Category: Research
New Hogarth catalogue
January 8 2017
Picture: Yale
I've been meaning to notice the publication of Elizabeth Einberg's new catalogue raisonnée on William Hogarth. You can buy it here for £85.
'Vigée Le Brun's petitioners'
January 8 2017
Picture: Archives Nationale
Neil Jeffares has a useful new article on his blog about Elizabeth Vigée Le Brun. It explores the petition in her favour signed by 255 artists and French luminaries in 1799 to support her return from exile. She had fled during the French Revolution and as such had her assets forfeit. Neil points out that since the document has never been published before, it proivdes usual evidence of signatures. He also classifies all 255 names. More here.
Bowes Museum acquires rare Bouts (ctd.)
January 6 2017
Video: National Gallery
Last year, the Bowes Museum in the UK acquired a panel painting by Dieric Bouts the Elder and his Workshop. In the above video, Rachel Billinge of the National Gallery's conservation department gives the painting a thorough technical assessment to find out how it was made.
Was Van Gogh arrested for chopping off his ear?
December 19 2016
Picture: Apollo/Courtauld
Our knowledge of the most famous ear in history has been expanded yet again by Van Gogh scholar Martin Bailey, who, in Apollo Magazine, looks into whether Van Gogh was arrested in Arles after the ear chopping business.
Early Irish art
November 23 2016
Picture: Irish Academic Press
I like this look of this new book on Irish art in the early modern period, available here.
Is this Van Dyck's portrait of Jordaens?
October 10 2016
Picture: Warwick Castle
Here's an interesting blogpost by Adam Busiakiewicz, an art historian who used to work at Warwick Castle. It's about the above portrait by Van Dyck (detail) which hangs at Warwick Castle. The attribution to Van Dyck is not in doubt, but the sitter is 'unknown'. Adam cleverly thought reminded him of Jacob Jordaens, Van Dyck's fellow artist in Antwerp. The likeness is a good one, and the date of the painting would fit with Van Dyck painting Jordaens, whom of course he knew, and whom he portrayed for his famous 'Iconography' series of engravings.
Last year, Adam wrote a well argued piece for the British Art Journal - but unluckily for him he found a crucial piece of evidence after the BAJ article came out. It was a photograph in the Witt Library, which shows a copy of Van Dyck's original. The insription says 'Jacob Jordaens' - which would appear to be evidence that Adam's not the only person to have connected Jordaens to the sitter.
Personally I think Adam is right - it must be Jordaens. All we need to do now is find Van Dyck's missing portrait of Rubens...
'The mysterious landscapes of Hercules Segers'
September 19 2016
Picture: Rijksmuseum/New York Times
The Rijksmuseum has spent two years re-examining the oeuvre of the 17th Century Dutch landscape artist Hercules Segers, and has added a number of newly attributed works, reports the New York Times. The research has been done ahead of a new exhibition on Segers' life, which opens at the Rijksmuseum on October 7th till January 8th, when it will then travel to the Met in New York, where it opens on February 13th.
More on the Rijksmuseum's research and exhibition here.
Get paid to study Rubens
September 12 2016
Picture: Wikimapia
The Rubenianum, the Antwerp-based centre for research into Rubens and his contemporaries, is offering a $27,000 post-graduate fellowship. You can choose to study pretty much anything you like ove the course of the year. But the catch is you must be a US citizen. More here.
Extending Rembrandt's 'senses'
May 25 2016
Picture: Getty
There's a good piece on the Getty website about Rembrandt's early 'Senses' series (one of which, above, was discovered recently in a small aution house in the US) and how they were extended in the 18th Century. We don't know who the artist was who had the chutzpah to add to Rembrandt's original, but thanks to the Getty's technical analysis we know exactly how they did it. More here.
Voltaire in pastel
May 25 2016
Picture: Neil Jeffares
King of all this pastel Neil Jeffares has an interesting piece on his blog about pastel portraits of Voltaire. Well worth a click.
New Francis Towne catalogue raisonné
May 20 2016
Picture: Paul Mellon Centre, 'Old Walton Bridge', 1785. Francis Towne, Oil on canvas, Yale Center for British Art
The Paul Mellon Centre has published another excellent online catalogue raisonné, this time on the British artist Francis Towne. Their most recent one was on Richard Wilson. The Towne catalogue was written by Richard Stephens, who will be known to AHN readers through his invaluable database on the Art World in Britain from 1660-1735. Says the PMC website:
The catalogue identifies 1080 works by Towne and his circle, doubling previously-described totals. Based on the author’s PhD thesis, it makes extensive use of the papers of Paul Oppé (1878-1957) whose pioneering researches established the artist’s reputation in the 1920s, after a century of neglect. Oppé had discovered the contents of Towne's own studio in the possession of the Merivale family of Barton Place near Exeter. Using the archives of Thomas Agnew & Sons, the Fine Art Society, Colnaghi and elsewhere, Stephens gives detailed provenances for hundreds of the Merivales' Townes that have circulated on the London art market. Towne's biography is established in greater detail than before, using much original research. Resources published alongside the catalogue include an edition of Towne's correspondence and a transcription of Oppé's Barton Place catalogue.
More than 800 works are illustrated with high-quality images, much of it specially commissioned by the Paul Mellon Centre. Towne's sketching tours in Wales, Italy, Switzerland, Savoy, the Lake District and around England are reconstructed with new clarity and detail.
New 16thC National Gallery catalogue published
May 19 2016
Picture: National Gallery
The National Gallery has published the third volume of its new catalogue of the Italian 16th Century paintings, focusing on works from Bologna and Ferrara. The catalogue is written by former director Nicholas Penny with Giorgia Mancini, a former research fellow at the National Gallery. You can order it here for £75. Here's the blurb:
The catalogue defines the special quality of paintings made in Bologna and Ferrara, describing a distinctive and idiosyncratic local tradition but also tracing the influence first of Perugino and then of Raphael and Titian. The entries are informed both by new archival research and technical analysis information and the catalogue also provides a detailed introduction to the work of each artist. In a valuable contribution to the history of taste, their changing reputations are traced and the important collections to which the paintings belonged are described, as is the manner in which they came into the UK’s national collection.
Volume 1 of the series was written by Penny in 2004, with volume 2 (Venice) appearing in 2008. The appearance of this latest volume just after Penny retired from the National underlines the rarity of having a director who was also involved in intimately cataloguing the collection.
US National Gallery 'online editions'
April 4 2016
Picture: NGA.gov
The National Gallery of Art in Washington DC has put a second volume on its excellent 'online editions' site. First we had Dutch Paintings of the Seventeenth Century, and now we have 'Italian Paintings of the Thirteenth and Fourteenth Centuries'.
Bish, bash, Bosch
February 21 2016
Picture: Ghent Museum of Fine Arts
The controversy around Bosch attributions continues, in light of the new exhibition at the Noordbrabants Museum, and the work of the Bosch Research and Conservation Project (BRCP). The latter seems to be going the way of the Rembrandt Research Project in its early days, and becoming 'exclusionist' - even to the extent that we must wonder if the number of Bosch attributions that they accept can ever reflect his subsequent reputation and art historical impact. Generally, committees always result in an excessive downgrading of attributions, because they tend to be follow the lead of the most cautious and sceptical member.
But we learn a worrying flavour of the BRCP's approach to connoisseurship in this report on Art Daily over a discussion about the attribution of Bosch's Christ Carrying the Cross (above) in the Museum of Fine Arts, Ghent. The Bosch Research Project says it isn't by Bosch. Partly because:
[...] the BRCP compared the shapes of human ears across several different works. Those in Christ Carrying the Cross are significantly different to those seen in Bosch’s other paintings.
So - great artists only ever had one way of painting ears? This is the Morellian method of connoisseurship. Which has been redundant for about a century now.
Update - a reader writes:
The Bosch team might have been exclusionist as far as the paintings are concerned, but they have almost doubled the amount of accepted drawings: from 11 to 19 sheets. This is quite amazing in the light of the wonderful work Fritz Koreny has recently done in this field. He occupied himself with the works on paper for decades and his 2012 book on Bosch’s drawings is truly exemplary. This prompts me to wonder if the members have really been looking at the material at hand instead of toying around with X-rays, IIR curtain style, paint samples etc.
Francis Towne at the British Museum
January 21 2016
Picture: British Museum
A new exhibition opens today at the British Museum on the work of watercolourist Francis Towne. Says the BM website:
Come and experience 18th-century Rome through an astonishing series of watercolours not displayed together since 1805.
British artist Francis Towne (1739–1816) made a remarkable group of watercolours during a visit to Rome in 1780–1781. They include famous monuments such as the Colosseum, the Palatine Hill, ancient baths and temples, and the Forum. These watercolours were Towne’s way of delivering a moral warning to 18th-century Britain not to make the same mistakes – and suffer the same fate – as ancient Rome. 2016 marks the 200th anniversary of their bequest to the British Museum.
Towne’s 52 views of Rome are among the great creative landmarks in the use of watercolour within British art. They played a central role both in Towne’s career, and in the revival of his reputation in the 20th century. They were his main claim for recognition in the London art world and he continued to revise and work on them throughout his life. The views of Rome were the centrepiece of Towne’s one-man retrospective exhibition in London in 1805, and have not been displayed together since. When Towne bequeathed them to the Museum in 1816, they became his permanent public legacy. In addition to the views of Rome, the exhibition will feature further views of Italy by Towne and other works on paper by his contemporaries in Rome, including the important recent acquisition A Panoramic view of Rome by Giovanni Battista Lusieri (1755–1821).
As a landscape painter based in Exeter, Towne’s work was not well known in London during his lifetime, and he failed to be elected to the Royal Academy on several occasions. The Victorians had written off 18th-century watercolours as unambitious and limited, but in the early 20th century, the flat planes and spare, angular designs of Towne’s long-ignored drawings seemed unexpectedly fresh and elegant to modern eyes.
The exhibition has been organised by Richard Stephens, who is writing a catalogue raisonné of Towne's work, to be published online by the Paul Mellon Centre in London. Richard will also be giving a talk on Towne at the BM on Tuesday 26th January at 1.15pm.
Regular readers will know Richard for his invaluable online resource, The Art World in Britain 1660-1735. I think it's high time AHN designated him a Hero of Art History.
Update - the show gets five stars from today's Guardian.
'Recovering Charles I's art collection'
December 16 2015
Picture: Royal Collection
Although the sale of Charles I's collection after his execution in 1649 is well documented, less is known about how Charles II managed to get so much art back. A fascinating new article by Dr Andrew Barclay of the History or Parliament Trust - title 'Recovering Charles I's art collection' - answers many questions, and is well worth a look. You have to pay I'm afraid, but institutions will have free access already. Details here.
New research on Joseph Blackburn
November 20 2015
Picture: Portrait of Colonel Atkinson by Joseph Blackburn, Worcester Art Museum, Worcester, Massachusetts.
Resarchers at Worcestershire Archive service here in the UK have unearthed fascinating new details about the life of Joseph Blackburn, a British painter who was one of the most successful portraitists in Colonial America.
Here is how the Oxford Dictionary of National Biography begins its entry on Blackburn:
Blackburn [is] of obscure origins: nothing is known of his birth, parents, geographical area of origin, or education. His career is documented primarily by about seventy signed portraits painted between 1752 and 1777 in Bermuda, New England, Ireland, and the west of England. An equal number of portraits, mainly of New England subjects, are attributed to him. [...] Nothing is known of Blackburn's death or burial.
But thanks to the new research we now know:
- He died in 1787 in the parish of St Nicholas in Worcester, England, where his family is recorded as living from 1768.
- He was an active member of the church there.
- We now have his will (which reveals he was wealthy).
- He had two daughters, Henrietta and Elizabeth.
- He was buried in St Nicholas Church in Worcester on 11th July 1787.
- The church is now a pub, called the Slug and Lettuce.
More details of this excellent work here. Many congratulations to Angela Downton, Julia Pincott and Teresa Jones, archivists at Worcestershire Archive Service.
NPG acquires Freud archive
November 19 2015
Picture: NPG
The National Portrait Gallery has acquired Lucian Freud's archive. It has been valued at £2.9m. More here.
The announcement comes in Archive Appreciation Week. Which is an excuse to show you my favourite document from the NPG's archive - a list of rats killed in World War 2 in the Gallery, and how they were killed. THe second one down is the best.
Everything you need to know about 18th Century pastels
September 8 2015
Picture: Neil Jeffares
Neil Jeffares has posted an extremely useful, free and interesting guide to all things pastel in the 18th Century on his website. It's a PDF - yours to download and keep - and is meant as a form of introduction to his invaluable online dictionary of pastellists (above). He says:
The book aims to answer the questions that used to (or in some cases still do) baffle me, such as
- why did some pastellists also work in oil – and which sitters opted for pastel?
- why did pastel disappear from fashion with the French revolution, returning a century later, but vanishing just as abruptly?
- why does the word have such negative connotations?
- was the Académie de Saint-Luc just a virtual concept, or was there a building?
- how many pastellists were there?
- how can you physically safeguard your pastels for a few pence each?
- how were and are pastels displayed?
Neil calls it a 'prolegomena', but it's in PDF form partly because, as he points out:
I’m aware that not everyone enjoys browsing websites. There’s something about riffling the pages of a book that the internet, tablets etc. haven’t been able to replicate. And it’s in the nature of reference books that one doesn’t sit down to read them in a linear fashion.
And this means it's easy to navigate and use.
On a seperate post on his blog, Neil also looks at the wider question of publishing online, and its various shortcomings. For him, a particular bugbear is authors often not citing proper references. My bugbear is that for some writers online is a licence to go on meandering endlessly, for paragraph after paragraph, with no beginning, middle or end. Print and paper may have been expensive, but they encouraged brevity and discipline.
Changes to access at the British Museum print room
June 16 2015
Picture: BM
They've made some changes to access arrangements at the British Museum's prints & drawings room - now you have to make an appointment up to two weeks in advance, where previously you could pretty much turn up. The Grumpy Art Historian is unamused.
