        SPRING 2012   Volume 19, No. 1  

 

             

 

Historians of

 

 

Nineteenth-Century Art 

 

 

    

Newsletter

 

LES GRANDES VERTICALES: RENOIR AT THE FRICK COLLECTION

By Caterina Y. Pierre

This spring, visitors to the Frick Collection have the opportu- nity to view a small but splendid exhibition entitled “Renoir, , and Full-Length Painting,” organized by Colin B. Bailey, the Frick’s Deputy Director and the Peter Jay Sharp Chief Curator. The exhibition, which runs through May 13, 2012, is accompanied by a sumptuous catalogue authored by Bailey and co-published by the Frick and Yale University Press (ISBN 978-0-300-18108-1, US $60.00). The exhibition takes an in-depth look at nine of Renoir’s large- scale, mostly vertical, canvases created over the nine-year pe- riod between 1874 and 1883. The catalogue includes a tenth painting, , a full-length portrait that was un- available for the exhibition.

The inspiration for the exhibition seems to have stemmed from a recent reevaluation of the Frick’s own vertical for- mat canvas by Renoir, (1875-76), acquired by Henry Clay Frick for $35,000 in 1914 from Knoedler and Company. Recent infrared reflectography studies completed at the Metropolitan Museum of Art have revealed two addi- tional figures at the top left of La Promenade, suggesting that the principle large female figure in the center of the painting, usually referred to as the “mother” figure, might now be seen as an older sister to the two foreground children. Similar re- search, particularly of the technological kind, was offered for many of the paintings on view through the catalogue and a small media room outside of the exhibition.

The exhibition opens with three biographical tombstone pan- els and two panels of introductory text, which are hung in the Garden Court, surrounding the entrance to the exhibition

Pierre-Auguste Renoir (1841–1919), Dance at , 1883, Oil on canvas, 71 proper, displayed in the East Gallery. All nine paintings are 5/8 x 38 5/8 inches. Museum of Fine Arts, Boston. Picture Fund. Photo: © 2012 Museum of Fine Arts, Boston. displayed in the East Gallery and include (in chronological or- many of the works on view, particularly in La Promenade and der): The Dancer (1874, of Art, Washington, in the trilogy of Dance paintings, and both the wall text with- D.C.); La Parisienne (1874, National Museum of Wales, Cardiff); in the exhibition and the research in accompanying catalogue Madame Henriot “en travesti,” also known as The Page (1875-76, give prominence to the clothing worn by the models, and the Columbus Museum of Art, Ohio); La Promenade; Acrobats at textiles used for them. This emphasis reminds one of the the Cirque Fernando, Francisca and Angelina Wartenberg (1879, Frick Collection’s exhibition Whistler, Women and Fashion, held Art Institute of Chicago); (1881-85, National in 2003, except in the current exhibition there are no man- Gallery, ); and Dance in the Country nequins sporting actual examples of the clothing displayed in (both 1883, both Musée d’Orsay, ), and the pictures. Renoir’s mostly accurate choices of clothing and (1883, Museum of Fine Arts, Boston, pictured herein). accessories work to place the paintings within the time period in which they were made, as well as define the social status of Disappointingly, the large vertical portrait of the ac- the person being portrayed. tress Jeanne Samary (1878, State Hermitage Museum, St. Petersburg), included in the catalogue, does not appear in the Henriot also served as the for the next painting (to the exhibition. The Russian U.S. art embargo, which has been in right on this first wall), Madame Henriot “en travesti,” painted place since July 2010, prevented the superb work from travel- one year after La Parisienne. As the title suggests, Henriot ing to the Frick. However, Bailey’s masterful treatment of the appears as the young male page Urbain from the opera Les canvas in the catalogue and the clear, well-illustrated images Huguenots, a role in which she never actually performed. reproduced within it are a brilliant, if not equal, substitute for These two paintings, La Parisienne and Madame Henriot “en the real thing. travesti,” complement each other nicely in palette, size, and subject matter (one is of the actress outside of a role and the Working clockwise from the corner entrance, visitors are first other is of the actress playing a desired role). Had the por- confronted with La Parisienne, modeled by Marie-Henriette- trait of Jeanne Samary arrived, its presence would have re- Alphonsin Grossin (1857-1944), an actress who in 1873 took quired a significant change in the hanging of the paintings (in the stage name Henriot and performed in melodramas, which case possibly all of the portraits of actresses may have vaudeville pieces and light comedies. The painting is both an been displayed on a single wall), yet the current arrangement exercise in creating a large canvas in subtle variations and nonetheless seemed correct and balanced. soft touches of blue and gray tones, and in studying the high fashions of the moment. Renoir was the son of a tailor and Continuing clockwise, the viewer encounters the true high- was himself very interested in the quickly changing trends for lights of the exhibition: the trilogy of dance pictures that dresses and hats. His interest in fashions à la mode is evident in Renoir made in 1883: Dance in the City and Dance in the Country,

ABOUT THIS ISSUE

The Newsletter of the Association of DEPARTMENT EDITORS: U.S. Exhibitions: Jeanne-Marie Musto Historians of Nineteenth-Century Symposia Lectures and Conferences: [email protected] Art is published twice a year, in April Brian E. Hack and October. The submission deadline [email protected] New Books: Karen Leader for the Fall 2012 issue is September [email protected] 1st. Submissions may be sent to: Grants and Fellowships: Prizes and Awards: Advertising rates: Caterina Y. Pierre Leanne Zalewski full page: $300; half-page: $150 AHNCA Newsletter Editor [email protected] (horizontal); quarter page: $100. [email protected] Museum News and International Reduced rates are available for Exhibitions: insertions in two issues: full page: $400; half-page: Alison Strauber $225; and quarter page: $150. [email protected]

2 Spring 2012 / AHNCA Newsletter made as pendants, and Dance at Bougival, which the catalogue Promenade, discussed above, certainly takes a central place on states was started first and completed last in the series (p. 197). the wall because it is the Frick’s Renoir holding and the impe- It is a thrill to see these three paintings hung together on tus for the exhibition. one long wall, where they impart together a strong sense of dynamic, rotating movement. In addition to being studies of The Dancer is the final painting in the exhibition. It was origi- men’s and women’s fashions of the early 1880s, they pres- nally shown in the First Impressionist Exhibition, and was ent a commentary on social codes and mores for dancing in hung at that venue, by Renoir himself, alongside three of public spaces. In these works, Renoir returned to a subject he Degas’s ballet pictures, thus paying homage to his friend and explored seven years earlier in his now-canonical Ball at the colleague. Visitors at the Frick Collection end their visit al- Moulin de la Galette (1876, Musée d’Orsay, Paris). The differ- most where they began: in front of a minor performer, shown ence lies in his focusing in the later pictures on the dancers as glorified in large-scale painting full of luminous, thin applica- principle figures rather than as background figures. tions of white, blue and grey.

Unfortunately, The Umbrellas seems somewhat set adrift, hung Taken as a whole, the exhibition is a study of many things: by itself on a huge wall at the far end of the East Gallery. It fashion trends of the late nineteenth-century; Renoir’s de- is here where the viewer may sense that a painting is missing. sire to be accepted at the Salon with large format works of (I would have suggested placing the two biographical tomb- art (so important was the Salon to him that he set his profes- stones from the Garden Court on either side of this painting sional calendar around the schedule for that exhibition ev- so that the huge wall did not look so empty.) However, The ery year); and, most importantly, I think, the entertainments Umbrellas is an extraordinary canvas, not only for its vivacious and entertainers that gave people joy at that time. “Renoir, capturing of a precise moment where a multitude of figures Impressionism, and Full-Length Painting” is a small but im- get caught under the first drizzle of a spring rain, but also portant exhibition, a “must-see” for anyone interested in because it is a composite of two of Renoir’s technical styles, nineteenth-century fashion trends and history, in the history what the catalogue refers to as Renoir’s disjuncted facture (p. of Impressionism, in Renoir’s work during the years of the 155). The right side of the canvas contains figures painted Impressionist Exhibitions, and in the daily life and times of in 1881 and is decidedly Impressionist; the left side of the Parisians during the latter part of the century. The exhibition canvas, picked up four years later, reveals Renoir’s “Ingres” catalogue makes an important contribution to Renoir studies, style from 1885. According to the catalogue, different types of as it includes so much new research and technical reevalua- blue and yellow pigments also help to identify which portions tions of the paintings, and it will certainly remain an essential of the painting were worked on in a specific period: cobalt text for years to come, long after the eight borrowed canvases blue and chromate yellow were used in “Stage 1”; use of ul- return to their home institutions. tramarine in the painting indentifies those portions that were painted in “Stage 2” (p. 142).

The final wall contained three paintings: Acrobats at the Cirque In this issue: Fernando, Francisca and Angelina Wartenberg; La Promenade; and p.01 / Les Grandes Verticales: Renoir The Dancer. The emphasis on children, in particular differ- p.04 / John House 1945-2012 ent classes of female children, creates a nice linkage between p.06 / Greetings from the President the three canvases. The working children flank the wealthier p.07 / Minutes ones in the center of the wall. In Acrobats, the Wartenberg p.08 / AHNCA News children take bows and gather the laudatory oranges offered them by the crowd. The catalogue discusses other paintings p.10 / Symposia, Lectures, and Conferences that depicted the Cirque Fernando during the period, includ- p.14 / New Resources ing Edgar Degas’s Mademoiselle La La at the Cirque Fernando p.16 / Grants and Fellowships (1879, National Gallery, London) and Henri de Toulouse- p.23 / U.S. Exhibitions Lautrec’s At the Cirque Fernando, Equestrienne (1887-88, Art p.31 / International Exhibitions Institute of Chicago) and reveals the origins of this circus and p.35 /New Books the contemporary interest in this type of entertainment. La

Spring 2012 / AHNCA Newsletter 3 John house (1945-2012)

canvases of Bouguereau, Dagnan-Bouveret and (as was the case here in St Louis just last fall) Jules Breton wherever his travels might take him. For John, art history was about posing (and exposing) the significant dialogues—between the con- tentious personalities of the artists and critics, between the conventions of the academy and the ambitions of the avant- garde, and between the self-referential concerns embedded in the art exhibited in the Salon, and the interventions occa- sioned by the intersection of artists with the broadest possible range of social and political cultures.

He also had a passion for looking closely, and for investigating all those questions of how painted objects get made that can really only be answered by close, relentless, visual scrutiny. The author Elizabeth C. Childs with Dr. John House visiting Monk’s Mound, Cahokia, Illinois, on November 2, 2011. Photo: © Elizabeth C. Childs. He was never easy on his objects of study, and never settled for first impressions and easy explanations. If you looked at a In Memoriam | April 19, 1945 – February 7, 2012 Monet painting with him, for example, you soon realized you had not previously looked long enough, or carefully enough, When John House (Professor Emeritus, Courtauld Institute or with the perspective of the artist or the era in mind (a per- of Art) passed away unexpectedly in February, our discipline spective unearthed by John through his relentless consump- lost a superb scholar, a passionate teacher, a charismatic pub- tion of primary sources of all sorts). John seemed to carry lic lecturer, a figure equally distinguished in both the academ- along in his coat pocket the artists’ vision, their processes, and ic and museum worlds, and above all, a fine individual. It is their visual educations, and could whip it all out to make you a sad anecdote that John’s final day found him taking to the discard any tired clichés you might be harboring about these veterinarian a stray cat, whom he had affectionately named too-famous artists, to leave you standing rather awed in front Cheekycat, a creature that bore an odd resemblance to Olym- of the work, seeing it all afresh. He had that precious gift for pia’s little black pet. This last random kindness echoes a rich seeing that made him a perfect life-long match to the study life lived to the fullest, with an open spirit of generosity, and of that Impressionist of complexity in painterly technique, spontaneity. He was known for the support he rendered the subtlety in color, and variety in practice--. Yet younger generation in our field, for his rigor as a scholar, and John’s final project-now left unfinished, alas—was an ambi- most certainly, for his formidable record of international pub- tious read of the logics and strategies of Realism, from Cour- lication and curating. He also inspired by example, and his bet to Breton, that was to be, he claimed, a thorough rethink- dedication to getting through deadlines at the highest pos- ing of how 19th-century viewers actually viewed paintings. His sible standard ahead of schedule, to writing book and exhibi- project would show us, he enthused, how a broad variety of tion reviews with both wit and searing honesty, to visiting one Realist styles (Millet to Lhermitte and Brisson) revealed dis- more collection before leaving town, now seems a life-long crete value systems, and recorded intentional choices based strategy that made it possible to pack into 66 years what many on aesthetic systems, religious beliefs, and matters of real ex- scholars can only dream of fitting into a longer career. perience in the social, political and gendered worlds of mod- ern France. John was an international leader in the study of French mod- ernism, particularly in the areas of Realism and Impression- John House was educated at New College at Oxford (with ism, in the very decades when scholarly and popular inter- a BA degree in Classics), and at the Courtauld, where he est alike focused media attention on these stars of Art His- completed both MA and PhD. He taught at Norwich, and tory. His extensive expertise in the art and careers of Manet, then assumed a position at the Courtauld in 1980, teaching Renoir, Seurat, and Monet (the subject of his dissertation, and there until 2012. His most significant publications, too vast then his first book) brought him international attention and for this limited space, include Monet: Nature into Art (Yale opportunity, but he also had equal passion to seek out the U Press, 1986) and Impressionism: Paint and Politics (Yale

4 Spring 2012 / AHNCA Newsletter John House, Supporter Of The U Press, 2004). He curated or co-curated a number of major Next Generation Of 19th-Century shows in France, England, the US, and , including Art Historians: Post-Impressionism (London, Washington 1979-80), Renoir (London, Paris, Boston, 1985-6), Landscapes of France (Lon- “I have quite a collection of stereoscopes and an unparal- don, Boston, 1995-96), Monet in the 20th Century (London, leled nineteenth-century art history library, you must come Boston, 1999-2000), and Impressionists by the Sea (London, for a visit to London,” said John as we walked along the Washington, Hartford, 2007-8). Work left undone at his death Seine in Paris last June. And so it happened that I spent the included a project on the issue of reflections in the modern fall semester in residence at chez House. Asking doctoral stu- landscape, for an exhibition in 2013. dents to house-sit while he was abroad for long stints was just one of the many ways John supported budding schol- Yet, unlike many distinguished scholars in a field as saturated ars. For some it was a way to save money while balancing and demanding as French Impressionism, his intellectual in- the costs of working on a doctorate in London. For me, it terests spread far afield. In his earlier career, a passion for was a semester in an archive – his collection of nineteenth- Gothic Architecture inspired him to travel throughout rural century stereoscopes and Paris guidebooks is extensive, not France. In recent years, he developed a surprisingly deep in- to mention the dozens of floor to ceiling bookshelves in terest in Ancient American cultures of the Mississippi. On a every room that contain practically every book ever writ- trip to St Louis last fall, he stunned me with the level of detail ten on nineteenth-century art. Much of what has been he had absorbed in preparing for a visit to Cahokia Mounds written about this pre-eminent scholar of nineteenth-cen- State Historic Site. He was drawn, I think, to the unusual tury French art in the past month focuses on his scholarly forms sitting in the landscape, and to the sheer historical chal- contributions. What remains to be addressed is his com- lenges posed by a culture that has (unlike19th-century Paris) mitment to training the next generation of historians of left behind no texts to aid in our interpretations. nineteenth-century art – the hundreds of students whose commitment to our discipline is a direct lineage of this With a Monet show at the St Louis Art Museum last fall, Si- professor. Just two days before he passed, John emailed mon Kelly and I invited him to come to St Louis. In my semi- some paintings he had discovered at the Musée Carnavalet nar on Impressionist Landscape, his two presentations left while in Paris the previous week. He wanted to discuss how the students buzzing with new ideas—ranging from the visual they might fit into my dissertation. His interest in and com- (such as his mandate that all Impressionist pictures are better mitment to my work was remarkable since he had no real understood against Salon-style brick red, even in powerpoint) responsibility for it – he was retired from the Courtauld to the historiographic (with his provocative claim that all mu- and I study at Florida State University. But, for John, it seums dedicated to one artist tend to be inferior collections was about the excitement of learning, the challenge of see- of left-over pictures that were ignored in the artist’s lifetime). ing something in a new way, the promise that comes from He was one of my first mentors, and my students are now, mentoring younger scholars that kept him going right up ironically, among some of the last ones to hear him talk about until the very end. Monet. In thinking about the notion of “time’s cycle” (one of his topics of discussion in considering the “idealist realism” He was a vital presence, one that is sorely missed, not only of Breton and Stevens), I can only conclude that his move- among our scholarly community, but in our personal lives. ment through that cycle was all too short. We would all have Lastly, I would be remiss not to mention his fondness for preferred him to still be moving along time’s arrow –thinking hippos. Everyone who knew John, knew of his lifelong and writing fluidly, into a distant future. His words, and his love of this hefty creature – he was quite proud of his large engaging presence, will be sorely missed. collection of hippos, both bought and made by students and colleagues over the years. In the words of one former Elizabeth C. Childs student, “Art history has never known such a smiley face.” Washington University in St Louis Now it is left to John’s family, friends, and colleagues to remember, honor, and celebrate his life and legacy as we continue in his wake – let’s make him proud.

Jennifer S. Pride Doctoral Candidate, Florida State University greetings from the president

annual business meeting. During the meeting, past-president Petra Chu announced two great reasons to celebrate: AHNCA’s online journal Nineteenth-Century Art Worldwide, which Petra oversees as managing editor, marks its tenth anniversary this year. Founded with the help of Peter Trippi, Gabe Weisberg, Pat Mainardi, Lucy Oakley, Martha Lucy, Sura Levine, and Colleen Denney, Nineteenth-Century Art Worldwide soon established itself as the preeminent model for scholarly on-line publishing. At a recent ARLIS conference dedicated to open access publications, one of the featured speakers, Virginia Tech librarian Patrick Tomlin, noted that “the most respected online art journal is Nineteenth Century Art Worldwide.” NCAW’s leadership in digital publishing has recently been recognized by the Mellon Foundation (see page 8). The foundation’s grant of $49,800 is as much an acknowledgement of NCAW’s innovative first decade as it is a mark of confidence in the journal’s continuing ability to redefine digital scholarship. I encourage all members to consider how the pursuit or presentation of their research might benefit from enhanced computing or digital technologies: Petra and NCAW’s designer, AHNCA President Elizabeth Mansfield pouring champagne in celebration of the Emily Pugh, are soliciting proposals for projects that might tenth anniversary of the publication of Nineteenth-Century Art Worldwide on February 23, 2012. Photo: © Caterina Y. Pierre. make use of the Mellon grant.

AHNCA has much to celebrate this year. Glasses were raised As if these occasions weren’t enough, another pair of at various AHNCA events during the College Art Conference achievements deserves our recognition. Two of AHNCA’s in Los Angeles. First off, members saluted Norton Simon founders attained professional milestones of particular curator Leah Lehmbeck at a Wednesday afternoon reception distinction this year. Gabe Weisberg received CAA’s generously hosted by the museum. Leah had spent the Distinguished Teacher of Art History Award and Pat Mainardi earlier part of the afternoon giving AHNCA members a announced her retirement from the CUNY Graduate behind-the-scenes look at some works not typically on view Center, a passage recognized at this year’s AHNCA Graduate in the museum’s galleries. Among the highlights were a set Symposium and in the Spring II special issue of Nineteenth- of rare hand-colored impressionisms of Goya’s Caprichos, a Century Art Worldwide to (to be published in May). Seurat copy of Ingres’ Angelica, a large van Gogh drawing, a writhing Leda and the Swan by William Etty, a haunting Recognition of the contributions of AHNCA’s founders offers Anquetin pastel, and a portrait acquired as a “Toulouse- an excuse to remind members that their active participation Lautrec” now given to Boldini. Much time was spent viewing in the organization is essential for its ongoing success. If you works on display in the Norton Simon galleries, a collection would like to become more involved in the organization, seemingly designed to tantalize scholars of nineteenth- please let someone on the board know of your interest. New century European and South Asian art. One consolation for officers are needed: I’ll be concluding my term as chair this AHNCA members who don’t live near enough to Pasadena year, leaving a vacancy on the board. There are other ways to visit the museum often is the forthcoming publication of to support the organization. Contributions to the Newsletter the Norton Simon’s important collection of Goya prints, a are always welcome, as are submissions to Nineteenth-Century monumental project being overseen by Juliet Wilson-Bareau Art Worldwide. Of course, AHNCA only exists because of its with Leah’s assistance. members. By renewing each year, you are giving to AHNCA in a most important way. A second opportunity to make a toast came the following evening at the champagne reception following AHNCA’s Elizabeth C. Mansfield | AHNCA President | [email protected]

6 Spring 2012 / AHNCA Newsletter Minutes of the annual business meeting

Minutes recorded by Ting Chang, Secretary An election for Vice-President will be announced by email to AHNCA President Cassie Mansfield opened the annual meet- the membership. Nominations and elections will be held in ing of AHNCA at CAA on February 23, 2012. the next months.

Yvonne Weisberg, the Treasurer, reported that AHNCA fi- Cassie announced a proposal by Ashgate Publishing to in- nances are healthy. Total monies received in 2011, includ- clude AHNCA among other associations, institutes, research ing contributions, advertisement fees, and membership centers and societies across humanities and social sciences on dues came to $30,936.87. Total expenses in 2011 including Ashgate’s list of partners. The AHNCA link will be password the Newsletter, NCAW costs, advertising, CAA fee, AHNCA protected. No information of any kind regarding AHNCA symposium costs, taxes, and the Manet event in Paris came members (names, addresses, mailing list) will be given to to $23,709.06. (A detailed report is available). The checking Ashgate. Members will receive a 20% discount on Ashgate account has a healthy balance of $40,536.08 as on February books (see box on page 35. No audible dissent was recorded 26, 2012. The endowment account has $43,735.90 as on when put to a vote. Jan. 26, 2012. In response to a question from Nina Kallmyer, Member-at-Large, Cassie Mansfield and Petra Chu noted that Karen Leader, coordinator of the announcement of new publi- we are building our endowment, thus not spending or draw- cations in the Newsletter, invited members to inform the mem- ing from it at present. We have now reached 10% of our goal bership if their publishers are willing to offer a similar discount of $500,000.00 in endowment and need 90% more to make to AHNCA members. Caterina Pierre asked that Ashgate and NCAW sustainable. This information indicates that we are ap- other publishers be invited to advertise in the Newsletter. proaching the goal of 100% institutional level for our library memberships. Cassie announced plans to enhance the AHNCA website with new, interactive features. The initial form of this feature will Ting Chang, Secretary, made the membership report on be- be a new button on the AHNCA webpage. Such an ambitious half of Karen Pope, Membership Coordinator. The AHNCA project, however, will require the contribution of AHNCA database contains 440 records as of Jan. 1, 2012 which is a rise members to be sustainable and will require future discussion. from 317 in 2010. However, as of the end of January 2012 half of the members had not yet renewed. The membership Petra Chu, Managing Editor of NCAW, announced the happy consists of 51 new members; 39 retired or students. There news that on the tenth anniversary of NCAW, a project first were 366 website transactions since April 2010. The follow- discussed with Peter Trippi in 2002, she obtained a grant of ing libraries renewed at the institutional rate of $135.00: $49,800.00 from the Andrew W. Mellon Foundation to sup- Blackader-Lauterman Library, Spencer Art Reference Library, port Nineteenth-Century Art Worldwide. Anne Helmreich, Senior Thomas J. Watson Library, Elizabeth Dafoe Library. The Program Officer at the Getty Foundation, was instrumental Alderman Library and the Milwaukee Art Museum Library in writing this grant proposal. A key contributor to the initia- paid the individual rate of $35.00. tive is Emily Pugh, NCAW’s web designer and developer. The funds are specifically intended to enhanceNCAW ’s already in- Caterina Pierre, Newsletter Editor, asked for cover stories for novative use of digital technology. Contributions from scholars each Newsletter either in the form of brief articles, exhibition of nineteenth-century art whose work engages digital scholar- reviews, book reviews or any topic that may be of interest to ship in an innovative way are invited to contact Petra. the membership. Caterina also invited members to advertise/ promote their exhibitions and publications in the Newsletter. Member Toshio Watanabe suggested the association CHART (Computer and History of Art) in Britain as potential models Cassie Mansfield presented a slate of nominations. The mo- for this pilot project. tion was moved and members voted unanimously for in- cumbents Karen Pope, Membership Coordinator; Yvonne With no further business the President declared the meeting Weisberg, Treasurer; Caterina Pierre, Newsletter Editor; closed. Members then moved on to a champagne reception to Ting Chang, Secretary; Peter Trippi and Pamela Warner as celebrate the Mellon grant to NCAW. Members-at-Large.

Spring 2012 / AHNCA Newsletter 7 AHNCA news

Mellon Foundation Grants Award in Support of Mey-Yen Moriuchi (Bryn Mawr College), “From Nineteenth-Century Art Worldwide ‘Les types populaires’ to ‘Los tipos populares’: The Andrew W. Mellon Foundation awarded the organization Nineteenth-Century Mexican Costumbrismo” a grant of $49,800 in support of Nineteenth-Century Art Julia McHugh (University of California, Los Worldwide. Specifically, the funds are intended to enhance Angeles), “From ‘Blind’ Historian to Explorer: NCAW’s already innovative use of digital technology. Over Ephraim George Squier and Illustrations of Peru the course of the next three years, NCAW will have the means in the Nineteenth Century” to support new approaches to digital research on the part of Berin Golonu (University of Rochester), “Osman contributing authors and to publish articles with enriched Hamdi’s Orientalist Ethnographies and Ottoman media content such as computer graphics, architectural mod- Nationality” eling, or streaming video. The Mellon award comes in recog- Susan Sidlauskas (Rutgers University), Moderator nition not only of NCAW’s reputation as a leading venue for Maggie Cao (Harvard University), “Picturing research on nineteenth-century art, but also of the journal’s Invisibility: Abbott Thayer and the Implications standard-setting determination to make online scholarship of Camouflage” freely available to anyone with internet access. Managing Erin Pauwels (Indiana University), “Performing Editor Petra ten-Doesschate Chu anticipates sponsoring at Realism in ’s The Concert Singer” least six articles that involve enhanced digital research or Katie Pfohl (Harvard University), “The Objects of digital presentation over the term of the grant. A key con- American Trompe-L’oeil” tributor to the initiative is Emily Pugh, NCAW’s web designer and developer. Scholars of nineteenth-century art whose work engages digital scholarship in an innovative way and AHNCA visits the Norton Simon Museum who are interested in participating in this pilot project should On February 22, 2012, AHNCA members enjoyed a private, contact Dr. Chu, and review the call for proposals at: behind-the-scenes tour of the Norton Simon Museum, led www.19thc-artworldwide.org/index.php/call-for-proposals by Associate Curator Leah Lehmbeck, who lectured on the origins of the museum and its nineteenth-century collection. The membership was then able to view the galleries within NINTH ANNUAL GRADUATE STUDENT the museum and was treated to a lovely wine and crudités re- SYMPOSIUM IN NINETEENTH-CENTURY ART ception in the Sculpture Garden. Any AHNCA Members in- Martin E. Segal Theatre, CUNY Graduate Center, 365 Fifth terested in organizing similar events in their own cities should Avenue, New York City | March 16, 2012 contact the organization’s president, Elizabeth Mansfield, at [email protected]. Patricia Mainardi (City University of New York), Welcome Petra ten-Doesschate Chu (Seton Hall University), Moderator Emily Burns (Washington University), “Naïve Vision and Late Nineteenth-Century Franco- American Exchange” *Ross Finocchio (Institute of Fine Arts), “‘Frick Buys a Freak’: Dagnan-Bouveret and the Development of the Frick Collection” Chloe Portugeis (Yale University), “‘A Strange Second Man in Me’: Frederic Leighton’s Clytie as Confession” Elizabeth Mansfield(New York University), Moderator Associate Curator Dr. Leah Lehmbeck leads a private tour for AHNCA Members at the *Winner, Dahesh Prize Norton Simon Museum, Pasadena, CA, February 22, 2012. Photo: © Caterina Y. Pierre

8 Spring 2012 / AHNCA Newsletter weisberg is presented with high honor

AHNCA is delighted to share the news that Professor Professor Weisberg received his award at the College Art Gabriel Weisberg has been named the recipient of the 2012 Association’s Annual Conference Award Ceremony in Los Distinguished Teaching of Art History Award by the College Angeles in February 2012. Art Association.

The Distinguished Teaching of Art History Award, established in 1977, is presented to an individual who has been actively engaged in teaching art history for most of his or her career. Among the range of criteria that may be applied in evaluating candidates are: inspiration to a broad range of students in the pursuit of humanistic studies; rigorous intellectual standards and outstanding success in both scholarly and class presentation; contribution to the advancement of knowledge and methodology in the discipline, including integration of art-historical knowledge with other disciplines; and aid to students in the development of their careers.

In being honored in this way, Professor Weisberg joins a distinguished list of past winners of this award, including Horst W. Janson (1979), Meyer Shapiro (1981), Oleg Grabar (1983), Marvin Eisenberg (1987), James Ackerman (1991), Egbert Haverkap-Begemann (1992), Jules Prown (1996), Cecilia F. Klein (2000), and Wu Hung (2008).

What’s New in Nineteenth-Century Art Worldwide Volume 11, No. 1/ Spring 2012 Table of Contents

Articles New Discoveries Le Suicide de Gros: Les peintres de Exhibition Reviews Aesthetic and Therapeutic Imprints: Auguste Rodin’s Bust of the Belgian l’Empire et la génération romantique The New Courbet Museum Artists and Invalids on the Côte d’Azur, Physician Jules-Adrien Thiriar by Sébastien Allard and Marie- Opening and Exhibition, c. 1890–1910 (1846–1913) Claude Chaudonneret Courbet/Clésinger by Tania Woloshyn by Chloé Pirson Reviewed by Séverine Sofio Reviewed by James H. Rubin

Caspar David Friedrich’s Medieval Book Reviews Monet by Ségolène Le Men Manet, inventeur du Moderne Burials Cultural Contact and the Making of Reviewed by Mary Dailey Pattee Reviewed by André Dombrowski by Karl Whittington European Art since the Age of Exploration edited by Mary The Nabis and Intimate Modernism: Dans l’intimité des frères Caillebotte, “The Streets as Art Galleries”: Hubert D. Sheriff Painting and the Decorative at peintre et photographe Herkomer, William Powell Frith, and Reviewed by Casey Trittipo the Fin-de-Siècle by Katherine Reviewed by Katie Hornstein the Artistic Advertisement M. Kuenzli by Andrea Korda The Development of the Art Market Reviewed by Jason Vrooman Makart: Painter of the Senses in England: Money as Muse, 1730– Reviewed by Jane Van Nimmen Johan Thorn Prikker’s Mural for De 1900 by Thomas M. Bayer and Correspondance entre Henri Fantin- Zeemeeuw: Community Art, Mysticism, John R. Page Latour et Otto Scholderer (1858– Toulouse-Lautrec and Jane Avril, and the Socio-Religious Role of the Reviewed by Anne Helmreich 1902) edited by Mathilde Arnoux, Beyond the Moulin Rouge Thomas W. Gaehtgens, and Anne Dutch Artist/Designer Reviewed by Gabriel P. Weisberg Tempelaere-Panzani by Joan E. Greer Hotel Dreams: Luxury, Technology, and Urban Ambition in America, Reviewed by Petra ten-Doesschate Russia’s Unknown Orient: Orientalist 1829–1929 by Molly W. Berger Chu Painting 1850–1920 Reviewed by Erica Morawski Reviewed by Alba Campo Rosillo

Portraits of the Belle Epoque Reviewed by Jane Van Nimmen

Spring 2012 / AHNCA Newsletter 9 Symposia, Lectures, and Conferences

Calls for Papers (Symposia), to Apply: together different art histories as well as diverse methods of Cfp: Ahnca –Sponsored Sessions at Caa (New York, analyzing the artistic products of intercultural exchange. The 2013) Deadline: May 1, 2012 symposium covers all forms of art, architecture, and decora- tive art. Special preference will be given to young scholars Main Session: Gloria Groom and Martha Tedeschi will co- bringing a fresh methodological perspective to the subject. chair AHNCA’s main session, “Art and Product Placement, Held under the auspices of the J. Paul Getty Foundation, in the 1850-1918.” This session considers the intersection between context of its initiative of “Connecting Art Histories,” the sym- art and consumer culture in the second half of the nineteenth posium is co-sponsored by Peking University and Seton Hall century and until World War I. Taking a broad and interna- University. Its steering committee is comprised of Ding Ning, tional view, it will investigate product placement in the arts, Peking University; Petra Chu, Seton Hall University; Greg focusing on the implications of artistic practices/choices for Thomas, The University of Hong Kong, and Chiu Che Bing, building or delimiting audiences and markets. This focus Paris. Advisor: Thomas Gaehtgens, Getty Research Institute. may include the intentional targeting of mass audiences (as in the case of posters), but also the implicit appeal to niche or Those interested in presenting a paper at the symposium elite audiences (as in the founding of watercolor and etching should send a one-page (double-spaced) proposal accompa- societies). Papers might consider the consumption (market) nied by a one-page resume (in one document) as an e-mail at- implications of various strategies of representation (includ- tachment to Petra Chu at [email protected]. Both proposal ing subject matter, style, and cross-cultural references), ven- and résumé need to be in English (though completed papers ue and media choices, and or technological developments may be delivered in Chinese). Final papers are due August in printing, photography, and image distribution. The ses- 1, 2012. Travel to Beijing and lodging for all speakers will sion hopes to present a wide variety of methodologies; pa- be paid by a generous grant from the Getty Foundation. For pers might adopt a monographic lens for looking at product information, e-mail Petra Chu at [email protected] or Ding placement, or they might investigate group or institutional Ning at [email protected] examples, such as artist societies, printing and publishing en- terprises, artist-dealer collaborations, or nationalistic projects. The Third Annual Feminist Art History Conference See the College Art Association website www.collegeart.org or American University, Washington DC Friday-Sunday, contact the co-chairs at [email protected] or mtedeschi@ November 9-11, 2012. artic.edu Call for papers: Submit a one-page, single-spaced proposal Future Directions Session: Please see the College Art and two-page curriculum vita by May 15, 2012 to fahc3.cfp@ Association website www.collegeart.org for more informa- gmail.com. Notification of acceptance by July 1, 2012 tion about submitting an abstract to the AHNCA-sponsored “Future Directions” session. This conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and CFP: Qing Encounters: Artistic Exchanges between China Mary D. Garrard at American University. To further the inclu- and the West Peking University, Beijing, China, October 10- sive spirit of their groundbreaking anthologies, we invite pa- 13, 2012. Deadline: May 4, 2012 pers on subjects spanning the chronological and geographic spectrum to foster a broad dialogue on feminist art-historical Proposals are called for papers to be presented at a bi- practice. Speakers may address such topics as: artists, move- lingual (Chinese-English, with simultaneous translation) ments, and works of art and architecture; cultural institutions symposium called “Qing Encounters: Artistic Exchanges and critical discourses; practices of collecting, patronage, and between China and the West,” to be held on the campus display; the gendering of objects, spaces, and media; the re- of Peking University, October 10-13, 2012. The goal of the ception of images; and issues of power, agency, gender, and symposium is to highlight new ways of looking at the ar- sexuality within visual cultures. tistic contacts and mutual interactions between China and the West during the Qing dynasty (1644-1911). By gather- Keynote Address: “Guess Who’s Coming to Dinner? Feminism, ing scholars from around the world, it aims at bringing Art History and the Story of a Book” Whitney Chadwick,

10 Spring 2012 / AHNCA Newsletter Professor Emerita of Art History San Francisco State University. themselves; instead NCAW will work with them to help in re- Sessions and keynote will be held on AU’s campus with addi- alizing the computing aspects of their project. Authors should, tional events at the National Museum of Women in the Arts in however, be generally knowledgeable about the technological conjunction with its 25th Anniversary celebration. possibilities related to their project and should be able to ar- ticulate how both specific computer-based research methods Call for Papers: Digital Humanities Research and and the online publication format connect with the research Publication in NCAW. Deadline: Ongoing questions on which their project focuses. In addition, authors should expect to collaborate with technical experts on the re- Nineteenth-Century Art Worldwide has received a grant from the alization of their projects. To this end, proposals which give Mellon Foundation for a three-year capacity-building initia- some indication of how authors envision working with such tive to maximize the possibilities of the journal electronic de- experts, or which identify specific collaborative partners will livery. With this in mind, NCAW is soliciting potential articles be preferred. Finally, proposals should outline projects which that take full advantage of new web technologies either in the are relatively small-scale, able to be realized within a time research or the publication phase, or both. The Mellon grant span of about three to six months and requiring around 100 is intended to help authors in the development phase of their hours of development work. articles as well as to aid NCAW in the implementation phase. Interested contributors are asked to submit a 500-word ab- NCAW is seeking scholarship that engages in one or more of stract that describes the author’s (or authors’) project and ex- the following, interrelated areas of investigation: plains how it fits within the areas described above and why Data Mining and Analysis: Use of data analytics programs advanced computing technologies are necessary for conduct- (e.g., SEASR, Network Workbench) to investigate connec- ing this research and/or for presenting the resulting scholar- tions among particular groups or individuals, such as art- ship. In addition, they are asked to provide a short CV and a ists, writers, art dealers, art markets and other networks of budget. For further information or to submit an application exchange (social networks). See “Mapping the Republic for funding, email to Petra Chu, [email protected], and of Letters,” produced by researchers and technologists at Emily Pugh, [email protected]. Stanford University: https://republicofletters.stanford.edu/

Geographic Information Systems (GIS) and Mapping: Conferences to Attend Use of maps in concert with data sets (e.g., depictions of sites, Moving In Three Dimensions: Re-Writing The Objects And location of objects, paths of travel) in order to investigate and Histories Of Sculpture (A Conference on Sculpture and communicate change over time and space. The website for the Change). The Courtauld Institute of Art, Somerset House, project “Imago Urbis: Giuseppe Vasi’s Grand Tour of Rome” Strand, London WC2R 0RN, May 11 - 12, 2012 (http://vasi.uoregon.edu/index.htm), for example, links Giambattista Nolli’s 1748 map of Rome with vedute created by The Conference will be structured around three themes, ad- Vasi, providing insight into the vedutismo tradition as well as the dressing some of the motivations for changes to sculpture and urban development of Rome in the eighteenth century. its contexts, their outcomes and the new approaches to writ- ing their histories which they call for. High-Resolution imaging and dynamic image presentation: Use of panoramic and/or high-resolution imagery to view, for Session 1: Conversion, Iconoclasm And Revolution example, panoramas, conservation images (x-ray, infrared The discourse surrounding the traumatic events leading to reflectography), moving images. The QTVR panoramas of the removal, transport and relocation of sculpture often cen- world architecture produced by Columbia University, (http:// tres on the acts of destruction associated with revolution and www.artstor.org/what-is-artstor/w-html/col-qtvr-columbia.sht- iconoclasm. However, the changes resulting from re-use and ml) are an example of the kind of image viewing interface conversion, whether spiritual, functional or symbolic, are that could be used in support of scholarship on, for example, as important to our understanding of the objects and loca- panorama paintings or large-scale architectural installations. tions of sculpture in their surviving states as are the records Authors are not expected to have extensive technical expertise and physical traces of loss. Papers are invited for this session

Spring 2012 / AHNCA Newsletter 11 which approach issues raised by changes made to sculpture workshops, this cross-disciplinary conference will promote in situ, objects whose location has remained static whilst their knowledge and understanding of the range of ways in which function has been altered, and the disfigurement, dismem- the ‘First Total War’ has been mediated in visual cultures, in berment and disguise of sculpture in the face of radically Britain, continental Europe and throughout the world. shifting social and political contexts. Symposium on Cultural Exchange between Europe and Session 2: Plunder, Export And Sale Southeast Asia Questions of the export and redisplay of sculpture, whether as Seattle University in Seattle, WA, USA. the result of sale or plunder (and of whether those two means Saturday May 26 and Sunday May 27, 2012 of acquisition can justifiably be separated) are pertinent not only to the kinds of looking which are made available in their This symposium will focus on patterns and networks of aftermath but also to those modes of address to objects and cultural interaction, exchange, and mutual curiosity be- contexts which are lost. Whilst the restitution and re-housing tween Europe and the region today called “Southeast Asia” of many sold and plundered objects continues to be sought, as well as Sri Lanka (Ceylon) from approximately 1800 to it is seldom into their original place of display and begs the 1940. Studies in material culture and consumer culture can question of whether a type of location such as a museum or focus on the circulation of the motifs and patterns of tiles, gallery is significantly (or in any way) different depending on textiles or prints through commercial and cultural net- its broader location in a particular city or country. This session works. In architecture, “hybrid” styles such as the “Sino- will feature papers addressing some of the issues surrounding Portuguese” architecture or “Sino-colonial” architecture the local and global movement of sculpture, its markets, the found in Thailand, and similar styles found in Malaysia, or traces it leaves and the ways in which it is recorded. Singapore (many examples of which are shophouses built by ethnic Chinese groups), show patterns of both local Session 3: Competition, Collection And Classification cultural exchange as well as broader interaction between The study of sculpture has, to varying degrees, been condi- Europe and Southeast Asia. tioned by the classification of its objects. This has been accom- plished not only according to their medium, place of origin Branching Out: Botany and the Sculptural Object and maker, but by the groups into which they have been col- Henry Moore Institute, Leeds, UK. October 27, 2012 lected, collections often fuelled by competition between na- tions, institutions and individuals. This session will focus on Branching Out: Botany and the Sculptural Object moves beyond the presentation and investigation of sculpture within the con- well-explored examples to shed light on the fact that veg- fines of these artificial groupings. It will comprise contribu- etable matter and plants have been used by artists, collectors tions exploring the opportunities for new sculptural scholar- and theorists not only as a concrete material, but also on a ship that such groupings present, the ways in which they have metaphoric or symbolic level. determined the course of sculptural historiography and the mechanisms by which they have been brought together. Botanical imagery, fantastical and decorative or realistic and pedagogic, has formed a powerful undercurrent in Contested views: Visual culture and the revolutionary and European sculpture and engagement with the object since Napoleonic wars the seventeenth century, inspiring artworks ranging from Tate Britain, Millbank, London SW1P 4RG. Thursday 19 and Gian Lorenzo Bernini’s ‘Apollo and Daphne’ (1622-5) to the Friday 20 July 2012. relief sculpture of Gilbert Bayes’ ‘The Lure of the Pan Pipes’ (1932-3). Often expressing a multiplicity of ideas about na- In July 2012, in advance of commemoration of the bicente- ture, the perennial appeal of botanical symbolism to sculptors nary of the Battle of Waterloo, Tate Britain is to host a two- has resided in its ability to negotiate a complex network of day conference exploring the impact of the Revolutionary and meanings, standing at the interstice between the sacred and Napoleonic Wars on world-wide visual culture, from the out- profane; mysticism and science; conservation and consump- break of the pan-European conflict with France in 1792 to the tion; colonisation and transplantation; growth and decay. present day. Centred on themed panels, plenary lectures and

12 Spring 2012 / AHNCA Newsletter From the seventeenth century onwards, science has Picturing the Nineteenth Century played a key role in the sculptural representation of flora. 05/22/2012 Horticultural grotesqueries spoke of a plant world rendered University of Kentucky, Lexington KY worryingly unstable by the ‘new science’ which had begun microscopic investigations of living cells and newly examined Organization: The 2012 Interdisciplinary Nineteenth- the effects of light and gravity on plant development. The Century Studies Conference work of Lamarck and Darwin created a powerful new vision Though its title foregrounds art and visual culture, this con- of nature for the nineteenth century, with the visual impact ference will treat “picturing” in all its many senses: imagin- of this work reflected in the ornamental excesses of the Art ing, representing, framing, mapping. We invite papers and Nouveau movement that drew upon the overabundance of panels that consider how the nineteenth century represent- plant imagery available during the fin-de-siècle to produce ob- ed itself to itself – through depictions of subjectivity, history, jets d’art inspired by the exotic and unfamiliar. and culture; through emerging technologies and disciplines; through self-conscious “meta” attempts to understand meth- In the twentieth century, the dying embers of imperial- ods of representation. We also encourage papers that consid- ism witnessed the last great botanical expeditions to the er how our own technologies and disciplines create multiple Himalayas, while new technologies and the birth of genetics pictures of “the nineteenth century.” Interdisciplinary pa- helped both publicise botany’s position at the cutting-edge of pers and panels are especially welcome. scientific enquiry and the capricious mechanics of vegetable life. Recognizing in these discoveries proof of marvels hith- Featured speakers include Nancy Armstrong (English erto unknown, sculpture in the early twentieth century drew Department, Duke University), Julie Codell (School of Art, on botany as an exhilarating symbol of hybridism and meta- Arizona State University), and Shawn Michelle Smith (Visual morphosis. Post-war artists from Joseph Beuys to Yves Klein & Critical Studies, Art Institute of Chicago). and Mario Merz have also incorporated readymade objects with vegetative connotations, such as tree-trunks, sponges Transatlantic Networks and the Nineteenth-Century and fresh vegetable into their oeuvre. Periodical C19 Conference of the Society for Nineteenth-Century This conference examines the ways in which botany has act- Americanists (Berkeley, CA, April 12-15 2012) ed as a continuing source of inspiration in sculpture, concen- trating on sculpture produced between the mid-nineteenth The recent turn to the study of print culture in American and the mid-twentieth century. literary and cultural histories has increasingly focused schol- arly attention on the dynamic interaction between writing, The Flâneur Abroad: International and Historical reading, and publishing. This has opened up a range of new Perspectives on an Urban Archetype perspectives on the networks of communication that shape University of Nottingham - Arts Centre. 6 - 7 July 2012 and define creative, political, and intellectual communities. This panel aims to explore these perspectives through the The flâneur – the leisurely but vigilant urban stroller - is well- particular example of the American periodical as a public site known as a quintessential nineteenth-century Parisian arche- of transatlantic debate and exchange. type, and has attracted a distinguished array of champions and historians – from Balzac and Baudelaire to Walter Benjamin. However, although recent writing on the subject (The Flâneur, ed. Keith Tester, and The Invisible Flâneuse. Gender, Public Space, and Visual Culture in Nineteenth-Century Paris (2006), ed. Tom MacDonough & Aruna D’Souza) have certainly been eclectic in their scope, there has been little sustained attention given to the adaptation of the phenomenon outside Paris, let alone outside France and indeed Europe, whether in the form of modern sequels, contemporary echoes, as well as historic antecedents.

Spring 2012 / AHNCA Newsletter 13 New Resources

New York Armory Show 1913 Collection Database The Knoedler & Company Exhibition Catalogs Collaborative The New-York Historical Society is organizing a major Project exhibition celebrating the centenary of the 1913 Armory This announcement marks the completion of collaborative Show titled The New Art Spirit: The Armory Show at 100. The project coordinated by the Thomas J. Watson Library at The exhibition will take place from October 18, 2013 through Metropolitan Museum of Art to preserve and digitize the early February 23, 2014 and will not travel. In order to locate as exhibition catalogs of Knoedler & Company, a renowned art many of the over twelve hundred works in the 1913 show as gallery in New York. possible, The NYHS is making a database of the objects in the exhibition available to colleagues. We hope that you will In total, the collaborative digitized 898 catalogs, checklists, alert us to the locations of objects that are either unlocated, and unpublished materials from the Watson, Arcade, and or whose locations are not current. The database is a work in Knoedler collections, comprising approximately 14,000 progress, and we welcome corrections and updates. pages of content created between 1869 and 1946. Many items To access the database go to: http://www.nyhscommunications. include extensive handwritten annotations; in several cases, org/armory/login.php more than one copy of a particular catalog was digitized to User name: nyhistory Password: armory capture these unique additions.

Frick Art Reference Library Photoarchive Online Access to these items is available through the libraries’ The Frick Art Reference Library is pleased to announce that respective online catalogs, Watsonline and Arcade, as well images for 15,000 works of art and research documentation as the OCLC library cooperative catalog, WorldCat. The for 125,000 works of art cataloged in the library’s photoarchive catalogs’ contents are full-text searchable in Watson Library’s are now available online (http://www.frick.org/assets/PDFs/ digital content management system, CONTENTdm. Press_2011/photoarchive.pdf). The 15,000 images can be accessed in the new Frick Digital Image Archive (http:// Watson Library CONTENTdm: http://libmma.contentdm. images.frick.org). They record works of art photographed oclc.org/cdm/landingpage/collection/p15324coll8 between 1922 and 1967 by staff photographers in private Watsonline: http://library.metmuseum.org/search~S1/ homes and small public collections throughout the United t?SEARCH=contentdm+knoedler States and in New York City galleries and auction houses. The Arcade: http://arcade.nyarc.org/search~S16/X?(knoedler%20 negatives from these photography expeditions were digitized digital%20project)&searchscope=16&SORT=DX and made available online through generous funding from the National Endowment for the Humanities and the Henry This project was made possible by the Lifchez Stronach Fund Luce Foundation. The NEH designated the project as part for Preservation at the Thomas J. Watson Library and funds of its “We the People” initiative to encourage and strengthen from the Frick Art Reference Library. the teaching, study, and understanding of American history and culture. Redefining European Symbolism 1880-1910 This network takes as its intellectual premise a resurgence of The research documentation for these 15,000 paintings, scholarly interest in Symbolism and as its public manifestation drawings, and sculptures, as well as 110,000 other works of art three exhibitions which will be staged between 2011 and cataloged in the photoarchive, is now available in the catalog 2013. These are The Nabis and Photography (Amsterdam, of the New York Art Resources Consortium, Arcade (http:// 2011), Symbolist Landscape (Amsterdam/Edinburgh, 2012), arcade.nyarc.org/search~S7). In addition to basic information and a large-scale survey of Symbolism (Paris, 2012). Its about the artist, title, medium, dimensions, date, inscriptions, partners are the Visual Arts Research Institute Edinburgh and owner, the documentation includes provenance, former (with the National Gallery of Scotland and the University attributions, variant titles, and biographical information for of Edinburgh), the Van Gogh Museum, the Musée d’Orsay, portrait subjects. the Institut National d’Histoire de l’Art, and the University of Geneva. The goal is rigorously to redefine how we understand European Symbolism of the late nineteenth and early twentieth centuries. The Network hopes to connect

14 Spring 2012 / AHNCA Newsletter scholars from universities and museums alike through a Other features for users include the ability to create one or series of conferences and seminars in Edinburgh, Amsterdam more “lightboxes,” or images sets, and to save, share, and and Paris. http://sites.ace.ed.ac.uk/symbolism/?page_id=2 download multiple images at a time. Users may add individual labels and notes to their lightboxes or to images within them. American Art in France, Online Inventory Links to users’ customized lightboxes may be shared via Created in 2006 within the Musée du Louvre the La Fayette e-mail or may be copied and pasted to social media sites. online catalogue inventories over 1800 works produced between 1620 and 1940 by American artists and now kept in Users may freely browse the NGA Images website and French public collections. It includes works of art of all media download screen- and lecture-size images without registering except prints and photography. This project aims to promote an account. Registration is required to use certain features public awareness of a group of artworks much ignored, to of the NGA Images website, including saving and sharing increase the knowledge of pre-1945 American art and to shed lightboxes and e-mailing image links to others. Additionally, light on the diversity and richness of the cultural heritage registration is required to fulfill certain image requests preserved in France. including direct downloads of reproduction-ready images.

The catalogue is online at the following URL address : http:// View the full Open Access Policy at http://images.nga.gov/ musee.louvre.fr/bases/lafayette/index.php?lng=0. openaccess. Each single catalogued item has a detailed record, with over 1150 illustrated with digital color images. The catalogue is searchable in two different ways - simple and advanced search – which enables you to browse the database very easily. Also a French bibliography, a timeline and historical and thematic texts on American art bring you an essential range of supplementary information on this subject. Help AHNCA go green!

Switch over to a digital copy of the AHNCA Newsletter! Nga Images, A New Collection Image Resource, And Open Benefits of switching over to digital Newsletters: Access Policy The National Gallery of Art announces the launch today of ✜ You will receive your copy of the Newsletter NGA Images, a new online resource that revolutionizes the 2-3 weeks BEFORE members who request the paper version! (No more missed way the public may interact with its world-class collection exhibitions or calls for papers!) at http://images.nga.gov/. This repository of digital images ✜ International members will receive the documenting the National Gallery of Art collections allows Newsletter as soon as it is published; users to search, browse, share, and download images believed no more waiting for an International to be in the public domain. mail delivery ✜ You will help AHNCA save printing and Designed by Gallery experts to facilitate learning, enrichment, mailing costs so that funds can be allocated enjoyment, and exploration, NGA Images features more to other member benefits! than 20,000 open access digital images, up to 3,000 pixels ✜ You can save your Newsletters digitally each, available free of charge for download and use. The when you receive them as pdfs resource is easily accessible through the Gallery’s website, ✜ Now with Hyperlinks! and a standards-based reproduction guide and a help section ✜ Can be read on your iPad provide advice for both novices and experts. (with any pdf reader).

Users may search by keyword in the Quick Search box on the To switch to digital Newsletters, e-mail the editor, home page of NGA Images, or they may browse the regularly Caterina Y. Pierre, at [email protected]. Use the subject line: “Digital AHNCA Newsletter” and updated “featured” image collections prepared by Gallery include the e-mail address where you would like your staff on topics such as 19th-century French art or frequently newsletter to be sent. requested works.

Spring 2012 / AHNCA Newsletter 15 grants and FELLOWSHIPS

Fellowships & Grants for Pre- and The German Historical Institute awards short-term fellow- Post-Doctoral Candidates ships of one to six months to German and American doctoral The Center for Advanced Study in the Visual Arts (CASVA) students and postdoctoral scholars in the fields of German offers an extensive program of fellowships at all levels and history. These fellowships are also available to German doc- disciplines. Application for a predoctoral fellowship may be toral students and postdoctoral scholars/Habilitanden in the made only through nomination by the chair of a graduate field of American history. For postdoctoral applications, the department of art history or other appropriate department. GHI will give priority to post-doc projects that are designed To be eligible, the nominee must have completed all depart- for the “second book.” Research projects must draw upon mental requirements, including course work, residency, and source materials located in the United States. The monthly general and preliminary examinations, before November 15. stipend is Euro 1,600.for doctoral students and Euro 2,800. Certification in two languages other than English is required. for postdoctoral scholars. Deadline: May 20 and October 15. Candidates must be either United States citizens or enrolled Contact: German Historical Institute, Doctoral/Postdoctoral in a university in the United States. The stipend is $20,000 Fellowships, 1607 New Hampshire Ave., NW, Washington, per year. nga.gov/casva/casvapre.htm. DC 20009-2562. www.ghi-dc.org/index.php?option=com_co ntent&view=article&id=77&Itemid=61 The Center for the History of Business, Technology, and Society at the Hagley Museum and Library offers grants-in- 4 Ph.D. Fellowships in Communication, Psychology, Art History, aid to assist short-term visiting scholars with travel and living and Computer Science at the interdisciplinary Research expenses while using the research collections. For Henry Center Visual Communication and Expertise (VisComX), Belin du Pont Dissertation Fellowships (residential terms of Jacobs University Bremen, Germany. Fellowships cover liv- four months, $6,000) contact: Dr. Roger Horowitz, Center for ing expenses and tuition fees and will initially be awarded for History of Business, Technology, and Society, PO Box 3630, 1 year with the possibility of performance based extension for Wilmington, DE 19807-0630, E-mail: [email protected], up to 3 years in total. Please address your application to: Prof. hagley.lib.de.us/grants.html. Deadline: November 15, 2012. Dr. Marion G. Müller, Director Research Center VisComX at Jacobs University Bremen. Application deadlines: 15 March The Columbia University Society of Fellows in the and 1 May, 2012. Applications will be considered immediately, Humanities will appoint a number of postdoctoral fellows in and until the positions are filled. Electronic admission form the humanities for the academic year 2012-2013. The $59,000 on the graduate admission website www.jacobs-university.de stipend is awarded half for independent research and half for teaching in the undergraduate general education program. Kislak Fellowship in American Studies Sought by the John To qualify, applicants must have received the Ph.D. between 1 W. Kluge Center at the Library of Congress. The Kislak January 2010 and 1 July 2012. Deadline: [October— date to Fellowship offers a postdoctoral scholar the opportunity to be posted in June] For further information and application conduct research related to the discovery, contact and colo- materials, write: The Director, Society of Fellows in the nial periods in Florida, the Caribbean and Mesoamerica. It Humanities, Heyman Center, Mail Code 5700, 2960 supports research projects in the disciplines of archaeology, Broadway, NY, NY 10027. columbia.edu/cu/societyoffellows/. history, cartography, epigraphy, linguistics, ethno-history, ethnography, bibliography and sociology using the Jay Kislak The German Center for Art History in Paris, offers approx- Collection and other collections of the Library of Congress. imately six fellowships a year for students (any nationality) The Kislak Fellowship is open to scholars worldwide. It is to pursue their research in the arts and the humanities of awarded for a period of up to 4 months at a stipend of $4,200 Germany and France in the context of a pre-determined per month. Deadline: check website. Information : John W. theme. Recipients are expected to be in residence for the Kluge Center,phone: (202) 707-3302,fax: (202) 707-3595,em- duration of the fellowship and to participate in the activities ail: [email protected]: http://www.loc.gov/loc/kluge/fel- of the Center. Deadline not yet posted. Contact: Deutsches lowships/kislakshort.html. Forum für Kunstgeschichte/Centre allemand d’histoire de l’art, 10 place des Victoires, F-75002 Paris. Web: dt-forum. The Pre-Doctoral Diversity Fellowship program at Ithaca org/bourses.html E-Mail: [email protected] College supports promising scholars who are committed to

16 Spring 2012 / AHNCA Newsletter diversity in the academy in order to better prepare them for Study, Schools of Historical Studies and Social Science tenure track appointments within liberal arts or comprehen- (Princeton); the American Antiquarian Society, the Folger sive colleges/universities. The Fellowship in Art History will Shakespeare Library, the Newberry Library, the Huntington support a doctoral student in one or more of the following Library; the American Academy in Rome, and Villa I Tatti areas: Latin American Art, Latino Art, the Arts of Africa or (Florence). Deadline: September [date not yet posted]. Contact: the Arts of the African diaspora. Qualifications: Enrollment Office of Fellowships and Grants, ACLS, 633 3rd Ave., New in an accredited program leading to a Ph.D. degree at a U.S. York, NY 10017-6795; E-mail: [email protected]; web: http:// educational institution and commitment to a career in teach- www.acls.org/programs/burkhardt/. Applications must be sub- ing at the college or university level are required. Prior to mitted through the ACLS Online Fellowship Application sys- August 15, 2012, the fellow must be advanced to candidacy tem www.ofa.acls.org. at his or her home institution with an approved dissertation proposal. This fellowship is for the academic year August 15, The American Council of Learned Societies, together with 2012 to May 31, 2013 and is non-renewable. The fellow will the Social Science Research Council and the National receive a $20,000 stipend, housing or a housing allowance of Endowment for the Humanities, fund approximately eight $8000, $5000 in research support, office space, and access to ACLS/SSRC/NEH International and Area Studies Fellowships. Ithaca College and Cornell University libraries. Interested in- Scholars who are at least two years beyond the Ph.D. may apply dividuals should apply online at www.icjobs.org. Contact the for 6-12 month fellowships to pursue research and writing on Office of Human Resources at (607) 274-1207. the societies and cultures of Asia, Africa, the Near and Middle East, Latin America, East Europe and the former Soviet Union. The Fellowship stipend is set at three levels based on assistant, Fellowships & Grants – All Career associate, or full professor rank, funded at $30,000, $40,000, Stages and $50,000. Approximately 20 fellowships will be available at The Alexander von Humboldt Foundation supports schol- each level. Deadline: September [date to be posted in June]. arly research and study in Germany. It offers as many as 500 Contact: Office of Fellowships and Grants, ACLS, 633 3rd Ave., Humboldt Research Fellowships annually to postdoctoral New York, NY 10017-6795; E-mail: [email protected]; http:// scholars under age 40 to support research for six- or twelve- www.acls.org/programs/acls/. month periods, normally funded between EUR 2,100 and EUR 3,000 monthly. Scholars may be in any academic field The American Philosophical Society offers the Franklin and come from any country except Germany. Applications Research Grant to support research in all areas of scholarly may be submitted any time; the selection committee meets knowledge except those in which government or corporate three times a year to consider applications. Contact: enterprise is more appropriate. The program does not accept Alexander von Humboldt Foundation, Jean-Paul-Strasse 12, proposals in the areas of journalistic or other writing for the 53173 Bonn, Germany. ph: (49) 0228-833-0. E-mail: hum- general readership; the preparation of textbooks, casebooks, [email protected] web: http://www.humboldt-foun- anthologies or other teaching aids. Award is up to $6,000 for dation.de/web/humboldt-fellowship-postdoc.html one year. Deadline: received October 1, December 1. The Society also offers a Sabbatical Fellowships in the Humanities The American Council of Learned Societies offers Burkhardt and Social Sciences for mid-career faculty of universities and Residential Fellowships for Recently Tenured Scholars, 4-year colleges in the United States who have been granted a which support long-term, unusually ambitious projects in the sabbatical/research year, but for whom financial support from humanities and related social sciences. Proposals in interdisci- the parent institution is available for only part of the year. plinary and cross-disciplinary studies are welcome, as are pro- Candidates must not have had a financially supported leave at posals focused on any geographic region or on any cultural or any time subsequent to September 1, 2004. The doctoral de- linguistic group. The fellowship carries a stipend of $75,000. gree must have been conferred between 1983-1999. Award: Burkhardt Fellowships are intended to support an academic $30,000 to 40,000. Deadline: received by October 15. For in- year of residence at any one of nine national residential re- formation, contact: Linda Musumeci, Res. Admin., American search centers: The National Humanities Center (Research Philosophical Society, 104 South Fifth St., , PA Triangle Park, NC); the Center for Advanced Study in the 19106. ph: 215-440-3429. E-mail: LMusumeci@amphilsoc. Behavioral Sciences (Palo Alto); the Institute for Advanced org; http://www.amphilsoc.org/grants/.

Spring 2012 / AHNCA Newsletter 17 The Center for Advanced Study in the Visual Arts (CASVA) Fulbright Grant opportunities for 2013-2014 will be posted offers an extensive program of fellowships at all levels and online. Deadlines vary by grant. Council for International disciplines. This includes the Senior Fellowship Program: Exchange of Scholars, 3007 Tilden St., NW, Suite 5L, Deadline: October 15, 2012; http://www.nga.gov/casva/cas- Washington, D.C. 20008-3009. Web: www.iie.org/cies; e-mail: vasen.htm; Visiting Senior Fellowship Program: Deadlines: [email protected]. Ph: 202/686-4000. September 21, 2012, March 21, 2012, September 21, 2012 http://www.nga.gov/casva/casvavissen.htm ; The J. Paul Getty The Getty Grant Program offers residential grants to schol- Trust Paired Research Fellowships in Conservation and the ars the pre-doc, post-doc, and senior levels through its History of Art and Archaeology; the Pre-doctoral Fellowship theme-year scholar programs, library research grants, and Program: Deadline: November 15, 2012; and the Pre- conservation guest scholars program. A full description of doctoral Fellowship Program for Summer Travel Abroad for the 2012-2013 theme, Color residence periods, stipends, etc., Historians of American Art: Deadline: February 15, 2012. appears on the website. The Getty also funds nonresidential Visit: http://www.nga.gov/casva/index.shtm. Contact: Center grants. Library Research Grants support research requiring for Advanced Study in the Visual Arts, National Gallery of Art, the use of specific collections housed in the Research Library 2000B South Club Drive, Landover, MD 20785. Phone: (202) at the Getty Research Institute. The Conservation Guest 842-6482; fax: (202) 789-3026; e-mail: [email protected]. Scholar Program at the Getty Conservation Institute supports established conservators, scientists, and professionals in pur- The Center for the History of Business, Technology, and suing new ideas in the field of conservation, with an emphasis Society at the Hagley Museum and Library offers grants-in- on the visual arts and the theoretical underpinnings of the aid to assist short-term visiting scholars with travel and living field. Graduate internships are also available. Deadline (all expenses while using the research collections. Scholars re- programs) (receipt): November 1, 2012. Address: The Getty ceive stipends, conduct research in the imprint, manuscript, Grant Program, Getty Foundation, 1200 Getty Center Drive, pictorial, and artifact collections, and participate in the pro- Suite 800, Los Angeles, California 90049-1685; (310) 440- grams and colloquia of the Center. Low-cost housing may be 7374, fax: (310) 440-7703; e-mail (inquiries only): research- available on the museum grounds. Stipends are for periods [email protected]. Web: www.getty.edu/grants. of two weeks to two months, at no more than $1,600 per month and are available to scholars and professionals at all The Gilder Lehrman Institute of American History offers levels, in all fields. The Center also offers the Henry Belin du fellowships in American Civilization for pre- and post-doc- Pont Fellowship to enable scholars to pursue research for toral research. The fellowships support work in one of the periods of two to six months and participate in the inter- five archives in New York City including the Gilder Lehrman change of ideas among the Center’s scholars. Tenure must be Collection at the New York Historical Society, the Columbia continuous and last from two to six months. Stipends are no University Rare Book and Manuscript Collection, the Library more than $1,600 per month. Applications for all fellowships of the New York Historical Society, New York Public Library, are reviewed three times per year. Deadlines: March 31, and the Schomburg Center. Ten Gilder Lehrman Fellowships June 30, October 31. For information and application materi- of $3,000 each will be awarded. Fellowships are awarded als for Hagley-Winterthur Fellowship in Arts and Industries twice a year. Deadlines (postmarked): December 1st and contact: Dr. Philip Scranton, Center for the History of May 1st. Contact The Gilder Lehrman Institute of American Business, Technology, and Society, P.O. Box 3630, History, 19 W. 44th St., Ste. 500, New York, NY 10036-5902; Wilmington, DE 19807-0630. Tel: 302-658-2400. E-mail: (646) 366-9666; email: [email protected], web: http://www. http://www.hagley.lib.de.us/grants.html. gilderlehrman.org/historians/scholar4.html.

Fulbright Grants are made to U.S. citizens and nationals of The Hagley Museum and Library offers several fellowships other countries for a variety of educational activities, primar- and grants. Henry Belin du Pont Fellowships support seri- ily university lecturing, advanced research, graduate study, ous scholarly work. Applicants must be from out of state. and teaching in elementary and secondary schools.The Application is not restricted to those with advanced degrees. Fulbright Scholar Program sends 800 scholars and profes- Stipends (for periods ranging from 1 to 6 mo.) may offer up sionals each year to more than 140 countries. Grant benefits to $1,600 per month. Deadline: November 15. Dr. Roger vary by program and type of award. Complete catalogue of Horowitz, Center for the History of Business, Technology,

18 Spring 2012 / AHNCA Newsletter and Society, PO Box 3630, Wilmington DE 19807-0630 The Jacob M. Price Visiting Research Fellowships facilitate (email: [email protected]). research at the William L. Clements Library, located on the central campus of the University of Michigan. The Clements IFK Internationales Forschungszentrum Kulturwissenschaften Library specializes in American history and culture from the offers Visiting Fellowships to internationally recognized 16th through the 19th centuries. Several grants of $1000 are scholars who would like to pursue their own research and are available for graduate students and junior faculty whose work interested to cooperate with Austrian colleagues. Applications would benefit from use of the library’s resources. Fellows must will be peer-reviewed by IFK’s International Academic spend at least one week at the Clements Library. Applications Advisory Board. For deadlines, consult website. Contact: IFK accepted between October 1 and January 15 each year. Internationales Forschungszentrum Kulturwissenschaften, Contact: Price Fellowship Coordinator, William L. Clements Reichsratsstraße 17, 1010 Wien, Austria, Tel.: (+43-1) 504 11 Library, The University of Michigan, 909 S. University Ave. 26 E-Mail: [email protected]; http://www.ifk.ac.at/. Ann Arbor, MI. 48109-1190. Ph: (734) 764-2347; E-mail: bri- [email protected]. Web: clements.umich.edu/fellowship.php. The Institute for Advanced Study’s School of Historical Studies supports scholarships in all forms of historical research The James Marston Fitch Charitable Foundation will award (see website for specific details). Qualified candidates of any a $25,000 research grant to a mid-career professional who nationality are invited to apply. Application may be made for has an advanced or professional degree and at least 10 years one term or two terms for $30,000 each term (September – experience in historic preservation or related fields, includ- December or Jan.-April ). Deadline (receipt): November 1, ing landscape architecture, architectural conservation, urban 2012. Web: http://www.hs.ias.edu/. Through the Andrew W. design, architectural history, and the decorative arts. The Mellon Foundation, the Institute has established a program grant supports projects of original research or creative de- of one-year memberships for the academic year for assistant sign that advance the practice of historic preservation in the professors at universities and colleges in the U.S. and Canada. U.S. There are also smaller grants of up to $10,000 that are These awards will match the salary and benefits of the home provided at the discretion of the trustees. Deadline: Sept. 15, institutions. Deadline (receipt): November 1, 2012. Contact 2012. Contact: ph: 212-252-6809; fax: 212-471-9987. 232 East Marian Zelazny, School of Historical Studies, Einstein Drive, 11th St., New York, NY 10003. Web: www.fitchfoundation.org. Princeton, NJ 08540, (609) 734-8300, e-mail [email protected]. E-mail: [email protected]. Web: www.hs.ias.edu. The Institute for Advanced Study will again join with the American Council of Learned Societies in The John Simon Guggenheim Memorial Foundation offers sponsoring the Frederick Burkhardt Fellowships for Recently fellowships to further the development of scholars and art- Tenured Scholars. Nine fellowships of $75,000 each will be ists by assisting them with research in any field of knowledge awarded. Application and full information on the web: http:// and creation in any of the arts, under the least restrictive www.acls.org/grants/Single.aspx?id=352; e-mail: Grants@acls. conditions and irrespective of race, color or creed. The fel- org, or ACLS Fellowships Office, 633 Third Avenue, th8 Floor, lowships are awarded to men and women who have already New York, N.Y. 10017-6795. Deadline: not yet posted for on- demonstrated exceptional capacity for productive scholar- line application submitted to the ACLS at http://www.acls.org/ ship or exceptional creative ability in the arts. Approximately programs/overview/. 220 Fellowships are awarded each year. Deadline: October 1, 2012. Awards: $40,211 (average amount). Contact: John The Institute of European History, Department of General Simon Guggenheim Memorial Foundation, 90 Park Ave., New History, awards ten fellowships for a six- to twelve-month re- York, NY 10016, (212) 687-4470, Fax: (212) 697-3248; web- search stay at the Institute in Mainz, for research in the field site: http://www.gf.org/about-the-foundation/the-fellowship/ of German and European history since the 16th century. The selection is made by the department’s fellowship commission, Kluge Center Fellowships, offered through the Library of which meets three times a year, in March, July and November. Congress, support post-doctoral research in all disciplines of Consult website for stipends and deadlines. Contact: Professor the humanities and humanities-related social sciences using Dr. Heinz Duchhardt, Institut fuer Europaeische Geschichte. the foreign language collections of the Library of Congress. Abteilung Universalgeschichte Alte Universitaetsstr. 19 D-55116 Applicants must have received the Ph.D. within the past Mainz, GERMANY. www.inst-euro-history.uni-mainz.de. seven years. Fellowships up to 12 months carry a stipend of

Spring 2012 / AHNCA Newsletter 19 $4,000 per month. During the fellowship period, scholars are N.W., Washington, D.C. 20506. Web: www.neh.gov/grants/ expected to be engaged in full-time research in the Library. guidelines/editions.html. Deadline: postmarked July 15, 2012. Contact: American Council of Learned Societies, 228 E. 45th St., New York, National Endowment for the Humanities Summer Stipends NY 10017-3398; 212-697-1505; email ; support individuals pursuing advanced research that contrib- web: www.loc.gov/loc/kluge/fellowships. Kluge Fellowships, utes to the understanding of the humanities. Summer Stipends Office of Scholarly Programs, Library of Congress, LJ120, support full-time research and writing ($6,000/two consecu- 101 Independence Ave., SE, Washington, DC 20540-4860. tive months) on a humanities project for a period of two E.Mail: [email protected]. months. Applicants may be faculty or staff members of teach- ing institutions, or they may be independent scholars or writ- The National Endowment for the Humanities offers a vari- ers. Deadline: not yet posted. Contact: National Endowment ety of fellowships that allow individuals to pursue advanced for the Humanities, Division of Research Programs, Rm 318, work in the humanities. Applicants may be faculty or staff 1100 Pennsylvania Avenue, NW, Washington, DC 20506. members of colleges, universities, primary or secondary http://www.neh.gov/grants/guidelines/stipends.html email: schools, and independent scholars and writers. Tenure nor- [email protected]: (202) 606-8200. Applications sub- mally covers a period of from six to twelve months ($40,000 mitted online at www.grants.gov. is for 9-12 mo.; $24,000 for 6-8 mo.). Deadline: received May 1. Shorter projects may be funded by NEH summer stipends National Gallery of Art - Senior Fellowships for Advanced ($5,000 for two consecutive months of full-time independent Study in the Visual Arts Fellowships are for full-time research, study and research). Summer stipend application deadline: and scholars are expected to reside in Washington, D.C., and received October 1. Collaborative Research Grants support to participate in the activities of the Center throughout the original research undertaken by a team of two or more schol- fellowship period. Lectures, colloquia and informal discus- ars or coordinated by an individual scholar that because of its sions complement the fellowship program. There will be scope and complexity requires additional staff or resources. one Paul Mellon Fellowship, and four to six Ailsa Mellon Grants support full-time or part-time activities for periods Bruce and Samuel H. Kress Senior Fellowships. Deadline: up to three years and normally range from $25,000 to October 15, 2012. The Paul Mellon and Ailsa Mellon Bruce $100,000 (the use of federal matching funds is encouraged). Senior Fellowships are intended to support research in the Collaborative Research grants deadline: not yet posted. history, theory and criticism of the visual arts (painting, sculp- Contact: Division of Research Programs, Room 318, National ture, architecture, landscape architecture, urbanism, prints Endowment for the Humanities, 1100 Pennsylvania, N.W., and drawings, film, photography, decorative arts, industrial Washington, DC 20506. Tel: 202-606-8200. E-mail: fellow- design and other arts) of any geographical area and of any [email protected], [email protected]. Website: www.neh. period. The Samuel H. Kress Senior Fellowships are intend- gov/grants/index.html . ed primarily to support research on European art before the early nineteenth century. The Frese Senior Fellowship The National Endowment for the Humanities announces is intended for study in the history, theory and criticism of funding for its Scholarly Editions Grants program, which sculpture, prints and drawings, or decorative arts of any geo- supports preparation of authoritative and annotated texts graphical area and of any period. Stipend amount: $50,000 and documents of value to humanities scholars and general (plus housing). Consult website for eligibility and applica- readers. These materials may have been either previously in- tion information. http://www.nga.gov/resources/casvasen. accessible or available only in inadequate editions. Projects shtm#application. Contact National Gallery of Art, Center for involve the editing of significant literary, philosophical, and Advanced Study in the Visual Arts, 2000B South Club Drive, historical materials, but other types of work, such as the edit- Landover, Maryland 20785. Tel. (202) 842.6482. Email: fel- ing of musical notation, are also eligible. Awards are made for [email protected]. one to three years and range from $50,000 to $100,000 per year. Deadline: November 1, 2012. Guidelines posted online, The Research Fellowships Program of the National Gallery summer, 2008. Contact: (202) 606-8200 or e-mail: editions@ of Canada encourages and supports advanced research. The neh.gov or write Scholarly Editions, Division of Research fellowships emphasize the use and investigation of the collec- Programs, Room 318, NEH, 1100 Pennsylvania Avenue, tions of the National Gallery of Canada, including those of

20 Spring 2012 / AHNCA Newsletter the Gallery’s Library and Archives. Competitive fellowships throughout the world, including developing countries, are are offered in the field of Canadian Art; Indigenous Art; encouraged to apply. Residence in the Boston area and par- and the History of Photography. Applications are welcomed ticipation in the Institute community are required during the from art historians, curators, critics, independent researchers, fellowship year. Stipends are funded up to $70,000 for one conservators, conservation scientists and other professionals year with additional funds for project expenses. Deadline: in the visual arts, museology and related disciplines in the Applications for 2013-204, deadline t.b.a. Contact: Radcliffe humanities and social sciences, who have a graduate degree Fellowship Program, 8 Garden Street, Byerly Hall, Cambridge, or equivalent publication history. The fellowships are open MA 02138. Tel: 617-496-1324; email fellowships@radcliffe. to international competition. Fellowships are tenable only at edu, or http://www.radcliffe.edu/fellowship_program.aspx. the National Gallery of Canada. The term of full-time resi- dency must fall within the period 1 September 2012 to 31 The Social Science Research Council sponsors fellowship August 2013. Awards can be up to $5,000 a month, including and grant programs on a wide range of topics, and across expenses and stipend, to a maximum of $30,000. Deadline: many different career stages. Most support goes to pre-dis- April 30, 2012. For application procedures, please consult sertation, dissertation, and postdoctoral fellowships. Some the website: www.gallery.ca or contact: Jonathan Franklin, programs support summer institutes and advanced research Chief, Library, Archives and Research Fellowships Program, grants. Although most programs target the social sciences, National Gallery of Canada, P.O. Box 427, Station A, Ottawa, many are also open to applicants from the humanities. Ontario, K1N 9N4, Canada, telephone (613) 990-0590; fax Programs relevant to the history of art and visual culture in- (613) 990-6190. clude Abe Fellowships, The Berlin Program for Advanced German and European Studies, The Eurasia Program, The National Humanities Center in Research Triangle Park, ACLS/SSRC/NEH International and Area Studies Fellowships, NC, offers fellowships for advanced study in all fields of the and Japan Studies. Deadlines vary program to program. For humanities. Fellows are assisted in finding suitable housing application and further information, contact: Fellowship and must be in residence for the academic year (September- Office, SSRC, 810 Seventh Ave., New York, NY 10019. Web: May). Resources include the libraries at Duke University, the www.ssrc.org/fellowships/ or http://www.ssrc.org/fellowships/ University of North Carolina at Chapel Hill, and North all/. Ph: 212-377-2700, ext. 500; web: www.ssrc.org; E-mail: Carolina State University, and the Center maintains a refer- [email protected]. ence collection. Senior and younger scholars are eligible; younger scholars should be engaged in research well beyond The Sterling & Francine Clark Art Institute offers 15-20 their dissertations. Terms: Fellowships up to $50,000 are in- Clark Fellowships each year. Tenure = less than a month to dividually determined, depending upon the needs of the ten months (year runs July 1-June 30) with generous stipends, Fellow and the ability of the Center to meet them. Fellowships dependent on salary and sabbatical replacement needs. are intended to maintain scholars at full salary during their Housing is provided. National and international scholars, year of research. Deadline: postmarked October 15. Contact: critics, and museum professionals are encouraged to apply. Fellowship Program, National Humanities Center, 7 Fellows are given access to the Institution’s collections and li- Alexander Drive, P.O. Box 12256, Research Triangle Park, brary, all located together with the Williams College Graduate NC 27709-2256. Tel: 919-549-0661; email: [email protected]. Program in the History of Art. The Beinecke Fellowship is http://www.nhc.rtp.nc.us/fellowships/appltoc.htm. endowed by the devoted chair of the Research and Academic Program Trustee Committee, Frederick W. Beinecke, and The Radcliffe Institute for Advanced Study is a scholarly is awarded to a noted senior scholar for one semester. The community where individuals pursue advanced work across a Clark/Oakley Humanities Fellowship, offered by the Clark wide range of academic disciplines, professions, or creative in conjunction with the Oakley Center for the Humanities arts. Radcliffe Institute fellowships are designed to support and Social Sciences at Williams College, is intended for a scholars, scientists, artists, and writers of exceptional prom- scholar in the humanities whose work takes an interdisciplin- ise and demonstrated accomplishment. In recognition of ary approach to some aspect of the visual. The Clark/Centre Radcliffe’s historic mission, the Radcliffe Institute sustains a Allemand Fellowship is awarded for a project centered on continuing commitment to the study of women, gender, and French art and culture. All deadlines (receipt): November society. Women and men from across the United States and 1, 2012. All applicants must complete an application form,

Spring 2012 / AHNCA Newsletter 21 available on this website. For more information, call 413 458 $26,000,respectively. The Academy community also in- 0469, or e-mail Research and Academic Program (online cludes invited Residents and international Affiliated Fellows. form). Web: clarkart.edu/research/content.cfm?ID=42. Deadline: November 1. To determine eligibility, etc., visit www. aarome.org or contact the American Academy in Rome, 7 East The University of Delaware Library and the Delaware Art 60th Street, New York, NY 10022, Attn: Programs Department. Museum announce a joint Fellowship in Pre-Raphaelite T: (212) 751-7200; F: (212) 751-7220; email: [email protected]. studies. This short-term, one-month, residential Fellowship (stipend = up to $2,500) is intended for scholars conduct- The American Historical Association offers several book priz- ing significant research in the lives and works of the Pre- es for outstanding works in the field of history. The Herbert Raphaelites and their friends, associates, and followers. The Baxter Adams Prize for a work in the field of European his- Fellowship is open to those who hold a Ph.D. or can dem- tory from 1815 through the 20th century; the James A. Rawley onstrate equivalent professional or academic experience. . Prize in Atlantic History for historical writing that explores Deadline: October 15, 2012. For more information write the integration of Atlantic worlds before the twentieth centu- to Pre-Raphaelite Studies Fellowship Committee, Delaware ry; the J. Russell Major Prize for the best work in English on Art Museum, 2301 Kentmere Parkway, Wilmington, DE any aspect of French history and the George Louis Beer Prize 19806 USA, or visit delart.org/education/fellowships.html in European international history since 1895 century. The Albert J. Beveridge Award in American history recognizes a The William T. Grant Scholars Program supports promising distinguished book on the history of the United States, Latin early career researchers from diverse disciplines. Each fellow America, or Canada, from 1492 to the present. Deadline for receives $300,000 distributed over a 5-yr period. Investigators all submissions: May 15. For complete competition guide- in any discipline, at all non-profit institutions worldwide, are lines, contact: Book Prize Administrator, American Historical eligible. Applicants should be pre-tenure or in a similar early Association, 400 A St., SE Washington, D.C. 20003-3889. Te. career status if in a non-tenure track position. The award may (202) 544.2422, Email: [email protected], www.historians. not be used as a post-doctoral fellowship. Applicants must be org/prizes/index.cfm. within seven years of receipt of their terminal degree at the time of application. Awards are made to the applicant’s insti- Joan Mitchell Center 2012 Residencies for Curators and Arts tution, providing support of $60,000 per year. The William Writers October 15 through December 15, 2012 for national T. Grant Scholars Award must not replace the institution’s and international curators and arts writers who wish to devel- current support of the applicant’s research. Nominations for op projects derived from the greater contemporary New 2012 due July 6. Contact: William T. Grant Scholars Program, Orleans arts community. Projects would include exhibitions 570 Lexington Ave., 18th Floor, New York, NY 10022-6837, curators would bring back to their institutions; writers who 212/752-0071. Web: http://www.wtgrantfoundation.org/. wish to write in-depth about visual arts in New Orleans for an assigned magazine; and critical writers who wish to conduct workshops to develop critical writing about visual arts in New Orleans. Residencies will include roundtrip coach airfare up to $500 in the United States; lodging at the Joan Mitchell Center at no charge, with most meals; and a weekly stipend of $750. The Joan Mitchell staff will be involved in structuring PRIZES and AWARDS accepted applicants program of activities during their resi- dency, which may be no less than one week and no more than two weeks. Application deadline is September 1, with an- The American Academy in Rome announces its Rome Prize nouncements by September 15. For an application, contact competition. Each year, through a national competition, the Shelley Boles: [email protected] Rome Prize is awarded to 15 emerging artists and 15 scholars (working in Ancient, Medieval, Renaissance and early Modern, or Modern Italian Studies). Rome Prize winners receive room and board and a study or studio. Six- and 11-month fellow- ships are awarded, carrying stipends Winners of 6-month and 11-month fellowships receive stipends of $14,000 and

22 Spring 2012 / AHNCA Newsletter u.s. exhibitions

Movement, tracing its evolution from a small circle of progressive artists and poets to its broad impact on fashion and the middle-class home. The artworks on view encompass the manifold forms of Victorian material culture: painting, trends in architecture and interior decoration, handmade and manufactured furnishings for the “artistic” home, art photography and the new modes of dress. Making the Modern Picture Book: Children’s Books from the Victorian Era. Through June 17, 2012; http://legionofhonor.famsf. org/legion/exhibitions/making-modern- picture-book-children-s-books-victorian- era. This exhibition in the Logan gallery complements The Cult of Beauty: The Victorian Avant-Garde, on view in the Legion of Honor’s temporary exhibition galleries.

COLORADO The Denver Art Museum. Herbert Bayer 1900 to 1928: The Bauhaus and Pre- Bauhaus Years. On view through 14 July 2013; http://www.denverartmuseum.org/ explore_art/temporaryExhibitionDetails/ exhibitionId--213475/exhibitionType- -Current. The first in a chronological Gustav Klimt (1862-1918), Fishblood, 1898, India ink and pen on brown paper, 15 ¾ x 15 7/8 inches. Private series of exhibitions that trace Bayer’s Collection, courtesy Galerie St. Etienne, New York. On view: Gustav Klimt, The Magic of Line at the Getty Center, Los Angeles, California. development from his earliest days in Austria through his years in the US.

ALABAMA Pasadena. Pacific Asia Museum. Fort Collins. University Art Museum, Birmingham Museum of Art. Look of Love: Masterpieces of Tsukioka Yoshitoshi. 18 Colorado State University. Small Worlds: Eye Miniatures from the Skier Collection. May–12 August 2012; http://www. European Portrait Miniatures. Through Through 10 June, 2012; http://www. pacificasiamuseum.org. Tsukioka 9 June 2012; http://www.artmuseum. artsbma.org/exhibitions/look-of-love. In Yoshitoshi (1839-1892) is perhaps the most colostate.edu/exhibitions/exhibitions. 1785, when the Prince of Wales secretly important Japanese print artist of the html. A collection of European portrait proposed to Mrs. Fitzherbert with a late 19th century. This exhibition features miniatures produced from the 17th to miniature of his own eye, he inspired a fad approximately 130 of Yoshitoshi’s prints the early 20th century. for exchanging eye portraits mounted in a and drawings, representing the full span wide variety of settings including brooches, of his artistic career. The prints come CONNECTICUT rings, lockets, and toothpick cases. from a private Las Vegas collection as well New Haven. Yale University Art Gallery. as the Pacific Asia Museum collection. Life, Liberty, and the Pursuit of Happiness: CALIFORNIA American Art from the Yale University Art Los Angeles. J. Paul Getty Museum: The Fine Arts Museums of San Francisco Gallery. An Exhibition Presented in Three Getty Center. Gustav Klimt: The Magic of – Legion of Honor. The Cult of Beauty: Parts. Part 3: “America Rising.” May 8– Line. 3 July–23 September 2012; http:// The Victorian Avant-Garde, 1860– July 8, 2012; http://artgallery.yale.edu/ www.getty.edu/visit/exhibitions/future. 1900. Through 17 June 2012; http:// pages/collection/exhibitions/ex_onview. html. This retrospective, the first fully legionofhonor.famsf.org/legion/ php. Draws upon the Gallery’s renowned dedicated to the drawings of Gustav exhibitions/cult-beauty-victorian-avant- collection of American art to illuminate Klimt (1862—1918), explores their stylistic garde-1860-1900. The first major the evolving American experience evolution as well as their centrality to his exhibition to explore the unconventional from the time of the settlements of the artistic enterprise. creativity of the British Aesthetic

Spring 2012 / AHNCA Newsletter 23 17th century to the World’s Columbian as individual collotypes with stenciled Miami Beach. The Wolfsonian – Florida Exposition in 1893. watercolor additions in a technique called International University. The Spanish pochoir. American War. 17 May–19 August 19 New Haven. Yale Center for British Art. 2012; http://www.wolfsonian.org/explore/ Making History: Antiquaries in Britain. Winterthur Museum, Garden and Library. exhibitions/spanish-american-war. Drawn On view through 27 May 2012; http:// Uncorked! Wine, Objects & Tradition. 28 from recent gifts to the collection, this britishart.yale.edu/exhibitions/making- April 2012–6 January 2013; http://www. installation will feature books and history-antiquaries-britain. Features winterthur.org/uncorked. Explores the drawings documenting the war. 100 works selected from the Society of history of wine and its role in design, Antiquaries of London’s treasures (with international trade, and social life, Orlando. Charles Hosmer Morse additions from the collections at the particularly in England and America Museum of American Art. Watercolors Center); explores beliefs current before during the 17th through the early 20th by Otto Heinigke—A Glass Artist’s Palette. the Society was founded in 1707, and centuries. Through 3 February 2013; http://www. reveals how new discoveries, technologies, morsemuseum.org/on-exhibit/watercolors- and interpretations have transformed our FLORIDA by-otto-heinigke. A selection from the understanding of the history of Britain Coral Gables. Lowe Art Museum, Museum’s collection of more than 30 since the eighteenth century. “While these University of Miami. Saintly Blessings: A watercolors by Otto Heinigke (1850– visions did appear”: Shakespeare on Canvas. Gift of Mexican Retablos from Joseph and 1915), a first-generation American and On view through 3 June 2012, http:// Janet Shein. Through 23 September 2012; a principal in the prominent Brooklyn britishart.yale.edu/exhibitions/while- http://www6.miami.edu/lowe/exhibition_ stained-glass firm Heinigke and Bowen. these-visions-did-appear-shakespeare- saintlyblessings.html. In the 19th century, canvas. This selection of Shakespearian in and around what are today Mexico and GEORGIA subjects drawn from the Center’s New Mexico, imported devotional images Atlanta. High Museum of Art. American permanent collection of paintings, forms were in short supply. Locally painted Encounters:Thomas Cole and the Narrative part of Yale’s university-wide celebration retablos satisfied the growing demand. Landscape. 22 September 2012 – 6 of the works of William Shakespeare Introspection and Awakening: Japanese Art of January 2013; http://www.high.org/Art/ (1564–1616). the Edo and Meiji Period, 1615-1912. June Exhibitions/Thomas-Cole.aspx. Explores 23 – October 21, 2012; http://www6.miami. the birth of American New London. Lyman Allyn Art Museum. edu/lowe/exhibition_introspection.html. through the works of Thomas Cole The Rockets’ Red Glare – The War of 1812 in Features 225 mixed media works drawn and Asher B. Durand. In addition, the Connecticut: A Bicentennial Exhibit. July 6, from the permanent collection. installation includes an earlier painting 2012 through December 2012; http://www. by Pierre-Antoine Patel the Younger that lymanallyn.org/upcoming%20exhibitions. Fort Lauderdale. Museum of Art. All in inspired Cole’s work. html. Five museums and historical the Family: Paintings and Works on Paper by societies in southeastern Connecticut Members of the Glackens Family. Through Savannah. Telfair Museums, Jespson have joined together to collaborate 7 October 2012; http://www.moafl.org/ Center. Spanish Sojourns: on an exhibition to commemorate the exhibitions.html. Includes works by each and the Spirit of Spain. Fall 2013; http:// bicentennial of the War of 1812. of the artists in the Glackens family, with telfair.org/upcoming-exhibitions/spanish- a concentration of the art of William sojourns-robert-henri-and-the-spirit-of- DELAWARE Glackens. spain/. Spain held a particular fascination Wilmington. Delaware Art Museum. Tales for Henri, who was attracted to the of Folk and Fairies: The Life and Work of Jacksonville. The Cummer Museum of nation’s sunny climate, ancient culture, Katharine Pyle. Through 9 September Art & Gardens. Impressionism and Post and spirited citizens. He first visited Spain 2012; http://www.delart.org/exhibitions/ Impressionism from the High Museum of Art. in 1900, and returned six times between katharinepyle_folkfaires.html. Between Through 6 May 2012; http://www.cummer. 1906 and 1926. 1898 and 1934 Katharine Pyle (1863-1938), org/programs-events/calendar-of-events/ Howard Pyle’s youngest sibling, illustrated impressionism-and-post-impressionism- Columbus Museum. Annotations: George or wrote and illustrated over 50 books high-museum-art. Beyond Ukiyo-e: Japanese Cooke, Thomas Hope and the Lure of – almost all for children. A Secret Book Woodblock Prints and Their Influence on Antiquity. Through 22 July 2012; http:// Of Designs: The Burne-Jones Flower Book. Western Art. Through 9 August 2012; www.columbusmuseum.com/exhibitions/ Through 22 April 2012; http://www.delart. http://www.cummer.org/programs-events/ current.html. In 1828, the self-taught org/exhibitions/flowerbook.html. Between calendar-of-events/beyond-ukiyo-e- American painter George Cooke (1793- 1882 and 1898 Edward Burne-Jones japanese-woodblock-prints-and-their- 1849) copied engravings from noted (1833-1898) created a series of circular influence-west. antiquarian Thomas Hope’s Costume of images, each inspired by the name of the Ancients. This exhibition explores how a flower. In 1905 these were published Cooke might have used the costumes

24 Spring 2012 / AHNCA Newsletter and poses from Hope’s publication as Urbana-Champaign. Krannert Art exhibitions-overview.html. Highlights inspiration for his portraits of Native Museum and Kinkead Pavillion. Jerusalem the role that Mount Desert Island played Americans and of Henry Clay. Shape Shift: Saved! Inness and the Spiritual Landscape. in the cultural and economic survival Changes in Women’s Fashion Silhouettes, Through 13 May 2012; http://www. of Wabanakis (the collective name for 1850-1930. Opened in May 2011. kam.illinois.edu/exhibitions/current/ Maliseet, Micmac, Passamaquoddy, and Jerusalem.html. In 1880, a collapsing Penobscot Indians). ILLINOIS roof damaged a monumental painting Art Institute of Chicago. Beauty and the entitled The New Jerusalem by George Portland Museum of Art. Edgar Degas: Book: 19th- and Early 20th-Century Folios Inness. The artist cut its remnants into The Private Impressionist. Through 27 May on the Decorative Arts. Through 7 May separate paintings. Krannert Art Museum 2012; http://www.portlandmuseum.org/ 2012; http://www.artic.edu/aic/exhibitions/ exhibits its fragment, Evening Landscape, exhibitions-collections/current.shtml. exhibition/beautyandthebook. Fabric of with two from the Walters Art Museum Comprehensive exhibition devoted to a New Nation: American Needlework and in Baltimore, A Visionary Landscape and Edgar Degas’ works on paper. From Textiles, 1776–1840. Through 13 May The Valley of the Olives, to recompose Portland to Paris: Mildred Burrage’s Years 2012; http://www.artic.edu/aic/exhibitions/ The New Jerusalem. Walking in Paris: in France. 7 April–5 August 2012; http:// exhibition/newnation. Featuring over 45 Viewing the City and Its Denizens in the www.portlandmuseum.org/Content/6156. bedcovers, coverlets, needlework, printed 19th Century. 22 May–12 August 2012; shtml. Focuses on Portland-born artist handkerchiefs, and other household http://www.kam.illinois.edu/exhibitions/ Mildred Burrage (1890-1983), who as a textiles from the permanent collection. future/WalkingParis.html. A selection of young aspiring painter traveled in the Impressionism, Fashion, and Modernity. 30 paintings, prints and photographs that early 1900s to Giverny, France. This June–22 September 2013; http://www.artic. evoke the voyeuristic experience of the exhibition celebrates the formative years edu/aic/exhibitions/exhibition/fashion. flâneur; artists include Pierre Bonnard, (1909-1914) when she traveled abroad August-Louis Lepère, , and was introduced and exposed to Chicago. Smart Museum of Art. Awash Henri de Toulouse-Lautrec. modern European movements. The Draw in Color: French and Japanese Prints. 4 of the Normandy Coast (1860–1960). 14 October 2012–20 January 2013; http:// INDIANA June–2 September 2012; http://www. smartmuseum.uchicago.edu/exhibitions/ Indianapolis Museum of Art. Looking portlandmuseum.org/Content/5898.shtml. awash-in-color-french-and-japanese- West. Through 5 August 2012; http:// Spanning roughly 100 years (1860–1960), prints/. The rise of color printmaking www.imamuseum.org/exhibition/looking- this exhibition charts the coast’s artistic in France in the late nineteenth century west. Over the period 1870 to 1945 the significance and features more than 40 is often attributed to a fascination with American West became an increasingly European and American paintings and Japanese woodblock prints, which began popular sketching ground for eastern works on paper. Weatherbeaten: Winslow to circulate in great numbers after the artists. This exhibition will bring 51 Homer and Maine. 22 September–30 opening of Japan in 1854. But a closer prints, drawings and photographs to the December 2012; http://www. look at the history of color printmaking public, few of which have been shown portlandmuseum.org/about/homerstudio/ in these two cultures reveals that the before, including several never-displayed exhibition.php. To commemorate the story is not so simple. Parallel traditions works by the Pueblo Indians of New opening of the newly restored Winslow were flourishing in both France and Mexico. Homer Studio, the museum will showcase Japan well before 1854. And, when major oils and watercolors painted the two cultures met, the channels of IOWA during Homer’s tenure in the Studio, and technical and aesthetic influence flowed Dubuque Museum of Art. Grand Canyon introduce new perspectives on Homer’s in both directions, not merely from East and Venice: Two landscapes by Thomas life and work. to West. As the first major exhibition to Moran from a private collection. Through take account of these complexities, Awash 26 August 2012; http://www.dbqart.com/ Saco Museum. The Moving Panorama in Color explores the roles, functions, exhibitions.html. Two paintings by the Of Pilgrim’s Progress. 23 June–10 and technology of color in French and American landscape artist Thomas Moran November 2012; http://www.sacomuseum. Japanese prints. (1837-1926) that have been in a private org/mus_upcoming_exhibits_temp. collection and out of public view for over shtml?id=EFkuylZEZZdFIrWaki. Southern Illinois Art and Artisans Center 70 years are now on exhibit. Marking the completion of a major at Rend Lake. From Humble Beginnings: conservation project, this historic Lincoln’s Illinois, 1830-1861. Through MAINE panorama — created by Edward Harrison 22 July 2012; http://www.museum. Bar Harbor. Abbe Museum. Indians May (1824-1887) and Joseph Kyle (1815- state.il.us/ismsites/so-il/exhibitions. & Rusticators: Wabanakis and Summer 1863) in 1851, distemper on muslin, 8 html?ExhibitID=237. The Illinois Lincoln Visitors on Mount Desert Island 1840s-1920s. x 800 feet — will be on view in two called home as seen through objects and Through 29 December, 2012; http:// downtown locations. Live performances of stories of the people who lived here. www.abbemuseum.org/pages/exhibitions/ a full-scale, modern replica will recreate

Spring 2012 / AHNCA Newsletter 25 the historic experience of seeing a moving photographs taken of him by his peers. from the Musée d’Orsay, Paris—Renoir’s panorama in action, while the debut of a Whistler’s Bridge: Battersea Bridge in Dance in the City and Dance in the Country— web-based film animation will introduce the Art of Whistler. 1 February–13 April as part of our Visiting Masterpieces series. the panorama to a global audience. 2014; http://www.andover.edu/Museums/ Art of the White Mountains. 14 July 2012 – 7 Addison/Exhibitions/Upcoming/ July 2013; http://www.mfa.org/exhibitions/ MARYLAND WhistlersBridge/Pages/default.aspx. art-white-mountains. Examines the Baltimore. Walters Art Gallery. Near Co-organized by the Addison Gallery allure of the area for artists for over a Paris: The Watercolors of Léon Bonvin. of American Art, the Dulwich Picture century and a half through oil paintings, Until 20 May 2012; http://thewalters. Gallery, and the Freer and Sackler drawings, prints, watercolors, sketchbooks, org/eventscalendar/eventdetails. Galleries; will focus on the subject of photographs, and rare books. aspx?e=2491 Highly detailed and original, Old Battersea Bridge as James McNeill Léon Bonvin’s watercolors of flowers, Whistler interpreted it in a pivotal group Worcester Art Museum. In Search of Julien landscapes and moon lit scenes represent of prints, drawings, and paintings from Hudson: Free Artist of Color in Pre-Civil War a distinctive contribution to the realist the late 1850s to the late 1870s. New Orleans. Through 27 May 2012, http:// movement in mid-19th century France. www.worcesterart.org/Exhibitions/julien- Bonvin’s luminous paintings reflect Boston. Museum of Fine Arts. Silver, hudson/. The first retrospective of Julien the humble surroundings accessible to Salt, and Sunlight: Early Photography in Hudson (1811−1844), the second-earliest the artist, a self-taught innkeeper on Britain and France. Through 5 August documented painter of African descent the outskirts of Paris. Museum founder 2012; http://www.mfa.org/exhibitions/ in the US and the first securely known William Walters acquired an outstanding silver-salt-and-sunlight. Manet in Black. native Louisiana artist.Hokusai’s Golden collection of Bonvin’s work following the Through 28 October 2012; http:// Decade: Views of Waterfalls and Mount Fuji artist’s tragic suicide in 1866. www.mfa.org/exhibitions/manet-black. from the 1830s. 1May – 30 November 2012; Edouard Manet’s friend, the poet Charles http://www.worcesterart.org/ Baudelaire, described black as the color Amherst. Mead Art Museum. Exotic of the nineteenth century; Manet was a MICHIGAN Muses: Dancers By Robert Henri And Nick master in the use of black. This exhibition Detroit Institute of Art. Fabergé: Designing Cave. Through 2 July, 2012; https:// celebrates Manet’s brilliant achievements Luxury. 14 October 2012–20 January www.amherst.edu/museums/mead/ as a graphic artist. Kawanabe Kyōsai and 2013; http://www.dia.org/calendar/ programs/2012/exoticmuses. Separated the Hell Courtesan. Through 17 June, exhibition.aspx?id=3158&iid. More than by a century, painter Robert Henri (1865– 2012; http://www.mfa.org/exhibitions/ 200 precious objects from the Virginia 1929) and sculptor and performance artist kawanabe-kyōsai-and-hell-courtesan. Museum of Fine Arts tracing the career of Nick Cave (b. 1959) share a commitment The first exhibition in the renovated Peter Carl Fabergé (1846-1920). to the human figure. This installation Japanese Print gallery focuses on a recent explores the artists’ representations acquisition, a monumental hanging University of Michigan Museum of of dancers as alluring, and unsettling, scroll of the Hell Courtesan by Kawanabe Art. Benjamin West: General Wolfe and personifications of difference. Days of Kyōsai (1831–1889). Passion and Precision the Art of Empire. 22 September 2012–13 Their Lives? Fact and Fiction in 19th-century in the Age of Revolution. Through 13 May, January 2013; http://www.umma.umich. Genre Painting. Through 3 July 2012; 2012; http://www.mfa.org/exhibitions/ edu/view/future.html. Benjamin West’s https://www.amherst.edu/museums/mead/ passion-and-precision-age-revolution. iconic painting The Death of General Wolfe programs/2012/daysoftheirlives. A New European art of the late eighteenth and (1776) became one of the most celebrated Blake for Amherst. Through 1 June 2012; early nineteenth centuries, featuring paintings in Britain; the artist went https://www.amherst.edu/museums/mead/ about forty-five works by artists including on to produce six versions. Through programs/2012/blake. Celebrates a recent Ingres, Delacroix, Desprez, Prud’hon, approximately 40 works from Michigan, gift to Amherst from Dr. Henry deForest Turner, Blake, Gericault, Girodet, Canadian, and British collections, this Webster, Class of 1948: The Raising of Flaxman, and Schinkel. The Allure of ambitious exhibition explores West’s Jairus’s Daughter (ca.1799-1800), a tempera Japan. Through 31 December 2012; http:// paintings in the context of other painting by William Blake (1757-1827). www.mfa.org/exhibitions/allure-japan. A depictions of James Wolfe and his death fascination for all things Japanese swept on the battlefield. Andover. Addison Gallery of American the United States in the period around Art. Making a Presence: F. Holland 1900; a rich display of rarely exhibited MINNESOTA Day in Artistic Photography. Through American prints, posters, watercolors, and Minneapolis Institute of Art. L’Estampe 31 July 2012; http://www.andover. decorative arts celebrates this cultural originale: A Celebrated Album of Original edu/Museums/Addison/Exhibitions/ moment. Dancing with Renoir. 26 May Printmaking, 1893-95. Through 9 Upcoming/FHollandDay/Pages/default. through 3 September 2012; http://www. December 2012; http://www.artsmia.org/ aspx. Explores the multifaceted persona mfa.org/exhibitions/dancing-renoir. The index.php?section_id=2&exh_id=4413. that Day created in his own art and in MFA welcomes two monumental loans Of the numerous attempts by artists,

26 Spring 2012 / AHNCA Newsletter critics, and publishers to revitalize NEBRASKA NEW YORK original printmaking, the lavishly Lincoln. Great Plains Art Museum. Albany Institute of History and Art. St. produced series L’Estampe originale was Confrontations and Conciliatory Acts. Opens Peter’s Church in Albany. Through 29 among the most successful. Between 28 February, 2012; http://www.unl.edu/ April 2012; http://www.albanyinstitute. 1893 and 1895, publisher André Marty plains/gallery/exhibitions.shtml. Works org/z-%20AIHA%20website/4-Exhibitions/ commissioned 95 limited-edition prints from the permanent collection, museum, exhibitions.main.htm. The church’s first in a range of mediums by both prominent and private loans illustrating the history building, a gambrel-roofed, masonry and lesser known artists and illustrators. of United States and Sioux Nation conflict. structure, was built in 1715-1717; in 1802 This exhibition will coincide with the 38th Phillip Hooker designed a new Federal MISSOURI Interdisciplinary Symposium 1862-2012: Style church, which Richard Upjohn Kansas City. Nelson-Atkins Museum of The Making of the Great Plains. replaced in 1860. His son, Richard M. Art. Inventing the Modern World: Decorative Upjohn added the bell tower in 1876. The Arts at the World’s Fairs, 1851–1939. 14 NEW JERSEY interiors include windows designed by April–19 August 2012; http://www.nelson- Newark Museum. Angels and Tomboys: Edward C. Burne-Jones and fabricated by atkins.org/art/exhibitions/WorldsFairs/. Girlhood in 19th-Century American Art. the William Morris Company of London The first comprehensive exhibition to Opens September 2012; http://www. in 1880; the chancel windows made by explore decorative arts made for world’s newarkmuseum.org/angelsandtomboys. Clayton and Bell of London in 1885; and fairs. Rodin: Sculptures from the Iris and B. html. A major traveling loan exhibition, the rose window over the State Street Gerald Cantor Foundation. Through 3 June which is the first to examine nineteenth- entrance made by the Tiffany Company 2012; http://www.nelson-atkins.org/art/ century depictions of girls in paintings, in 1892. exhibitions/rodin/. Brings together more sculpture, prints and photographs. than 40 bronze sculptures by Rodin from Featuring approximately 80 masterworks Cooperstown. Fenimore Art Museum. the Iris and B. Gerald Cantor Foundation, by John Singer Sargent, Thomas Eakins, Between the States: Photographs from the which aims to promote understanding Winslow Homer, Cecilia Beaux and American Civil War. 1 April–13 May and appreciation of the artist’s William Merritt Chase. 2012; http://www.fenimoreartmuseum. achievements. Timothy H. O’Sullivan: org/node/2199. : The King Survey Photographs. 7 April – 2 Princeton University Art Museum. Paintings of Light and Life. 26 May– September 2012; http://www.nelson-atkins. Princeton and the Gothic Revival: 1870-1930. 16 September, 2012; http://www. org/art/Exhibitions.cfm?id=139. In Through 24 June 2012; http://artmuseum. fenimoreartmuseum.org/node/2198. On four seasons with King’s group—1867, princeton.edu/events/GothicRevival/. the Home Front: New York in the Civil War. 1869 and 1872—O’Sullivan created a This exhibition explores the Gothic 8 September–31 December 2012; http:// diverse body of photographs. Of all the Revival movement in architecture and www.fenimoreartmuseum.org/node/2207. photographers who accompanied the design across America at the end of the Western surveys of this era, O’Sullivan nineteenth century, using Princeton’s New York City. The Asia Society. Princes remains the most admired, studied and campus as a case study and launching and Painters in Mughal Delhi 1707-1857. debated. point. John Constable: Oil Sketches from Through 6 May 2012; http://asiasociety. the Victoria and Albert Museum. March 17, org/arts/asia-society-museum/current- Saint Louis Art Museum. Restoring an 2012–June 10, 2012. John Constable: Oil exhibitions/princes-and-painters-mughal- American Treasure: The Panorama of the Sketches from the Victoria and Albert Museum. delhi-1707-1857. focuses on the 18th Monumental Grandeur of the Mississippi Through 10 June 2012; http://artmuseum. century to the mid-19th century, the Valley. 8 June–3 September 2012; http:// princeton.edu/events/John%20Constable/. crucial period when Delhi moved from www.slam.org/Exhibitions/panorama. Presents a thoughtful look at one of the being the heart of the late Mughal Empire php. This summer, the Saint Louis greatest landscape artists of all time. to becoming the jewel in the crown of the Art Museum will resume an ambitious British Raj. conservation project to save a historic NEW MEXICO treasure of local significance, the only Albuquerque Museum of Art & History. New York City. The Brooklyn Museum. surviving panorama of the Mississippi Goya’s “Los Caprichos” and Social Satire. Aesthetic Ambitions: Edward Lycett and River, painted by John J. Egan in 1850. Through 13 May 2012; http://www.cabq. Brooklyn’s Faience Manufacturing Company. Working in the Main Exhibition Galleries, gov/museum/thismonth.html. Features 3 May 2012 – 16 June 2013; http:// a team of conservators will complete the an early first edition of “Los Caprichos,” www.brooklynmuseum.org/exhibitions/ restoration of the 348-foot-long painting, a set of eighty etchings by Spanish artist aesthetic_ambitions/. Highlights the again offering a unique, behind-the- Francisco de Goya y Lucientes published nearly fifty-year career of ceramicist scenes visitor experience. in 1799. Included in the exhibition for Edward Lycett (American, 1833–1910), comparison are other works by Goya. creative director of the Faience Manufacturing Co. from 1884 to 1890.

Spring 2012 / AHNCA Newsletter 27 New York City. The Frick Collection. early twentieth century, a period of great 100 years—from Napoleon’s campaigns Renoir, Impressionism, and Full-Length contact between Native Americans and from 1798-1801 to the opening of King Painting. Through 13 May 2012; http:// outsiders of all sorts, from traders to Tut’s tomb in 1922. www.frick.org/exhibitions/renoir/index. missionaries to the U.S. army. htm. Nine iconic Impressionist paintings NORTH CAROLINA by Pierre-Auguste Renoir, offering New York City. The Museum of Biblical Chapel Hill. Ackland Art Museum. the first comprehensive study of the Art. Louis C. Tiffany and the Art of Natalia Goncharova’s Mystical Images of artist’s engagement with the full-length Devotion.12 October 2012–20 January War (1914). 26 October 2012 - 6 January format, which was associated with the 2013; http://mobia.org/exhibitions/tiffany_ 2013; http://www.ackland.org/OnView/ official Paris Salon in the decade that art-of-devotion#slideshow1. Considers the upcoming/CCM3_035596. A powerful saw the emergence of a fully fledged breadth and depth of the firm’s oeuvre, portfolio of 14 lithographs by one of the Impressionist aesthetic. and the place Tiffany Studios created for seminal figures in the Russian avant- itself in American religious art. garde, published in Moscow just after the New York City. The Jewish Museum. outbreak of the First World War. Edouard Vuillard: A Painter and His New York City. The New-York Historical Muses, 1890-1940. 4 May–23 September Society. Making American Taste: Narrative Raleigh. North Carolina Museum of 2012; http://www.thejewishmuseum.org/ Art for a New Democracy. Through Art. Edvard Munch: Symbolism in Print. 23 exhibitions/vuillard. Focuses on the 21 October 2012 (exhibition will be September 2012–10 February 2013; http:// context of inspiration provided by those temporarily closed from 29 April–4 May); ncartmuseum.org/exhibitions/edvard_ friends and patrons whose support is http://www.nyhistory.org/exhibitions/ munch_symbolism_in_print/. Examines inseparable from the artist’s achievement. making-american-taste. Features fifty- the major themes in Munch’s lithographs five works from the New-York Historical and woodcuts. New York City. The Metropolitan Society’s collection that cast new light Museum of Art. Victorian Electrotypes: Old on both the history of American art OHIO Treasures, New Technology. Through 22 and the formation of American cultural Cincinnati Art Museum. Monet in Giverny: April 2012; http://www.metmuseum.org/ ideals during a crucial period from Landscapes of Reflection. Through 13 May exhibitions/listings/2011/electrotypes. For the 1830s to the late 1860s. John Rogers: 13, 2012; http://www.cincinnatiartmuseum. the first time in nearly a century, The American Stories. 19 October 2012–17 org/explore/exhibitions/current- Metropolitan Museum of Art is displaying February 2013; http://www.nyhistory.org/ exhibitions/1-the-exhibitions/66-monet- a selection from its large collection of node/567. John Rogers (1829–1904) was in-giverny-landscapes-of-reflection. electrotypes, the metalwork reproductions unquestionably the most popular sculptor Taking reflection as a literal motif as that were among the first European of the 19th century. In his lifetime he sold well as a metaphor for both Monet’s decorative arts purchased by the Museum over 80,000 works and earned the epithet experimentation and our own thoughtful in the 1870s and 1880s. Duncan Phyfe: “the people’s sculptor.” viewing of his painting, this exhibition Master Cabinetmaker in New York. Through brings together twelve masterpieces to 6 May 2012; http://www.metmuseum.org/ Rochester. Memorial Art Gallery. In look anew at the range of Monet’s output exhibitions/listings/2011/duncan-phyfe- Company with Angels: Seven Rediscovered in Giverny.Henry Ossawa Tanner: Modern master-cabinetmaker-in-new-york. This Tiffany Windows. 26 August–28 October Spirit. 26 May–9 September 2012; http:// exhibition—the first retrospective on 2012; http://mag.rochester.edu/exhibitions/ www.cincinnatiartmuseum.org/explore/ Duncan Phyfe (1770–1854) in ninety tiffany-angels/. Removed from an Ohio exhibitions/upcoming-exhibitions/1-the- years—serves to re-introduce this artistic church in 1964 and subsequently stored exhibitions/357-henry-ossawa-tanner- and influential master cabinetmaker to a in parishioners’ garages, basements and modern-spirit. Follows Tanner’s personal contemporary audience. The Steins Collect: sheds, these magnificent Tiffany windows journey to explore his work from many Matisse, Picasso, and the Parisian Avant- have been professionally restored and will facets: the impact of his upbringing and Garde. Through 3 June 2012; http://www. be on view for the first time in nearly five education as a young African American metmuseum.org/exhibitions/listings/2012/ decades. in Philadelphia in the years after the steins-collect. Demonstrates the Civil War; his success as an American significant impact the Steins’ patronage Utica. Munson-Williams-Proctor Arts expatriate artist at the turn of the 20th had on the artists of their day and the Institute Museum of Art. Shadow of the century; Tanner’s role as a leader of way in which the family disseminated Sphinx: Ancient Egypt and Its Influence. an artist’s colony in rural France; and a new standard of taste for modern art. 17 June–25 November 2012; http://www. his contributions in aid of American The Coe Collection of American Indian Art. mwpai.org/museum-of-art/museum- servicemen to the efforts of the Red Cross Through 14 October 2012; http://www. of-art-calendar/shadow-of-the-sphinx/. during WWI. metmuseum.org/exhibitions/listings/2011/ Examines the varied and tremendous coe-collection. The major part of the inspiration Egyptian artifacts have had Cleveland Museum of Art. Mary Cassatt collection dates from the nineteenth to on fine and decorative arts for more than and the Feminine Ideal in 19th-Century Paris.

28 Spring 2012 / AHNCA Newsletter 14 October 2012–20 January 2013; http:// van Gogh left Antwerp for Paris in 1886 Memphian Elisabeth Searcy (1877- www.clevelandart.org/visit/Exhibitions. and continued until his death in Auvers in 1965) had her first professional showing aspx. Juxtaposes the museum’s strong 1890. Gauguin, Cézanne, Matisse: Visions of at Goupil’s Gallery in New York in holdings of works on paper by Mary Arcadia. 20 June–3 September 2012; http:// 1917. Joseph Pennell (1866-1926), an Cassatt with images of women by her www.philamuseum.org/exhibitions/753. established artist and illustrator, was contemporaries such as Edgar Degas, html. Explores the theme of Arcadia in influential in her stylistic development. Camille Pissarro, , three French paintings of the early 1900s: The Brilliance of Tiffany: Lamps from the Auguste Renoir, James Tissot, and Henri Paul Gauguin’s Where Do We Come From? Neustadt Collection. 12 October 2012–13 de Toulouse-Lautrec. What Are We? Where Are We Going? (1898), January 2013; http://www.brooksmuseum. Paul Cézanne’s The Large Bathers (1906), org/upcomingexhibitions?edl=all. Columbus Museum of Art. Monet to and Henri Matisse’s Bathers by a River Explores how Tiffany adapted his works Matisse: Celebrating the 20th Anniversary (1909-17). Placed on view together, in a to meet changing lighting technologies of the Sirak Collection. Through 13 May dialogue of sorts, these three masterpieces while striving to balance luxury with 2012; http://www.columbusmuseum.org/ take visitors to the very foundations of affordability. The show includes period exhibitions/. When acquired in 1991, modern art. Shipwreck! Winslow Homer and workroom photographs, tools, and The Howard C. and Babette L. Sirak The Life Line. 22 September–16 December materials. Collection of the Columbus Museum of 2012; http://www.philamuseum.org/ Art was saluted in ARTnews as one of exhibitions/749.html. Winslow Homer’s Nashville. Frist Center for the Visual Arts. the finest private collections in the world. masterpiece The Life Line (1884) is the Constable: Oil Sketches from the Victoria and CMA celebrates the 20th anniversary of center of an exhibition about the making Albert Museum. 22 June–30 September this watershed moment in the Museum’s and meaning of an iconic American image 2012; http://fristcenter.org/calendar- history with a special exhibition of the of rescue. exhibitions/detail/constable-oil-sketches- entire collection. from-the-victoria-and-albert-museum. Pittsburgh. Carnegie Museum of Art. Centers on two major works by John Toledo Museum of ArtManet: Portraying Impressionism in a New Light: From Monet to Constable in the collection of the Victoria Life. 5 October 2012—1 January 2013; Stieglitz. 12 May 12–26 August 2012; http:// and Albert Museum, the full-size oil http://www.toledomuseum.org/exhibitions/ web.cmoa.org/?page_id=4093. Features sketches for The Hay Wain and The Leaping upcoming This exhibition is organized by more than 150 works by many of the most Horse. These will be displayed with a the Royal Academy of Arts, London and important artists of the late 19th and group of the artist’s small oil sketches and the Toledo Museum of Art, Ohio. The early 20th centuries, including Cassatt, supplemented by an exquisite series of his showing in Toledo will be the exhibition’s Cézanne, Degas, Gauguin, Van Gogh, watercolors and drawings. only U.S. venue. Monet, Pissarro, Renoir, and Seurat, and examines the visual dialogue between TEXAS PENNSYLVANIA Impressionism and the Pictorialist Austin. Blanton Museum of Art. American Philadelphia. The Pennsylvania Academy movement in photography, intermixing Scenery: Different Views in Hudson River of the Fine Arts. A New Look: Samuel F. B. photographs by Demachy, Käsebier, School Painting. Through 13 May 2012; Morse’s Gallery of the Louvre. August 2012 - Stieglitz, Steichen, White, and others. http://blantonmuseum.org//exhibitions/ April 2013; http://www.pafa.org/Museum/ Inventing the Modern World: Decorative details/american_scenery_different_views_ Exhibitions/Upcoming-Exhibitions/A- Arts at the World’s Fairs, 1851–1939. 13 in_hudson_river_school_painting/. The New-Look-Samuel-F-B-Morse-s-Gallery- October 2012–24 February 2013; http:// first exhibition to explore the Hudson of-the-Louvre/1156/. While the Morse web.cmoa.org/?page_id=4275. Explores River School’s practice of creating pairs, painting will be on one side of the gallery innovation in decorative arts, showcasing series, and groupings of thematically with objects that help provide a broader approximately 200 examples of furniture, related works that were intended to be context for the themes of artistic practice metalwork, glass, ceramics, textiles, and seen together. and identity, the other half of the gallery jewelry representing the pinnacle of will be hung salon-style with paintings scientific and artistic achievements of Dallas. Dallas Museum of Art. Posters from PAFA’s collection that highlight their time. of Paris: Toulouse-Lautrec and His the four academic genres taught and Contemporaries. 14 October 14–20 January exhibited at PAFA in the first half of the TENNESSEE 2013; http://www.dm-art.org/View/ 19th century. Memphis Brooks Museum of FutureExhibitions/dma_442782. Explores Art. Architectural Perspectives: The the earliest days of the affiche artistique Philadelphia Museum of Art. Van Gogh Etchings of Elisabeth Searcy and and its flowering in Paris, first under Up Close. Through 6 May 2012; http:// Joseph Pennell. Through 15 July; Chéret in the 1870s and 1880s, and then www.philamuseum.org/exhibitions/743. http://www.brooksmuseum.org/ with a new generation of artists including html. Focuses on the period of feverish currentexhibitions?edl=all. Trained at Henri de Toulouse-Lautrec, Pierre artistic experimentation that began when the Art Students League in New York, Bonnard, and Edouard Vuillard.

Spring 2012 / AHNCA Newsletter 29 Fort Worth. Kimbell Art Museum. The WEST VIRGINIA brilliantly imagines Buddha’s disciples at Age of Impressionism: Great French Paintings Huntington Museum of Art. American work in the world. from the Clark. Through 17 June 2012; Impressionism. 26 May 2012 –7 April http://impressionism.kimbellart.org/. 2013; http://www.hmoa.org/exhibitions/ National Gallery of Art. A New Look: upcoming/. Presents works by American Samuel F. B. Morse’s Gallery of the Louvre. Houston. Museum of Fine Arts. Impressionists including , Through 8 July 2012; http://www.nga. Egyptomania. Through 29 July 2012; http:// J. Alden Weir, Willard L. Metcalf, John gov/exhibitions/morseinfo.shtm. One of www.mfah.org/exhibitions/egyptomania/. H. Twachtman, John Singer Sargent, Morse’s most important works is on loan Explores the Egyptian Revivals of the Frank Benson, Edward Willis Redfield, W. from the Terra Foundation for American 18th, 19th, and early 20th centuries Elmer Schofield, Arthur Meltzer. Art—the newly conserved Gallery of the Duncan Phyfe, Master Cabinetmaker in New Louvre (1831–1833). Picasso’s Drawings, York. 24 June – 9 September 2012; http:// WISCONSIN 1890–1921: Reinventing Tradition. www.mfah.org/exhibitions/duncan-phyfe- Milwaukee Art Museum. Face Jugs: Art Through 6 May 2012; http://www.nga. master-cabinetmaker-new-york/ and Ritual in 19th-Century South Carolina. gov/exhibitions/picassodrawingsinfo. This exhibition will showcase Phyfe’s 26 April–5 August 2012; http://mam.org/ shtm.George Bellows. 10 June–8 October distinguished career. exhibitions/details/face-jugs.php. “Face 2012; http://www.nga.gov/exhibitions/ jug” is a term coined by decorative arts bellowsinfo.shtm. The first comprehensive VERMONT historians to refer to an African American exhibition of Bellows’ career in more than Shelburne Museum. Something Old, pottery type created in the second half three decades. Something New: Continuity And Change of the nineteenth century, in the midst In American Fine Furnishings From 1700 of slavery, in the Edgefield District of National Museum of Women in the Arts. – 1820. 13 May–30 October 2012; http:// South Carolina. The Posters of Paris: Royalists to Romantics: Women Artists from shelburnemuseum.org/exhibitions/ Toulouse-Lautrec and His Contemporaries. 1 the Louvre, Versailles, and Other French something-old-something-new-continuity- June—9 September 2012; http://mam.org/ National Collections. Through 29 July and-change-in-american-fine-furnishings- exhibitions/details/posters-of-paris.php 2012; http://nmwa.org/exhibition/detail. from-1700-–-1820/. Posters of Paris examines the story of the asp?exhibitid=221. French artistic poster in all its complexity. VIRGINIA In addition to the posters themselves, National Museum of American History. Williamsburg. Abby Aldrich Rockefeller this exhibition features rare preparatory Slavery at Jefferson’s Monticello: Paradox of Folk Art Museum. The Old Plantation: The drawings and watercolors, maquettes, and Liberty. Through 14 October 2012; http:// Artist Revealed. Through February 2013; proofs to show how the artist went from www.slaveryatmonticello.org/. Explores http://www.history.org/history/museums/ idea to final execution. The show will slavery and enslaved people in America abby_art_current.cfm. explores one of the highlight work and artists well known to through the lens of Jefferson’s Monticello great treasures of the Folk Art Museum, the public—Toulouse-Lautrec, Bonnard, plantation. a watercolor known as The Old Plantation. Cassandre—as well as artists less familiar, Art in Clay: Masterworks of North Carolina but equally as powerful in their impact on The Phillips Collection. Snapshot: Earthenware. Through 29 July 2012; http:// the affiche artistique in fin-de-siècle Paris. Painters and Photography, Bonnard to www.history.org/history/museums/abby_ Vuillard. Through 6 May 2012; http:// art_current.cfm. This loan exhibition WASHINGTON, D.C. www.phillipscollection.org/exhibitions/ features dazzling slip-decorated wares Freer|Sackler: The Smithsonian’s snapshot/index.aspx. This exhibition and richly glazed sculptural bottles made Museusms of Asian Art. Sweet Silent debuts many previously unpublished between 1755 and 1850. Thought: Whistler’s Interiors. Through photographs taken by painters including Summer 2012; http://www.asia.si.edu/ Pierre Bonnard, Felix Vallotton, and WASHINGTON exhibitions/current/sweetSilentThought. Edouard Vuillard with the hand-held Seattle Art Museum. Gauguin and asp. Hokusai.Through July 29, 2012; Kodak during the 1890s. Polynesia: An Elusive Paradise. Through 29 http://www.asia.si.edu/exhibitions/future. April 2012; http://www.seattleartmuseum. asp. September 24, 2011–January 29, Smithsonian American Art Museum. The org/exhibit/exhibitDetail. 2012. Masters Of Mercy: Buddha’s Amazing Civil War and American Art. 16 November asp?eventID=20873. Through a balanced Disciples. Through 8 July 2012; http:// 2012–28 April 2013; http://americanart. contextual analysis of Polynesian art www.asia.si.edu/exhibitions/future.asp. si.edu/exhibitions/archive/2012/art_civil_ alongside Gauguin’s works, this exhibition Selections from Kazunobu’s 100-painting war/. Includes approximately 60 paintings brings Polynesian arts and culture into series created between 1854 and 1863 as well as vintage photographs; Winslow the center of Gauguin studies. for the important Pure Land Buddhist Homer, Eastman Johnson, Frederic temple Zjji, located in the heart of Edo. Church, and Sanford Gifford—four of Little-known and never before displayed America’s finest artists of the era—anchor outside Japan, Kazunobu’s epic series the exhibition.

30 Spring 2012 / AHNCA Newsletter international exhibitions

Australia Vienna. Österreichische Galerie Belvedere. Canada Brisbane. Queensland Art Gallery. Carl Schuch. June 26–Oct. 14. Orient and Halifax. Art Gallery of Nova Scotia. Modern Woman: Daughters and Lovers Occident. Austrian Painters on the Road. June Reinvention: The Art and Life of HM 1850–1918. Drawings from the Musée d’Orsay, 29–Oct. 14. Masterpieces in Focus: 150 Years Rosenberg. Through June 10 Paris. March 24–June 24. Portrait of Spain: of Gustav Klimt. July 7, 2012–Jan, 6. 2013 Masterpieces from the Prado. July 21–Nov. 4 Québec. Musée national des beaux-arts. Vienna. Österreichisches Museum Fashion and Appearance in Quebec Art, 1880– Canberra. National Gallery of Australia. für Angewandte Kunst. Gustav Klimt: 1945. Through May 6 Eugene von Guérard. Nature Revealed. April Expectancy and Fulfillment. Designs for the 27–July 15. Long. The Spirit of the Mosaic Frieze in the Palais Stoclet. Through Ottawa. National Gallery of Canada. Land. Aug. 17–Nov. 11 July 15 J.E.H. MacDonald: Graphic Designer. May 2– Aug. 31. Van Gogh: Up Close. May 25–Sept. Canberra. National Portrait Gallery. Vienna. Wien Museum. Klimt. Works from 3. In collaboration with the Philadelphia Elegance in Exile. The Work of Richard the Collection. May 16–Sept. 16 Museum of Art Read, Sr., , Thomas Griffiths Wainewright, and Charles Rodius. June 1– Belgium Toronto. Art Gallery of Ontario. Songs of Aug. 26 Antwerp. Koningin Fabiolazaal. Modernism. the Future: Canadian Industrial Photographs, Art from the Netherlands. Through Aug. 19. 1858 to Today. Through June 3. Picasso: Melbourne. National Gallery of Victoria. Organized by the Koninklijk Museum Masterpieces from the Musée National Picasso, Napoleon: Revolution to Empire. June 2–Oct. voor Schone Kunsten, Antwerp Paris. May 1–Aug. 26 7. In collaboration with the Fondation Napoléon, Paris Brussels. Musées Royaux des Beaux-Arts Toronto. Royal Ontario Museum. Sitting de Belgique. Gustave Courbet and Belgium. Still: Faces of Childhood. Works from the Sydney. Art Gallery of . Realism from ‘L’art vivant’ to ‘L’art libre’. Sept. museum’s collection of nineteenth-century Australian Symbolism. The Art of Dreams. May 11, 2012–Jan. 6, 2013 Canadian art. Through Spring 2012 11–July 29 Ghent. Museum voor Schone Kunsten. Czech Republic Austria Ford Madox Brown. Pre-Raphaelite Pioneer. Prague. National Gallery. Jakub Salzburg. Residenzgalerie. A Fascination In collaboration with the Manchester City Schikaneder. March 9–Sept. 16 with Egypt. The Imaginary Journey of Norbert Art Gallery. Through June 3 Bittner (1786–1851). May 4–July 1. In Denmark collaboration with the Kupferstichkabinett Ixelles. Musée d’Ixelles. The Belle Époque Copenhagen. Hirschsprung Collection. der Akademie der bildenden Künste, of Jules Cheret—From Posters to Decor. Masterpieces from the Skagens Museum. May Vienna. Continues at the Winckelmann- Through May 20. Organized by Les Arts 4–Sept. 3 Museum, Stendal, July 7–Oct. 16 Decoratifs, Paris. Continues at the Musée Toulouse-Lautrec, Albi, Sept.–Dec. 2012 Copenhagen. Statens Museum for Kunst. Salzburg. Salzburg Museum | Kunsthalle. Hammershøi and Europe. A Danish Artist The Hohe Tauer. Art and Alpine History. July Leuven. Museum Leuven. From before circa 1900. Feb. 4–May 20. Continues at 17, 2012–Jan. 20, 2013 Teniers to after Van Gogh. Works from the Noord the Kunsthalle der Hypo-Kulturstiftung, Brabantse Museum. March 22–Aug. 26 Munich, June 15–Sept. 16 Vienna. Albertina. Impressionism. Pastels, Watercolors, and Drawings. Through May 13. Namur. Musée Félicien Rops. William Copenhagen. Thorvaldsen Museum. Gustav Klimt. Drawings. March 14–June 10. Degouve de Nuncques, Master of Mystery. Napoleon, Alexander the Great, and From Monet to Picasso. The Batliner Collection. Through May 6. Continues at the Kröller- Thorvaldsen. March 22–Aug. 26 March 14–Dec. 31 Müller Museum, Otterlo, May 27–Sept. 2 Skagen. Skagens Museum. Krøyer in Vienna. Kunsthistorisches Museum. Tournai. Musée des Beaux-Arts. 101 International Perspective. May 4–Sept. 2. Gustav Klimt in the Kunsthistorisches Museum. Masterpieces from Manet to Dürer. Through In collaboration with the Hirschsprung Through May 6 June 11 Collection, Copenhagen

Vienna. Leopold Museum. The Private Klimt. Brazil England Pictures – Letters – Insights. Through Aug. 27 Rio de Janeiro. Museu Nacional de Belas Bath. Holburne Museum. Art of Artes. Columbano Bordalo Pinheiro. Sept. 1– Arrangement: Photography and the Nov. 30 Tradition. Feb. 11–May 7. Works from the

Spring 2012 / AHNCA Newsletter 31 Birmingham. Barber Institute of Fine Arts. London. Royal Academy of Arts. A Taste Le Cateau-Cambrésis. Musée Matisse. Pugin, Dürer, and the Gothic. Through June 24 for Impressionism. Paintings from the Clark. From Seurat to Matisse. Henri-Edmond Cross July 7–Sept. 23. Continues at the Musée and Neo-Impressionism. Through June 10 Bournemouth. Russell-Cotes Art Gallery des Beaux-Arts, Montreal, Oct. 12, 2012– & Museum. Picture in Focus: Frederic, Lord Jan. 20, 2013 Compiègne. Château de Compiègne. Louis Leighton’s ‘Clytie.’ Through June 11 II of Bavaria (1845–1886). April 13–July 23 London. Tate Britain. Romantics. Through Bowness-on-Windermere. Blackwell, The June 3. Pre-Raphaelites: Victorian Avant- Giverny. Musée des Impressionnismes. Arts & Crafts House. From Rossetti to Voysey: Garde. Sept. 12, 2012–Jan. 13, 2013 Maurice Denis: The Eternal Spring. April Arts & Crafts Stamped Book Cover Design. 1−July 15. French Drawings and Watercolors May 10–July 15 Margate. Turner Contemporary. Rodin’s from Delacroix to Signac: The James T. Dyke ‘The Kiss.’ Through Sept. 2. Turner and the Collection. July 27–Oct. 31 Bradford. Cartwright Hall. A Rural Elements. Through May 13 Idyll: 19th-Century Depictions of the Country Lyon. Musée des Beaux-Arts. Auguste Landscape. March 24–Sept. 16 Newcastle upon Tyne. Laing Art Gallery. Morisot (1857–1951). Art Nouveau Stained Victorian Artists in Newcastle. Feb. 11–May 6. Glass. June 23–Sept. 24 Brighton. Royal Pavilion. Charlotte, the Family Matters: The Family in British Art. May Forgotten Princess. The short life and tragic 19–Sept. 2 Paris. Galeries Nationales du Grand death of Princess Charlotte Augusta of Palais. Animal Beauty: from Dürer to Jeff Wales (1796–1817). March 10, 2012– Norwich. Sainsbury Centre for Visual Koons. March 21–July 16 March 10, 2013 Arts. The First Moderns: Art Nouveau, from Nature to Abstraction. Feb. 4–Dec. 2 Paris. Maison Européenne de la Cambridge. Fitzwilliam Museum. Designed Photographie. Photographers from the Circle to Impress: Highlights from the Print Collection. Port Sunlight. Lady Lever Art Gallery. of Le Gray. April 3–June 17 April 3–Oct. 7 An Age of Confidence: Photographs by Bedford Lemere & Co. Architectural photography Paris. Musée Carnavalet. Eugène Atget. Compton. Watts Gallery. G.F. Watts: 1870–1930. Through May 7 Paris. April 25–July 29 The Hall of Fame. Portraits of Watts’ contemporaries. Through June 3. Dickens Sudbury. Gainsborough’s House. Home Paris. Musée Cernuschi. Dreams in Lacquer. and the Artists. June 19–Oct. 28 and Abroad: Drawings and Watercolours from The Japan of Shibata Zeshin. April 16–July a Private Collection 1700–1840. June 30– 15. In collaboration with the Catherine Grasmere. Wordsworth Museum. Pen, Sept. 29 and Thomas Edson Collection, San Paint and Pixels. Touring the English Lakes Antonio Museum of Art across 250 Years. May 4, 2012–Jan. 6, 2013 Warwickshire. Compton Verney. Into the Light: French and British Painting from Paris. Musée d’art et d’histoire du Kendal. Abbot Hall Art Gallery. Ruskin: Impressionism to the Early 1920s. Through Judaïsme. Jews in Orientalist Art. March ‘All great art is delicate’. April 24–June 30. June 10. Organized by the Royal Albert 7–July 8 Abbot Hall at Fifty. Works from the Collection. Memorial Museum and Art Gallery, Exeter April 27–June 9 Paris. Musée de l’Orangerie. Claude Finland Debussy. Music and the Arts. Through Liverpool. Sudley House. Costume Drama: Helsinki. Ateneum. Helene Schjerfbeck. June 11. In collaboration with the Musée Fashion from 1790 to 1850. Through June 17 June 1–Oct. 14 d’Orsay

London. Courtauld. Mantegna to Matisse: Helsinki. Sinebrychoff Art Museum. Ivan Paris. Musée d’Orsay. Akseli Gallen-Kallela Master Drawings from the Collection. June Pavlovich Pokhitonov (1850–1923). April 19– (1865–1931). A Finnish Passion. Through 14–Sept. 29 Aug. 30. The Life of a Collector: Eliel Aspelin- May 6. Continues at the Museum Haapkylä. May 16­–Sept. 9 Kunstpalast, Düsseldorf, June 2–Sept. 9. London. Museum of London. Dickens and In collaboration with the Helskini Art London. Through June 6 France Museum. Degas and the Nude. Through Angers. Musée des Beaux-Arts. Guérin’s July 1. In collaboration with the Museum London. National Gallery. Turner Inspired: “La dernière nuit de Troie” (1830–32). May of Fine Arts, Boston. Misia Godebska, Queen In the Light of Claude. March 14–June 5 25–Sept. 2 of Paris. June 12–Sept. 9. Impressionism and Fashion. Sept. 25, 2012–Jan. 20, 2013. Bergues. Musée du Mont de Piété. From In collaboration with the Art Institute of Heemskerck to Le Brun: Drawings from the Chicago and The Metropolitan Museum Museum Collection. May 5–Sept. 30 of Art, New York

32 Spring 2012 / AHNCA Newsletter Paris. Musée de la Vie romantique. Cologne. Museum für Ostasiatische Karlsruhe. Staatliche Kunsthalle. Déjà-vu? Romantic Theater in Paris. The Collections of Kunst. From Istanbul to Yokohama: Around The Art of Repetition from Dürer to YouTube. the Museé Carnavalet. March 13–July 15 the World in Historic Photographs 1842–1900. April 21–Aug. 5. Camille Corot. Sept. 28, June 29–Sept. 15 2012–Jan. 6, 2013 Paris. Musée Marmottan Monet. Berthe Morisot (1841–1895). March 8–July 1 Cologne. Stadtmuseum. Revolution! The Leipzig. Museum der bildenden Artist William Kleinenbroich on His 200th Künste. Nature 3D. July 1–Sept. Quimper. Musée des beaux-arts. The Tree Birthday. June 23–Sept. 23 16. In collaboration with the and the Forest. From the Land of the Rising Naturkundemuseum and the Hochschule Sun to the Bois de l’Amour. Japonisme in Cologne. Wallraf-Richartz-Museum & für Grafik und Buchkunst, Leipzig Breton art. Through May 28 Fondation Corboud. 1912 — A Modern Mission. The Centennial Retrospective of the Munich. Neue Pinakothek. George Stubbs: Strasbourg. Musée d’Art Moderne et Sonderbunde Exhibition. Aug. 31–Dec. 30 The Beauty of Animals. Through May 6 Contemporain. Max Klinger: The Engraved Suites. Opens May 12 Dresden. Kupferstich-Kabinett, Munich. Pinakothek der Moderne. Residenzschloss. Adrian Zingg. Precursor of Engaged Architecture: Manifestos for Social Versailles. Château de Versailles. The Romanticism. Through May 6. Continues at Change. June 14–Sept. 2. In collaboration Napoleonic Wars. Louis-François Lejeune, the Kunsthaus Zürich, May 25–Aug. 12 with the Architekturmuseum der General and Painter. (1755–1848). Through Technischen Universität, Munich May 13 Düsseldorf. Museum Kunstpalast. Feuerbach’s “Iphigenias” United. April Remagen. Arp Museum Bahnhof Germany 19–Aug. 12. In collaboration with the Rolandseck. Kunstkammer Rau: Delicious! Berlin. Alte Nationalgalerie. ‘…Old Hessische Landesmuseum, Darmstadt. Still-Lifes from Frans Snyders to Giorgio Fritz, Who Lives in His People’ The Image of Color and Gold: Biedermeier Glass from the Morandi. Through Oct. 14. The Conquest Frederick the Great in the Art of Adolph Menzel. Paul von Lichtenberg Collection. April 19– of the Wall. Nazarene Frescoes from a March 23–June 24 Aug. 12. El Greco and Modern Art. April Contemporary Perspective. March 25–Sept. 9 28–Aug. 12. Berlin. Brohan Museum. The Image of the Schweinfurt. Museum Georg Schafer. Animal. The Sculptor Anton Puchegger (1878– Emden. Kunsthalle. The Image of the Child. Joseph Anton Koch in Rome. Drawings from the 1917). Through May 6 Artist’s Children from Runge to Richter and Kupferstichkabinett, Vienna. March 11–May 6 from Dix to Picasso. Sept. 15, 2012–Jan. 13, Berlin. Georg Kolbe Museum. The 2013 Stuttgart. Staatsgalerie. Turner – Monet Movement of Dance in Modern Sculpture. – Twombly. Later Paintings. Through May Through May 28 Essen. Museum Folkwang. The Ecstasy of 28. Continues at the Tate Liverpool, June Color: Munch, Matisse, and the Expressionists. 22–Oct. 28. In collaboration with the Berlin. Sonderausstellungshallen Sept. 29, 2012–Jan. 1, 2013 Moderna Museet, Stockholm Kulturforum. Karl Friedrich Schinkel - History and Poetry. Sept. 7, 2012–Jan. Frankfurt. Schirn Kunsthalle. Edvard Weimar. Schiller Museum. Weimar 6, 2013. Organized by the Staatliche Munch: The Modern Eye. Through May 13. Classicism. A Sensual Culture. March 16– Museen–Kupferstichkabinett, Berlin, in Continues at the Tate Modern, London, June 10 collaboration with the Kunsthalle der June 28–Oct. 14. In collaboration with the Hypo-Kulturstiftung, Munich Centre Pompidou–Musée National d’Art Weisbaden. Museum Weisbaden. The Truth Moderne, Paris, and the Munch Museet, on Paper. Selected Masterpieces from the Prints Bremen. Kunsthalle. The Art of Dance. Oslo and Drawings Collection. March 2–Oct. 7 From Classical Ballerinas to Light Ballet. March 25–May 28 Frankfurt. Städel Museum. Freedom of Hungary Vision. Drawings from Kobell to Corinth from Budapest. Hungarian National Gallery. Coburg. Kunstsammlungen der Veste the Permanent Collection. March 8–May 28 Károly Ferenczy: A Retrospective. Through Coburg. Sartorius—Whistler—Canaletto. June 3. Masterpieces on Paper: Hungarian Three Engravers from Three Centuries and Hamburg. Kunsthalle. Tired Heroes: Prints and Drawings, 1890–1914. April 1– Their Views of Venice. May 14–July 15 Ferdinand Hodler - Aleksandr Dejneka - Neo July 31 Rauch. Through May 13 Budapest. Museum of Fine Arts. Daumier. Through May 27

Spring 2012 / AHNCA Newsletter 33 Italy Groningen. Groninger Museum. The Scotland Florence. Palazzo Strozzi. Americans Veendorp Collection. Dutch art ca. 1850– Edinburgh. National Galleries of in Florence: Sargent and the American 1950. April 21–Oct. 28 Scotland. Edvard Munch. Graphic Works Impressionists. Through July 15 from The Gundersen Collection. April 7–Sept. Lakenhal. Museum de Lakenhal. Floris 23. Giovanni Battista Lusieri (1754–1821). Genoa. Palazzo Ducale. Van Gogh and the Verster (1861–1927). April 7–Aug. 12 June 30–Oct. 28. Picasso and Modern British Voyages of Gauguin. Through May 1 Art. Aug. 4–Nov. 4 Oss. Museum Jan Cunen. Masterpieces of Ravenna. Museo d’Arte della Città di the Hague School. Through May 28 Edinburgh. The Queen’s Gallery, Palace Ravenna. Caravaggio, Courbet, Bacon, of Holyroodhouse. Treasures from The Giacometti: Misery and Splendour of the Flesh. Rotterdam. Kunsthal. Sweet and Salty. Queen’s Palaces. March 16–Nov. 4 Through June 16 Water in Dutch Art. Through June 10 Spain Rovigo. Palazzo Roverella. Divisionism: Rotterdam. Museum Boijmans Van Barcelona. Caixa Forum. Delacroix (1798– Modern Light. Through June 24 Beuningen. Kindred Collections. Prints and 1863). Until May 20. In collaboration Drawings from the Collections of Jan and with the Musée du Louvre, Paris. Goya. Rimini. Castel Sismondo. From Vermeer Wietse van den Noort. Through May 20 Lights and Shadows. March 16–June 24. to Kandinsky. World Masterpieces in Rimini. Organized by the Museo Nacional del Through June 3 The Hague. Mesdag Collection. Through Prado, Madrid the Eyes of Van Gogh. Through May 20. Venice. Ca’Pesaro. The Spirit of Klimt: Landscape Painting: Myth and Reality. With Barcelona. Museum Picasso. Collage before Vittorio Zecchin, Galileo Chini, and Grand a focus on Charles-François Daubigny’s Collage. Picasso 1899. March 6–June 3 Decorative Cycles in Venice. March 31–July 8 Cliffs at Villerville-sur-mer (1864-1872). Through May 20 Bilbao. Museo de Bellas Artes. Anselmo Venice. Museo Correr. Gustav Klimt, Guinea (1855–1906). The Origins of Hoffman, and the Vienna Secession. March Norway Modernity in Basque Painting. Through 24–July 8 Oslo. Munch Museet. Edvard Munch’s May 20. Goya: Inventive Prints. Caprichos, Masterpieces. Works from the 1890s to the Desastres, Tauromaquia and Disparates. June The Netherlands turn of the century. Sense of Snow. Winter 11–Sept. 23 Amsterdam. Van Gogh Museum. Dreams motifs in Munch’s paintings, drawings, of Nature: Symbolism from Van Gogh to and prints. Neither Print nor Drawing: The Madrid. Museo Nacional del Prado. Kandinsky. Through June 17. Continues Rubbings of Edvard Munch. All through Sacred Stories. Religious Paintings by Spanish at the National Gallery of Scotland, May 28 Artists in Rome (1852–1864). Works from Edinburgh, July 14–Oct. 14, and the the collection. Through Jan. 27, 2013. Ateneum Art Museum, Helsinki, Nov. 16, Oslo. National Gallery. Christian Krohg. 2012–Feb. 17, 2013. Beauty in Abundance: Captivating Images. With an emphasis on Málaga. Museo Picasso. The Modern Highlights from the Print Collection. Through works of the 1880s and 1890s. June 15– European Poster. June 18–Sept. 16. Picasso Sept. 23 Sept. 16 in Malaga. June 25–Sept. 30

Amsterdam. Hermitage Museum. Oslo. National Museum-Architecture. Valencia. Museo de Bellas Artes. Master Impressionism: Sensation and Inspiration. Views. Norway Seen from the Road 1733– Lines. Drawings from the Collection. Through Highlights from the Collection. June 16, 2012– 2020. June 22–Oct. 28 June 3 Jan. 13, 2013 Russia Sweden Apeldoorn. Palais Het Loo. Princesses Moscow. State Tretyakov Gallery. Stockholm. Nationalmuseum. The Four of the Brush. 19th-century woman artists Konstantin Korovin. March 26–­Aug. 12 Seasons. Fin-de-siècle Swedish painting. in around the court. Through May 28. Through May 27. Excessive and Exaggerated. In collaboration with the Rijksbureau St. Petersburg. State Hermitage Museum. Swedish Caricature. Through August 12. voor Kunsthistorische Documentatie, “Only Writings Sound.” The Works of Nikolai Modern Life: French Art from the 1800s. April Amsterdam, and the Mesdag Collection, Likhachev. April 21–July 22. Paula 19, 2012–Jan. 2013 The Hague. The latter institution hosts a Modersohn-Becker and Worpswede. Drawings sister exhibition of the same title, focusing and Engravings 1895–1906. Sept. 22–Nov. Switzerland on professional women artists, May 30– 11. 19th-Century Russian Lithographic Portraits Basel. Fondation Beyeler. Pierre Bonnard. Aug. 26 from the Hermitage Collections. Sept. 22, Through May 13 2012–Jan. 13, 2013

34 Spring 2012 / AHNCA Newsletter new BOOKS Basel. Kunstmuseum. Renoir. Between Bohemia and the Bourgeoisie. The Early Years. Alarco, Paloma. Berthe Morisot: La pintora Berg, William J. Literature and Painting In Quebec: April 1–Aug. 12. Panoramas. Measured impresionista. Ed. Fundación Colección Thyssen- From Imagery to Identity. Univ. of Toronto Press, Worlds. June 1–Oct. 7 Bornemisza, 2011. 108 pp. Paperback $72.50. June 2012. 416 pp. Hardcover $75.00.

Allard, Sebastien ed. Delacroix: De l’idee a la Betzer, Sarah. Ingres and the Studio: Women, Bern. Zentrum Paul Klee. Europe and the expression (1798-1863). El Viso, Fundación “la Painting, History. Pennsylvania State Univ. Press, Spirit World. The Magic of the Intangible from Caixa”, 2011. 333 pp. Hardcover $110.00. April 2012. 328 pp. Hardcover $84.95. the Romantic to the Modern. March 31–July 15. In cooperation with the Musée d’art Angiuli, Emanuela and Anna Villari. Orientalisti: Bianconi, Piero. Johann Jakob Wetzel: Il lago di Incanti e scoperte nella pittura dell’Ottocento italiano. Como 1822. Il Polifilo, 2011. 37 pp. Hardcover moderne et contemporain, Strasbourg Silvana, 2011. 191 pp. Paperback $55.00. $100.00.

Lausanne. Fondation de l’Hermitage. The Antigüedad del Castillo-Olivares, Maria Dolores Bietoletti, Silvia, Antonina D’Aniello and Course of the Collection. From Tiepolo to Degas. and Amaya Alzaga Ruiz eds. Colecciones, expolio, Alessandra Nannini. L’umiltà e l’orgoglio. Michele Through May 20 museos y mercado artístico en España en los siglos Marcucci pittore (1845-1926). Fondazione XVIII y XIX. Ramón Areces, 2011. 391 pp. Ragghianti, 2011. 239 pp. Paperback $57.50. Paperback $40.00. Schaffhausen. Museum zu Allerheiligen. Bills, Mark et al. Dickens and the Artists. Yale Univ. Hodler, Dix, Vallotton. 25 Years of the Antonacci, Paolo and Alvaro Marigliani. Press, Summer 2012. 224 pp. Paperback $45.00. Sturzenegger Collection. June 21, 2012–Jan. Landscapes of the Grand Tour: From the late 18th to 6, 2013 the 19th Century. Paolo Antonacci, 2011. 84 pp. Bindman, David and Henry Louis Gates, Jr. Paperback $77.50. eds. The Image of the Black in Western Art: From the “Age of Discovery” to the Age of Abolition, III-Part Solothurn. Kunstmuseum. Félix Vallotton: Babobi, Andrea. Stefano Bruzzi: La Poetica della 2: Europe and the World Beyond. Harvard Univ. Drawings. May 12–Aug. 12. Continues at Neve. Tip.Le.Co., 2011. 110 pp. Paperback Press, 2011. 496 pp. Hardcover $95.00. the Kunstmuseum Winterthur, Sept. 15– $48.50. Nov. 25 Bird, Dúnlaith. Travelling in Different Skins: Babobi, Andrea and Leonardo Bragalini. Stefano Gender Identity in European Women’s Oriental Travel Bruzzi: Un macchiaiolo tra Piacenza e Firenze. Tip. Writing, 1850-1950. Oxford Univ. Press, July Winterthur. Sammlung Oskar Reinhart Le.Co., 2011. 125 pp. Paperback $48.55. 2012. 312 pp. Hardcover $110.00. « Am Römerholz ». Entre Nous. The Permanent Collection with Selected Works from Baffi, Giusy. Il Mobile Napoletano nella storia Blanchard, Pascal. Human Zoos: The Invention of the Museum Oskar Reinhart am Stadtgarten. e nell’arredamento dal 1700 al 1830. Edizioni the Savage. Actes Sud, coedition Musee du Quai Fioranna, 2011. 195 pp. Paperback $95.00. Branly, 2011. 328 pp. Paperback $92.50. Accompanied by a Documentary on the Life of the Collector. June 10–Sept. 30 Bagnall, David. An American Palace: Chicago’s Blumenfeld, Carole. Petits theatres de l’intime: Samuel M. Nickerson House. Driehaus Museum, La peinture de genre francaise entre Revolution et Winterthur. Villa Flora. The Stories behind 2012. 120 pp. Hardcover $37.50. Restauration. Mairie de Toulouse-Musée des the Pictures. A Special Presentation of the Augustins, 2011. 176 pp. Paperback $75.00. Bailey, Colin B. Renoir: Impressionism and Full- Permanent Collection. Through Oct. 28 Length Painting. The Frick Collection, Yale Univ. Boccardo, Piero, Caterina Olcese Spingardi and Press, 2012. 288 pp. Hardcover $48.75. Margherita Priarone. Santo Varni (1807-1885): Zürich. Kunsthaus. Paul Gauguin. The Una donazione per Genova. Silvana, 2011. 63 pp. Printed Work. Sept. 28, 2012–Jan. 20, 2013 Barter, Judith A. The Age of American Paperback $35.00. Impressionism: Masterpieces from the Art Institute of Chicago. Yale Univ. Press, Distributed for the Art Bogatyrev, Evgeny et al. El romanticismo ruso en Zürich. Museum Rietberg. The Beauty of Institute of Chicago, 2011. 160 pp. Hardcover epoca de Pushkin : Museo Nacional del Romanticismo. the Moment. Women in Japanese Woodcuts. $50.00. Museo Nacional del Romanticismo, 2011. 196 July 7–Oct. 14. In collaboration with the pp. Paperback $61.50. Honolulu Museum of Art Bartoli, Damien with Frederick C. Ross. William Bouguereau: His Life and Works. Borde, Christian. Calais: D’Ici et d’ailleurs son Antique Collectors’ Club, 2011. 2 vols. 888 pp. territoire et ses artistes. Silvana, 2011. 143 pp. Hardcover $350.00. Paperback $37.50.

Ashgate Offer for Bartrum, Giulia ed. German Romantic Prints Bothe, Rolf. Clemens Wenzeslaus Coudray (1775- AHNCA Members and Drawings: from an English private collection. 1845): Ein deutscher Architekt des Klassizismus. British Museum Press, 2011. 318 pp. Hardcover Böhlau, July 2012. 608 pp. Hardcover $77.50. AHNCA members wishing to take $90.00. advantage of Ashgate’s offer of a 20% Bouwers, Eveline G. Public Pantheons in discount off all their books should Beghain, Patrice. Une histoire de la peinture à Lyon, Revolutionary Europe: Comparing Cultures of use promotion code AHNCA20. de 1482 à nos jours. Editions Stéphane Bachès, Remembrance, c. 1790-1840. Palgrave Macmillan, 2011. 368 pp. Hardcover $110.00. 2012. 344 pp. Hardcover $85.00. Members can begin browsing for books at www.ashgate.com/AHNCA, where Berenson, Edward. The Statue of Liberty: A titles likely to be of particular interest Transatlantic Story. Yale Univ. Press, 2012. 240 to scholars of nineteenth-century art are pp. Hardcover $25.00. featured. The discount may be taken on all Ashgate titles. Spring 2012 / AHNCA Newsletter 35 Brown, Kathryn. Women Readers in French Dall’Olio, Chiara ed. Francesco Carbonieri: La Enache, Monica and Valentina Iancu. Nicolae Painting 1870-1890: A Space for Imagination. Belle Epoque nell’obiettivo di un amatore. Franco Grigorescu (1838-1907): L’Age de l’Impressionnisme Ashgate, June 2012. 272 pp. Hardcover Cosimo Panini, 2011. 111 pp. Paperback $38.50. en Roumanie / De Tijd van het Impressionisme in $124.95. Roemeni / The Age of Impressionism in Romania. Dalrymple, William and Yuthika Sharma eds. Silvana, 2011. 168 pp. Paperback $55.00. Brown, Stephen. Edouard Vuillard: A Painter and Princes and Painters in Mughal Delhi, 1707-1857. His Muses, 1890-1940. The Jewish Museum, Yale Asia Society Museum, Yale Univ.Press, 2012. 224 Earenfight, Phillip J. Picasso and the Circus: Fin- Univ. Press, 2012. 144 pp. Hardcover $33.75. pp. Paperback $45.00. de-Siecle Paris and the Suite de Saltimbanques. Univ. of Washington Press, e Trout Gallery, Dickinson Cagianelli, Francesca and Dario Matteoni. Il Danzker, Jo-Anne Birnie ed. Gabriel von Max. College, 2011. 72 pp. Paperback $19.95. Divisionismo: La luce del moderno. Silvana, 2012. Univ. of Washington Press, Frye Art Museum, 240 pp. Paperback $65.00. 2011. 128 pp. Hardcover $30.00. Edwards, Elizabeth. The Camera as Historian: Amateur Photographers and Historical Imagination, Carazzetti, Riccardo and Edgardo Cattori eds. De Cupis, Francesca and Elena Ragusa eds. La 1885-1918. Duke Univ. Press, 2012. 392 pp. Filippo Franzoni (1857-1911) 1: Aspetti inediti Mortola e Thomas Hanbury: Atti della Giornata di Hardcover $99.95; paperback $29.95. o poco noti. Armando Dado, Citta di Locarno studi, 23 novembre 2007. Allemandi, 2011. 245 Servizi culturali, 2011. 183 pp. Paperback pp. Paperback $35.00. Fairbrother, Trevor. Making a Presence: F. Holland $61.95. Day in Artistic Photography. Addison Gallery of Delouche, Denise. Les Peintres de la Bretagne. American Art, Yale Univ. Press, 2012. 128 pp. Castel-Branco Pereira, João ed. In the Presence Editions Palantines, 2011. 352 pp. Hardcover Paperback $26.25. of Things: Four Centuries of European Still-Life $150.00. Painting. 2: 19th-20th centuries, 1840-1955. Farrington, Lisa. Creating Their Own Image: The Fundacao Calouste Gulbenkian, 2011. 247 pp. de Margerie, Laure and Edouard Papet. Charles History of African-American Women Artists. Oxford Paperback $75.00. Cordier: Les Nubiens. Somogy, 2011. 39 pp. Univ. Press, 2011. 368 pp. Paperback $39.95. Paperback $15.00. Cheetham, Mark A. Artwriting, Nation, and Fina, Lucio. Vedutisti e viaggiatori a Pozzuoli: Baia Cosmopolitanism in Britain: The ‘Englishness’ on De Rosa, Pier Andrea. Simone Pomardi 1757-1830 Cuma e dintorni dal XVI al XIX secolo. Grimaldo & English Art Theory since the Eighteenth Century. e la Roma del suo tempo. Artemide, 2011. 207 pp. C. Editori, 2011. 221 pp. Paperback $170.00. Ashgate, April 2012. 188 pp. Hardcover Paperback $94.50. $104.95. Foletti, Ivan. Da Bisanzio alla Santa Russia: de Wambrechies, Annie and Florence Raymond Nikodim Kondakov (1844-1925) e la nascita della Cheverton Shrewsbury, J.C. and Anthony eds. Boilly (1761-1845). Chaudun, 2011. 287 pp. storia dell’arte in Russia. Viella, 2011. 280 pp. Burton. Benjamin Cheverton (1794–1876) in the Paperback $75.00. Paperback $68.50. Thomson Collection: Artist in Ivory. Holberton, April, 2012. 200 pp. Paperback $50.00. Di Lino, Sergio, Punti di vista estetici su commercio Foster, Kathleen A and Mark S. Tucker eds. e turismo. Carlo Cambi, 2011. 299 pp. Hardcover An Eakins Masterpiece Restored: Seeing ‘The Gross Codell, Julie ed. Transculturation in British Art $94.50. Clinic’ Anew. Yale Univ. Press, 2012. 184 pp. 1770-1930. Ashgate, 2012. 256 pp. Hardcover Paperback $18.75. $119.95. Dion-Tenenbaum, Anne. Orfèvrerie française au XIXe siècle: La collection du musée du Louvre. Gabrielli, Catia. L’arte in azione: Proudhon e gli Codell, Julie ed. Power and Resistance: The Delhi Somogy, Musée du Louvre, 2011. 320 pp. artisti della Comune. Mimesis, 2011. 273 pp. Coronation Durbars. Mapin, March 2012. 248 pp. Hardcover $92.50. Paperback $42.50. Hardcover $75.00. Corbett, David Peters and Sarah Monks eds. Dolan, Therese ed. Perspectives on Manet. Gamboni, Dario. The Brush and the Pen: Odilon Anglo-American: Artistic Exchange between Britain Ashgate, 2012. 242 pp. Hardcover $119.95. Redon and Literature. Univ. of Chicago Press, and the USA. Wiley, 2012. 263 pp. Paperback 2012. 424 pp. Hardcover $65.00. $39.95. Dolkart, Judith F. and Martha Lucy. The Barnes Foundation: Masterworks: In Association with the Ginex, Giovanna. Adolfo Feragutti Visconti 1850- Coyle, Heather Campbell. Howard Pyle: American Barnes Foundation. Skira Rizzoli, June 2012. 255 1924. Skira, Corner, 2011. 312 pp. Hardcover Master Rediscovered. Penn Press 2011. 192. pp. pp. Hardcover $50.00. $150.00. Paperback $45.00. Giorgi, Piero and Carla Cicioni. Umbria Rara, Doria, Bianca. Giovanni Boldini: Catalogo Umbria Nascosta: Vedute a stampa dal XVI al XX Crosby, Mark and Robert N. Essick eds. Genesis: generale dei disegni. Skira, 2011. 3 vols. 1736 pp. secolo. Volumnia, 2011. 444 pp. Hardcover William Blake’s Last Illuminated Work. Huntington Hardcover $550.00. $145.00. Library Press, 2012. 100 pp. Hardcover $80.00. Duran Ucar, Dolores et al. De Goya a Nuestro dias: Gold, Matthew K. ed. Debates in the Digital Cullen, Fintan. Ireland on Show: Art, Union, and Coleccion Ibercaja. Ibercaja, atio de la Infanta, Humanities. Univ. of Minnesota Press, 2012. 532 Nationhood. Ashgate, 2012. 252 pp. Hardcover 2011. 157 pp. Paperback $40.00. pp. Hardcover $73.50; paperback $24.50. $124.95. Eckhardt, Joseph P. So Bravely and So Well: The Goldin, Marco. Van Gogh e il viaggio di Gauguin: Curl, James Stevens. Georgian Architecture: The Life and Art of William T. Trego. Penn Press, 2011. Variazioni su un tema. Linea d’ombra Libri, 2011. British Isles 1714-1830. English Heritage, 2011. 208 pp. Hardcover $39.95. 359 pp. Hardcover $92.50. 444 pp. Hardcover $100.00. Ellenbogen, Josh. Reasoned and Unreasoned Grave, Johannes. Caspar David Friedrich. Prestel, Dakers, Caroline. A Genius for Money: Business, Images: The Photography of Bertillon, Galton, and April 2012. 288 pp. Hardcover $150.00. Art and The Morrisons. Yale Univ. Press, 2011. Marey. Pennsylvania State Univ. Press, 2012. 240 326 pp. Hardcover $40.00. pp. Hardcover $74.95.

36 Spring 2012 / AHNCA Newsletter Greub, Suzanne ed. Gauguin Polynesia. Hirmer, Kenny, Peter M. and Michael K. Brown. Duncan Manstein, Marianne von. Freiheit des Sehens: 2012. 400 pp. Hardcover $59.95. Phyfe: Master Cabinetmaker in New York. The Zeichenkunst von Kobell bis Corinth aus dem Städel Metropolitan Museum of Art, distributed by Museum. Imhof, March 2012. 250 pp. Paperback Guigon, Emmanuel et al. Grandville: un autre Yale Univ. Press, 2011. 302 pp. Hardcover $85.00. monde, un autre temps. Silvana, 2011. 143 pp. $65.00. Paperback $48.50. Marin, Chiara. La Voce della Critica: La Körner, Stefan. Il Magnifico Fürst Nikolaus II. pubblicizzazzione delle arti nella stampa lombardo- Gundel, Marc ed. Heinrich Friedrich Füger (1751- Esterházy 1765–1833. Imhof, 2011. 152 pp. veneta (1800-1848). Canova, 2011. 301 pp. 1818): Zwischen Genie und Akademie. Hirmer, Paperback $27.50. Paperback $35.00. 2011. 220 pp. Paperback $67.50. Krämer, Felix and Max Hollein eds. Kunst der Marley, Anna O. ed. Henry Ossawa Tanner: Hall, Melanie ed. Towards World Heritage: Moderne (1800-1945) im Städel Museum. Hatje Modern Spirit. Univ. of California Press, 2011. International Origins of the Preservation Movement Cantz, 2011. 304 pp. Paperback $67.50. 304 pp. Hardcover $75.00, paperback $39.95. 1870-1930. Ashgate, 2011. 281 pp. Hardcover $104.95. Krauthaker, Marion. Identité de Genre dans Marshall, Nancy Rose. City of Gold and Mud: les œuvres de George Sand et Colette. Editions Painting Victorian London. Paul Mellon Center Halwani, Miriam. Geschichte der Fotogeschichte Harmattan, 2012.396 pp. E-book 32,30€. for Studies in British Art, Yale Univ. Press, 2012. 1839–1939. Reimer, May 2012. 300 pp. 320 pp. Hardcover $56.25. Paperback $92.50. Kristeva, Julia. The Severed Head: Capital Visions. Translated by Jody Gladding. Columbia Univ. Mazzocca, Fernando. Da Canova a Boccioni: Haskins, Katherine. The Art-Journal and Fine Press, 2012. 176 pp. Hardcover $34.50. Le collezioni della Fondazione Cariplo e di Intesa Art Publishing in Victorian England 1850-1880. Sanpaolo. Skira, 2012. 256 pp. Paperback $72.50. Ashgate, 2012. 215 pp. Hardcover $119.95. Kropmanns, Peter et al. Renoir: Between Bohemia and Bourgeoisie: The Early Years. Hatje Cantz, Mead, Christopher Curtis. Making Modern Paris: Hassler, Uta, Markus Peter and Santiago Huerta April 2012. 280 pp. Hardcover $75.00. Victor Baltard’s Central Markets and the Urban eds. Building Techniques in the Late 1800s: From Practice of Architecture. Pennsylvania State Univ. Technical Theories on Gothic to Great Construction Lewison, Jeremy. Turner Monet Twombly: Later Press, June 2012. 320 pp. Hardcover $84.95. Sites. Hirmer, 2012. 300 pp. Hardcover $125.00. Paintings. Tate Publishing, June 2012. 272 pp. Hardcover $40.00. Meyers, Amy R.W. and Lisa L. Ford eds. Hattendorff, Claudia. Napoleon I. und die Bilder: Knowing Nature: Art and Science in Philadelphia, System und Umriss bildgewordener Politik und Lobstein, Dominique. Les envois de l’Etat au musée 1740-1840. Yale Univ. Press, 2011. 417 pp. politischen Bildgebrauchs. Imhof, Spring 2012. 288 du Havre au XIXe siècle. Somogy, 2011. 47 pp. Hardcover $65.00. pp. Hardcover $92.50. Paperback $16.95. Mezil, Eric. Le Voyage en Orient. De Delacroix à Helfrich, Miguel ed. Plasterwork Masterpieces: Longwell, Alicia G. ed. First Impressions: Nan Goldin... Silvana, 2011. 112 pp. Paperback Replicas from the Fine Art Manufacturer at the Nineteenth-Century American Master Prints. Files, $40.00. National Museums in Berlin since 1819. Hirmer, 2010. 96 pp. Hardcover $39.95. March 2012. 128 pp. Hardcover $34.95. Mills, Kathryn Oliver. Formal Revolution in the Lop Otin, Pilar. Vista de Zaragoza desde la torre de Work of Baudelaire and Flaubert. Univ. of Delaware Helman, Karen and Brett Abbott. Landscape in la Magdalena hacia 1864: la fotografia coloreada Press, April 2012. 194 pp. Hardcover $65.00. Photographs. Getty Publications, July 2012. 112 en cristal de la coleccion Cintora. Institucion pp. Paperback $24.95. “Fernando el Catolico”, 2011. 70 pp. Paperback Murphy, David Royce. Scenery, Curiosities, and $24.50. Stupendous Rocks: William Queensbury’s Overland Hinrichs, Nina. Caspar David Friedrich: ein Sketches, 1850-1851. Univ. of Oklahoma Press, deutscher Künstler des Nordens: Analyse der Lucy, Martha and John House. Renoir in the 2011. 304 pp. Hardcover $45.00. Friedrich-Rezeption im 19. Jahrhundert und im Barnes Foundation. Yale Univ. Press, 2012. 392 Nationalsozialismus. Ludwig, 2011. 350 pp. pp. Hardcover $56.25. Noon, Patrick. Richard Parkes Bonington: The Hardcover $67.50. Complete Drawings. Yale Univ. Press, Paul Mellon Magrill, Barry. A Commerce of Taste: Church Centre for Studies in British Art, 2011. 224 pp. Homburg, Cornelia. Van Gogh: Up Close. Architecture in Canada, 1867-1914. McGill- Hardcover $85.00. National Gallery of Canada, Yale Univ. Press, Queen’s Univ. Press, April 2012. 200 pp. 2012. 368 pp. Hardcover $45.00. Hardcover $95.00, Paperback $32.95. Ockman, Joan and Rebecca Williamson. Architecture School: Three Centuries of Educating Insolera, Italo and Paolo Berdini. Roma moderna: Mai, Ekkehard. Lebensbilder: Genremalerei der Architects in North America. The MIT Press, 2012. Da napoleone I al XXI secolo. Einaudi, 2011. 403 Düsseldorfer Malerschule. Imhof, May 2012. 208 400 pp. Hardcover $50.00. pp. Paperback $47.50. pp. Hardcover $57.50. Pagnotta, Linda ed. L’ora piu bella: Fotografia e Jackson, David. The Wanderers and Critical Mangone, Fabio and Gemma Belli. Posilippo, memoria del Risorgimento. Apax libri, 2011.384 pp. Realism in Nineteenth Century Russian Painting. Ffuorigotta e Bagnoli: Progetti urbanistici per la Paperback $100.00. Manchester Univ. Press, 2011. 202 pp. Napoli del mito. 1860-1935. Grimaldi, 2011. 137 Paperback $32.95. pp. Paperback $58.50. Payne, Christopher. 19th Century European Furniture. Antique Collectors Club, March 2012. Johnson, Julie M. The Memory Factory: The Mansfield, Elizabeth C. The Perfect Foil: François- 348 pp. Hardcover $89.50. Forgotten Women Artists of Vienna 1900. Purdue André Vincent and the Revolution in French Painting. Univ. Press, 2012. 368 pp. Paperback $35.99. Univ. of Minnesota Press, 2011. 305 pp. Payne, Michelle. Marianne North: A Very Intrepid Hardcover $105.00; paperback $35.00. Painter. Royal Botanic Gardens, 2011. 96 pp. Paperback $17.00.

Spring 2012 / AHNCA Newsletter 37 Permanyer, Lluis (essay) and Melba Levick Sanjuan, Agathe et al. La Comédie-Française Urban, Otto M. Decadence: In Morbid Colours: Art (photos). Gaudi of Barcelona. Poligrafa, 2011. 189 s’expose au Petit Palais. Paris-Musees, 2011. 155 and the Idea of Decadence in the Bohemian Lands pp. Hardcover $75.00. pp. Paperback $59.95, 1880-1914. Artefakt/Arbor Vitae, 2011. 409 pp. Hardcover $85.00. Petuchov, Aleksej and Marina Bessonova. Brera Scott, Richard. Artists at Walberswick: East Anglian incontra il Puškin : Collezionismo russo tra Renoir e Interludes 1880-2000. Art Dictionaries Ltd, June Vaassen, Elgin. Die kgl. Glasmalereianstalt Matisse. Skira, 2011. 47 pp. Paperback $42.50. 2012. 670 pp. Hardcover $40.00. in München 1827-1874: Geschichte, Werke, Künstler. Deutscher Kunstverlag, 2012. 592 pp. Quatremere de Quincy, Antoine. Letters to Schuyler, David. Sanctified Landscape: Writers, Hardcover $150.00. Miranda and Canova on the Abduction of Antiquities Artists, and the Hudson River Valley, 1820–1909. from Rome and Athens, trans. Chris Miller, David Cornell Univ. Press, April 2012. 240 pp. Vannini, Martina. “Arte e Storia” - Cultura e Gilks. Getty Publications, June, 2012. 208 pp. Hardcover $29.95. restauro a Firenze fra Ottocento e Novecento. Edifir, Paperback $50.00. 2011. 128 pp. Paperback $30.00. Sedgwick, Eve Kosofsky. The Weather in Proust. Previtera, Maria Angela and Maria Fratelli. Duke Univ. Press, 2012. 256 pp. Hardcover Viéville, Dominique. Rodin 300 dessins 1890- Doppiacorsia. Lorenzo Delleani in mostra. Nexo, $84.95; paperback $23.95. 1917- La saisie du modèle. Nicolas Chaudun, 2011. 130 pp. Paperback $47.50. 2011. 279 pp. Paperback $75.00. Smart, Annie K. Citoyennes: Women and the Ideal Rathbone, Eliza and Elizabeth Steele. Degas’s of Citizenship in Eighteenth-Century France. Univ. Villela-Petit, Inès and Thierry Laugée. David Dancers at the Barre: Point and Counterpoint. Yale of Delaware Press, 2011. 259 pp. Hardcover d’Angers: les visages du romantisme. Gourcuff Univ. Press, for The Phillips Collection, 2011. $75.00. Gradenigo, 2011. 180 pp. Paperback $37.50. 144 pp. Hardcover $45.00. Smith, Thomas Brent ed. Elevating Western Vogelsang, Rosemarie and Reinhard Lutum. Rebora, Sergio and Paolo Plebani. Trasparenze: American Art: Developing an Institute in the Cultural Joseph Clemens Weyhe (1807–1871): Ein rheinischer L’acquarello tra Romanticismo e Belle Epoque. Capital of the Rockies. Denver Art Museum; Univ. Gartenkünstler. Grupello, 2011. 264 pp, Allemandi, 2011. 322 pp. Paperback $80.00. of Oklahoma Press, 2012. 320 pp. Hardcover Hardcover $67.50. $34.95. Reinhard-Felice, Mariantonia ed. The Secret Warrell, Ian. Turner Inspired: In the Light of Cabinet: Corot’s figure paintings and the world Solana, Guillermo. La tradición moderna en Claude. National Gallery Company, Yale Univ. of reading. Hirmer, 2011. 128 pp. Paperback la Colección Carmen Thyssen: Monet Picasso Press, 2012. 144 pp. Hardcover $33.75. $39.95. Matisse Miró. Museo Carmen Thyssen Málaga/ Fundación Palacio de Villalón, 2011. 245 pp. Webster, Christopher ed. Episodes in the Gothic Riand, Emmanuelle. Gustave Doré: Episode du Paperback $110.00. Revival: Six Church Architects. Spire Books, April siège de Paris. Somogy, 2011. 35 pp. Paperback 2012. 204 pp. Hardcover $70.00. $15.00. Spadoni, Claudio. Testori e la grande pittura europea: Caravaggio, Courbet, Giacometti, Bacon: Westheider, Ortrud and Michael Philipp eds. Ribeiro, Aileen. Facing Beauty: Painted Women Miseria e splendore della Carne. Silvana, 2012. 304 J.M.W. Turner: Painter of Elements. Hirmer, 2011. and Cosmetic Art. Yale Univ. Press, 2011. 256 pp. pp. Paperback $65.00. 224 pp. Hardcover $49.95. Hardcover $45.00. Städtischen Kunstmuseum Spendhaus. Eros, Wilmerding, John. Maine Sublime: Frederic Rishel, Joseph J. ed. Gauguin, Cézanne, Matisse: Traum und Tod: Zwischen Symbolismus und Edwin Church’s Landscapes of Mount Desert and Visions of Arcadia. Philadelphia Museum of Art, Expressionismus : Das grafische Frühwerk von Karl Mount Katahdin. Cornell Univ. Press, The Olana Yale Univ. Press, 2012. 224 pp. Hardcover Hofer, Wilhelm Laage und Emil Rudolf Weis. Imhof, Collection, 2012. 80 pp. Hardcover $24.95. $41.25. March 2012. 96 pp. Hardcover $35.00. Wilson, Mabel O. Negro Building: Black Americans Rodari, Florian. Collection Planque: L’exemple de Stehr, Ute. Johann Jakob Schlesinger (1792-1855): in the World of Fairs and Museums. Univ. of Cezanne. Musees nationaux, 2011. Künstler – Kopist – Restaurator. Gebr. Mann, June California Press, May 2012. 464 pp. Hardcover 311 pp. Paperback $75.00. 2012. 200 pp. Hardcover $175.00. $39.95. Rott, Herbert W. and Dietmar Siegert eds. Neapel und der Süden : Fotografien 1846-1900. Sullivan, Edward J. ed. Nueva York 1613-1945. Yarnall, James L. John La Farge, A Biographical Sammlung Siegert. Hatje Cantz, 2011. 192 pp. Scala, 2010. 304 pp. Hardcover $65.00. and Critical Study. Ashgate, 2012. 384 pp. Hardcover $75.00. Hardcover $99.95. Torres Gonzalez, Begona et al. Museo del Rodner, William S. Edwardian London through Romanticismo: La Coleccion: The Collection. Yousif, Keri. Balzac, Grandville, and the Rise of Japanese Eyes: The Art and Writings of Yoshio Ministero de Cultura, 2011. 537 pp. Paperback Book Illustration. Ashgate, June 2012. 200 pp. Markino, 1897–1915. Brill, 2011. 219 pp. $89.95. Hardcover $99.95. Hardcover $127.00. Tribert, Renee and James F. O’Gorman. Gervase Rosenthal, Donald A. An Arcadian Photographer in Wheeler: A British Architect in America, 1847–1860. Manhattan: Edward Mark Slocum. Callum James Wesleyan Univ. Press, 2012. 113 pp. Hardcover Books, 2012. 88 pp. Hardcover $62.95. $35.00.

Sale, Marie-Pierre; Annette Haudiquet. Jean- Tröger, Sabine. Kunstpopularisierung und François Millet: Le Portrait de Charles André Kunstwissenschaft: Die Wiener Kunstzeitschrift ‘Die Langevin. Somogy, 2011. 29 pp. Paperback Graphischen Künste’ (1879–1933). Deutscher $15.00. Kunstverlag, 2011. 216 pp. Paperback $56.50.

38 Spring 2012 / AHNCA Newsletter ahnca membership form

❇ Memberships run from January 1 to December 31. Memberships paid at any point in the year, up to November 1, apply to that calendar year; memberships paid after November 1 will be valid through December of the next calendar year. ❇ Participants in AHNCA-sponsored events are expected to hold current AHNCA membership. ❇ Contributions above the minimum amount are greatly appreciated and support the full range of AHNCA activities and publications. ❇ You are encouraged to renew online at www.ahnca.org (click on the “Membership” tab). ❇ If paying by check, make it payable to AHNCA, and send with this completed form to: Karen Pope, AHNCA Membership Coordinator, P.O. Box 5730, Austin, TX 78763-5730 ❇ Directory updates can be handled electronically by sending membership form or update information to: [email protected]

Today's Date: Status (check Two): Membership category (check one):

New Member $500 Sponsor Renewing Member $200 Benefactor $135 Institutional I prefer to receive Faculty $100 Patron the AHNCA newsletter Independent Scholar $50 Supporting in electronic form Curator/ Museum Professional $35 Regular Student $20 Student with ID (include copy) Retired $20 Retired

Preferred mailing address (for occasional postal use):

Name

Address City State Zip

Contact information you wish listed in the membership directory:

Name Professional Title/ Affiliation

Address City State Zip

E-mail Address Phone (and country code if non-US) Phone #2 (optional)

Field of Specialization/Current or New Projects (Graduate Students: Please list your dissertation topic, university, and adviser. If recently completed, please include date of completion.)

Membership benefits include: ❇ Receipt of the AHNCA Newsletter, published twice per year with full listings of calls for papers, symposia, lectures, conferences, fellowships, museum news, U.S. and international exhibitions and new books and publications (members only) ❇ Receipt and listing in the Annual Member Directory (members only) ❇ Access to the AHNCA List-serv (members only) ❇ Access to special sessions at the College Art Association Annual Conference, including one for emerging scholars (Chairs of specialsessions must be members in good standing, participants are encouraged to join) ❇ Notifications about Nineteenth-Century Art Worldwide, the AHNCA journal at www.19thc-artworldwide.org, published twice yearly AHNCA P.O. Box 5730 PRESORTED Austin, TX 78763-5730 STANDARD U.S. POSTAGE AHNCA Officers: PAID Elizabeth Mansfield, PresidentPresident PERMIT #36 Ting Chang, Secretary PITTSFIELD, MA Yvonne Weisberg,Weisberg, Treasurer 01201 Karen Pope, Membership Coordinator Patricia Mainardi, ProgramProgram ChairChair Elisabeth Fraser, Member-at-Large NinaAt-Large Kallmyer, Board Member-at-LargeMembers: MirandaPetra ten-Doesschate Mason, Member-at-Large Chu AlisonElisabeth McQueen, Fraser Member-at-Large Nina Kallmyer Micheline Nilsen, Member-at-Large Marjorie Munsterberg Greg Thomas, Member-at-Large Greg Thomas Peter Trippi, Member-at-Large Peter Trippi Pamela Warner, Member-at-Large Pamela Warner Executive Editor, Executive Editor, Nineteenth-Century Art Worldwide: Nineteenth-Century Art Worldwide: Petra ten-Doesschate Chu Petra ten-Doesschate Chu Newsletter Editor: AHNCA Newsletter Editor: Caterina Y. Pierre Caterina Y. Pierre Associate Professor of Art History Associate Professor of Art History Kingsborough Community College Kingsborough Community College [email protected]

20112012 DONORSDonors

TheThe Association of HHistoriansistorians of NNineteenth-Centuryineteenth-Century ArtArt expressesexpress appreciation appreciation to to the the following following people people and institutions for their support:

MAJOR DONORS: Sponsor: Supporting: Nina M. Kallmeyer Anonymous Donor, United States Rehs Galleries, Inc. Art Insight, Inc. Colles Baxter Larkin CityMAJOR University DONORS: of New York, LIBRARY, UNIVERSITY and Library, Nelson AtkinsBridget Alsdorf Marc Gotlieb BabatundeLois Lawal Marie Fink TheAnonymous Graduate Donor,Center MUSEUMBenefactors: MEMBERS: Museum of Art Annette BlaugrundHerman Lebovics Julie L’EnfantMichelle A. Foa ConcordUnited States Fine Arts Inc., (Neal Fiertag) AldermanPetra Library, Chu Sterling & FrancineJane Clark Block Margaret MacNamidhe Sural LevineFrançoise Forster-Hahn Christie’sThe Andrew Education W. Mellon UniversityLee of MacCormick Virginia Edwards Museum Library Mary Elizabeth BooneMarjorie Munsterberg Mary LublinMarc Fine Saul Arts, Gerstein Inc. DaheshFoundation Museum of Art Bard CollegeTherese Ann Dolan The Taft MuseumAnnette of Art Bourrut-LacoutureEdward J. Olszewski Michael A.Maria Marlais P. Gindhart FineThe ArtCUNY Dealers Graduate Association Center The BirminghamChristopher Museum Forbes Thomas J. WatsonJames Library, L. Boy Caterina Y. Pierre Heather McPhersonJune Hargrove Francis V. Gorman Art Library Endowment, Elizabeth C. Mansfield Jane E. Boyd Laure Meslay de Margerie Christie’s Education of Art Metropolitan Museum of Art Aimée Brown Price Paula Harper University of Minnesota Library Michael Schwartz, Galerie Michael Caroline Boyle-Turner Cynthia J. Mills SamuelConcord H. Fine Kress Arts, Foundation Blackader-LautermanAlbert and Sally Library, Webster University of DenverMarilyn Libraries R. Brown Willem O. Russell Alison MoreheadAnne L. Helmreich Inc. NY (Neal Fiertag) Montreal University of Wyoming,Ruth A. Butler Marc Simpson Dewey F. AnneMosby Higonnet LIBRARY,Dahesh Museum UNIVERSITY, of Art AND College ofPatrons: Arts and Sciences, Coe Library Dennis Cate James Smalls Gale MurrayJames Housefield MUSEUMFine Art Dealers MEMBERS: Association Seton HallColles University Baxter Larkin Washington University,Veronique Chagnon-BurkeCheryl Snay Linda NochlinRuth E. Iskin AldermanFrancis V. Library, Gorman University Art Library of Virginia ElizabethAdrienne Dafoe Library, L. Childs St. Louis, MO S. Hollis Clayson Elmer D. Sprague David C. NinaOgawa M. Kallmyer Blackader-LautermanEndowment, University Library, of MontrealUniversityFen-Dow of Manitoba and Petra Chu Jay A. Clark Carol Forman Tabler Edward OlszewskiBabatunde Lawal CollegeMinnesota of Arts Library and Sciences, Seton HallThe FrickLaurie Collection V. Dahlberg and Paige A. Conley Greg Thomas Shalon D.Julie Parker L’Enfant University Christopher Forbes MAJOR SPONSORS:Frances S. Connelly Karen R. Pope Hans Lüthy † Library, New York Peter B. Trippi Sura Levine Elizabeth Dafoe Library, University of Chandler Ford Howard L. Rehs, Andre Dombrowski Robyn S. Roslak Dr. Sura Levine, Hammer Galleries, Yvonne Weisberg Mary Lubin Fine Arts, Inc. Manitoba Clive Getty REHS Galleries, Inc.Michael NY H. Duffy James Rubin Northampton, MA Inc. New York Fronia E. Wissman Patricia Mainardi The Frick Library, New York Marc Gotlieb Dahesh Museum ofStephen Art R. Edidin Suzanne M. Singletary Dr. Elizabeth Mansfield, NY Harvard University, Alison McQueen Hammer Galleries, Inc., New York Margaret MacNamidhe Dr. Elizabeth Mansfield,Linda S. FerberNY Nancy J. Scott PaleyHoward Library, L. Rehs, Temple University Fine ArtsPatricia Library Mainardi Lois Marie Fink Supporting: Susan SidlauskasCynthia J. Mills RyersonREHS Galleries, & Burnham Inc. Libraries, NY ChicagoMcGill UniversityJohn S. McClure Michelle A. Foa Robert Alvin Adler Susan E. AllisonStrauber Morehead ArtSchiller Institute and Bodo European MilwaukeeMarjorie Art Museum Munsterberg MEMBERS: Françoise Foster-HahnBridget Alsdorf Judy E. SundKelly Presutti SavannahPaintings, College NY of Art & Design Paley Library,Caterina Temple Y. Pierre Benefactors: Margaretta S. FrederickLynne Ambrosini Aileen D.Karen Tsui Pope, Art Insight, Inc. Seton Hall University, University Libraries Aimee Brown Price Dario L. Gamboni Eldon N. Van Liere Petra Chu Jane Block Robyn S. Roslak UniversityMichael Schwartz, of Denver GalerieLibraries UniversityProjects in 19th-Century Art Eric G. Garberson Oscar E. Vasquez ThomasMichael, J. BeverlyWatson Library, Hills, CA MetropolitanPearson EducationWillem Russell Thérèse Ann DolanMarc Gerstein Joshua Brown Kathy M.James Wagers Rubin MuseumSamuel H.of Art Kress Foundation Ryerson Fronia& Burnham Simpson Christopher ForbesMaria P. Gindhart Marilyn R. Brown Jane S. WarmanSusan F. Strauber UniversitySeton Hall of University Wyoming, Coe Library Libraries,James Smalls Jan Van Nimmen Gloria Groom Ruth A. Butler AlexandraAileen K. Wettlaufer D. Tsui WashingtonThe University University, of the St. South Louis Art InstituteCheryl of SnayChicago Gabriel Weisberg Brian E. Hack Veronique Chagnon-BurkeJanet WhitmoreOscar F. Vásquez Gabriel and Yvonne Weisberg SavannahElmer College D. Sprague of Art June Hargrove S. Hollis Clayson Jayne S. Warman Amira Zahid and DesignElizabeth P. Streicher Patrons: Paula Harper Frances S. Connelly Janet Whitmore Carol F. Tabler Nora M. Heimann Seton Hall University, Annette Bourrut Lacoutre Jan Dewilde Emma S. Wood Greg M. Thomas Anne L. Helmreich Phillip Dennis Cate UniversityJane Libraries Van Nimmen Erica E. Hirshler Michael H. Duffy Spencer ArtBeth Reference S. Wright Clive F. Getty James Housefield Stephen R. Edidin Constance C. Hungerford