Category: Research

J. M. W. Turner (1775–1851) seldom left home without a sketchbook. Over the course of his lifetime, he filled more than three hundred, most of them small enough to carry in his pocket. This facsimile represents Turner’s last known intact sketchbook, now in the collection of the Yale Center for British Art. Turner used it on the coast of the English Channel in Kent, in and around Margate, from June to September 1845.

The volume is accompanied by a poem in which Tracey Emin (b. 1963) expresses her personal connection with Turner’s work. Emin grew up in Margate, the seaside town that Turner returned to time and again to draw.

This presentation of Turner’s sketchbook includes generous margins and blank pages to encourage further sketches, in the spirit of the artist.

The role unusually sits between publishing and academia, liaising between the external publishers of the two journals and their academic editors, authors and colleagues at the Warburg Institute and the Institute of Classical Studies. The role reports to the Head of Publishing at the University of London Press, with the journals published by external publishers (currently Oxford University Press for the Bulletin of the Institute of Classical Studies, and Chicago University Press for the Journal of the Warburg and Courtauld Institutes). The post holder will also contribute towards the wider strategic development of UoL Press, particularly in relation to changes in open access journal publishing and new innovative digital formats.

Whether a manifestation of political power, expression of intimate feelings, an embellishing masquerade or a faithful likeness, the art of portraiture in the Age of Enlightenment was marked by exceptional diversity throughout Europe. Between the apogee of absolutism and the political, social and intellectual upheavals of the revolutionary era, it became a mirror of a society in full mutation. The aim of the symposium is to study portraiture from a multifaceted perspective, tracing its social, theoretical, artistic and material conditions. Focusing on its development during the Enlightenment in the French context, we also wish to open the discussions up to a European perspective.

The decoration of the Luxembourg Palace galleries was the largest commission Rubens ever received. On Saturday 26 February 1622, the artist signed two contracts at the Louvre with the agreement ‘to make and paint with his own hand each and every one of the figures’ of the paintings which would decorate the two parallel galleries of the palace that the Queen Mother, Maria de’ Medici (1573–1642), had begun to have built on the left bank of the Seine. According to the first contract, the western gallery was now ready and Rubens ‘will be bound and obliged to design and to paint with his own hand twenty-four paintings depicting the history of the very illustrious life and heroic exploits’ of the Queen Mother, conforming to an incomplete memoir, of which he had received a copy. Rubens arrived in Paris to put the final touches to the finished canvases celebrating the life of Maria de’ Medici at the beginning of February 1625. But at this time the eastern gallery, planned to display the ‘battles… and triumphs’ of King Henri IV (1553–1610), Maria’s late husband, was still under construction. The Henri IV Gallery was to be an unfinished masterpiece: after a temporary suspension of the work in 1630, the project was definitively abandoned in 1631.

Alexis Merle du Bourg’s in-depth study of the Henri IV Series was published as Part XIV.2 of the Corpus Rubenianum Ludwig Burchard in 2017. The present volume charts the earlier part of the Medici commission, which happily survives, splendidly completed. It presents Maria in her relationship with Henri, her public role after her husband’s death and, not least, her difficulties and then reconciliation with Louis XIII, her son. Here Rubens invoked the gods of ancient myth and a whole company of personified abstractions to help mask problematic episodes, dignify banal events and create a glorious commemoration of the life and aims of the Queen Mother.

Edited by Linda S. Ferber, Margaret R. Laster, and Samantha Deutch (series editor), the volume explores the dynamic landscape of American art collecting in the United States from the late eighteenth through the early twentieth centuries. The geographic range of collecting histories presented in this publication spans the country, from the Eastern Seaboard to the Old South, the Midwest, and the West Coast.

Contributing scholars investigate individual collectors and collectives whose missions to create regional and national collecting communities in the United States encouraged civic philanthropy in the fine arts. Key themes—such as the creation of an “American” school distinct from, yet rooted in, European tradition, as well as the trials of forming publicly supported museums—reverberate throughout the book. Essays examine early patrons, collectors, and museum founders; the impact of sectionalism, the Civil War, and reform on American collecting efforts; and the innovative and entrepreneurial spirit of artists, collectors, and dealers at the turn of the century and beyond. Each section foregrounds different issues, underscoring the complexity of the historical, cultural, and political environments in which collections of American art were formed.

Born in Paris in 1749, Adélaïde Labille-Guiard rose from shopkeeper's daughter to an official portraitist of the royal court-only to have her achievements reduced to ash by the French Revolution. While she defied societal barriers to become a member of the exclusive Académie Royale and a mentor for other ambitious women painters, she left behind few writings, and her legacy was long overshadowed by celebrated portraitist and memoirist Élisabeth Vigée-Lebrun. But Adélaïde Labille-Guiard's story lives on. In this engaging biography, Bridget Quinn applies her insightful interpretation of art history to Labille-Guiard's life. She offers a fascinating new perspective on the artist's feminism, her sexuality, and her.

The painter Jan Massys (c. 1510-1573) trained under his father Quinten, succeeding him after his death (1530) at the head of Antwerp's most famous workshop. However, his career, destined for certain success, was abruptly cut short in 1544. Condemned for joining the Loysts sect, he had to flee Antwerp, finding refuge perhaps initially in France and at one point in Italy. Only in 1555 was he able to return to his homeland, regaining his artistic leadership within a few years. His oeuvre consists exclusively of works for private use and is characterized, in particular, by the depiction of elegant and seductive nude or half-naked female figures, protagonists of biblical or mythological subjects.  The identification of the patron of the 1561 Venus with the view of Genoa (Stockholm, Nationalmuseum) in the person of the noble Genoese banker Ambrogio di Negro, offered the possibility of reconstructing the social context of the artist's clientele and his relations with those intellectuals – both Genoese and Flemish-who gave life to the lively humanist academies of Antwerp. The figure emerges of a cultivated and particularly refined painter, who shared with his patrons the ideals of neo-Petrarchan poetry and executed paintings of great preciousness, characterized by a meticulous and skillful painting technique.

In the first half of 2024, both paintings will be technically examined under the direction of Jørgen Wadum and additional provenance research will be carried out by RKD curator Angela Jager to test the hypothesis that the works are pendants. This research will be conducted in the context of the project Dutch and Flemish paintings at The Nivaagaard Collection, a collaboration between The Nivaagaard Collection and the RKD resulting in a collection catalogue (autumn/winter 2024).

This book fills a significant gap in the literature on eighteenth-century art in Britain. Although immigrant Italian artists played a crucial role in the development of Britain’s expanding art world over the course of that century, they have been largely overlooked in books on both British and Italian art. When mentioned in works on eighteenth-century British art, Italian artists are regarded as bit players who were tangential to the art world. Ingenious Italians seeks to correct this view, demonstrating the critical role played by immigrants who brought their skills and talents to a new country. In Britain, they established networks of Italian and British colleagues, cultivated new patrons and created innovative works for a growing market. In doing so, they influenced the development of art in British society. This little-explored facet of art history in Britain presents readers with a new perspective from which to consider the art of the era, highlighting the important work contributed by Italian artists in Britain.

Through close technical examination and art historical analysis of two paintings, ‘Queen Eleanor and the Fair Rosamund’ (1901-02) and ‘In Memoriam’ (1890-1919), Alexandra Earl will illustrate how De Morgan’s practice was influenced by her Pre-Raphaelite contemporaries as well as driven by her artistic training and own idiosyncratic methods. New primary material, coupled with the first in-depth scientific analysis of her paintings and palette, has enabled De Morgan’s oeuvre to be better understood – thus contributing to the expanding recognition of De Morgan as an artist in her own right.

The Goodwood Collection has works by 18th century female artists including Angelica Kauffmann, Anne Damer and Katherine Read, as well as pictures by contemporary artist Holly Frean. The evening is an opportunity to hear about these women, plus see some of their works. A highlight includes Angelica Kauffmann’s portrait of Mary, Duchess of Richmond, which is not usually on public display.

In more straightforward cases of known attribution and singular styles, AI can sort images efficiently. But can it interpret art? The answer is a fairly straightforward “no.” AI lacks human researchers’ ability to engage in primary study of techniques, and the capacity to contextualize an artwork within history. Quite simply: AI cannot reason why artworks look the way they do. Her thesis that AI is not suited for a humanistic pursuit of art history comes through strongly, but it could have been supplemented by further information in the form of more case studies.

Artists are makers of things. Yet it is a measure of the disembodied manner in which we generally think about artists that we rarely consider the everyday items they own. This innovative book looks at objects that once belonged to artists, revealing not only the fabric of the eighteenth-century art world in France but also unfamiliar—and sometimes unexpected—insights into the individuals who populated it, including Jean-Antoine Watteau, François Boucher, Jean-Baptiste Greuze, and Elisabeth Vigée-LeBrun.

From the curious to the mundane, from the useful to the symbolic, these items have one thing in common: they have all been eclipsed from historical view. Some of the objects still exist, like Jean-Honoré Fragonard’s color box and Jacques-Louis David’s table. Others survive only in paintings, such as Jean-Siméon Chardin’s cistern in his Copper Drinking Fountain, or in documents, like François Lemoyne’s sword, the instrument of his suicide. Several were literally lost, including pastelist Jean-Baptiste Perronneau’s pencil case. In this fascinating book, the authors engage with fundamental historical debates about production, consumption, and sociability through the lens of material goods owned by artists. 

“Paris is the centre of the cult,” wrote Robert Hichens in Felix, his 1902 novel on the rising number of morphine addictions in Europe. In Paris, artists depicted the morphine addict numerous times, yet they disregarded the reality of France’s addiction problem: male medical professionals made up the highest proportion of people who used morphine habitually. In oil paintings, caricatures, and lithographs, artists such as Pablo Picasso, Eugène Grasset, and Théophile Steinlen almost always depicted the morphine addict as a deviant female figure.

Artists sensationalized addiction to elicit shock and stand out in the crowded Parisian art market. Their artworks show influences from contemporary medical texts on addiction and artistic depictions of sex workers, lesbians, and other women deemed socially deviant. These images proliferated in French society, creating false narratives about who was or could become addicted to drugs and setting a precedent for the visualization of drug addiction. Hannah Halliwell links the feminization of addiction to broader anxieties in late nineteenth-century France - the defeat by Prussia in 1871, concerns about social decadence, a declining population, and a rising feminist movement.

Painting and Sculpture of Europe seeks a 2024-27 Daniel F. and Ada L. Rice Foundation Fellow to assist with researching the collection of 17th-century Dutch and Flemish paintings for an online collection catalogue. This three-year fellowship builds upon Painting and Sculpture of Europe’s record of in-depth digital collection publications, such as Gauguin: Paintings, Sculptures, and Graphic Works at the Art Institute of Chicago (2016) and Monet: Paintings and Drawings at the Art Institute of Chicago (2014), thereby augmenting the museum’s impressive roster of digital catalogues and ensuring worldwide access to new research. Although several paintings from this group were part of the museum’s founding purchase in 1890, the 17th-century Dutch and Flemish collection has never been extensively studied, and technical and stylistic research will generate new discoveries about these foundational works. The artists identified for this project include Rembrandt van Rijn, Peter Paul Rubens, Jan Steen, Frans Hals, Jacob van Ruisdael, and David Teniers the Younger, among others.

Papers are invited that investigate, but are not limited to, any of the following prompts:

• The value (and limitations) of painted sources for historians of dress including portraits, genre scenes, illuminated manuscripts, frescoes and miniatures
• The reality (or otherwise) of clothing portrayed in paintings through comparison with extant garments, documentary sources etc
• The practices of dressing up (e.g. fancy dress, professional robes) or dressing down (e.g. déshabillé) for portraits
• The symbolism of dress in paintings
• The role of clothing in interpretations of meaning or narrative
• Individual artists and their different approaches to depicting dress
• Artists’ involvement in decisions about what sitters should wear for portraits
• Artists’ personal attitudes to fashion and the selection of clothing worn in self-portraits
• Techniques used by artists to represent textiles and three-dimensional garments in paint
• The draped figure in painting – depictions of the clothed and unclothed body
• The role of the specialist drapery painter in artists’ studios
• Overlapping spheres of production in the raw materials for paintings and textiles e.g. pigments and dyes, linen canvas, animal hair
• Paintings as fashion illustration, and their role in the fashion design process
• Textile designs inspired by paintings
• Painters who were also fashion/textile designers
• Museum practices of exhibiting paintings alongside items of dress
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