploration reconstructs Rembrandt’s closely guarded theories and methods, shedding new light both on the artist’s exceptional accomplishments and on the practice of painting in the Dutch Golden Age.

Ernst van de Wetering is Professor Emeritus of Art History at the University of Amsterdam and Chairman of the Rembrandt Research Project. The author of the widely acclaimed Rembrandt : The Painter at Work, he is considered one of the world’s foremost specialists on Rembrandt and his oeuvre.

Plus d’informations sur le site de l’éditeur.

Publication : « 17th-Century Chinese Paintings from the Tsao Family Collection ».

LITTLE Stephen (dirs.) et KONG Wang (dirs.), 17th-Century Chinese Paintings from the Tsao Family Collection, New York et Londres, Prestel, 2016, 668 p.

LITTLE Stephen (dirs.) et KONG Wang (dirs.), 17th-Century Chinese Paintings from the Tsao Family Collection, New York et Londres, Prestel, 2016, 668 p.

Présentation de l’éditeur :

A rare collection of Chinese paintings is magnificently presented in this book, which explores a politically turbulent yet creatively dynamic period in China’s history.

Comprising 130 paintings from the 17th century, the Tsao Family Collection is singularly comprehensive, including works by nearly all of the most important Chinese painters of the period. This book features 16 works by Dong Qichang, the most protean Chinese painter of the last 500 years; paintings by masters such as Gong Xian, Hongren, Zhu Da, Daoji, Wang Hui, and Wang Yuanqi; and extremely rare works by lesser-known artists, scholars, officials, and Buddhist monks. Divided into sections that encompass both the late Ming Dynasty and the early Qing Dynasty, this volume also includes fascinating essays on a number of themes, such as the function of landscape in Chinese culture, the political uses of painting in 17th-century China, the relationship of Chinese painting to poetry, the flourishing of Buddhist and Daoist studies among late Ming and early Qing literati, and orthodoxy and painting of the era. Rounding out the volume are new and authoritative interpretations of the Tsao Collection written by leading scholars and remarkable new translations by Jonathan Chaves, Ronald Egan, and others, of the Chinese poems and prose texts inscribed on the paintings and calligraphic works in the exhibition.

Plus d’informations sur le site de l’éditeur.

Publication : « Amsterdam’s Atlantic : Print Culture and the Making of Dutch Brazil ».

VAN GROESEN Michiel, Amsterdam's Atlantic : Print Culture and the Making of Dutch Brazil, Philadelphie, University of Pennsylvania Press, 2016, 288 p.

VAN GROESEN Michiel, Amsterdam’s Atlantic : Print Culture and the Making of Dutch Brazil, Philadelphie, University of Pennsylvania Press, 2016, 288 p.

Présentation de l’éditeur :

In 1624 the Dutch West India Company established the colony of Brazil. Only thirty years later, the Dutch Republic handed over the colony to Portugal, never to return to the South Atlantic. Because Dutch Brazil was the first sustained Protestant colony in Iberian America, the events there became major news in early modern Europe and shaped a lively print culture.

Lire la suite