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Publications

Publication : « Rosalba Carriera : Une Vénitienne dans l’Europe des Lumières : Entre peinture et écriture (1673-1757) ».

JULIEN Albane, Rosalba Carriera : Une Vénitienne dans l’Europe des Lumières : Entre peinture et écriture (1673-1757), Paris, L’Harmattan, 2019, 422 p.

Présentation de l’éditeur :

La Vénitienne Rosalba Carriera (1673-1757) acquit un succès international grâce à ses portraits et à sa maîtrise exceptionnelle du pastel. Auteure d’écrits riches et variés, elle est aussi connue comme poète et diariste. Dans cette étude, l’accent est mis, en premier lieu, sur l’oeuvre picturale et le parcours dans l’Europe du XVIIIe siècle de cette femme peintre, connue essentiellement pour ses portraits féminins. Puis l’ouvrage met l’accent sur ses qualités d’épistolière et de diariste et met en lumière l’autre facette de l’artiste, à savoir la femme de lettres en prise avec son temps dont elle fut un témoin attentif. Continuer la lecture

Publication : « Diderot et Watteau : Vers une poétique de l’image au XVIIIe siècle ».

BARTHA-KOVACS Katalin, Diderot et Watteau : Vers une poétique de l’image au XVIIIe siècle, Paris, L’Harmattan, 2019, 256 p.

Présentation de l’éditeur :

Comment rapprocher Diderot et Watteau, dont les conceptions artistiques diffèrent ? C’est au croisement de la théorie de l’art, de la critique d’art et des études littéraires que ces essais proposent une réflexion peu conventionnelle sur les perceptions de l’image au XVIIIe siècle. Au fil de notions difficilement définissables, telles que la mélancolie, le rêve, la grâce ou la légèreté, aptes cependant à s’ériger en concepts esthétiques généraux, les études réunies visent à tracer les contours d’une poétique de l’image. À travers ces catégories, qui peuvent servir de lien entre Diderot et Watteau, l’ouvrage prétend porter un éclairage nouveau sur les questions artistiques et contribuer ainsi à la réinterprétation des notions propres à la théorie de l’art française de l’époque classique. Continuer la lecture

Publication : « Davidiennes : Les femmes peintres de l’atelier de Jacques-Louis David (1768-1825) ».

ARASA Yaelle, davidiennes : Les femmes peintres de l’atelier de Jacques-Louis David (1768-1825), Paris, L’Harmattan, 2019, 210 p.

Présentation de l’éditeur :

Entre 1768 et 1825, Jacques-Louis David tient un atelier formant à la peinture d’histoire, où quatre cent cinquante jeunes gens se pressent durant plus d’un demi-siècle. Parmi eux, vingt-six femmes dont établir l’identité est une gageure tant « l’atelier féminin » de David est protéiforme et changeant. Simples élèves, collaboratrices ou encore inspiratrices, les artistes réalisent nombre d’oeuvres, ouvrent des ateliers d’enseignement et exposent pendant plusieurs décennies au Salon où elles sont en compétition avec leurs collègues masculins. Ainsi Guillemine Benoist et Anne-Louis Girodet, parmi les plus brillants élèves de David, s’aventurent à présenter au public les portraits du Citoyen Belley (1797) et d’Une femme noire (1800), oeuvres en miroir, atypiques et virtuoses, représentant des modèles noirs. Continuer la lecture

Publication : « Les peintures transposées du Louvre : La transposition des peintures de chevalet en France de 1750 à 1848 ».

BARRES Frankline,Les peintures transposées du Louvre : La transposition des peintures de chevalet en France de 1750 à 1848, Paris, L’Harmattan, 2020, 410 p.

Présentation de l’éditeur :

La transposition est le traitement par lequel le support d’une peinture de chevalet (toile ou panneau) est enlevé pour être remplacé par un nouveau support. En raison du contexte historique qui entoure la naissance du musée du Louvre, il existe un grand nombre d’oeuvres transposées au sein des collections nationales. Si les problématiques liées à l’histoire et à la déontologie de la conservation du patrimoine ont largement été abordées durant les dernières décennies, aucune étude exhaustive et systématique concernant la métamorphose matérielle des peintures transposées ainsi que les matériaux ajoutés lors des transpositions n’avait été réalisée à ce jour. Grâce à l’existence d’une documentation suivie sur les restaurations des peintures du Louvre, il a été possible d’établir l’évolution de la technique en France entre 1750 et 1848. Les travaux des praticiens qui sont intervenus pour le musée du Louvre sont ainsi retracés sur près d’un siècle, une période au cours de laquelle la technique a effectué ses principales avancées et s’est dotée des règles méthodologiques qui, par la suite, n’ont pratiquement plus varié. Les conséquences esthétiques induites par ces interventions ainsi que certaines implications éthiques sont également évoquées. Continuer la lecture

Publication : « Caravaggio’s Cardsharps on Trial : Thwaytes v. Sotheby’s ».

SPEAR Richard E., Caravaggio’s Cardsharps on Trial : Thwaytes v. Sotheby’s, Londres, Paul Holberton Publishing, 2020, 384 p.

Présentation de l’éditeur :

Vividly written and handsomely illustrated, this account of Thwaytes v. Sotheby’s – one of the major art trials of recent times – will be of interest to dealers, conservators and lawyers as well as all admirers of Caravaggio.

In 2006 the late Sir Denis Mahon, a renowned Caravaggio scholar then aged ninety-six, bought at Sotheby’s in London for just £50,400 a version of the painter’s famous Cardsharps in the Kimbell Art Museum, Texas. He then announced that the canvas was not by a ‘follower’ of the artist, as Sotheby’s had stated, but was in fact Caravaggio’s first version of the Kimbell masterpiece. When the story broke, the press announced that the painting ‘may be worth up to £50m’. Shocked by the news, Lancelot Thwaytes, who had consigned the painting to Sotheby’s, sued the auction house for negligence. Continuer la lecture

Publication : « A Fistful of Shells : West Africa from the Rise of the Slave Trade to the Age of Revolution ».

GREEN Toby, A Fistful of Shells : West Africa from the Rise of the Slave Trade to the Age of Revolution, Chicago, The University of Chicago Press, 2019, 640 p.

Présentation de l’éditeur :

By the time the “Scramble for Africa” among European colonial powers began in the late nineteenth century, Africa had already been globally connected for centuries. Its gold had fueled the economies of Europe and the Islamic world for nearly a millennium, and the sophisticated kingdoms spanning its west coast had traded with Europeans since the fifteenth century. Until at least 1650, this was a trade of equals, using a variety of currencies—most importantly, cowrie shells imported from the Maldives and nzimbu shells imported from Brazil. But, as the slave trade grew, African kingdoms began to lose prominence in the growing global economy. We have been living with the effects of this shift ever since. Continuer la lecture

Publication : « John Reeves : Pioneering Collector of Chinese Plants and Botanical Art ».

BAILEY Kate, John Reeves : Pioneering Collector of Chinese Plants and Botanical Art, New York, ACC Art Books, 2019, 176 p.

Présentation de l’éditeur :

This is the story of John Reeves (1774–1856) and the Reeves Collection of botanical paintings, the result of one man’s single-minded dedication to commissioning pictures and gathering plants for the Horticultural Society of London.

Reeves went to China in 1812 and immediately on arrival started sending back snippets of information about manufactures, plants and poetry, goods, gods, and tea to Sir Joseph Banks. Slightly later, he also started collecting for the Society. But despite years of work collecting, labelling, and packing plants and organising a team of Chinese artists until he left China in 1831, Reeves never enjoyed the same degree of recognition as other naturalists in China. This was possibly because he had a demanding job as a tea inspector. Reeves himself never claimed to be a professional naturalist, and the plant collecting and painting supervision were undertaken in his own time. Furthermore, fan qui (foreign devils) were restricted to the port area of Canton and to Macau, so that plant-hunting expeditions further afield were impossible. Furthermore, Reeves never published an account of his life in the country, unlike Clarke Abel and Robert Fortune, but he left us some letters, notebooks, drawings, and maps. Continuer la lecture

Publication :  » Italian Paintings in the Norton Simon Museum : The Seventeenth and Eighteenth Centuries ».

PENNY Nicholas, Italian Paintings in the Norton Simon Museum : The Seventeenth and Eighteenth Centuries, New Haven, Yale University Press, 2020, 416 p.

Présentation de l’éditeur :

The preeminent collector Norton Simon amassed more than 100 Italian paintings during his 35-year career, and today they stand among the treasures of the Norton Simon Museum. In this catalogue—the first of two volumes devoted to the museum’s Italian painting collection—noted art historian Sir Nicholas Penny pairs 47 paintings from the 17th and 18th centuries with in-depth commentary, skillfully interweaving tales from the artists’ lives, observations on the artists’ influences and patronage, and notes on provenance and frames. The works featured here include Guido Cagnacci’s (1601–1663) impressive Conversion of the Mary Magdalene and Guercino’s (1591–1666) formidable Aldovrandi Dog, among other works by such artists as Guido Reni (1610/12–1662), Luca Giordano (1634–1705), Giambattista Tiepolo (1696–1770), and Canaletto (1697–1768). This is an indispensable overview of one of the greatest collections of its kind in the United States.

Continuer la lecture

Publication :  » Stuart Style : Monarchy, Dress and the Scottish Male Elite ».

HAYWARD Maria, Stuart Style : Monarchy, Dress and the Scottish Male Elite, New Haven, Yale University Press, 2020, 368 p.

Présentation de l’éditeur :

This is the first detailed analysis of elite men’s clothing in 17th-century Scotland and its influence on English male fashion. Focusing on the years 1566 through 1701, it centers on the clothing choices of five Stuart royals: James VI and I, Prince Henry, Charles I, Charles II, and James VII and II.

Continuer la lecture

Publication : « Caspar David Friedrich : Nature and the Self ».

AMSTUTZ Nina, Caspar David Friedrich : Nature and the Self, New Haven, Yale University Press, 2020, 280 p.

Présentation de l’éditeur :

Best known for his atmospheric landscapes featuring contemplative figures silhouetted against night skies and morning mists, Caspar David Friedrich (1774–1840) came of age alongside a German Romantic philosophical movement that saw nature as an organic and interconnected whole. The naturalists in his circle believed that observations about the animal, vegetable, and mineral kingdoms could lead to conclusions about human life. Many of Friedrich’s often-overlooked later paintings reflect his engagement with these philosophical ideas through a focus on isolated shrubs, trees, and rocks. Others revisit earlier compositions or iconographic motifs but subtly metamorphose the previously distinct human figures into the natural landscape.

Continuer la lecture

Publication :  » Sofonisba’s Lesson : A Renaissance Artist and Her Work ».

COLE Michael W., Sofonisba’s Lesson : A Renaissance Artist and Her Work, Princeton, Princeton university press, 2020, 312 p.

Présentation de l’éditeur :

Sofonisba Anguissola (ca. 1535–1625) was the daughter of minor Lombard aristocrats who made the unprecedented decision to have her trained as a painter outside the family house. She went on to serve as an instructor to Isabel of Valois, the young queen of Spain. Sofonisba’s Lesson sheds new light on Sofonisba’s work, offering a major reassessment of a Renaissance painter who changed the image of women’s education in Europe—and who transformed Western attitudes about who could be an artist.

Continuer la lecture

Publication :  » Insect Artifice : Nature and Art in the Dutch Revolt ».

BASS Marisa Anne, Insect Artifice : Nature and Art in the Dutch Revolt, Princeton, Princeton university press, 2019, 312 p.

Présentation de l’éditeur :

This pathbreaking and stunningly illustrated book recovers the intersections between natural history, politics, art, and philosophy in the late sixteenth-century Low Countries. Insect Artifice explores the moment when the seismic forces of the Dutch Revolt wreaked havoc on the region’s creative and intellectual community, compelling its members to seek solace in intimate exchanges of art and knowledge. At its center is a neglected treasure of the late Renaissance: the Four Elements manuscripts of Joris Hoefnagel (1542–1600), a learned Netherlandish merchant, miniaturist, and itinerant draftsman who turned to the study of nature in this era of political and spiritual upheaval. Presented here for the first time are more than eighty pages in color facsimile of Hoefnagel’s encyclopedic masterwork, which showcase both the splendor and eccentricity of its meticulously painted animals, insects, and botanical specimens.

Continuer la lecture

Publication : « A History of Art History ».

WOOD Christopher S., A History of Art History, Princeton, Princeton university press, 2019, 472 p.

Présentation de l’éditeur :

In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original and accessible account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. Continuer la lecture

Publication : « The Tastemakers : British Dealers and the Anglo-Gallic Interior, 1785–1865 ».

DAVIS Diana, The Tastemakers : British Dealers and the Anglo-Gallic Interior, 1785–1865, Los Angeles, Getty Publications, 2020, 320 p.

Présentation de l’éditeur :

In this volume, Diana Davis demonstrates how London dealers invented a new and visually splendid decorative style that combined the contrasting tastes of two nations. Departing from the conventional narrative that depicts dealers as purveyors of antiquarianism, Davis repositions them as innovators who were key to transforming old art objects from ancien r.gime France into cherished “antiques” and, equally, as creators of new and modified French-inspired furniture, bronze work, and porcelain. The resulting old, new, and reconfigured objects merged aristocratic French eighteenth-century taste with nineteenth-century British preference, and they were prized by collectors, who displayed them side by side in palatial interiors of the period. Continuer la lecture

Publication : « Rembrandt Drawings ».

SLIVE Seymour, Rembrandt Drawings, Los Angeles, Getty Publications, 2019, 260 p.

Présentation de l’éditeur :

Written by renowned Rembrandt scholar Seymour Slive, this gorgeous volume explores the artist’s extraordinary achievements as a draftsman by examining more than 150 of his drawings. Reproduced in color, these works are accompanied by etchings and paintings by Rembrandt and others, including Leonardo and Raphael. Unlike other publications of Rembrandt’s drawings, here they are arranged thematically, which makes his genius abundantly clear. Individual chapters focus on self-portraits, portraits of family members and friends, the lives of women and children, nudes, copies, model and study sheets, animals, landscapes and buildings, religious and mythological subjects, historical subjects, and genre scenes. Slive discusses possible doubtful attributions, which account for the considerable reduction from earlier times in the number of drawings now ascribed to the master. Continuer la lecture