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THE PAUL MELLON CENTRE FOR STUDIES IN BRITISH ART 1 ~1 ~ NEWSLETTER

ART AN D THE BRITISH c.1600-2000 5-7th July 2001 at Britain,

Organised by Dr Tim Barringer (Yale University) and Dr Geoff Quilley (University of Leicester), this three-day con­ ference proposes that the concept of "Empire" belongs at the centre, rather than in the margins, of the history of British art. The history of in British culture has come under increasing scrutiny in recent years. In the wake of new scholarship in history, anthropology, litera­ Agostino Brunias Linen Market, (c.1780) ture and post-colonial studies, what is demanded now is a cultu ral history of empire, in which the history of art must Panels will include speakers from , , Great play a central role. Britain and , , , , South Leading historian of Britain and , Professor , So uth America and the . Papers will Linda Colley of the London School of Economics will give explore a wide range of visual culture and will be o rganised a keynote address on Britain, Smallness and Otherness: A into sessions on Consuming the Empire; The Natural Visual and Imperial Odyssey; as will distinguished art his­ History of Empire; Empire and Britishness; and the torian and theorist, Professor W.J.T. Mitchell of the ; Collecting India; London as Imperial City; University of Chicago on Empire and Objecthood. A further Landscape and Empire in Australia; Empire and the Body; plenary session will bring together a panel of British artists Inventing the Raj; Australia and Colonial Art; Assimilation; whose work refers to colonial and post-colonial issues. The Oriental ism; Women and the Empire; Landscapes of Travel majority o f papers in the conference, selected from a large and Settlement; Popular Cultures of Empire; Imperial number of proposals submitted from all over the world, Masculinities; Art and Ideology in ; and will comprise d etailed case studies of works both in publi­ Modernity and the End of Empire. The conference aims cations and museum d isplays, which despite their high aes­ to provide a focus for current research on British ~rt thetic quality and historical value are currently excluded and imperialism by scholars in academia and museums from the history of British art. across the world.

Speakers i11c/11de: Jeffrey Auerbach (California Eric F Gollannek (University of Delaware), Bar­ Partha Mitter (University of Sussex), Morna State University at North ridge), Jordanna Bailkin bara Groseclose (Ohio State University), Jeff Guy O'Neill (Yale University), Catherine M Pagani (Columbia University), Tim Barringer (Ya le Uni­ (University of ), Jos Hackforth-Jones (Rich­ (University of Alabama, Tuscaloosa), Sarah Par­ versity), Leonard Bell (), mond Un iversity), David Hansen (Tasmanian sons (UCLA), Jordana Pomeroy (The National Kenneth Bendiner (University of -Mil­ Museum and Art Gallery), Michael Hatt (Univer­ Museum of Women in the Arts, ), waukee), Jonathan Black (UCL), Roger Blackley sity of Nottingham), Eleanor Hughes (University Geoff Quilley (Universit y of Leicester), Elizabeth (Victoria University of ), John Bone­ of Califo rnia, Berkeley), Kristina Huneault (Con­ Rankin (University of Auckland), Rom ita Ray hill (University of Leicester), Julie Codell (Ari­ cordia University), (Yale Universi­ (Georgia Museum of Art), Mary Roberts (Uni­ zona State University), Li nda Colley (LSE), Joan ty), Sandra Klopper (University of ), versity of ), Joanna Sassoon (University of Coutu (University of Waterloo), Urmilla De (St Kurt M Koen igsberger (Case Reserve ), Pramila Sharma (Banasthali Catherine's College, Oxford, Pascal Dupuy (Uni­ University), Kay Dian Kriz (Brown Universi ty), Vi dyapith University), David Solkin (Courtauld versity of Ro ucn), Natasha Eaton (University of Juliette Leeb-du Toit (Natal University), Susan Institute), Catherine Speck (University of South Warwick), Simon Faulkner (Manchester Metro­ Lowish (Monash University), Rod Macneil (Uni­ Australia), Tapati Guha Thakurta (Centre fo r politan University), Douglas Fordham (Yale Uni­ versity of California, Berkeley Art Museum), Studies in Social Sciences, India), Sarah Thomas versity), Beth Fowkes Tobin (University of Hawaii Luciana Martins and Felix Driver (Royal Hol­ (The Art Gallery of South Australia), Stephen at Manoa), Mich ael Gaudio (Stanford Universi­ loway), Ian McLean (University of Western Aus­ Vella (Yale University), Emily Weeks (Yale Uni­ ty), Pamela Gerrish Nunn (University of Canter­ tralia), Amy Meyers (Huntington Library and Art versity), Marcus Wood (University of Sussex), bury, Michael Godby (University of Cape Town), Gallery), W J T Mitchell (University of Chicago), Ka riann Yokota ( Yal e University)

Tickets are £75 (full-time students £30) and are available from the Tate Box Office (020 7887 8888).

ISSUE 12 JUNE 2001 PUBLISHED BY THE PAUL MELLON CENTRE 16 BEDFORD SQUARE, LONDON WClB 3JA TEL 0 2 0 7580 0311 FAX 020 7636 6730 EMAIL [email protected]. UK WWW.PAUL-MELLON-CENTRE.AC.UK THE INTERPRETATION OF GEORGIAN TOWNS Wednesday 18th July 2001 at the Paul Mellon Centre

This one-day conference examines not just the conservation and preservation of the historic built environment but also the key question of interpretation. The manner in which a lo ng-estab­ lished ' heritage' area is interpreted deeply affects the way in which historic identity and resonance, the sense of place and the comprehension of personal space is perceived by resident and tourist ali ke. Such issues have recently become the focus for Bed ford Square (east side) London much academic study as well as research and action in the con­ servation, planning and design worlds; this event accordingly Leading academics and conservatio nists from both Britain and seeks to define and compare recent work on this subject by giv­ the United States will deal with case histories as varied as Lewes ing prominence to expert studies on medium-sized Georgian and Williamsburg. Lectures include James Ayers (Bath Preserva­ communities on either side of the Atlantic. tion Trust) on Bath; O rlando Ridout (Maryland Historic Trust) Themes dealt with in the conference sessions will include the on Annapolis; Julian Holder (Heriot-Watt University) on translation of the ubiquitous term 'heritage', the objectives of the Edinburgh; Carl Lounsbury (Colonial Williamsburg Founda­ interpreters, the establishmen t of cross-disciplinary partner­ tion) on Williamsburg; Eddie Booth (The Conservation Studio) ships, the treatment and application of modern contextual on Lewes; Carter Hudgins (Mary Washington College) on design, and of the historic realities exploited, or indeed invented, Charleston and Fredericksburg; and Timothy Mowl (University in the pursuit of the tourist dollar. ofBristol) on Cheltenham.

Tickets nre£30 (full-time students£15), including coffee, ten and nn early-evening drinks reception. To book, please contact the Centre.

PAINTED LADIES Wo1nen at the Court of Charles II Friday 19tlz 2001 at the National Portrnit Gallery, London The reign of Charles II is one of the most fascinating, yet neglected, periods in British history. The Paul Mellon Centre and the National Portrait Gallery are co-organising this inter­ national scholarly conference in conjunction with the exhibi­ tion Painted Ladies: Women nt the Court of Charles II (l lth October 2001-6th January 2002), the first exploration and reconsideration of Restoration portraiture in twenty years. The court that established itself after the violence o f the Civil War reflected the character of the King-cynical, easy-going, and promiscuous. Women had a new prom inence at court and in society, and the King's mistresses, drawn from every of society, were the dominant figures. By looking at the context in which these portraits were produced, the conference will reassess assumptions not only about the art of the period but also about cultural of the time.

Speakers will address various literary, historical, and cultural Peter Lely Diana Kirke, later Countess of Orford (c. 1665-70) aspects of the Restoration Court. Ranging in topics from pop­ ular prints to poetry, the lectures will examine the ways in Speakers include Sir Oliver Millar; Susan Shifr in; Sheila which royal women, m istresses, actresses and female cou rtiers O'Connell (The ); Frances Harris (The British were portrayed and considered, both during their lifetimes and Library); Paulina Kewes (University of ); Andrew in later centuries. Walkling; and Steven Zwicker (Washington University) .

Ticketsnre£30 (full-time students £15), including coffee, tea and an early-evening drinksreception. To book, please contact the Centre. Further details on events can be obtained from the website at www.paul-mellon-centre.ac.uk/forthcoming/forthcomingevents.html PUBLIC ARTIST, PRIVATE PASSIONS The World ofEdward Linley Sambourne Thursday J3th 2001 at tlze Paul Mellon Centre

This study day is a prelude to the exhibition at Leighton House Museum (27 September 200 1-13 January 2002). Sambourne Edward Linley Sambournc Pliotogmpliic study: Mrs Cornwallis ( 1895) rose from occasional contributor to chief political cartoonist of the satirical magazin e P11nch. His social circle included some o f Lectu res will exa mine Sa mbourne's work, techniques and use o f the m ost imp ortant artistic figures of the day such as Frederic, professio nal and amateur models. The speakers will create a con­ Lord Leig hton, Marcus Stone, Henry Irving, Luke Fildes and text fo r Sambourne's oeuvre and discuss its relevance to modern Oscar Wild e. The exh ibition illustrates Sambo urne's use of pho­ practice. Speakers will include Dr Alison Smith (Tate Britain), tography to inform his drawings for Punch and how h is interest Professor Leo nee Ormond (Kings College), Simon Popple (Uni­ in the medium led him to create a unique collection of cyan­ versity ofTeeside), Dr Martin Postle (Tate Britai n) and Coli n otypes which came in later life to eclipse his graphic wo rk. Harding (Nati onal Museum of Photography, Film and Television). FELLOWSHIP AWARDS FOR 2001 At the Ma rch 200 I meeting of the Centre's Advisory Cou ncil, Cassandra Albinson (Ya le Universi ty) to conduct r esearch in the fo ll owing fellowships were awarded: the for her thesis on Modernity and the SENIOR FELLOWSHIPS Noblewoman: Aristocratic Portraiture in Britain 1832-1885. Diana Donald (Manchester Metropolitan University) to com­ Rosemarie Dias (University of York) to conduct r esearch at plete her book Animal Imagery i11 British Art I75 0- 1850. Yale for her thesis on Boyde/I's Shakespeare Ga llery: Exhibition Andrew Causey (Un iversity of Manchester) to complete his Culture and Spectatorship in the Late 18th Century. book English Landscape and National Identity 1931- 51. Morna O'Neill (Yale University) to conduct research in the Peter Draper (Birkbeck College, ) to United Ki ngdom fo r her thesis on 'Art is Born Again': The complete his book Architecture and Tdentity: The Formation of Allegorical Paintings of Walt er Crane. English Gothic. Lola Sanch ez-Jauregui (University of Madrid) to conduct POSTDOCTORAL FELLOWSHIPS research at Yale for her thesis on The Grand To!l r and I 8th-cen­ tury Ang Bolger Hoock (Corpus Christi College, Oxford) to prepare his lo-Italian relationships. book The Royal Academy as a 'National Institution' 1768-1820 ROME FELLOWSHIP for publication. Rich ard Read (University of Western Australia) to research on Adrian Stokes, The Early Michaela Giebelhausen () to prepare her book Career: Art Criticism, Literature & Psychoanalysis. Representation, Belief and the Pre-Raphaelite fo r publication. RESEARCH SUPPORT GRANTS H elene Furjan (ex-University of Princeton) to prepare her Rebecca Daniels (Birkbeck College, Un book John Soane and the Ho11se-museum for publicati on. iversity o f London) towards travel around the United Kingdom to research for her Joseph Monteyne (University of ) to prepare thesis on Walter Sickert and Popular Art. his book The Space of Print and Printed Spaces in Restoration Michael Rosenthal (University o f London 1660-85 for publication. Warwick) towards travel to Australia to research fo r his book The Artless Landscape: Martin Myrone (Tate Britain ) to prepare his book Body-build­ Colonial Imagery of Australia 1788-1840. ing: British Historical Artists in London and Rome and the Jennifer Edes-Pierotti (Columbia University) towards travel to Remaking of the Heroic Ideal c.1 760- 1800 fo r publication. Norfolk to research for her thesis on Picture Pe1fect: Behaviollral Frederica -Turner (ex-Courtauld Institute) to prepare her Modification in Late Medieval English Wall Painting. book The Ormesby Psalter for publica tion. Anne Helmreich (Northwestern University) towards travel to Carol Davidson-Cragoe (Institute of Histo rical Research, the U nited Ki ngdom to research for her boo k Landscape Unive rsity of Lo ndon ) to prepare her book Written in Stone: Painting i11 Britain 1880-1920. Architecture, Liturgy a11d the Laity in English Parish Churches Melinda McCurdy (UC Sa nta Barbara) towards travel to c.1125-1250 for publicati on. London to research for her book English History Painting Valerie Scott (ex-Universi ty of ) to prepare her book c.1 820-1837. The Classical Orders i11 l6th-ce11tury E11glish Architecture fo r Christina Carlson (University of Chicago ) towards travel to publication. the United Kingdom to research for her thesis Fro111 Conflict to JUNIOR FELLOWSHIPS Catholicism: Anti-Popery as 'Social Co 11tract' in Political Jennifer Hallam (University of Pennsylva nia) to conduct Cartoons and Political in 1603- 88. research i n the United Kingdom for her t hesis on Re­ Jennife r Holmes (European University lnstitute) towards trav­ Prese11ting Wom en in Ear ly St!lart England: Gender Ideology, el to New Haven and New York to research for her thesis The Personal Politics and the Portrait Arts. City a11d Gender in Vor ticism and ltalian Furtllrism c. I 909-18. Catherine Reed (Pe nnsylvania State Uni versity) to conduct Deborah Lewittes (City University of New York) towards trav­ research in the Unit ed Ki ngdom for her thesis on Exhibiting el to the United Kingdom to research for her thesis Architectllre National Cha racter at the 1951 Festival of Britain. i11 the Diaspora: England 1927- 57. FELLOWSHIPS AND GRANTS FOF However, no additional information, o ffprints, articles or books should be enclosed with your application. Applications for all grants and fellowships should be submitted i11 d11plicnte to: As part of the terms and conditi ons of the award, successful report The Grants Administrator candidates will be required t o s ubmit an end-of-award appointed by The Paul Mellon Centre on the progress they have made. If any fellows 16 Bedford Square the Centre accept fu ll-time employment during the period of London WClB 3JA the fe llowship, the Centre will request that the appropriate reimbursement of the a mount of the award is made.

In order lo fu rther support scholarship in the fie ld of British Senior Fellowships art and architectural history and to disseminate knowledge Senior Fellowships are designated for established scholars or through publications, exhibitions, and educati on, the Paul institutions in the field of British art or architecture for the Mellon Centre offers a variety of fe llowships a nd grants. specific purpose of completing a man uscript o r book for Fellowships are ava ilable both to established scholars and to immediate publica tion. Fellowships arc offered either as a younger scho lars entering the fie ld or seeking to develop their stipend to the fellow or to fund a temporary replacement at research and publications. Grants also provide funds fo r cura­ the fellow's institution. T he Centre also welcomes projects torial research, exhibitions, publications, and educati onal pro­ involving matching funding and coll aborative work. Each fel­ grammes related to British art and architecture in museums, lowship is offered for no longer than twelve m onths, and must r, galleries, historic houses, and similar institutions. Howeve be used on a fu ll -time basis. Appli cants arc required to the Centre's remit does not cover contemporary fine arts, demonstrate that their manuscript can be completed within or the per­ archaeology, the current practice of architecture the period they specify, and scholars are offered a place of forming arts. work, if desired, either at the Paul Mellon Centre in London or All grants are competitive and arc awarded on the basis of the Yale Center for British Art in New Haven. The maximum application to the Paul Mellon Centre, except where o therwise award for a Senior Fellowship is £25,000 or $42,000, plus a stated. Candidates should receive an acknowledgement within small travelling allowance. 14 days of the application's receipt. Please note, however, that amendments to the text of applications after the closing date Postdoctoral Fellowships are not accepted other than in exceptional circumstances, and Fellowships are usuall y awarded for six-month periods. They that the Centre accepts no responsibility for applications lost arc offered t o enable the fellow to transform doctoral research in the post. into publishable form, such as a book, series of articles or exhi­ bition catalogue, or to s upport new research arising out of a Applicants w ill be in formed in writing of the Advisory successfully s ubmitted doctoral dissertation where that Council's decision no later than three weeks after the Council's may readily lead to publication. m eeting. Please note that the Centre is unable to notify appli­ research cants of awards by telephone or via e- mail. Normall y the postdoctoral fellowship is awarded within four years of an applicant's doctoral award. All applicants must FELLOWSHIPS have had their doctoral theses successfully examined. Fellowships are awarded annually at the Advisory Council 's Awa rds of up to £6,000 are made ei ther as a stipend to the fel­ March meeting; fellowship applications, however, must arrive low or to fu nd a temporary replacement at the fe llow's institu­ at the Paul Mellon Centre by 15 January. tion. Fellows may choose, if appropriate, to be affiliated either wi th the Paul Mellon Centre in London or the Yale Center fo r Applications should be not more than 2,000 words, submitted British Art in New Haven. in duplicate, and with the category of fe llowship applied for clearly marked. They should include the following: Junior Fellowships + n11 011tli11 e oft Ire field of resen rclr Three-month fe llowships in the United Kingdom (based at the + details of cu rre11t employ111e11 t n11d tire prospect of te//1- Paul Mellon Centre in London) or the United States (based at pomry release (if appropriate) the Yale Center for British Art in New Haven ) a rc offered to nct11nl or potential + proposed p11blicntio11 date, n11d scholars already engaged in doctoral research. Candidates may publisher (if npproprinte) be of any nationality, but normally must be enrolled in a grad­ + dnte of acceptn11ce to the doctoral progrnmme, pro­ uate programme a t an American University for study in the posed co111pletio11 dnte nnd 11nme of doctoral supervisor university for study in (fo r Junior Fellows/rips only) Uni ted Kingdom or at a non-American States. Ju nior Fellows receive a monthly stipend of + n brief c11rriwl11m vitne, 011 110 111ore tlrn11 011e side of the United A4 pnper £1,500 or $1,500 and a return ai rfare. Three independent closed references should a lso be sent Applicants should a lso note the Research Support Travel directly to the Centre, to arrive not later than 15 January. Grants, outlined below. SCHOLARSHIP IN BRITISH ART Pa11I Mellon Centre Rome Fellowship art, the research curator being associated with the staff of the Jn conjunction with the British School at Rome, the Paul public ga ll ery or museu m. The institution seeking such a grant Mellon Centre offers fellowships in Rome o f between three is required Lo define the scope of the project, indicating that it and six months to scholars working on Grand Tour subjects o r can be achieved within a three-year period or less. The institu­ in the fie ld of - Italian cultural and artistic relations. The tion is also required to set out the expectations and responsi­ fellowship provides full residential accommodation at the bilities of the research curator. In some instances a grant may British School at Rome and offers a monthly stipend of £1,000 be made to an institution to provide staff in lieu of a curator plus travel to and from Rome. Applicants sh ould preferably be who wishes to take leave from o ther curatorial duties Lo under­ competent in spoken and written Italian, and the fellowship take research for an exh ibition or related project. Curatorial can be taken at any time between l September and 31 July. Research Grants to institutions will not exceed £ 18,000 or Applicati ons s hould no t only include an outline of the pro­ $30,000 per annum. jected field of research but should stipulate why residence in Rome is important for this. Publicatio11 Gra 11 ts The Paul Mellon Centre supports books and catalogues of GRANTS exhibitions or permanent collections of British fine and deco­ Grants arc awarded annually at the Advisory Counc il 's ra tive arts and arch itecture with a range of grants up to a max­ October meeting; grant applications, however, must arrive at imum of £20,000 or $35,000. O ther scholarly publications in the Paul Mell on Centre by 15 Septembe r. British art for museums and public galleries, such as introduc­ tions Please do not send any additional information, offprints, or handbooks to a collection, are also eligible. books or photographs; please note, too, that the Centre cannot Publication projects other than catalogues, however, must return any accompanying material. have been fully completed before a submission for grant aid can be made. Only one grant application per institution will be considered. Awards can be given to cover reasonable administrative and Educalional Programme Grants institutional expenses but not personal living costs. The Paul Mellon Centre wishes to support a broad spectrum Applications for grants should be not more than I ,OOO words, of educational programmes related to British art o r architec­ submitted in duplicate, and should include the following: tural history. These may include lectures, symposia, seminars + the grnnt category being applied for or conferences for scholars and/or the general public. Grants + the amount being requested in this area do not normally exceed £5,000 or $8,000. + n detailed outline of, and timetable for, the project Research Support Grants + details of how the project corresponds to long-term Travel and subsistence grants to a maxim um of £2,000 or pln1111i11g $3,500 are offered every six months to scholars already + other sources offinancial support, realised or projected engaged in research involving the study of British art or archi­ + proposed completion, opening and/or publication tecture. The grants may be used to visit collections, libraries, dates, where appropriate archives, conferences o r historic sites within the United + n detailed breakdown ofnil estimated costs n11d all anticipated inco111e, inc/11ding sales Kingdom or abroad. Candid ates may be of any nationality. + production estimates from two different firms (fo r cat­ Please note that Research Support grants are offered twice a year, alogues publis/1ed in-house) with application deadlines of 15 January and 15 September. + date ofacceptance lo the doctornl progrn111111e and pro­ posed completion dale and the nn111e of doctornl super­ YALE visor (for Research Support Grant applicants wrrently CENTER FOR BRITISH ART involved in doctornl research) Visiting Fellowships Jwo independent letters of support + (for C11rntorinl The Yale Center for British Art offers a li mited number of Research and Publications Grnnts only) short-term resident fellowsh ips to scholars in postdoctoral or + the e11rriwlu111 vitae of the project organiser or equivalent research rela researcher, on 110t 111ore than one side of A4 paper ted to British art and to museum pro­ fessionals whose research interests include British arl. These + three closed references (for l~esearch S11pport Grants only) fe llowships allow scholars of either literature, history, the his­ of art or related fields to study the Center's holdings and Curatorial Research Grants to make use of its research facilities. For details, please contact As part of its support fo r public art galleries and museums, the the Yale Center for British Art: Paul Mellon Centre makes a limited number of grants to insti­ tutions for curatorial research. In the case of individual Yale Center for British Art, I 080 Chapel Street, research curators, the appointment is for a maximum of three P.O. Box 208280, New H aven, CT 06520-8280, USA years. Normally grants are made to help institutions undertake tel +I 203 432 2850 fax + l 203 432 9628 research for a particular exhibition or installation of British [email protected] www.yale.edu/ycba \ I FORTHCOMING PUBLICATIONS The Jolloiving 110!11111es are publislzed l1y Ynle University Press Jin the Pou! Mellon Centre for Studies i11 British Art. All nre avoiloble from Yale Uni11ersi1y Press nt 23 Pond Street, London NW3 2PN, tel. 020 7431 4422, fnx 020 7431 3755. Yale University Press cn11 nlso nd11ise on s11i1nble retail outlets.

Edward McParland Eileen Harris, ed. A NEW WAY OF BUILDING THE GENIUS OF ROBERT ADAM Public Architecture in Ireland His Interiors 272 pp, 220 black-&-white illustrations, 28 colour plates 400 pp, 250 black-&-white illustrations, 250 colour plates ISBN 0-300-09064-1 £35.00 ISBN 0-300-08129-4 £65.00 September 2001 September 2001 This pioneering book examines the public architecture of Robert Adam was one of the greatest British architects of the Ireland during the years I 680-1760, a crucial period when the later eighteenth century. In this elegantly illustrated book, country undertook the combined tasks of recovering from war Eileen Harris shows the synthesis of architecture, planning and constructing a new and stable society. New buildings, and and decoration that stands at the heart of Adam's achieve­ new types of buildings, were needed to express and sustain th is ment. She considers in detail the interaction of each of these society. Architectural historian Edward McParland explo res elements in some of Adam's most famous Bri tish country the role of public architecture in this enterprise, focusing on houses and London town houses. public buildings as works of architecture and art, while also Most of Adam's work was in pre-existing houses; the chal­ discussing the political, social, and economic contexts in lenges of remodelling stimulated his inventive imagination, which they were built. More than one hundred specially com­ and he became a master at turning awkward situations to missioned photographs by David Davison beautifully docu­ advantage. Harris has mined a variety of archival sources and ment this architectural history. fu lly examined the houses themselves to d iscover exactly what The book opens with a d iscussion of the people who were Adam did in each project and why. Taking into account later involved in the creation of public architecture and a descrip­ alteratio ns and renovations, Harris brings to light how much tion of the physical appearance of Ireland at the time, includ­ of Adam's original work was conditioned by circumstance and ing its roads and harbours, its market houses and churches. how much was left to invention. In her detailed discussions of The author then presents detailed portraits of key public the p lanning, decoration, ceilings, carpets, chimney pieces and buildings, among them The Royal Kilmainham, The furniture of such interiors as those at Kedleston, Syon House, Royal Barracks, Castle, , and Osterley Park, Newby Hall, Culzean Castle, and Home and Edward Lovett Pearce's Parliament House. Drawing on exten­ Lansdowne Houses in London, Harris uncovers the full extent sive research in archives throughout Britain and Ireland, of Adam's prodigious achievements. McParland documents in vivid detail the architectural and Eileen Harris is an architectural historian, who has published social importance of these remarkable public buildings. extensively on Robert Adam. She is Honorary Librarian Edward McParland is lecturer in the department of the history and Consultant to the Adam Project at Sir John Soane's of art and fellow at Trinity College in Dublin. Museum, London David Solkin Hyman argues that this 'Battle for Realism' shaped and interna­ ART ON THE LINE tionalised British art and addresses a range of artists, from The Royal Academy Exliibitio11s at Somerset House 1780-1836 Modernist realists such as Auerbach, Bacon, Freud, Kossoff, 240 pp, 145 black-&-white illustrations, 70 colour plates Moore and Sutherland to social realists Hogarth, de 0-300-09091-9 £45.00 and the 'kitchen-sink painters'. He also draws on contemporary October 2001 critical writing to give fresh insights into the art debates of the On I May 1780, the ~:""='.....,~ period and gives new prominence to the central roles of the Royal Academy of "- critics John Berger and David Sylvester. Arts opened its twelfth ~ James Hyman is a London-based art historian. He is a lecturer, annual exh ibition, Lhc ~a· broadcaster and writer and curated British Figurative Painting first to be held in the r. ofthe 20th Ce11t11ry (British Council, l 992) and Picasso: Artist of magnificent rooms of =~ the Ce11tury (Kunsthal, Rotterdam, 1999). William Chambcrs's -~· newly built Somerset Debra N Mancoff, ed. House. For Lhe next g JOHN EVERETT MILLAIS c.. fifty-seven years, the 0 Beyond the Pre-Raplwelite Brotherhood = Great Room of Som­ Studies in British Art 7 erset House effectively 260 pp, 84 black-&-white illustrations, 20 colour plates defined the centre of ISBN 0-300-09119-2 the London art world ' £35.00 -the place where September 2001 viewers had to sec and The ca reer of John be seen, and where Everett Millais has been artists vied for the framed in terms of his attention of potential rise to notoriety as an buyers. Such grcal original member of exhibition performers as Joshua Reynolds, Thomas Lawrence, the Pre-Raphaelite John Constable, J.M. W. Turner and David Wilkie sharpened Brotherhood and his their skil ls during these decades. In this book, published to co­ descent into comfort­ incide with the Courtauld Gallery exhibition opening in Octo­ able success as a popu­ ber 200 I, experts revisit and assess this period of great achieve­ lar painter and leading ment and central importance in the history of British art. figure in the Royal David Solkin is Reader in History of Art at the Courtauld insti­ Academy. This view tute, University of London. He is the author of Painting for has skewed the critical Money: The Virnal Arts and the Public Sphere i11 Eightee11th ­ history of Millais's Century fog/and, published by Yale University Press. contribution to British art, favouring his brief James Hyman association with the Brotherhood over more than forty years of THE BATTLE FOR REALISM artistic endeavour and public acclaim. This collection of new Figurative Art in Britain during the 1945-1960 essays contributes to the reassessment of this important Victo­ 264 pp, 150 black-&-white illustrations, 50 colour plates rian artist's career and takes a fresh look at the whole fabric of ISBN 0-300-09089-7 £45.00 his work. October 2001 Introduction by Debra N. Mancoff, with contributions by Art historian James Lconee Ormond, Kimberley Rhodes, Andrew Sa nders, Jeremy H yman Lakes a fresh Musson, Julie F. Codell, Anne Helmreich, Laurel Bradley and look at the crucial Roger Bowdler. years after the Second when Pauline Croft, ed. attempts were made to PATRONAGE, CULTURE AND POWER revive European cul­ The Early Cecils 1558-1612 ture and when debates Studies in British Art 8 about the future of 328 pp, 80 black-&-white illustrations, 19 colour plates art were fierce. The ISBN 0-300-09136-2 £40.00 author proposes that November 2001 realism in during the early Cold The Cecils were the dominant noble family in Elizabethan and War years occupied a The Battle for Realism Jacobean England. William, Lord Burghley rose to power and radical vanguard posi- James Hymon great wealth under , then used h is extensive patron­ tion and stood in age and exceptional breadth of interests to advance the Cecils' opposition to the competing claims made for American remarkable political and cultural pre-eminence. Abstract Expressionism. He examines two distinct visions of This wide-ranging collection of essays draws on architectural realism-social realism and Modernist realism-and explores and art history, court studies, , garden histo­ their political implications and ideological significance. ry, musicology, economic history, and women's studies. t \ THE YALE CENTER FOR BRITISH ART GREAT BRITISH PAINTINGS FROM AMERICAN COLLECTIONS: HOLBEIN TO HOCKNEY 27 September-JO December, 2001 Some of the greatest masterpieces of British painting belong to American collections, both private and public. Great British Paintings from American Collections will bring together for the fi rst time nearly eighty of the best British works of art in the United States today. Offering a fresh and beautiful account of the history of painting in Britain from the sixteenth century to the pre­ sent, the exhibition will reveal both the richness of the col­ lections and the particular tastes and interests of American coll ectors. The principal lenders will be the Yale Center for British Art and the Huntington Art Collections in San Marino, California. Yale's contribution includes works by Hogarth, Stubbs, Turner and Constable, while the Huntington will lend works by Gainsborough, Reynolds and Romney. The Metropolitan Museum of Art in New York is gener­ ously supporting the exhibition wi th the loan of five paint­ ings, including two celebrated masterpieces by Thomas Lawrence. The scope of the exhibition covers the best of the many non-British artists who have worked in Britain, and the National Gallery of Art in Washington is lending three outstanding examples including Van Dyck's Queen Henrietta Maria and her Dwaif The exh ibition will also feature works by Gwen John and Bridget Riley from the Museum of Modern Art, New York. Joshua Reynolds Diana, Viscountess Crosbie (I 777) The range of lenders to the exhibition wi ll not be confined The Line of Beauty to prominent public collections. Works from private col­ British Watercolors and Drawings of the lectio ns will include a major early Constable, The Eighteenth Century Wheatfield, and important works by Richard Parkes 19th May- 2nd September 2001 Bonington, John Everett Millais, Albert Moore, Stanley Spencer, Francis Bacon, David Hackney, Lucian Freud, and Snowdon Jenny Saville. 16 June-2 September, 2001 The exhibition will include certain works of special impo r­ tance in the history of the American taste for British art­ 'Wilde Americk': Discovery and Exploration Turner's Staffa from the Yale Center's collection, for of the , 1500-1800 instance, was the first painting by that artist to cross the 27 September-30 December, 2001 Atlantic-but the primary consideration in the selectio n Painted Ladies: Women at the Court of has been artistic quality rather than historical interest. Charles II, 1660- 1685 Great British Paintings from American Collections marks the 25 January-17 March, 2002 300th anniversary of the fou ndation of Yale University, and will be the Center's chief contribution to the program me For further information, please contact the Yale Center, tel. of tercentennial celebrations taking place at Yale. + 1 203 432 2800, or visit the website at www.yale.edu/ycba

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