NEWSLETTER Vol

(Historians of Hmeteenth-Century PLrt NEWSLETTER Vol. 6, No. 1 Spring 1999

------——-————------*——------——n Greetings from the President: An AHNCA Update

he recent membership meeting at CAA in Los Angeles large. Therefore, we are including a ballot in this issue gave us an opportunity to get reacquainted with some and are asking the membership to respond by voting no Tof our members and to get caught up on a series of later than May 15, 1999. issues. As the membership of AHNCA has continued to Since this is the last time that I will be addressing the grow, we have responded by initiating a Web site and by membership of AHNCA as president, let me assure you expanding the content of our Newsletter. The response to that it has been a most beneficial three-year term. We these aspects of our organization has been overwhelm­ have seen AHNCA increase and prosper—its sessions at j ingly positive. Our get-togethers at CAA have become an CAA continue to be well attended—and I am looking integral part of the way AHNCA helps to foster contin­ forward to seeing the new president continue to steer ued interest in the nineteenth century. our organization in the right direction. Thank you for all At the membership meeting we also established a slate of your support over the years; it has been a rare oppor- j of officers who want to serve our constituency. These tunity to serve our field with enthusiasm. With all good potential officers are well versed in how the organization wishes for the future. runs but they still must be voted on by the members at —Gabriel P. Weisberg ;

Election of Officers: It’s Time to Vote www.inform.umd.edu/arth/ahnca. The new officers will take office September 1,1999. t the business meeting during CAA, it was decided that Patricia Mainardi has been appointed as program chair. we should add several positions to the AHNCA board. With this issue, we also welcome Cynthia Mills as our new AThey are vice president, which is an elective position, and newsletter editor. In addition to producing the newsletter, program chair, an appointive post. We also still need to find she has posted the preliminary Web site, which we hope someone to serve as membership coordinator. will be linked soon with the CAA site's list of affiliated soci­ Petra ten-Doesschate Chu, professor of art history at eties. The site is maintained at the University of Maryland Seton Hall University, has agreed to be nominated for under the sponsorship of June E. Hargrove, who has president. Dr. Chu has been involved with AHNCA since agreed to be AHNCA's first webmaster. (See page 2.) its inception and was the founder and first editor of the We wish to extend our sincerest thanks to Lucy Oakley, Newsletter. Her field of scholarly interest is French retiring editor of the newsletter, for everything she has Realism, notably the work of Gustave Courbet. She also done for the organization over the last few years. Her keen has published on the still life paintings of Van Gogh and editorship is greatly appreciated as has been the care with on the artistic and collecting activities of Dominique which she chaired the "New Directions for Nineteenth- Vivant Denon. Century Art History" panels featuring papers by new and Current AHNCA president Gabriel P. Weisberg has been soon-to-be PhDs at the last two CAA conferences. nominated to serve as vice-president. Sura Levine and Sally Please remember that this organization wants to repre­ Webster have agreed to stand again for their respective sent your needs and interests. The only way we can do this positions as secretary and treasurer. No other nominations sufficiently is to have the membership's sustained involve­ were offered for elective offices, but you may write in other ment. We have responded to your wishes in expanding the candidates on the ballot included in this newsletter. newsletter. Please let us know how we might better serve Please nominate/self-nominate candidates also for the the needs of the historians of nineteenth-century art. position of membership coordinator. At the business —Sura Levine meeting, we discussed the essential need to create this position. It will not take too much time to perform once the initial cleaning up of the membership database is com­ Inside this issue pleted, but will necessitate periodic reminder letters to «> AHNCA Calls for Papers for CAA 2000 Page 2 "deadbeat" members. ♦J* The Year of Ensor Page 3 Please send your complete ballots by May 15th to: Sura *X» Courbet in Lausanne Page 4 Levine, CCS, Hampshire College, Amherst, MA 01002. You ♦> Reinstallation at the Walters Gallery Page 5 also can vote via e-mail. Please address your message to: ♦> Plus exhibitions, new books, personalia, [email protected]. The results will be published in symposia and museum news the Fall Newsletter and on the AHNCA Web site. Patrons Phillip Dennis Cate Lee MacCormick Edwards Elizabeth Streicher Sally and Nick Webster Gabriel and Yvonne Weisberg David and Constance Yates Supporting Members Julie L. and Steven K. Cochran Therese Dolan Beatrice Farwell Linda Ferber June E. Hargrove Kristi Holden William R. Johnston Patricia Mainardi Marc and Fiona Simpson Arman and Jane Vein Nimmen Ruth Weidner Beth S. Wright

AHNCA Panels at CAA 2000: Calls for Papers Out of the Academy and into the Arcades Susan M. Canning, College of New Rochelle, and Sum Levine, Hampshire College. Mail abstracts and a c.v. to both: Susan M. Caiming, RO. Box 20384, Nezu York, NY 10009; and Sura Taking the Past into the Future Levine, 28 Northern Avenue, Northampton, MA 01060. —AHNCA Goes Online Deadline: May 14,1999. AHNCA is going online on two fronts: a Web site and a This panel will explore the dynamic cultural exchanges scholarly listserv. that occurred in the nineteenth century when high art prac­ The Web site is: www.inform.umd.edu/arth/ahnca. tices met the politics and poetics of the arcade. As the The site will provide visitors with basic information department store, advertisements, fashion, illustrated jour­ about our scholarly association, including a mission state­ nals, and the marketing of novelty complemented and ment, our calls for CAA papers, how to join the society complicated the dialectic of seeing, official culture sought to and how to submit materials to the newsletter. We also find new ways to keep high art relevant and competitive. have the opportunity, however, to use it as a long-term Within the intersecting discourses of the street, with its repository for such scholarly resources as syllabi, reading stores, cafes, boulevards and strolling flaneurs, artists lists and image sources. Please let us know of resource increasingly found a more fluid view of the present and material that we may link to in order to serve our mem­ past, where investigations in psychology, science, and tech­ bers and support nineteenth-century research. The Web nology easily flowed into discussions of politics, colonial­ site is being hosted at the University of Maryland's ism, or social concerns. We invite papers of diverse Department of Art History and Archaeology by June E. methodologies, geographic locales, and periods within the Hargrove, who will be our first webmaster. Send ideas, nineteenth century that explore how the products and ref­ and urls for links to [email protected]. erents of mass culture interact or intervene with high art, The association also is taking steps to set up an that investigate the processes by which sociopolitical, and AHNCA listserv, an e-mail discussion list similar to those cultural elements converge find transform either the organized by other scholarly groups. Petra Chu is taking imagery or concerns of high art, or that examine the ways the initiative to launch this new listserv for scholarly dis­ that official culture appropriated, circumvented and co­ cussion of nineteenth-century art topics. If you would like opted the disruptive tactics of the street and the arcade. to be included, please send your e-mail address to Dr. Chu at [email protected]. *5* New Voices in Nineteenth-Century Scholarship

Gabriel P. Weisberg, University of Minnesota. Mail abstract with Impressionism Is Still No. 1 covering letter and a brief c.v. to: Professor Gabriel P. Weisberg, The Art Newspaper, the London-based monthly, reports 338 Management-Econ Building, Department of Art History, that Monet in the 20th Century was the top-drawing exhibi­ University of Minnesota, Minneapolis, MN. 55455. E-mail sub­ tion in the United States last year, pulling in 565,992 visi­ missions at: [email protected] Deadline: May 14,1999. tors during a three-month run at the Museum of Fine Arts, Boston. The Private Collection of Edgar Degas at the This panel will provide an opportunity for recent PhD or Metropolitan Museum of Art came in second, drawing PhD candidates to present doctoral dissertation research 528,267 people. Third was Van Gogh's van Goghs at the currently underway or completed within the last two years. National Gallery of Art, with an official count of 480,496 Papers in all areas, with all methodologies in evidence, are visitors. welcome. *X*

2 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 ‘R&p arts from ContriButors

Ensorjaar 1999-2000 shows, including two documentary exhibits in the Frank Edebauzaal: Tekeningen van Ensor bij teksten van Stephane By Susan M. Canning Mallarme (Ensor's Drawings on Texts by Stephane Associate Professor, College of New Rochelle Mallarme) from May 15-June 30,1999, and Michel de n January 23,1999, Ensorjaar or the year of James Ensor Ghelderode en Ensor (Michel de Ghelderode and Ensor) officially opened in Ostende, Belgium. Falling on the from January-February 2000. In November the "Spiegel" Ofiftieth anniversary of the artist's death in 1949, this cele­ theater group will perform a pantomime by de bration of his life and work will be filled with special exhi­ Ghelderode inspired by Ensor's work. Also of special bitions and events. Ensor, no doubt, would have found interest will be the recreation of La Gamme d'Amour, com­ humor and irony in all this attention, for during the ten- plete with Ensor's music, costumes, playbill, and theater year period of his long career that will be the focus of at sets, by the ballet school Rose d'lvry , scheduled for the least one of the scheduled exhibitions, Ensor maintained a end of the year. At the Ensorhuis (Ensor's last studio critical and adversarial position to the official art estab­ where he lived from 1916 until 1949, located in Ostende lishment. The artist's liaison with anarchism and his on Vlaanderenstraat 27) Ensor en de Kunstgalerij Studio scathing images of decadent and disingenuous Belgian (Ensor and the Art Gallery Studio) will run from January society subsequently have become part of Belgium's offi­ 1999 until February 2000. Other events scheduled for cial patrimony. In 1929 Ensor was made a knight of the Ostende's celebration of Ensorjaar include a concert dedi­ order of Leopold and spent the last twenty years of his life cated to Ensor on April 17,1999, with music by Andre receiving accolades and increasing international fame. In Caplet and Claude Debussy, to be followed on May 21-23 1995, the Belgian government even issued a 100 franc note by a weekend of music (including performances of the featuring the artist's image and reproductions of his artist's own compositions) and readings on Belgium's work, making Ensor part of the daily commerce of Radio 3. In July and August, plays that have been inspired Belgian life. by Ensor's work will be performed by street theater Ostende, where Ensor was born in 1860 and lived groups. most of his long life, took the lead in initiating the Ensor In addition to these celebrations in Ostende, a major Ensor year with an exhibit entitled James Ensor, De Foto's De retrospective is scheduled for the Royal Museum in Roem (James Ensor: The Photos, The Fame), which Brussels (3, rue de la Regence, 1000, Brussels) from opened January 25 and will be on view through May 5, September 24,1999, until February 13, 2000. The museum 1999, at the Museum of Fine Arts (Wapenplein, 8400 has ambitious plans for this exhibition, intending it to be Ostende). Combining the museum's extensive collection the most complete showing of the artist's work to date of family photographs of the artist with loans of pho­ with a special emphasis on work produced between 1885 tographs from private collections, the exhibition intends and 1895. The exhibition will be arranged chronologically to document Ensor's life, especially in Ostende. In addi­ and include not only an overview of his artistic and psy­ tion to photographs, it includes portraits of Ensor by chological development but also an exploration of Ensor's other artists, documentary materials on the monument use of diverse genres and themes. In addition to locating dedicated to the artist by E. De Valeriola, catalogues and his artistic production within the dominant aesthetic con­ posters of other Ensor exhibitions, and, in a nod to cerns of his time, which range from Naturalism and Ensor's ongoing popularity, documentation of the use of Impressionism to Symbolism and "pre-Expressionism," his image or his works on CDs, LPs, book covers, post­ the organizers plan to discuss Ensor's technique and cards, and bank notes. inventive use of drawing, painting and printmaking This exhibit will be followed by De Volledige Verzameling media. A companion display on the history of the mask in Janies Ensor van het Museum voor Schone Kunsten Oostende Belgium will accompany the exhibit. (The Complete Collection of James Ensor from the There will be more than three hundred works on view, Museum of Fine Arts in Ostende), currently on view at the including the forty paintings and drawings from the col­ Museum Paleis Lange Voorhout in The Hague (from lection of the Royal Museum in Brussels and works from February 2 until May 9,1999). The exhibition will be in Belgium's other major museums in Antwerp, Ostende, Ostende from May 15 until July 31, 1999, and will display Liege and Ghent as well as loans from museums and pri­ paintings, drawings, etchings, lithographs, monotypes, vate collections in Europe, Japan and the United States. illustrated books, letters and the costumes the artist The Royal Museum is even hopeful that the Getty designed for his ballet La Gamme d'Amour. An illustrated Museum in Malibu will consent to loan Ensor's best- catalogue for this exhibition has been published by Ludion known work. The Entry of Christ into Brussels in 1889 to Press. Running concurrently will be an exhibition entitled this important exhibition of the artist's life and work. Ensorgrafiek in confrontatie (Ensor's Graphics in With all these events celebrating the artist's career, it Confrontation), which will examine the artist's extensive seems that more than one hundred years after he imag­ exploration of the graphic arts. ined his triumphal entry into Brussels and Belgian soci­ In conjunction with these exhibitions, the Museum of ety, Ensor finally will be getting the attention he has long Fine Arts also will stage a series of special events and been due.

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 3 Exhibition Review interests in Courbet's youthful sales, his patronage by Bruyas, his search for outside mercenary venues in the Courbet: Artiste et promoteur de son oeuvre. Exhibition 1860s, and finally in Courbet's later direct marketing con­ held at Musee Cantonal des Beaux-Arts, Lausanne, November cerns. The essay is cogent, instructive, and a thorough 21,1998-Febrmry 21,1999, and Nationalmuseum, Stockholm, summation of these tendencies, documented by the March 25-May 30,1999. Catalogue by Jorg Zutter and Petra author's meticulous knowledge of both the painter's art ten-Doesschate Chu, with additional articles by Michael Clarke and his relationship to eventual clients. and Patricia Mainardi. Flammarion: Paris, 1999. FF 190; 50 Patricia Mainardi's equally deft essay is a continuation Szoiss francs. of the theme, expounding on Courbet's complex strategy of By William Hauptman public exhibition in the salons and elsewhere. Drawing largely on his letters, the author emphasizes Courbet's tudies of Gustave Courbet's paintings have appeared interest in presenting his works as a total image ("une expo­ regularly in recent years on both sides of the Atlantic, sition complete"), as was the case even late in life when in Sbroaching virtually all aspects of the painter's life and work. 1873 he weighed the idea of his contributions to the Vienna Both a catalogue raisonne and an edition of his letters are Weltausstellung as an aggregate conception. In pursuing available, as is a revised examination of his career in the the concept, she appropriately discusses the nature and sig­ form of an exhibition mounted a decade ago in Brooklyn, nificance of the public exhibitions in which Courbet's which engaged current art historical concerns. The 1988 works were displayed. Mainardi's essay provides addition­ exhibit "reconsidered" Courbet's role in the art of his times al information on the public nature of his artistic concerns, through an overall perspective, while according almost half and stresses how the promotion of his work as a whole was of its showing to the sometimes nebulous paintings Courbet very much within his intentions during this period. produced after his blazing Realist stage of the 1840s and Michael Clarke's essay outlining Courbet's attitudes 1850s. No exhibition or monograph can claim the last word, toward landscape and his technical experiments is curiously but this surge of Courbet investigation makes one wonder wedged between the two. Since almost two-thirds of what more could be added to the scholarly literature about Courbet's opus consists of different forms of landscape this imposing fixture of nineteenth-century painting. depiction (and although Clarke's note pertaining to this fact The present exhibition, a survey of the painter's activi­ is incorrect), a considerable essay on the subject is justified. ties during the last two decades of his life, puts seventy- In recapitulating Courbet's progression from his early efforts three of his paintings on display not far from the location to his proto-impressionist works, Clarke adroitly points out where Courbet died in political exile. Many of the icons of tire influence of the diverse topographies in the regions the period were lent from a variety of distinguished collec­ where the artist works. As stimulating as the information is, tions—no small accomplishment for a modest museum it seems a worthy independent undertaking scarcely related with sparse funding potential—offering a sumptuous to the thematic structure of the other two articles. arrangement in which to scrutinize a still-subordinate aspect of his corpus. The exhibition tackles an important The exhibition was well-installed, with works on certain segment of Courbet's work that always has been something themes grouped in proximity. It included several sculptures of a problem child. The manifestly anomalous image of Courbet made in Switzerland, but these seemed after­ Courbet as the obstinate social Realist known from legend thoughts and are not discussed in the catalogue. is unmistakably inappropriate here. The main difficulty with the catalogue is the meager size The broad fluctuation of his later subjects, incorporating and insufficient data accorded to individual descriptions of more traditional themes such as portraits, hunting and ani­ each work in the exhibition. In a 167-page publication, only mal scenes, pseudo-erotic reveries, landscapes, and floral 20 pages following the thematic essays are devoted to and fruit set pieces, sets off the polemic of his post-Realist descriptive notices of each of the 73 paintings shown. Of aesthetic intentions. It is inevitable that in surveying this these 73 notices, only 31 include comments beyond name, miscellany of works certain questions arise: In what tangible date, dimensions, medium and location, and the comments direction(s) did Courbet steer after the powerful incentive of that are included often repeat information previously avail­ his provocateur Realist concerns? Where did the anarchistic able from the 1977 Paris and 1988 Brooklyn exhibitions. The Courbet of mid-century, intractable to bourgeois ideals, veer reader is, therefore, compelled to seek fundamental informa­ by relying on a more sanctioned iconography and why? tion on the paintings in the appropriate authors' essays, a What, for example, do we make of the flower still lifes that burdensome effort. For example, in pursuing data on the intersect with Fantin-Latour's work, or the anachronous, sixteen portraits shown, the reader finds that eleven have no Dutch-inspired apple paintings of the last years, or the commentary at all in the descriptive listings, including the lethargic nudes that are as tawdry as those of Bouguereau important portraits of the critic Castagnary and the sculp­ or Baudry, or the persistent stags in forest settings, or tress Marcello. The descriptive entries in the back of the cat­ Courbet's strange, fetish-like concern with hunting carnage? alogue are rendered even more wearisome by the fact that Some of these questions are addressed by the exhibi­ not a single illustration is provided in situ. Illustration num­ tion's focus on Courbet's close association with the con­ bers are provided, but seeking these out is onerous since temporary art market, hence the interpretive word promo­ they are reproduced in the respective authors' essays in teur in the exhibition title. After Jorg Zutter's long general accord with their specific applications in these arguments. introduction on the substance of Courbet after 1855, the As there is no index of works, subjects or names, the task of painter's mercantile interests form the subject of Petra ten- readily finding a particular image, not to mention the pages Doesschate's illuminating article. The essay traces these where it is discussed, can become exasperating. ❖

4 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 Reinstalling the Nineteenth-Century Collection interspersing sculpture from the extensive holdings of Barye bronzes and decorative art objects. This arrange­ At the Walters Art Gallery, Baltimore ment, inspired by photographs dating from the 1880s, will illustrate to visitors the taste of the period during which By Cheryl K. Snay the collection was assembled and maximize the number Carol Bates Fellow of items that can be shown in a limited space. The Walters Art Gallery The tradition of a study room for drawings within the nineteenth-century galleries will be continued during both eptember 1998 marked the official start of renovation of phases of the reinstallation project. William Walters' fond­ Sthe Walters Art Gallery's 1974 building, where most of ness for the sculptor Barye led him to collect not only the the museum's encyclopedic collection is housed. The $18.5 artist's bronzes, but his watercolors and drawings as well. million project promises better physical conditions for the One of the artist's sketchbooks containing over 300 sketch­ storage, preservation and exhibition of objects and will es was added to this collection in 1949. A proposal to allow for a new interpretation of the collection. exhibit the sculptor's two-dimensional work, much of Every building program offers opportunities and chal­ which has never been studied, is under consideration to lenges, and the installation of the nineteenth-century gal­ celebrate the reopening of the building in 2001. Thereafter, leries on the fourth floor is no different. The space is exhibitions from the collection of over 1,200 works on shared with the conservation department, which will con­ paper will rotate every two or three months. tinue to operate throughout the renovation. And because Phase two involves the permanent installation of the the area was refurbished only eight years ago, it is the galleries emphasizing the relationship between objects most suitable place to temporarily store much of the collec­ rather than the contemplation of objects in isolation. The tion while the second and third floors are gutted and refit­ collection will not be arranged by style, school, nationali­ ted. These con­ ty or medi­ ditions make it um, but necessary to along themat­ reinstall the ic lines such nineteenth-cen­ as work, gov­ tury collection ernment, reli­ in two phases gion, home to accommo­ and leisure. date the multi­ While main­ ple functions taining the the space mix of paint­ serves. ing, sculpture When the and decora­ Walters Art tive art fea­ Gallery unveils tured in its renovated phase one of 1974 building in the project, fall 2001 (i.e, the salon- when the other style hanging collections have will be been moved replaced with into their a more con­ respective gal­ ventional leries and the expansion of the conservation lab is com­ installation. Visitors will be encouraged, then, to critically plete), select works from the nineteenth-century collection analyze the juxtaposition of objects and images— will occupy about one-third of the fourth floor while work Cabanel's Portrait of Napoleon III and Daumier's terra continues on the remaining two-thirds. A new Centre cotta Ratapoil, for example—to arrive at a deeper under­ Street atrium, a spiral staircase leading visitors from the standing of the complexities of nineteenth-century cul­ second floor to the upper floors and tinted windows will ture and how the visual arts were used to marshal politi­ provide a dramatic setting for the visual “prologue" to the cal, social or economic arguments. collection. The immediate goal for phase one of the project Finally, Johnston's new survey of nineteenth-century is to reacquaint the public with our strongest pieces, which art from the perspective of the collection of the Walters will have been in storage or on tour for several years. Art Gallery, to be published by Scala, is expected to be These include Delaroche's Hemicycle, Ingres' Odalisque and available at the opening of the renovated galleries. Slave, Alma-Tadema's Sappho, Bonheur's Plowing Scene, Addressed to a general audience, the new book expands Gleyre's Lost Illusions and Turner's Raby Castle. the brief overview of the museum's nineteenth-century In a suite of galleries located behind the atrium, holdings provided in The Walters Art Gallery: Guide to the William Johnston, curator of eighteenth- and nineteenth- Collections and complements his catalogue, The century art, and I propose to temporarily recreate a salon- Nineteenth-Century Paintings in the Walters Art Gallery, style installation, hanging pictures frame-to-frame and published in 1982. *1*

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 5 ♦ Kristin Schwain, Stanford University. "Figuring Belief: Personalia American Art and Modem Piety, 1890-1917."

Positions and Awards Ethan Robey, Columbia University, is Sheila W. and Richard J. Schwartz Fellow at the National Museum of Julie Aronson will be the new curator of American art at American Art, working on the topic, "The Utility of Art: the Cincinnati Museum of Art. Mechanics' Institute Fairs in New York City, 1828-1870." Sarah Cash is Bechhoefer curator of American Art at the Corcoran Gallery of Art; Renee Ater is assistant curator. Activities

Elizabeth C. Childs was promoted in 1998 to associate Paula Harper published an article entitled "Visceral professor in the Department of Art History and Geometry" on the work of artist Mona Hatoum in the Archaeology at Washington University. September 1998 issue of Art in America.

John Davis has received a fellowship from the Gilder Sura Levine published an article, "Constantin Meunier Lehrman Institute of American History in support of his and the Antwerp Port Workers," in The Stanford University project entitled "Architectural Politics, Manhattan Real Museum of Art journal, vol. XXVI-XXVII (1996/97), which Estate, find the National Academy of Design, 1898-1909." appeared in September 1998.

Eric Denker is curator of prints and drawings at the Ruth Irwin Weidner published "Gifts of Wild Game: Corcoran Gallery of Art. He plans to continue lecturing on Masculine and Feminine in Nineteenth-Century Hunting a part-time basis in the Education division of the National Imagery" in The Material Culture of Gender[The Gender of Gallery of Art, where he has worked since 1978. Material Culture (Winterthur Museum, 1997) and "The Callowhills, Anglo-American Artists: An Introduction" in Gloria Groom will become The David and Mary Winton American Ceramic Circle journal (1997). She is currently Green Curator at the Art Institute of Chicago, responsible working on artists whose studios were in the Baker for the nineteenth-century French paintings collection. She Building, Philadelphia, in the 1880s. is working on a major loan exhibition for 2001 devoted to the large-scale decorative paintings of Bonnard, Vuillard Elizabeth K. Menon, Jill Miller and Gabriel P. Weisberg and their circle. presented papers at a symposium on Montmartre and the Making of Mass Culture, which was held at the Minneapolis Ruth E. Iskin has received the Ahmanson-Getty Institute of Arts March 5-6,1999, in conjunction with the Postdoctoral Fellowship and is in residence at UCLA's exhibition Henri de Toulouse-Lautrec and the Performers of Center for the Study of the 17th & 18th Centuries, whose Paris. The art history and history departments at the 1998-99 focus is the fin-de-siecle. University of Minnesota were joint organizers.

David O'Brien has been awarded an American Council of Learned Societies fellowship in support of his work on a Work in Progress book about Antoine-Jean Gros and the use of history paint­ Aida Audeh is working on a dissertation entitled "Rodin's ing as propaganda under Napoleon Bonaparte. Gates of Hell and Dante's Inferno: Cultural Synthesis in French Art and Literature of the 19th Century" at the Claire Perry is curator of American art at the Cantor Arts University of Iowa, under the advisement of Dorothy Center at Stanford University. Johnson.

Cheryl K. Snay, a PhD candidate at Penn State, is Carol Nina Kallmyer is completing a book, Cezanne and the Land: Bates Fellow at the Walters Art Gallery, Baltimore. Regionalism and Modernism in Late 19th Century France.

Adam D. Weinberg, senior curator of the permanent col­ Theresa Leininger-Miller will curate the inaugural exhibi­ lection at the Whitney Museum of American Art, has been tion of the National Underground Railroad Freedom chosen as the new director of the Addison Gallery of Center (slated to open 2003) for its interim site in February American Art at the Phillips Academy. 2000. The exhibit concerns the daguerreotypy and photog­ raphy of James Presley Ball (c. 1825-1904). While many of Predoctoral fellows at the National Museum of American his images are in the Cincinnati Historical Society, she is Art in 1998-99 include: looking for additional works and primary sources. E-mail her at: [email protected]. ♦ Constance Chen, University of California, Los Angeles. "Passion and Discipline: Oriental Art and the Culture of Susan Houghton Libby, visiting assistant professor at Modernity in the United States, 1893-1944." Rollins College, Winter Park, Florida, is writing a book ♦ Kevin Muller, University of California, Berkeley. based on her dissertation to be titled. The Republic of "Cultural Costuming: Native Americans, Inversion, and Genius: /.- L. David's Studio and the Invention of the Original the Power of an Exceptional White Masculinity." Artist in Revolutionary France.

0 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 Nina Liibbren is working on a book based on her disserta­ at the Frick Art Museum in New York City, Louise tion, "Rural Artists' Colonies in Nineteenth-Century Lippincott, curator of fine arts, Carnegie Museum of Art, Europe: Modernity in the Countryside." Her essay will speak at 7:30 p.m. on May 27, 1999, on the topic "'Toilers of the Sea': Fisherfolk and the Geographies of "Lighting Up Victorian England." Michael Helfand, direc­ Tourism in England, 1880-1900" will appear in David tor of graduate studies in the English Department, Peters Corbett, ed.. The Geographies of English Art, Yale University of Pittsburgh, will speak at noon on June 9 on University Press, 1999. the topic "Oscar Wilde and the Aesthetic Movement." Both lectures take place in the Frick Art Museum auditorium.

Symposia & Lectures In conjunction with the exhibition Picturing Old New England, the National Museum of American Art in Washington, D.C., is sponsoring a series of 2 p.m. lectures Conferences/Lectures to Attend in its Lecture Hall. On June 5, 1999, Thomas Denenberg will speak on "Photographic Inventions of Old New The Iris & B. Gerald Cantor Center for Visual Arts, England." On June 13, Roger Stein will speak on "In Stanford University, plans an interdisciplinary scholarly Search of New England." On August 15, Stephen May will symposium April 30-May 1,1999, in connection with its present a talk, "Exploring Maine's Artistic Heritage." exhibition Pacific Arcadia: Images of California, 1600-1915. For information, see: www.stanford.edu/dept/ccva. A conference entitled "Modernity Before Haussmann: Forms of Urban Space in Paris, 1801-1853," will be held Michele H. Bogart will speak on "Defining a Vision of June 17,18 and 19,1999, at the Hotel de Vigny, 10, rue du New York: Public Sculpture circa 1900" at the Metropolitan Parc Museum of Art's Grace Rainey Rogers Auditorium at 6 Royal (behind the Musee Camavalet) in Paris. For further information, contact: p.m. May 4,1999, as part of the Doris and Harry Rubin Lectures on American Art. Karen Bowie, [email protected]; Sharon Marcus, [email protected]; A conference on "Gendered Landscapes: An or David Van Zanten, [email protected]. Interdisciplinary Exploration of Past Place and Space" is planned at Pennsylvania State University May 29-June 1, The Van Gogh Museum in Amsterdam plans a sympo­ 1999. The conference, to be held at the Nittany Lion Inn, sium, "The Art Trade in the Nineteenth Century" on July seeks to cross disciplinary barriers in looking at issues of 2,1999, in conjunction with its exhibition on art dealer and gender and landscape history. It is co-sponsored by a collector Theo van Gogh. For information, call 31-20-570- cross-section of disciplinary units at the university. For a 52-91. brochure, call 1-800-PSU-TODAY. A conference entitled "The Popular Print in England" will On May 14-15,1999, a conference entitled "Bourgeois and be held July 2,1999, at the Paul Mellon Centre, 16 Bedford Aristocratic Cultural Encounters in Garden Art" will be Square London, WC1B 3JA in conjunction with the May 7- held at Dumbarton Oaks in Washington, D.C. The sympo­ August 29 exhibition at the British Museum about popular sium will examine European garden history from 1550 to prints from the sixteenth century to the mid-nineteenth 1850 in light of processes of social change. Speakers will century. Speakers will include Margaret Aston, Nicholas include: Robert Rotenberg (De Paul University), "La Barker, Diana Donald, V.A.C. Gatrell and Malcolm Jones. Pensee Bourgeoise in the Biedermeier Garden"; Heath Tickets £30 (students £15) include tea, coffee and lunch and Schenker (University of California, Davis), "Women, an evening visit to the exhibition. For information phone Gardens and the English Middle Class, 1790-1850"; and 44-171-580-0311 or visit the British Museum Web site, Margaret Flanders Darby (Colgate University), "Joseph www.british-museum.ac.uk/exhibitions/popular.html. Paxton's Water Lily." Advance registration and an admis­ sion fee of $40 ($25 for students) is required. Write to: On September 10-11,1999, "Performing Arts: Alliances of Studies in Landscape Architecture, Dumbarton Oaks, 1703 Studio and Stage in Britain, 1776-1812" will be held at the 32nd Street NW, Washington, DC 20007, call (202) 339-6460 Huntington Library, Art Collections, and Botanical or e-mail [email protected]. Gardens. The conference is in conjunction with exhibitions at the Huntington and the Getty focusing on British the­ Wendy Wassyng Roworth will deliver a lecture, "Angelica atrical portraiture and the tragic actress Sarah Siddons. For Kauffman: Criticism, Gossip, Scandal, and the Reputation information, write: Carolyn Powell, Research Department, of a Woman Artist," at the National Museum of Women in The Huntington, 1151 Oxford Road, San Marino, California 91108, or call 626-405-2194. the Arts, Washington, D.C., at 7 p.m. on May 6,1999. Members $7, general admission $10, students $4.This is the On October 16,1999, Smith College will present a schol­ final lecture in a series on Kauffman presented by arly symposium entitled "Art and Life in America: A Roworth, professor of art history and women's studies at Celebration of the Legacy of Oliver Larkin and American the University of Rhode Island and the museum's first Art at Smith College." This event commemorates the 50th scholar-in-residence. For reservations, call 202-783-7370. anniversary of Larkin's pioneering book Art and Life in America. Larkin introduced one of the first college courses hi conjunction with the Russell-Cotes Collection exhibition in American art at Smith in 1940. The symposium coin-

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 7 cides with publication of a catalogue featuring American pate, send a letter, c.v. and three copies of a one-page pro­ masterworks from the Smith College Museum of Art and posal to the conference coordinators by June 15,1999. their reinstallation. Speakers will include Michele Bogart, Laura Auricchio, Loretta Lorance and Maria Ruvoldt, c/o the State University of New York at Stony Brook; John Department of Women's Studies, Barnard College, 3009 Davis, Smith College; Patricia Junker, the Fine Arts Broadway, New York, NY 10027-6598. Museums of San Francisco; Elizabeth Mankin Komhauser, Wadsworth Atheneum; Amy Kurtz, Yale Public Sculpture is the theme of the Eighth Front Range University; Linda Muehlig, Smith College Museum of Art Symposium on November 5-6,1999, in Denver. Art; and Alan Wallach, the College of William and Mary. Proposals for 20-minute papers or panel discussions are For registration information, contact Maureen McKenna, welcomed on Smith College Museum of Art, Elm Street at Bradford any aspect of Terrace, Northampton, Massachusetts 01063; (413) 585- public sculp­ 2770. ture from any time period The Winterthur Conference, October 22-23,1999, will and all parts of explore "The Visual Culture of American Religions." For the world. The information, contact Sandra Soule, Public Programs and conference is Visitor Service Division, Winterthur Museum, Garden & sponsored by Library, Winterthur, Delaware 19735, or call 800-448-3883. the Denver Art Museum's The Southeastern College Art Conference will be October College 27-30, 1999, in Norfolk, Virginia. Visit the SECAC Web site Advisory at www.valdosta.edu/secac. Committee, the Alliance The Association of American Studies meets October 28-31, for 1999, in Montreal. The theme of the meeting is "Crossing Contemporary Borders/Crossing Centuries." Art and Cooke-Daniels Memorial Caiis for Conference Papers Lecture Fund. Kimberly Rhodes of Hollins University and Charlotte The program Eyerman of Union College request paper proposals for a committee panel entitled "Channel Crossings: Gendered Exchanges of Alphonse Mucha, Cycles Pefecta. 1902 lithograph, seeks to com- Visual Culture Between Britain and France in the Courtesy of the North Carolina Museum of Art. bine artists', Eighteenth and Nineteenth Centuries," which they are co­ historians' and chairing at the October 28-30, 1999, Southeastern College critics' perspectives. Send proposals by August 15, 1999, Art Conference (SECAC) meeting in Norfolk, Virginia. to: Annette Stott, program chair, Eighth Front Range Proposals (no more than two double-spaced pages) should Symposium, School of Art and Art History, University of be accompanied by a current c.v. and sent to Kimberly Denver, Denver, Colorado 80208-1846. E-mail questions to Rhodes, assistant professor of art, P.O. Box 9564, Hollins [email protected]. University, Roanoke, Virginia 24020 by May 1,1999. Paper proposals are sought for the Thirtieth International Congress of the History of Art, which will be held in The College of Visual Arts, St. Paul, Minnesota, is sponsor­ London, September 3-8, 2000. The title is Time: Art History ing a three-day interdisciplinary symposium October 14- for the Millennium. Sections include such topics as: Revivals 16,1999, on "The Victorian Age and the Spirit of in Style and Taste, Diversity and Difference, and Time and Exploration." Papers may concern Victorian art, architec­ the Public Monument. Proposals are due by June 30,1999. ture, literature, history or any other area that addresses the For information, please write to Karen Wraith, Sussex general theme of the expansive Victorian spirit, both Centre for Research in the History of Art, University of English and American. Proposals of about 200 words Sussex, Brighton BN19QN or e-mail should be submitted by April 30,1999, to Julie L'Enfant, [email protected]. Websites: chair. Liberal Arts, College of Visual Arts, 344 Summit www.esteticas.unam.mx/CIHA and Avenue, St. Paul, Minnesota 55102. www.sussex.ac.uk/Units/arthist/CIHA2000. Fifteen-minute papers are sought on work in progress or Symposia: Past recently completed for the "1999 Feminist Art and Art History Conference," Barnard College, New York, to be The first Clark Conference, held in Williamstown, held October 30,1999. The conference will explore artistic Massachusetts, on April 9-10,1999, was organized by and art historical engagement with feminism broadly Charles W. Haxthausen for the Sterling & Francine Clark defined, including artistic practice, visual culture, theory, Art Institute's new division of Research and Academic history, sexuality, gossip, anecdote and pedagogy. Working Programs. Entitled "The Two Art Histories: The Museum groups also will focus on sharing reading lists, developing and the University," the conference explored how different syllabi and discussing artistic and critical issues. To partici­ values, traditions and constituencies shape the directions g HNCA Newsletter, Vol. 6, No. 1, Spring 1999 taken by these two branches of the discipline. A number of the twenty scheduled speakers from the United States, fAbut (Boofe Germany and the United Kingdom were nineteenth-centu­ ry specialists, including: Patricia Mainardi, "Novelty and Adams, Clinton. Nineteenth-Century Lithography in Europe. Repetition: Exhibitions Tell Tales"; William H. Truettner, Exhibition catalogue. University of New Mexico Art "Active and Passive Voices: Where Do They Lead Us?"; Museum, 1998. $12.00 paper. Richard Brettell, "Murder, Autopsy or Dissection: Art History Divides Artists into Parts: The Cases of Edgar Bajac, Quentin. Tableaux vivants: Fantasies photographique Degas and Claude Monet"; John House, Possibilities for a victoriennes (1840-1880). Exhibition catalogue. Editions de Revisionist Blockbuster"; Griselda Pollock, "A History of la Reunion des musees nationaux, 1999. 150 FF. Absence Belatedly Addressed: Impressionism with and without Mary Cassatt"; Gary Tinterow, "The Exhibition as Barringer, Tim. Reading the Pre-Raphaelites. New Haven: Visual Narrative: A Curatorial Postscript to the Origins of Yale University Press, 1999. $19.95 softcover. Impressionism," and Michael Zimmermann, "A Tormented Friendship: French Impressionism in Barringer, Tim, and Elizabeth Prettejohn, eds. Frederic Germany." Leighton: Antiquity, Renaissance, Modernity. New Haven: The second Clark Conference, to be organized by John Yale University Press, 1999. $60.00 hardcover. Collection of Onians, is planned for the Spring of 2000 on the topic essays reinterpreting Leighton's career, the fifth in a series "Compression vs. Expression: Containing and Explaining devoted to Studies in British Art. the World's Art." It will address issues raised when the art of several areas of the world is brought together, as in a Barter, Judith A., with Erica Hirshler, George T.M. museum, a university course, theory, library or database. Shackelford, Kevin Sharp and Andrew J. Walker. Mary Cassatt: Modem Woman. Art Institute of Chicago; Harry N. The San Francisco Museum of Modem Art and the Abrams, New York, 1998. $65.00 hardcover, $29.95 softcover. Townsend Center for the Humanities at the University of California, Berkeley, sponsored a symposium, "What Was Barter, Judith A., Kimberly Rhodes, Seth A. Taylor and Modernism (and Why Won't It Go Away)?" April 9-10, Andrew Walker. American Art at the Art Institute of Chicago: 1999. Scheduled speakers included T.J. Clark, Thomas From Colonial Times to World War I. Art Institute of Chicago Crow, Anne Wagner and Michael Fried, whose topic was and Hudson Hills Press, New York, 1998. $65.00 hardcover. "Menzel's Modernism: Art and Embodiment in Nineteenth-Century Berlin." Bascou, Marc, Bruno Girveau and Clive Wainwright. Gothic Revival: Architecture et arts decoratifs de FAngleterre Several speakers addressed nineteenth-century topics at victorienne. Exhibition catalogue. Reunion des musees the symposium "Material/Immaterial Bodies in Art" nationaux, 1999.120 FF. scheduled at Stanford University April 9-10,1999. They included: John Davis, "Viewing the Catholic Body in Bassham, Ben. Conrad Wise: Artist and Soldier of the Antebellum America"; Charles Colbert, "Hiram Powers: Confederacy. Kent, Ohio: Kent State University Press, 1998. Spiritualist in Stone"; Sarah Bums, "Winslow Homer and $42.00. the Natural Woman"; Joy Kasson, "Material and Immaterial Bodies in Buffalo Bill's Wild West"; and Angela Bauer, Gerald. Le Siecle d'or de Vaquarelle anglaise, 1750-1850. Miller, "Through a Glass Darkly: Some Versions of Editions Anthese. 430 FF. Subjectivity in Fin-de-Siecle Representations of Women." Belanger, Pamela J. Maine in America: American Art at the The Biennial Symposium on American art at the University Farnsworth Art Museum. Forward by Christopher B. of Delaware was dedicated March 26,1999, to Wayne Crosman, essay by William H. Gerdts. University Press of Craven, retiring H.F. du Pont Winterthur professor of art New England, 1999. $55.00 cloth. history. Seven professors and curators, all former students of Professor Craven, presented papers based on their cur­ Berlin, Isaiah. The Roots of Romanticism. Princeton: rent research. They included: Nancy Anderson, "Tales Told Princeton University Press, 1999. $19.95 cloth. Berlin's by Paintings: Lost Works by Albert Bierstadt and Thomas Mellon lectures, delivered in Washington, D.C., in 1965 Craven"; H. Nichols Clark, "Houdon it? Sculptural and recorded by the BBC. Edited by Henry Hardy. Transformations of George"; Gail Husch, "For the Time at Hand: The Apocalyptic Imagination in American Art"; and Bills, Mark, ed. A Victorian Salon: Paintings from the RusselT Franklin Kelly, "Rewritten in the Sky: Further Thoughts on Cotes Art Gallery. London: Lund Humphries Publishing Frederic Edwin Church's Twilight in the Wilderness." Ltd., 1999. $29.95

The Clark Art Institute at Williams College and the Olana Bills, Mark. Edwin Longsden Long RA. Madison, N.J.: State Historic Site co-sponsored a symposium on March Fairleigh Dickinson University Press, 1998. $65.00. 20,1999, organized around the exhibition The Painted Sketch: American Impressions from Nature, 1830-1880. Eleanor Boehme, Sarah E., et al. Poiverful Images: Portrayals of Native Jones Harvey acted as moderator. Speakers included America. University of Washington Press, 1998. $30.00 Franklin Keily and Linda Ferber. cloth, $19.95 paper.

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 9 Bossaglia, Rossana, ed. Gli orientalisti italiani, Cento anni di De la Motte, Dean and Jeannene M. Przyblyski, eds. esotismo, 1830-1940. Venice: Marsilio Editore, 1998. Making the News: Modernity and the Mass Press in Illustrated catalogue for an exhibition at the Palazzina di Nineteenth-Century France. University of Massachusetts Caccia di Stupinigi, Turin. ISBN 88-317-7055-1. $30-$40. Press, 1999. $70.00 hardcover, $22.95 paperback. Includes essays by Howard Lay and Elizabeth C. Childs. Brummer, Hans Henrik. Prins Eugen: Minuet av ett landskap (Memory of a Landscape). Exhibition catalogue. Prins Distel, Anne, and Susan Alyson Stein. Cezanne to Van Gogh: Eugens Weldemarsudde. Norsted, 1998-99. $69.50. The Collection of Doctor Gachet. Exhibition catalogue. New York: Harry N. Abrams, 1999. $70.00. Butler, Ruth, Jeanine P. Plottel and Jayne Mayo Roos. Rodin's Monument to Victor Hugo. Merrell Holberton Dixon, Annette, Carole McNamara and Charles Stuckey. Publishers Ltd., 1999. $40.00 cloth. Monet at Vetheuil: The Turning Point. Exhibition catalogue. University of Michigan Museum of Art, 1999. $30.00 paper. Cachin, Franqoise, ed., with contributions by Genevieve Lacambre and Rodolphe Rapetti. Arts of the 19th Century: Doy, Gen. Women and Visual Culture in Nineteenth-Century Volume Two, 1850 to 1905. New York: Harry N. Abrams, France, 1800-1852. London: Leicester University Press, 1998. June 1999. $195.00. Dumas, Ann, Caroline Durand-Ruel Godfrey and Chalmers, F. Graeme. Women in the Nineteenth-Century Art Christopher Lloyd et al. Impressionism: Paintings Collected World: Schools of Art and Design for Women in London and by European Museums. Exhibition catalogue. New York: Philadelphia. Westport, Conn.: Greenwood Press, 1998. Harry N. Abrams, 1999. $45.00 hardcover. $55.00 cloth. Edwards, Lee MacCormick. Herkumer: A Victorian Artist. Chambers, Emma. "An Indolent and Blundering Art"? The Brookfield, Vt.: Ashgate, June 1999. $61.95. Etching Revival and the Redefinition of Etching in England, 1838-1892. Brookfield, Vt.: Ashgate, 1999. $76.95.

Champa, Kermit, Dianne W. Pitman and David Publishing Opportunities Brenneman. Monet & Bazille: A Collaboration. Exhibition cat­ CAA .reviews alogue. New York: Harry N. Abrams, 1999. $24.95. John Davis has been named associate editor for American art for the new on-line journal of book Codell, Julie F., and Dianne Sachko MacLeod, eds. reviews, CAA.reviews. Patricia Mainardi is associate Orientalism Transposed: The Impact of the Colonies on British editor for nineteenth-century European art. Anyone Culture. Brookfield, Vt.: Ashgate, 1998. $84.95 hardback. interested in being considered as a potential reviewer in these areas should send a c.v. and expression of areas Conn, Steven. Museums and American Intellectual Life, 1876- of interest to the appropriate editor. 1925. Chicago: University of Chicago Press, 1998. $32.50. The addresses are as follows: John Davis, Department of Art, Smith College, Northampton, MA Czymmek, Gotz, ed. Landschaft als Kosmos der Seek: Malerei 01063. E-mail: [email protected]. Patricia Mainardi, des nordischen Symbolismus bis Munch 1880-1910. 602 Carlton Avenue, Brooklyn, NY 11238. E-mail: Heidelberg: Braus, 1998. [email protected]. Information about the journal is available on: http://www.caaieviews.org. Prospective Daniel, Malcolm. Edgar Degas, Photographer. Metropolitan reviewers must have e-mail. Museum of Art exhibition catalogue. Distr. Harry N. Abrams, New York, 1998. $49.50 cloth. Victorian Literature and Culture Victorian Literature and Culture, a semi-annual jour­ D'Argencourt, Louise, with Roger Diederen and contribu­ nal published by Cambridge University Press, wel­ tions by Alisa Luxenberg, Patrick Noon, William H. comes contributions of original work concerned with Robinson and Ann Tzestschler Lurie. European Paintings of all areas of Victorian literature and culture, including the 19th Century, The Cleveland Museum of Art. 1999. music and the fine arts. Chapters of books may be sub­ Clothbound $100 the set; $120 boxed. mitted for the "Works in Progress" section. The journal carries review essays and a section called "Editors' Degas, Boldini. Toulouse-Lautrec—: portraits inedits par Topics," which offers discussions of issues of current Michel Manzi. Bordeaux: Musee Goupil; Paris: Somogy interest by a variety of scholars. Editions d'Art, 1997. Manuscripts and correspondence may be addressed to either editor: John Maynard, Department De Hureaux, Alain Daguerre, ed. Augustus Saint-Gaudens of English, New York University, 19 University Place, 1848-1907: A Master of American Sculpture. Paris: Somogy Room 235, New York NY 10035; or Adrienne Munich, Editions d'Art, 1999. $69.95 hardcover, $49.95 softcover. Department of English, SUNY/Stony Brook, Stony Nine essays and detailed entries on 122 of the sculptor's Brook, NY 11794. Maynard's phone is 212-998-8835, works. Published in conjunction with an exhibition in Munich's is 516-632-9176. France.

IQ HNCA Newsletter, Vol. 6, No. 1, Spring 1999 Egerton, Judy. The British School. New Haven: Yale Gerdts, William H., Jean Stem, Harvey L. Jones and David University Press, 1998. $75.00. Catalogue from the National Dearinger. All Things Bright & Beautiful: California Gallery, London. Impressionist Paintings from The Irvine Museum. The Irvine Museum, 1998. Evelyn De Morgan: Oil Paintings. De Morgan Foundation, 1996. £30. This book outlining the career of the academical­ Gorth, Hakan, with photographs by Fritz von der Schulenburg. Neoclassicism in the North: Swedish Furniture ly trained De Morgan (1873-1918) may be ordered from the Witt Library, Courtauld Institute of Art in London. and Interiors 1770-1850. Thames & Hudson. $34.95 paper. Eymann, Marcia, and Drew Health Johnson, eds., Silver & Groft, Tammis K., and Mary Alice Mackay, eds. Albany Gold: Photographs of the Gold Rush. Exhibition catalogue. Institute of History & Art: 200 Years of Collecting. New York: University of Iowa Press for the Oakland Museum of Hudson Hills Press, 1998. $75.00. California, 1998. $59.95 hardcover, $29.95 softcover. Gunnarsson, Torsten. Nordic Landscape Painting in the Fischer, Diane, ed. Paris 1900: The American School at the Nineteenth Century. New Haven: Yale University Press, World's Fair. Piscataway, N.J.: Rutgers University Press, 1998. $65.00 cloth. Translated by Nancy Adler. September 1999. $50.00 cloth, $30.00 softcover. Harrison, Charles, and Paul Wood, eds. Art in Theory, 1815- 1900: An Anthology ofChangirig Ideas. Blackwell Publishers, Funnell, Peter, and Malcolm Warner, with contributions by 1998. $78.95 hardcover, $38.95 paperback. An attempt to Leonee Ormond, H.C.G. Matthew and Kate Flint. Millais: build on the previously published anthology of primary Portraits. Exhibition catalogue. Princeton: Princeton readings for the twentieth century. University Press, 1999. $65.00 cloth, $35.00 paper. Harrison, Craig. The Essmce of Art: Victorian Advice on the Georgel, Pierre, et al. Shadows of a Hand: The Drawings of Practice of Painting. Brookfield, Vt.: Ashgate, May 1999. Victor Hugo. Exhibition catalogue. Merrell Holberton, 1998. $70.95 cloth. $60.00 cloth. Harvey, Eleanor Jones. The Painted Sketch: American Impressions From Nature, 1830-1880. Dallas Museum of Art exhibition catalogue. New York: Harry N. Abrams, 1998. $49.50 hardcover, $35 paper. Interprets small, immediate The Van Gogh Museum Journal oil sketches as both a marketing tool for the resulting stu­ he Van Gogh Museum Journal is an essential dio picture and an artistic genre. publication for anyone interested in the life and Twork of Vincent van Gogh and the art of his prede­ Hjalmarson, Birgitta, with forward by William H. Gerdts. cessors and contemporaries. The collections of Artfid Players: Artistic Life in Early California. Balcony Press, the Van Gogh Museum in Amsterdam and the 1999. $34.95 hardcover. Mesdag Museum in The Hague provide a focus for the Journal, but the articles range across many Holland, Juanita M., ed. Narratives of African American Art issues in 19th-century art history. and Identity: The David C. Driskell Collection. Published in The editors of the Van Gogh Museum Journal conjunction with a traveling show organized by the Art are currently seeking contributions for 1999 and Gallery and the Department of Art History and 2000. If you would like your work to be considered, Archaeology, University of Maryland. San Francisco: please send a two-page proposal outlining your Pomegranate, 1998. article, accompanied by a cover letter and your c.v., to The Editorial Board, Van Gogh Museum Hommage a Constantin Meunier, 1831-1905. Anvers: Galerie Journal, P.O. Box 75366, 1070 AJ Amsterdam, The Maurice Tzwem-Pandora, 1998. Netherlands. The Van Gogh Museum Journal 1997-98 Howe, Kathleen Stewart, with contributions by Nitza includes contributions by Roland Dorn, Gabriel Rosovky and Karen Sinsheimer. Revealing the Holy Land: Weisberg, Louis van Tilborgh, Fred Leeman and The Photographic Exploration of Palestine. University of others. There is also a complete catalogue of the California Press, 1997. $60.00 hardcover. museum’s acquisitions in 1997 and 1998. A limited number of back issues (1995 and 1996) are also Hungerford, Constance Cain. Ernest Meissonier: Master in available. His Genre. New York: Cambridge University Press, 1999. The Van Gogh Museum Journal can be pur­ $60.00. chased from book stores or ordered directly from the publisher, Waanders Uitgevers, P.O. Box 1129, Iling, Alla, Mikhail Faktorovitsh and Valentina Myzgina. 8001 BC, Zwolle, The Netherlands. Price: NLG Ilja Repin: Known and Unknown. Catalogue of a 1998 exhibi­ 79.50 (NLG 69.50 for subscribers to the series). tion of Repin's work from five Ukrainian collections. In ADVERTISEMENT English and Finnish. The White Hall of the city of Helsinki, 1998.

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 pp Ittmann, John W. Post-Impressionist Prints : Paris in the Princeton University Press with the Art Institute of 1890s. Exhibition catalogue. Philadelphia Museum of Art, Chicago, Winter 1999. $60.00 hardcover, $29.95 softcover. 1998. $29.95. Lammel, Gisold. Kunst im Aufbruch: Malerei, Graphik und Jobert, Barthelemy. Delacroix. Princeton: Princeton Plastik zur Zeit Goethes. Stuttgart: J.B. Metzler, 1998. University Press, 1998. $65.00 cloth. Translated by Terry Grabar. Lanciani, Rodolfo. Notes From Rome. British School in Rome; David Brown Book Co., 1998. $23.00 softcover. Jomaes, Bjame. Bertel Thorvaldsm: la vita e I'opera dello scnl- Discusses archaeological activity in Rome and its environs tore. Rome: De Luca, 1997. $43.95 cloth. between 1876 and 1913.

Kellein, Thomas. Caspar David Friedrich: Der kunstlerische Lears, T.J. Jackson, Erica E. Hirshler and Hilliard T. Weg. Munich: Prestel, 1998. Catalogue of an exhibition, Goldfarb. Sargent: The Late Landscapes. Exhibition catalogue consisting primarily of drawings, at the Kunsthalle distributed by the University Press of New England, 1999. Bielefeld. $55.00. $24.95.

Kendall, Richard. Van Gogh's Van Goghs: Masterpieces From Leeman, Fred, and Hanna Peacock. Museum Mesdag: the Van Gogh Museum, Amsterdam. National Gallery of Art Catalog of Paintings and Draivings. Waanders Publishers, exhibition catalogue. New York: Harry N. Abrams, 1998. 1998. $100.00 cloth. $35.00. L'Enfant, Julie. William Rossetti's Art Criticism: The Search for Kilmurray, Elaine, and Richard Ormond, eds. John Singer Truth in Victorian Art. Lanham, Md.: University Press of Sargent. Princeton: Princeton University Press with the Tate America Inc., 1998. $46.00 cloth. Gallery, 1998. $60.00 cloth. With an essay by Mary Crawford Volk and contributions by Erica Hirshler, Carol Le Normand-Romain, Antoinette. 1898, le Balzac de Rodin. Troyen and Theodore Stebbins. Musee Rodin, 1998. $118.00.

Lacambre, Genevieve, with contributions by Marie-Laure Lille, Musee des Beaux-Arts. Goya, un regard libre. de Contenson, Douglas W. Druick and Larry J. Feinberg. Exhibition catalogue by Amaud Brejon de Lavergnee, Jean- Gustave Moreau: Between Epic and Dream. Princeton: Louis Auge, Xavier Bray, Jeanine Baticle, Veronique Gerard

Orientalism (Continued) William Rossetti’s Art Criticism To the Editor: The Search for Truth in Victorian Art I wish to respond to Gerald M. Ackerman's review "Recent publications on Orientalist painting, mostly for­ Julie L’Enfant eign" (HNCA Nezusletter, 5:2, Fall 1998). First, may I defend the good information and new work encompassed in Examines the art criticism of William Michael Rossetti, an Christine Peltre's Orientalism in Art, far more than a "cof­ underrated member of the Pre-Raphaelite Brotherhood, and fee-table" edition. Second, while grateful for the exposure places it within the context of Victorian culture. Drawing on Mr. Ackerman gives to my recent survey at the Art Gallery many reviews never published in book form, this study establishes of New South Wales, he is unconvincing in his attempt to Rossetti as a major art critic and valuable source of information cast it as an intellectual footnote to Linda Nochlin's adden­ on the Victorian world. Julie L’Enfant is an Assistant Professor at dum to Edward Said. There is more to the catalogue than the College ofVisual Arts in St. Paul, Minnesota. that, in particular a re-orienting of the Orientalist canon University Press of America, December 1998 into the 20th century to encompass symbolist, abstract, and 392 pages, cloth bound colonial painting, and a new address to work by indige­ ISBN 0-7618-1290-3 nous North African and Turkish painters. This last repre­ $46.00 or $33.00 with 30% pre-publication discount sents an effort to recognize indigenous agency at work in the colonial equation, moving beyond the uni-directional vision of Orientalism for which the early Said was criti­ cized. May I also point out that my first name is Roger not Robert, and that the catalogue was a collaborative work For discount, please send orders to: that included essays on photography and Australian paint­ ing: Orientalism: Delacroix to Klee, ed. Roger Benjamin Julie L’Enfant (Sydney: The Art Gallery of New South Wales, 1997). soft. College ofVisual Arts Library ISBN 0 7313 1344 5 hard: ISBN 0 7313 1356 9 (distr. Thames 394 Dayton Avenue & Hudson London). St. Paul, Minnesota 55102 —Roger Benjamin, Research Fellow Centre for Cross-Cultural Research The Australian National University, Canberra

12 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 Powell, Manuela Mesa, Janice Tomlinson and Bodo O'Gorman, Francis. Late Ruskin: Knowledge, Labour and Vischer. Reunion des musees nationaux, 1998. 290 FF. Modernity. Brookfield, Vt.: Ashgate, June 1999. $70.95 cloth.

Little, Carl. The Watercolors of John Singer Sargent. Berkeley: Ostermark-Johansen, Lene. Sweetness and Strength: The University of California Press, 1999. $45.00 cloth, $24.95 Image of Michelangelo in Victorian Britain. Brookfield, Vt.: paper. Ashgate, 1999. $59.95.

Manoeuvre, Laurent et al. Eugene Boudin en Normandie. Peltre, Christine. Orientalism in Art. New York: Abbeville Catalogue of an exhibition at the Musee Eugene Boudin on Press, 1998. $95.00. the centenary of the painter's death. Exposition Honfleur. Arcueil: Editions Anthese, 1998. $69.50. Perry, Claire. Pacific Arcadia: Images of California, 1600-1915. Oxford University Press, 1999. $40.00 hardcover, $22.50 Mathews, Patricia. Passionate Discontent: Creativity, Gender paperback. and French Symbolist Art. Chicago: University of Chicago Press, 1999. $35.00 cloth. Peters, Lisa N. John Henry Tivachtman: An American Impressionist. New York: Hudson Hills Press, 1999. $50.00 Mathieu, Pierre-Louis. Gustave Moreau, monographic et nou­ cloth. veau catalogue du Toeuvre achevee. ACR, 1998. $284.00. Pollock, Griselda. Mary Cassatt: Painter of Modern Women. Maurer, Naomi E. The Pursuit of Spiritual Wisdom: The New York: Thames and Hudson, distr. W.W. Norton and Thought and Art of Vincent van Gogh and Paul Gauguin. Co., 1998. $14.95 paper. Madison, N.J.: Fairleigh Dickinson University Press; London, Associated University Presses in association with Pressly, William L. The French Revolution as Blasphemy: the Minneapolis Institute of Arts, 1998. $65.00. Johan Zoffany's Paintings of the Massacre at Paris, August 10, 1792. Berkeley: University of California Press, 1999. McCracken, Penny. Women Artists and Designers in Europe $50.00. Since 1830. G.K. Hall & Co., 1998. $200.00/two-volume set. Prettejohn, Elizabeth, ed. Art After the Pre-Raphaelites. Murdoch, John. The Courtauld Gallery at Somerset House. Piscataway, N.J.: Rutgers University Press, forthcoming in New York: Thames and Hudson, 1999. $15.95 paper. 1999.

Naeve, Milo M. Identifying American Furniture: A Pictorial Promey, Sally M. Painting Religion in Public: John Singer Guide to Styles and Terms, Colonial to Contemporary. AltaMira Sargent's Triumph of Religion at the Boston Public Library. Press in cooperation with the American Association for Princeton: Princeton University Press, 1999. $45.00. State and Local History. Third edition, 1998. $14.95. Raabyemagle, Hanne, and Claus M. Smidt, eds. Classicism Nesterova, E.V., and S.V. Rimskaia-Korsakova. The Life and in Copenhagen: Architecture in the Age ofC.F. Hansen. Work of Leonid Ivanovich Solomatkin (in Russian). 1997. Copenhagen: Glydendal, 1998. $65.00 cloth. $35.00 cloth. Discusses career of genre painter who worked in the 1860s and 1870s. Reps, John W. Historic Lithographs of North American Cities. Princeton Architectural Press, 1998. $65.00. Nickel, Douglas R., Carleton E. Watkins and Maria Morris Hambourg. Carleton Watkins : The Art of Perception. Sayers, Andrew et al. New Worlds From Old: Australian and Exhibition catalogue. Due out in May 1999. American Landscape Painting in the 19th Century. New York: Thames and Hudson, 1998. $39.95 softcover. Nochlin, Linda. Representing Women. New York: Thames and Hudson; W.W. Norton & Co., May 1999. $24.95 paper. Serullaz, Arlette. Delacroix. Paris: Flammarion, 1998.

Of Interest and scholars alike. The authors of the rele­ more coherent view of the history of sculp­ vant sections are Philippe Durey, "le Neo- ture than one usually finds in such vol­ Jean-Loup Champion, ed. Mille classicisme europeen"; Jean-Loup umes. Nonetheless the emphasis is, not sur­ Sculptures des Musees de France. Paris, Champion, "la Generation Romantique"; prisingly, predominantly French. The occa­ Gallimard, 1998. 720 FF. Catherine Chevillot, "de l'apres-roman- sional Canova and Gemito make an tisme a l'ordre moral"; and Anne Pingeot, appearance, but it is inevitable that, con­ "de Rodin au Symbolisme." Their concise fined to French collections, the demograph­ As the title suggests, this comprehensive introductions are followed by an array of ics of the objects would correspond. The survey extends far beyond the nineteenth photographs taken from the principal col­ century in its scope. But it merits our atten­ lections of France, which it goes without photographs are of an exceptional quality; tion because almost one-third of the text saying, have an outstanding choice of while most are in black and white, some and images are devoted to the period. Well- sculptures from which to select. The are in color. The whole is at once elegant written and profusely illustrated, this book ensemble gives a wide range of works, and useful. is an excellent reference source for students many by lesser known artists, offering a — June E. Hargrove

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 J3 Shone, Richard, and Ian G. Lumsden. Sargent to Freud: Museum and Rutgers University Press, Piscataway, N.J., Modern British Paintings and Drawings in the Beaverbrook 1999. $60.00 cloth, $30.00 paper. Collection. Exhibition catalogue, the Beaverbrook Art Gallery, Fredericton, New Brunswick, 1998. $40.00 soft- White, Julia M., Reiko Mochinga Brandon and Yoko bound. Woodson. Great Japanese Prints from the James A. Michener Collection, Honolulu Academy of Arts. University of Sieveking, Hinrich. Fuseli to Menzel: Drawings and Washington Press with the Asian Art Museum of San Watercolors in the Age of Goethe. Harvard University Art Francisco, 1999. $45.00. Museums, 1998. $35.00 paper. Wilmerding, John. Compass and Clock: Defining Moments in Simpson, Pamela H. Cheap, Quick and Easy: Imitative American Culture. New York: Abrams, Fall 1999. Architectural Materials, 1870-1930. University of Tennessee Press, 1999. $36.00. A cultural history of how materials Wolanin, Barbara, Constantin Brumidi: Artist of the Capitol. such as concrete block, pressed metal and linoleum trans­ Washington, D.C.: Government Printing Office, 1998. formed building practices in the United States and Great $19.95 paper. To order through the Capitol Historical Britain and made a host of ornamental effects available to Society, see www.uschs.org/brumidibook.htm. the masses. Sinnema, Peter W., The Dynamics of the Pictured Page: Wolf, Sylvia, with contributions by Stephanie Lipscomb, Representing the Nation in the Illustrated London Nezvs, 1842- Debra N. Mancoff and Phyllis Rose. Julia Margaret 1892. Brookfield, Vt.: Ashgate, 1998. Cameron's Women.. Art Institute of Chicago exhibition cata­ logue. New Haven: Yale University Press, 1998. $49.95 Taylor, Brendan. Art for the Nation, 1749-2001. Piscataway, hardcover, $29.95 softcover. N.J.: Rutgers University Press, forthcoming in 1999. Discusses British museum collections, mostly from the Wood, Christopher. Burne-Jones: The Life and Works of Sir nineteenth century. Edward Burne-Jones (1833-1939). New York: Stewart, Tabouri and Chang, 1998. Thomson, Belinda. Post-Impressionism. New York: Cambridge University Press, 1998. $13.95 paperback. Part Wood, James N., and Teri J. Edelstein. Impressionism in the of the Monuments in Modem Art series. Art Institute of Chicago. Forthcoming in Spring 2000. $50.00 from the publisher, $35.00 from the museum. Tinterow, Gary, and Philip Conisbee, eds. Portraits by Ingres: Image of an Epoch. Exhibition catalogue. New York: New CD-Roms Harry N. Abrams, 1999. $85.00. Courtauld Gallery: An Illustrated Catalogue CD-Rom. Truettner, William H., and Roger B. Stein, eds. Picturing Catalogue entries for the entire collection of works in oil in Old New England: Image and Memory. Exhibition catalogue the Courtauld Gallery, illustrated with 570 images, includ­ for the National Museum of American Art. New Haven: ing details and component parts, recto and verso. £40.00. Yale University Press, 1999. $45.00 cloth, $32.50 softcover. Order from the Witt Library, Courtauld Institute of Art, Somerset House, Strand, London WC2R ORN. Ugarte, Michael, Madrid 1900: The Capital as Cradle of Literature and Culture. University Park, Pa.: Penn State National Gallery of Art, Washington. The museum's com­ University' Press, 1996. $35.00. prehensive interactive Micro Gallery is now on a CD- ROM, allowing users to explore more than 1,500 works of Van Tilborgh, Louis, and Marie-Pierre Sale. Millet, Van art in the permanent collection. Compatible with Gogh. Exhibition catalogue. Reunion des Musees Macintosh and Windows software. $34.95. Order by calling Nationaux, 1998. $55.00, 190 FF. 1-800-697-9350 or via www.nga.gov.

Vaughan, William. British Painting: The Golden Age. New Photographers on Disc: An International Index of York: Thames and Hudson, distr. W.W. Norton, 1998. Photographers, Exhibitions and Collections. Andrew $16.95 paper. Eskind, ed. International biographical dictionary of pho­ tographers, index to photographic exhibitions, directory of Vilhelm Hammershoi, 1864-1916: Danish Painter of Solitude and public collections in the United States, bibliography. G.K. Light. Copenhagen: Ordrupgaard; New York: Guggenheim Hall & Co., 1998. Museum, 1998. Web sites Weisberg, Gabriel P. et al. Rosa Bonheur: All Nature's Children. Exhibition catalogue. Distributed by the The Frick Collection Web site, www.frick.org, includes a University of Washington Press for the Dahesh Museum, "virtual tour" of the galleries in the institution's Fifth 1998. $30.00 paper. Avenue mansion in New York City. The Web site is linked to FRESCO, the Frick Research Catalogue Online. An Weisberg, Gabriel P, and Jane Becker, eds. Overcoming All online form is available for users to submit reference ques­ Obstacles: The Women of the Academie Julian. The Dahesh tions to the library staff.

p4 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 A helpful resource on European exhibitions and art news A Passion for Performance: Sarah Siddons and Her Portraits. is Art Brief: www.exhibitions.org/artbrief/artbrief.htm. July 27-September 26,1999. Ten portraits of the tragic actress, including two versions of Sir Joshua Reynolds's The National Museum of American Art has redesigned its portrait. Web site, www.nmaa.si.edu, making more than 3,000 digi­ tal images available. The site is linked to a new collection Los Angeles. Los Angeles County Museum of Art. Van information database. Gogh's Van Goghs: Masterpieces from the Van Gogh Museum, Amsterdam. Through May 16,1999. Information on the history of the French arts academy and Van Gogh and the Japanese Print. Through May 16,1999. the Prix de Rome competitions in painting can be found on Images from a Changing World: Kalighat Paintings of www.culture.gouv.fr/ENSBA/ensba.html. The site Calcutta. June 10-August 30,1999. About 125 works of art includes an index of subjects, artists and dates of winning in the first American exhibition on Kalighat painting from paintings in the Prix de Rome competitions. nineteenth- and early twentieth-century Calcutta. Post-Impressionist Prints: Paris in the 1890s, July 1- The American Association of Museums well-known job September 13, 1999. More than 120 prints by 33 artists, bank, carried in the publication Aviso, soon will be avail­ drawn from the collection of the Philadelphia Museum of able for viewing on the association's Web site, www.aam- Art. us.org and accessible free of charge to anyone who logs Around Impressionism: French Paintings from the National onto the site. Gallery of Art. August 15-November 29,1999. "Ghost in the Shell:" Photography and the Human Soul, The Guildhall Library, Corporation of London, has made 1850-2000. October 14,1999-January 17, 2000. One section its searchable database of some 20,000 scanned images of the exhibition will include photos by French physiolo­ accessible at http://collage.nhil.com. The collection focus­ gist Duchenne de Boulogne, who experimented with elec­ es on London-related paintings, prints and drawings. The tric-shock treatment, and refers to Jean-Martin Charcot's site can be searched via specific names or topics such as late nineteenth-century "theater of the passions." "Orientalism." Oakland. Oakland Museum of California. All Things Bright To learn about current and upcoming exhibitions at & Beautiful: California Impressionist Painting From the Irvine German art museums and galleries, see: http://www.ger- Museum. Through May 30,1999. Fifty-eight works by mangalleries.com. artists painting in California between 1890 and 1930.

San Francisco. Crocker Art Museum. Silver and Gold: Cased ‘E?(fii6ition Listings Images of the California Gold Rush. August 13-October 10, 1999.

Please confirm all dates before visiting museums, as San Francisco. San Francisco Museum of Modem Art. advance schedules are subject to change. Traveling exhibi­ Carleton Watkins: The Art of Perception. May 28-September 7, tions usually are listed only once at the most current site. 1999. Travels to Metropolitan Museum of Art, New York, Exhibition catalogues are listed under NEW BOOKS if October 5,1999-January 9, 2000, and the National Gallery complete information such as author, publisher and price of Art, Washington, D.C., February 20-May 7, 2000. is available about them. San Francisco. Yuerba Buena Center for the Arts. The Exhibitions: United States and Canada Impressionists in Winter: Ejfets de Neige. Closes May 2,1999. Travels to the Brooklyn Museum of Art, May 28-August Alabama 29,1999. Birmingham. Birmingham Museum of Art. Roads Less Traveled: American Paintings 1833-1945. May 2-July 4,1999. San Marino. The Huntington. Cultivating Celebrity: Travels to the Tucson Museum of Art October 2-November Portraiture as Publicity in the Career of Sarah Siddons, Star of 28.1999. the Georgian Stage. July 27-September 19,1999. Tire Land of Golden Dreams: California and the Gold Rush Alaska Decade, 1848-1858. October 1999-September 2000. Diaries, Anchorage. Anchorage Museum of History and Art. letters, drawings, guidebooks and artifacts are exhibited on Drawn from Shadows and Stone: Photographing North Pacific sesquicentennial of the gold rush. Peoples (1897-1902) Giuseppe Expedition. May 2-September 19.1999. Stanford. Iris & B. Gerald Cantor Center for Visual Arts, Stanford University. Pacific Arcadia: Images of California, California 1600-1915. April 21-June 27,1999. This "interdisciplinary" Los Angeles. J. Paul Getty Museum. Nadar/Warhol, July 20- exhibition, examining idealized portrays of California, October 10,1999. An examination of the ways in which includes maps, prints, photographs and advertisements as both artists, operating in different times and places, used well as fifty paintings. It travels to the San Diego Museum photography to create and consecrate a circle of famous of Art October 30, 1999-January 9, 2000, and to tire Joslyn people. Museum in Omaha February 19-April 30, 2000.

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 J5 Colorado Age Pilgrims" and "Yankee Modernism," the exhibition is Denver. Denver Art Museum. Toulouse-Lautrec From the curated by William H. Truettner and Roger B. Stein. Metropolitan Museum of Art. April 10-July 4,1999. More Abbott Thayer: The Nature of Art, April 23-September 6, than 100 paintings, drawings, prints and posters from the 1999. Metropolitan collection. The Royal Academy in the Age of Queen Victoria (1837- Washington. National Portrait Gallery. Augustus 1901), May 15-August 15,1999. Paintings by John Millais, Washington: African American Daguerreotypist. September Lawrence Alma-Tadema and many contemporaries. 24,1999-January 2, 2000. About 30 daguerreotypes from Washington's studio in Hartford, Connecticut, which he Connecticut opened in 1847, and from his early residency in Liberia, Hartford. Wadsworth Atheneum. Frederick Douglass in where he moved with his family in 1853. Black and White. Through May 31,1999. Prints, pho­ tographs, and memorabilia from the Amistad Foundation Washington. Renwick Gallery. Shaker: Furnishings for the collection. Simple Life. Through July 25,1999.

New Haven. Yale Center for British Art. James Tissot. Florida September 22-November 22,1999. Exhibition travels to tire St. Petersburg. Museum of Fine Arts. In the American Spirit: Musee du Quebec, December 15,1999-March 12, 2000. Realism and Impressionism from the Lawrence Collection. Forty paintings, forty prints and twenty watercolors in ret­ Through June 13,1999. More than 40 works from the col­ rospective organized by the Yale Center and the American lection of Samuel and Marion Lawrence, including paint­ Federation of Arts. A catalogue by Malcolm Warner and ings by Henri, Prendergast, Hassam and Theodore Nancy Marshall is planned from Yale University Press. Robinson. Paintings by each member of The Eight are included. Organized by Jennifer Hardin and independent District of Columbia curator Valerie Ann Leeds. Washington. Corcoran Gallery of Art. Sargent Drawings From the Corcoran's Collection. Through May 2,1999. Georgia Coincides with National Gallery of Art retrospective. Atlanta. High Museum of Art. Monet and Bazille: A Collaboration. Closes May 16,1999. Washington. Freer Gallery of Art. Whistler and the Leylands. Impressionism: Paintings Collected by European Museums. Through June 6. First in a series of small exhibitions on Closes May 16,1999. The show, containing more than sixty Whistler's prints. Includes portraits of the Leyland chil­ paintings, travels to the Seattle Art Museum, June 12- dren and Lizzie Dawson, Mrs. Leyland's younger sister to August 29,1999, and to the Denver Art Museum, October whom he was briefly engaged, made on visits to Speke 2-December 12,1999. Hall. Whistler and the Hadens. June 20,1999-April 2, 2000. Atlanta. High Museum of Folk Art. "I Made This Jar...''; The Thirty prints and drawings and one oil painting produced Life and Works of the Enslaved African-American Potter, Dave. during early years of artist's life in England when he fre­ May 16-July 31,1999. quently stayed with his half-sister Deborah and her hus­ band Francis Seymour Haden. Hawaii Honolulu. Honolulu Academy of Arts. Interaction of Washington. National Gallery of Art. John Singer Sargent. Cultures: Indian and Western Painting (1780-1910) from the Through May 31,1999. The exhibition, which opened at Ehrenfeld Collection. September 16-November 7,1999. Art the Tate Gallery last year, travels to the Museum of Fine created in India by Indian, European and American artists. Arts, Boston, June 23-September 26,1999. It features 130 The first North American exhibition to consider their artis­ paintings, ranging from those shown at the Paris Salon tic interaction. Western painters represented include (including Mme. X) to late landscape oils of Venice and Thomas and William Daniell, George Chinnery, Robert Switzerland and Gassed of 1919. Home, Edward Lear and Edwin Lord Weeks. Portraits by Ingres: Images of an Epoch. May 23-August 22, 1999. Forty paintings and 120 drawings, including Illinois Monsieur Bertin and a special section devoted to the two Chicago. Art Institute of Chicago. Women and Culture from portraits of Madame Moitessier and preparatory drawings. Kauffman to Kolhuitz. November 13,1998-May 23,1999. Travels to Metropolitan Museum of Art, October 5,1999- Curated by Jay Clarke. January 2, 2000. Chicago. Terra Museum. Masters of Color and Light: Homer, Washington. National Museum of American Art. Picturing Sargent, and the American Watercolor Movement. May 8-July Old New England: Image and Memory. Through August 22, 4,1999. 1999. The latest exhibition in a series of shows organized by the museum, including The West as America: Indiana Reinterpreting Images of the Frontier (1991) and Thomas Cole: Indianapolis Museum of Art. Gauguin and the Pont-Avon Landscape into History (1994), that explore the meaning of School from the Josefowitz Collection. Through August 1,1999. art works in their own time. Arranged in six thematic sec­ Seventeen paintings and 84 prints by Gauguin and his cir­ tions including "Constructing the Rural Past," "Gilded cle, acquired from the collection of the Swiss entrepreneur.

Jg HNCA Newsletter, Vol. 6, No. 1, Spring 1999 Visions of Home: American Impressionist Images of Northampton. Smith College Museum of Art. Dwight W. Suburban Leisure and Country Comfort. May 23-August 8, Troyon, May 1-September 5,1999. Exhibition celebrating 1999. the sesquicentennial of Troyon's birth and his legacy. He and his wife Alice funded construction of the original Kansas museum building. Brochure featuring an essay by Linda Wichita. Wichita Art Museum. Maurice Prendergast and His Merrill. Associates: American Impressionist and Early Modernist Works on Paper from the WAM Collection. September 5,1999- Williamstown. Clark Art Institute. Jean-Francois Millet: The January 2, 2000. Painter's Drawings. June 18-September 5,1999. Travels to Maurice Prendergast: The State of the Estate. October 3, the Van Gogh Museum, Amsterdam, October 26,1999- 1999-January 2, 2000. Forty-five oils, watercolors, mono­ January 4, 2000. types, drawings, letters and memorabilia. Overcoming All Obstacles: The Women of the Academie Julian. Opening early October 1999. Art work and docu­ Louisiana mentary material illuminating the importance of this alter­ New Orleans. New Orleans Museum of Art. Degas and native training center, the only established atelier that New Orleans: A French Impressionist in America. May 1- accepted women until the end of the nineteenth century. August 29, 1999. Works created during the artist's 1872-73 Organized by guest curator Gabriel P. Weisberg in collabo­ sojourn with Louisiana relatives, including A Cotton Office ration with Jane Becker. Travels to the Dashesh Museum in In New Orleans. January 2000.

Maryland Worcester. Worcester Museum of Art. "All That Is Glorious Baltimore. Baltimore Museum of Art. Nouveau to Deco: Around Us": Paintings from the Hudson River School. Textiles of the Early Twentieth Century. Through August 1, Through June 27,1999. Seventy-five works showcased via 1999. Drawn from the BMA's collection. themes of tourism, industrialization and the land. Travels Impressionist Portraits From American Collections. October to the National Academy in New York July 14-September 10,1999-January 30, 2000. Nearly sixty pictures, demon­ 12,1999. strating how Impressionists abandoned conventions to cre­ Terrific Tokyo—A Panorama in Prints from the 1870s to the ate a “modem" form of portraiture. The exhibition will 1930s. Through July 4,1999. Fifty woodblock prints record travel to the Museum of Fine Arts, Flouston, March 25- the evolution of the city once called Edo. May 7,2000, and the Cleveland Museum of Art, May 28- July 30, 2000. A catalogue is planned with essays by John Michigan House and Sona Johnston. Grand Rapids. Grand Rapids Art Museum. Van Gogh a)id His Countrymen: Nineteenth-Century Dutch Watercolors and Baltimore. The Walters Art Gallery. Romance, Murder, and Drawings from the Museum Boijmans van Beuningen, Revenge: Kabuki Prints by Konishi Hirosada. Through June 20, Rotterdam. April 16-August 15. Exhibition organized by Art 1999. Prints record the 1850-51 theater seasons in Osaka by Services International. printmaker from the city. Minnesota Massachusetts Minneapolis. Minneapolis Institute of Arts. Henri de Boston. Fogg Art Museum. Sargent in the Studio. June 10- Toulouse-Lautrec and the Performers of Paris. Through September 5,1999. Drawings, sketchbooks and oil sketches. September 19,1999. Prints and drawings from the 1890s, when Toulouse-Lautrec spent nearly every evening in the Boston. Isabella Stewart Gardner Museum. Sargent: The cafes and dance halls of Montmartre. Late Landscapes. May 21-September 26,1999. Display of 14 Portraits by Jeremiah Gurney. October 9,1999-January 23, paintings and watercolors from 1905 to 1917 coincides 2000. About 150 likenesses of royalty, famous Americans with the Sargent exhibition at the Museum of Fine Arts. and average citizens by Matthew Brady's primary com­ Boston. petitor as a professional portrait photographer in the 1850s and 1860s. Boston. Museum of Fine Arts, Boston. Mary Cassatt: Modem Woman. Through May 9,1999. Travels to the Missouri National Gallery of Art, Washington, D.C., June 6- St. Louis. St. Louis Museum of Art. Revealing the Holy Land: September 6,1999. The exhibition, which tracks Cassatt's The Photographic Exploration of Palestine. Through May 23, career from Impressionist to Post-Impressionist, opened at 1999. Exhibition organized by the Santa Barbara Museum the Art Institute of Chicago. Works from the Chester Dale from the collection of Michael and Jane Wilson. Travels to Collection are added at the Washington venue only. the Dahesh Museum, New York City, June 8-August 28, Martin Johnson Heade. September 23,1999-January 16, 1999. 2000. An exhibition of sixty seascapes, still lifes and hum- Beyond Paris: Images of Rural France, 1800-1900. June 29- mingbird-and-flower paintings by the American artist, September 19,1999. More than 40 prints, drawings and curated by Theodore E. Stebbins Jr. The show will travel to photographs from the collections of the Saint Louis Art the National Gallery of Art, Washington, D.C., February Museum and the Washington University Gallery of Art, 13-May 7, 2000, and to the Los Angeles County Museum showcasing the natural beauty of rural France as well as of Art May 28-August 17, 2000. political and thematic issues relevant to landscape.

HNCA Newsletter, Vol. 6, No. I, Spring 1999 py New jersey collection document his close relationships with many Montclair. The Montclair Art Museum. The Moving nineteenth-century French artists. The exhibition opened Panorama of Banyan's "Pilgrim's Progress" (1851). Through at the Musee d'Orsay in Paris and will travel to the Van May 2,1999. Known only during the mid-nineteenth cen­ Gogh Museum, Amsterdam, September 10-December 5, tury as the Bunyan Tableaux, this work is one of only a 1999. handful of surviving moving panoramas. Jasper Cropsey, The Annenberg Collection of Impressionist and Post- Frederic Church and Daniel Huntington were among the Impressionist Masterpieces, late May to mid-November 1999. major artists who contributed scenes. On annual loan to the museum for six months. Gustave Moreau: Between Epic and Dream, June 1-August Newark. Newark Museum. Rodin: Sculpture from the Iris 22,1999. More than 100 paintings, watercolors and draw­ and B. Gerald Cantor Collection. June 4-August 5,1999. The ings, including many lent from the Gustave Moreau muse­ exhibition travels to the North Carolina Museum of Art, um in Paris. Travels from Grand Palais, Paris, and Art Raleigh, April 6, 2000-August 13, 2000. Institute of Chicago.

New York Albany. Albany Institute of History & Art. 200 Years of Collecting. Through May 30,1999. American art and decorative arts collections of the museum.

Brooklyn. Brooklyn Museum of Art. Winslow Homer: Illustrator of Modern Life. July 3-October 10, 1999. Seventy-five wood engravings from a collec­ tion of more than 225 given to the museum by collector Harvey Isbitts. Eastman Johnson. Edouard Manet, The Bullfight, 1864. Oil on canvas. The Frick Collection, New York October 29,1999-February 6, 2000. Comprehensive look at Johnson's oeuvre, featur­ Costume and Character in the Age of Ingres. September 8- ing 73 paintings and 35 drawings, including some portray­ November 21,1999. Coincides with Portraits by Ingres: als of African Americans not exhibited publicly since the Image of an Epoch, which travels to the Met in October from nineteenth century. Organized by Teresa A. Carbone and the National Gallery of Art. Patricia Hills. Notable American Wing Acquisitions, 1980-1998. November 1999-November 2000. Exhibition of works in New York. The Frick Collection. Manet's “The Dead all media, from furniture and textiles to sculpture, cele­ Toreador" and “The Bullfight": Fragments of a Lost Salon brating 75th anniversary of the founding of the American Painting Reunited. May 25-August 22,1999. The two paint­ wing. ings were originally parts of a larger work, Incident in a Bullfight, exhibited at the 1864 Paris Salon. Manet later cut New York. The Morgan Library. Poe: The Ardent out the two sections and developed them into indepen­ Imagination. Through May 9,1999. Exhibition marking the dent paintings. Caricatures of the period and X-radi- 150th anniversary of Edgar Allen Poe's death. ographs provide clues to the original composition. The The Civil War in Color: A Soldier's Sketchbook. May 18- Dead Toreador is on loan from the National Gallery of Art, September 15,1999. Washington, D.C., for the display organized by Susan Grace Galassi. A brochure is planned. New York. Museum of Modem Art. Jidia Margaret New York. Dahesh Museum. Overcoming All Obstacles: Cameron's Women. Through May 4. Travels to San Francisco The Women of the Academie Julian. Opens January 2000 (see Museum of Modem Art, August 27-November 30,1999. Clark Institute entry under Williamstown, Massachusetts). Stony Brook, Long Island. The Museums at Stony Brook. William Sidney Mount: Painter of American Life. July 8- New York. The Jewish Museum. Berlin Metropolis: Jews arid September 10,1999. the New Culture, 1890-1918. November 1999-mid-March New York in the Carriage Era. September 11,1999-January 2000. 9, 2000. William Sidney Mount: Family & Friends. October 9,1999- New York. Metropolitan Museum of Art. Cezanne to Van January 23, 2000. Gogh: The Collection of Dr. Gachet. May 25-August 15, 1999. The Tile Club and the Aesthetic Movement in America (1877- More than fifty paintings and drawings from Gachet's 1887). November 13,1999-January 2000.

J3 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 Yonkers. The Hudson River Museum. Wind, Water, Fire: Philadelphia. Pennsylvania Academy of the Fine Arts. Natural Elements in American Art, 1820-1920. Through May Maxfield Parrish. June 19-September 25,1999. Retrospective 17,1999. following Parrish's career and influence from the 1890s Art and Nature. October 15-December 19,1999. Twenty- travels to the Currier Gallery of Art, Manchester, New six paintings by three generations of Hudson River Hampshire, November 4,1999-January 23, 2000; the painters. Memorial Art Gallery of the University of Rochester, Rochester, New York, February 19-April 30, 2000; and the North Carolina Brooklyn Museum of Art May 26-August 6, 2000. Charlotte. Mint Museum of Art. Children's Fashions from the "Golderi Age” Illustration. June 19-September 25,1999. Nineteenth Century. May 9-November 6,1999. Pittsburgh. Carnegie Museum of Art. The Other Nineteenth Raleigh. North Carolina Museum of Art. Monet to Moore: Century: European Prints and Drawings. April 17-August 15, The Millennium Gift of the Sara Lee Corporation. September 1999. Exhibition of works from the museum's collection 12-November 7,1999. that are not so well known today as the prints and draw­ ings of Degas and van Gogh. The show features printmak­ ing techniques such as cliche-verre, a hybrid form of print­ Ohio making and photography, and early examples of lithogra­ Cincinnati. Taft Museum. La revue blanche: 19th-Century phy by artists such as Richard Parkes Bonington and French Lithographs from the Collection ofErv Raible. April 30- Achille Deveria. August 29, 1999. Avant-garde illustrations that appeared in La revue blanche, the French literary and artistic review Pittsburgh. The Frick Art Museum. A Victorian Salon: founded in 1889. Paintings From the Russell-Cotes Art Gallery and Museum, John Twachtman: An American Impressionist. June 6- Bournemouth, England, May 7-July 4,1999. Thirty-five September 5,1999. A chronologically arranged retrospec­ paintings from British collection, shown at the Dahesh tive featuring more than fifty oils and pastels divided into: Museum earlier this year. Salon-style exhibition includes Twachtman's early Venice and New York works; his time paintings by Edwin Landseer, Lord Leighton, Edwin Long in France and Holland; the Connecticut years; and the late and Albert Moore. Gloucester works. Travels to the Pennsylvania Academy of The Museum and the Photograph: Collecting Photography at Fine Arts in Philadelphia October 16,1999-January 2, 2000, the Victoria and Albert Museum, 1853-1900. November 5, and to the High Museum in Atlanta from February 26- 1999-January 10, 2000. May 21, 2000. Virginia Oberlin. Allen Memorial Art Museum, Oberlin College. Williamsburg. Abby Aldrich Rockefeller Folk Art Center. Kuniyoshi's Kisokaido. Through May 31,1999. Series of The Kingdoms of Edward Hicks. Closes September 6,1999. woodblock prints by Utagawa Kuniyoshi (1797-1861) Travels to Philadelphia Museum of Art, October 10,1999- focusing on a highway connecting the cities of Edo and January 2, 2000, and to the Denver Art Museum February Kyoto. 12-April 30, 2000. Oklahoma Tulsa. Philbrook Museum of Art. Alphonse Mucha: The Canada Spirit of Art Nouveau. April 24-June 20,1999. Over 180 Montreal. Montreal Museum of Fine Arts. Monet at works, many drawn from the Mucha Foundation, dating Giverny: Masterpieces from the Musee Marmottan. Closes from the 1890s to 1930s. Exhibition will travel to the May 9. This exhibition travels to the Albright-Knox Art Nevada Museum of Art, Reno, July 8-September 26,1999, Gallery in Buffalo, May 23-August 9,1999, and to the and the Worcester Art Museum, Massachusetts, October Phoenix Art Museum, September 18,1999-January 2, 16,1999-January 2, 2000. 2000. Cosmos: From Romanticism to the Avant-Garde, 1801- Oregon 2001. June 17-October 17, 1999. A re-exploration of the Portland. Portland Art Museum. Rodin's Monument to history of ideas, art and science in the nineteenth and Victor Hugo. May 14-July 11,1999. Travels to Metropolitan twentieth centuries through pictures, photographs, popu­ Museum of Art, New York, October 7,1999-January 2, lar imagery and scientific objects. A catalogue is planned. 2000. Photographs of Edward S. Curtis. Through July 11,1999. Ottawa. National Gallery of Canada. Honore Daumier. June Photographs of Native Americans by Seattle artist who 3-September 6,1999. Travels to the Galeries nationales du began recording their images at the turn of the century. Grand Palais, Paris, October 9,1999-January 2, 2000. Includes 230 works in all media in a comprehensive sur­ Pennsylvania vey. Chadds Ford. Brandywine River Museum. Posters in an Age of Elegance. Through May 23. Graphic designs from Vancouver. Vancouver Art Gallery. Toulouse-Lautrec from the 1893 to 1910. New aesthetic forms from French art with the Baldwin Collection. Through June 20,1999. More than 100 design ideal of the English Arts and Crafts movement. drawings, prints and paintings.

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 jg Exhibitions: Europe February 20, 2000. About sixty works from important Japanese collections will be featured, including works by Dates are subject to change. Please recheck all dates before Corot, Millet, Courbet, Monet, Gauguin and van Gogh, traveling to these museums. demonstrating the growing taste for French art in the wake of the Meiji Restoration. Austria Salzburg. Rupertinum Modeme Gallerie und Graphische London. Tate Gallery. Turner's Rivers of France. June 29- Sammlung. Eros and Death: Belgian Symbolism. July 24- October 3,1999. October 10,1999. London. Victoria and Albert Museum. A Grand Design: Art Vienna. Upper Belvedere, Austrian Gallery of the of the Victoria and Albert Museum, October 1999-January Nineteenth and Twentieth Centuries. America: Die neue 2000. Welt in Bildern des 19. Jahrhunderts. Through June 20,1999. Masterworks of American art from 1776 to 1913. Finland Helsinki. Ateneum. The Museum of Finnish Art. Edvard Belgium Munch and Wamemiinde. September-December, 1999. Looks Brussels, Royal Museums of Fine Arts. James Ensor. at Munch's expressionistic period in the coastal town of September 24,1999-February 13, 2000. Wamemiinde in northern Germany during 1907-8. Ninety art works displayed in cooperation with the Munch Ostend. Museum of Fine Arts Ostend. For a discussion of Museum in Oslo. the museum's many Ensor activities, see the Ensorjaar arti­ cle in the front section of this newsletter. Punkahaqu. Retretti Art Centre. Edvard Munch. May 28- August 29,1999. Travels to Arken Museum of Modem Art, England Copenhagen, later in 1999. Cambridge. Fitzwilliam Museum. Sickert Paintings and Draioings. Fall 1999 (closing December 20,1999). France Albi. Musee Toulouse-Lautrec. Leon Soulie (1804-1862). Leeds. Royal Armouries Museum. Buffalo Bill’s Wild West. Drawings and watercolors by the landscape artist. May 29-September 5,1999. Through May 16,1999.

London. British Museum. Edward Falkener: A Victorian Belfort. La commande publique a Belfort: de Bartholdi a Ernest Orientalist. Through May 2,1999. Falkener (1814-96), was Pignon Ernest. June 25- September 5,1999. an antiquarian, archaeologist, architect, artist and author as well as a pioneering collector of Arab and Turkish metal­ Caen. Musee des Beaux-Arts. Jules-Louis Rame (1855-1927), work and oriental games. un impressionniste normand. June 5-October 4,1999. The Popular Print in England. May 8-August 29,1999. Prints from the sixteenth to the mid-nineteenth century. Dieppe. Chateau-Musee de Dieppe. L'ecole anglaise en France: Lucien Pissarro et Walter Sickert. Through June 6,1999. London. Courtauld Gallery. Art Made Modem: Roger Fry's Vision of Art. October 1999- January 2000. Exhibition curat­ Douai. Musee de la Chartreuse. Theophile Bra (1797-1863), le ed by Chris Green will look at themes including the rela­ dessin park. September 15-November 15,1999. tionship between European and non-European art, the Omega workshop and British and French Post- Grenoble. Musee de Grenoble. Flandrin, Bonnard, Marquet. Impressionists. November-December 30,1999.

London. National Portrait Gallery. Millais: Portraits. Lyon. Musee des Beaux-Arts. The Portrait Album of Through June 6. Traces evolution of John Everett Millais's Hippolyte Flandrin. May 20-August 29,1999. Sixty drawings portraiture from his detailed Pre-Raphaelite works and made as preparatory studies for portraits demonstrate the full-length of John Ruskin to commissioned portraits of the artist's working methods. 1870s and 1880s. Later sitters include such celebrities as Francois Vernay (1821-1896). September 23-December 19, Lillie Langtry, Tennyson and Gladstone. 1999. A painter of landscapes, still lifes and flowers from A Brush with Nature: The Gere Collection of Landscape Oil Lyon. Sketches. June 23-August 30,1999. Seventy oil sketches by British, French, Italian, German, Belgian and Scandinavian Malzeville. La Douera. Victor Prouve: voyages en Tunisie, painters from the eighteenth and nineteenth centuries. 1888-1890. May 12-June 27,1999. Traveling Companions: Monet and Seurat. October 6- November 7,1999. Exhibition, in Room One, compares Metz. Musees de la Cour d'Or. Metz-Nancy/Nancy-Metz: two views of the Channel coast, Monet's The Museum at Le Echanges, influences, confluences? December 1999-March Havre (1873) and Seurat's The Channel at Gravelines (1890). 2000.

London. Royal Academy. Corot to Matisse: 100 Years of Morlaix. Musee des Jacobins. Lumieres de sable, plages de Collecting in Japan (1896-1996), November 20,1999- Maurice Denis. June 26-November 1,1999.

20 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 Nancy. Galeries Poirel. L'EcoIe de Nancy, 1889-1909. April which had been bombarded in 1870, became a key point 24-July 26,1999. In Nancy, 1999 is the year of the School of for urban development for the German empire. Nancy. Exhibitions will be located at the Musee d'art modeme et contemporain, the Galerie de l'Ancienne Douane, the Nancy. Musee de l'Ecole de Nancy. "Ma racine est au fond Musee Alsacien, the Musee des Beaux-Arts, the Musee des bois." April 24-July 26,1999. Historique and the Musee Archeologique.

Nancy. Musee des Beaux-Arts. Peinture et Art Nouveau. Toulouse. Musee des Augustins. Augustus Saint-Gaudens, April 24-July 26,1999. Naturalism and Symbolism in an American Sculptor in Paris. Through May 30,1999. Nancy. Emile Friant and Victor Prouve and their relation­ Retrospective exhibit culminates the 150th anniversary cel­ ship with Paris. Catalogue under the direction of Beatrice ebrations of the sculptor's birth and is the first major pre­ Salmon, Jean-Paul Midant and Gabriel P. Weisberg. sentation of his work in Europe in almost 100 years. Most of the objects come from the Saint-Gaudens National Nantes. Musee des Beaux-Arts. Paul Delaroche. End of June Flistoric Site in Cornish, New Flampshire, augmented by to late September 1999. Travels to the Musee Fabre, loans from the Metropolitan Museum of Art and other Montpellier, beginning October 1999. public and private collections. The exhibition travels to the Chateau de Blerancourt June 25 through the end of Paris. Bibliotheque Nationale. Edgar Degas, Photographer. September, 1999. June 1-August 22,1999. Valence. Musee Municipal. Hubert Robert and Saint- Paris. Galeries nationales du Grand Palais. Honore Daumier. Petersburg. June 19-September 30,1999. October 8,1999-January 2, 2000. Valenciennes. Musee des Beaux-Arts. Carpeaux, peintre. Paris. Musee d'Orsay. Edward Burne-Jones (1833-1898), Autumn 1999. English master of the imagination. Through June 6, 1999. Includes not only paintings and graphic works but also Germany tapestries, glass works, ceramics and jewelry. Berlin. Altes Museum. Meistenverke aus der Alten Six paintings from the Stadelsches Kunstinstitut und Nationalgalerie. Through the summer of 1999, major nine­ Stadtische Galerie in Frankfurt. Through May 30. Includes teenth-century works of painting and sculpture are on Courbet's The Wave and Manet's Croquet Party, works exhibit here while the Alte Nationalgalerie is closed. rarely seen in France. Gothic Revival: Architecture and Decorative Arts of Victorian Bonn. Kunst-und Ausstellungshalle der Bundesrepublik England. Through June 6,1999. Deutschland. Alexander von Humboldt. September 15,1999- Tableaux-vivants. Victorian Photographic Fantasies (1840- January 9, 2000. Networks of knowledge. 1880). Through June 6,1999. Lewis Carroll photographer. Through June 6,1999. Dresden. Staatliche Kunstsammlungen. Jugendstil in The Collection of Edmund Davis. Through June 6,1999. Dresden: Aufbruch zur Modeme. September 18-December 5, Paintings by British artists from the tum-of-the-century. 1999. Eugene Jansson (1862-1915). May 19-August 22,1999. Hamburg. Hamburger Kunsthalle. Whistler: Die Graphik. Paris. Orangerie. Monet, the Water Lily Cycle. May 6-August Through May 23. 2,1999. Before closing for building work, the museum pre­ sents a show entirely dedicated to the water lily cycle. Hamburg. Museum fiir Kunst und Gewerbe. Louis Comfort Tiffany: Meistenverke des amerikanischen Jugendstils. Through Pont-Aven. Musee de Pont-Aven. Roderic O'Conor (1860- June 13,1999. 1940), oeuvre grave. Through June 21,1999. Peintres irlandais en Bretagne. June 26-September 27,1999. Mannheim. Kunsthalle Mannheim. Wagner's "Ring des Nibelungen." January 2000. Quimper. Musee des Beaux-Arts. Les Impressionnistes et Neo-lmpressionnistes en Bretagne. June 27-October 4,1999. Stuttgart. Staatsgalerie Stuttgart. Camille Pissarro and Impressionism. December 11,1999-April 30, 2000. Rodez. Musee Beaux-Arts Denys Puech. Auguste Rodin, a Tribute to a Patron, Maurice Fenaille. December 1, 1999- Wuppertal. Von der Heydt Museum. Ferdinand Hodler. March 2, 2000. October 20-December 19,1999.

Strasbourg. Galerie de l'Ancienne Douane. Finnish Art, Israel 1880-1920. June 18-September 12,1999. Jerusalem. Israel Museum. Degas to Pissarro. September 7- November 2,1999. Strasbourg. Musees de Strasbourg. Strasbourg 1900: Architecture, Sculpture and Decorative Arts. December 1999- Italy February 2000. Exhibitions at Strasbourg's museums will Milan. Fondazione Mazzotta. Gustav Klimt. Through May trace the role of art from 1870 to 1914, when Strasbourg, 30,1999.

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 21 Milan. Museo Poldi Pezzoli. Nineteenth-Century Italian Switzerland Glass. May 31-September 30,1999. Berne. Kunstmuseum Berne. Ferdinand Hodler. November 26,1999-February 13, 2000. The Netherlands Amsterdam. Rijksmuseum. Floating World Japanese Scrolls. Lausanne. Hermitage Foundation. The Golden Age of Through June 13,1999. English Watercolors (1770-1901). Through May 24. Includes 150 works lent by public collections in England and Amsterdam. Van Gogh Museum. Theo van Gogh (1851- France, as well as private ones in Switzerland. Works by 1891: Art dealer, collector and brother of Vincent. June 24- Constable, Sandby, Bennington and Turner, Valley, Cox September 5,1999. and Towns. Cezanne to Van Gogh: The Collection of Dr. Gachet. September 24-December 5,1999. Lausanne. Musee Cantonal des Beaux-Arts. Jacques Sable to Jean-Francois Millet: The Painter's Drawings. October 23, Friedrich. October 3-December 12,1999. 1999-January 9, 2000. Prague 1900: Poetry and Ecstasy. December 17,1999- Martigny. Fondation Pierre Gianadda. Turner and the Alps. March 25, 2000. Through June 6. An exhibition organized by the Tate Gallery, London. Rotterdam. Kunsthal Rotterdam. Isaac Israels. September 4- November 28,1999. Travels to Kroller-Muller Museum, Exhibitions: Australia and Japan Otterlo. Australia Canberra. An Impressionist Legacy - Monet to Moore: The Rotterdam. Museum Boijmans van Beuningen. Johan Millennium Gift of the Sara Lee Corporation. June 11-August Bartold Jongkind. Through June 13,1999. The museum is 22,1999. partly closed for renovation until the end of 2000. Melbourne. National Gallery of Victoria. The National Spain Gallery of Victoria's Collection of William Blake's Work. Madrid. Museo Thyssen-Bomemisza. Exploring Eden: Through June 30,1999. American Landscape, October 1,1999-January 16, 2000. Japan Shizuoka. Shizuoka Prefectural Museum. Hiroshige Van Gogh Museum Reopening Utagawa. May 1-July 15,1999. With a Tribute to Theo Rodin watercolors and drawings. Fall 1999 (Closes December 19,1999). he Van Gogh Museum in Amsterdam is scheduled to reopen June 24,1999, after being closed for ten T Tokyo. National Museum of Western Art. The Collection of months during renovation of the existing Gerrit the Musee d'Orsay. September 14-December 12,1999. Rietveld building and construction of a new wing designed by Japanese architect Kisho Kurokawa. The reopening exhibition in the new wing will be Theo van Exhibitions in the Works for 2000 Gogh (1857-1891): Art dealer, collector and brother of Coming at the Brooklyn Museum: Whistler Prints, Vincent. Theo is best-known for providing financial February 11-June 4,2000, an exhibition taken from the and moral support and a spirit of devotion to his museum's own holdings; and Francis Frith, Photographer of older brother. This show focuses on Theo van Gogh's England's Shires: "Album" Views, June 23-October 29, 2000, less-discussed role as an influential art dealer in Paris 179 pictures of England produced by Frith's photographic in the 1880s and as a collector. According to the muse­ business, the precursor of modern-day souvenir postcards. um, the exhibition, jointly organized with the Musee d'Orsay and Reunion des Musees Nationaux, will The Sterling and Francine Clark Art Institute of seek to demonstrate that his activities were more var­ Williamstown, Massachusetts, is organizing A Million and ied and extensive than previously thought. As man­ One Nights: Orientalism in American Culture, 1870-1930. The exhibition will survey tum-of-the-century American ager of Goupil & Cie's branch at Boulevard images of the "Orient," primarily encompassing Anatolia, Montmartre 19, Theo van Gogh sold about 1,000 Palestine and North Africa, through about 85 diverse paintings by 300 artists during this period. He orga­ works of art and objects. The show, accompanied by a cat­ nized one-man shows for Monet, Pissarro and alogue, will be presented at The Walters Art Gallery, Raffaelli and took a special interest in Degas and Baltimore, October 1-December 10, 2000. Gauguin. The exhibition will travel to the Musee d'Orsay in Paris September 27, 1999-January 9, 2000. Dahesh Museum curator Stephen Edidin spent three A catalogue is planned in Dutch, English and French months in Cairo last fall to begin research on Paris/Cairo, an editions from Waanders Uitgevers/Reunion des exhibition planned for the year 2001. The exhibition "will Musees Nationaux. examine the interaction of Occidentalism and Orientalism in the artistic and intellectual life of the two cities during

22 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 the rule of the Muhammad Alids, from 1850-1953," accord­ enty paintings and works on paper brought together from ing to a museum spokesman. U.S. and European collections, curator Cornelia Homburg expects the exhibition to explore van Gogh's contacts and The Denver Art Museum will display The Anschutz interactions with fellow artists between 1886, when he Collection: Westward the Star of Empire June 17-September arrived in Paris, and 1890. Van Gogh became friends with 10, 2000. The collection of Denver's Phillip Anschutz focus­ Paul Gauguin, Emile Bernard, Louis Anquetin, Henri de es on nineteenth-century art of the American West and Toulouse-Lautrec, Charles Angrand, the Pissarros and Paul includes works by Remington, Russell, Bierstadt, Catlin Signac. He organized and participated in exhibitions with and Moran. them and attempted to convince his brother Theo to sell their work. After moving to the south of France in 1888, he An exhibition entitled Van Gogh Portraits will open at the kept in contact with his friends and participated actively in Detroit Institute of Arts March 12-June 4, 2000, and then promoting and formulating a concept of modem art. A cat­ travel to the Museum of Fine Arts, Boston, July 2- alogue is being prepared. September 24, 2000, and the Philadelphia Museum of Art October 22, 2000-January 14, 2001. The show, which has The Stadelsches Kunstinstitut und Stadtische Galerie in been organized by the three museums, will focus on van Frankfurt am Main, Germany, plans Modem Drawings: Gogh's evolving approach to the portrait and his June 1890 Paris 1880-90 in the fall and winter of 2000. statement, "I should like to do portraits which will appear as revelations to people in 100 years time." The Van Gogh Museum in Amsterdam has issued its full exhibition schedule for the year 2000. Planned shows The Galleria Nationale d'Arte Modema e include: Jugendstil in word and image (illustrated poems of Contemporanea in Rome is organizing an exhibition for around 1900) March 19-June 18, 2000; Jean-Baptiste October 2000 on Rome's place as an international artistic Carpeaux (paintings and sculptures) April to June 2000; center from 1770 to 1870—from neoclassicism to landscape Xavier Mellery: The soul of things April 14-July 9, 2000; painting. See www.beniculturali.it. Vincent van Gogh—drawings (Antwerp and Paris, 1885- 1888) July to September 2000; The Spirit of Montmartre The Mint Museum of Art in Charlotte, N.C., is organizing (cabarets, humor and the avant-garde, 1875-1905) July to The Defining Moment: Victorian Narrative Paintings from the September 2000; and Light (art, technology and society in Forbes Collection, January 15-April 2, 2000. About forty the Industrial Age, 1750-1900) October 20, 2000-February paintings from the Forbes Collection at Old Battersea 11, 2001. House in London. Exhibition organized by Charles Mo and guest curator Susan Casteras. A catalogue is planned. The Victoria and Albert Museum, London, is planning Decadence and Dreams: Art Nouveau, 1890-1914, April-July The National Gallery of Art and the Wadsworth 2000, and The Victorians, May-December 2001. Atheneum are organizing The Impressionists at Argenteuil, including works by Boudin, Caillebotte, Manet, Monet, The Wadsworth Atheneum is planning Paul Gauguin's Renoir and Sisley, primarily from the 1870s. The exhibition, Nirvana (Portrait of Meyer de Haan), January-April 2001. In guest curated by Monet scholar Paul Hayes Tucker, is the late 1880s, before he went to Tahiti, Gauguin had a brief scheduled to open May 28-August 20, 2000, in but intense friendship and rivalry with Meyer de Haan, Washington, D.C., and to travel to its Hartford, who like Gauguin had abandoned his business to pursue Connecticut, venue September 8-December 3, 2000. A cata­ art. The Frenchman and the Dutchman settled together at logue written by Tucker is planned. the fishing village of Le Pouldu in Brittany, where they cre­ ated images of themselves, one another and the world The National Gallery of Canada, Ottawa, has scheduled around them, hr this exhibition, the Wadsworth Monet, Renoir and the Impressionist Landscape for June 2- Atheneum's Gauguin portrait of de Haan will be reunited August 27, 2000 and Gustav Klimt from June to September with related works from other collections. 2001 in its Special Exhibition Galleries. Museum 9ig?ws The Oakland Museum of California will present Daguerreotype to Digital: 150 Years of Photography From the Oakland Museum of California, September 9, 2000-January 21, 2001. The exhibition of West Coast photography from The Amon Carter Museum in Fort Worth is planning a the museum's collection is expected to travel nationally. building expansion that will more than triple its gallery space. For photographs of designs, see www.carterm.use- The Ruskin Gallery, Sheffield, has been awarded a grant um.org. from the Paul Mellon Centre for Studies in British Art toward the cost of publishing the catalogue for the exhibi­ The Barnes Foundation in Merion, Pennsylvania, now tion The Portraits of Ruskin, to be shown in 2000. accepts both individual and group reservations. Payment in full must be received to secure a reservation. For more The Saint Louis Museum of Art is organizing Vincent van information about individual reservations, call 610-664- Gogh and the Painters of the Petit Boulevard to be shown 7917. For group reservations, call 610-664-5191. The gallery February 17-May 13, 2001, in St. Louis. Through some sev­ is only open from 9:30 a.m. to 5 p.m. on Fridays and

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 23 Saturdays and from 12:30 p.m. to 5 p.m. on Sundays. The number of visitors is strictly limited. The entrance fee is $5 Two Smithsonian Museums per person. Will Send Art on the Road On September 1,1998, the Stanford Museum became the During Renovations in Washington Iris & B. Gerald Cantor Center for Visual Arts at he National Museum of American Art and the Stanford University. TNational Portrait Gallery will close to the public in January 2000 for renovation of the Old Patent Office The Chrysler Museum of Art in Norfolk, Virginia, has Building, the historic structure they share in acquired a photography collection focusing on the Civil Washington, D.C. The closure is expected to last two War. The collection of lawyer David L. Hack includes and a half to three years. more than 300 photographs, mostly from the mid-nine­ During that time the National Museum of teenth century. They include Alexander Gardner's photo­ American Art is mounting eight traveling shows. Most graph of the hanging of the Lincoln conspirators in 1865. are based on themes, such as The Gilded Age, the Lure An exhibition and book are planned in the future. of the West, Young America, modernism and abstrac­ tion, and American Scenes. Shows of folk art and The Corcoran Gallery of Art in Washington, D.C., asked Latino art from the museum's collection also will circu­ visitors to fill out a ballot choosing their favorite work dur­ late. During the closure, a museum spokesman says ing The Forty-Fifth Biennial: The Corcoran Collects, 1907- public programs will continue at the Renwick Gallery, 1998. Of the 130 works acquired through the Corcoran's the museum's other building in downtown 91-year-old biennial, visitors chose John Singer Sargent's Washington, where a selection of works from the per­ Simplon Pass (1911), a lushly painted mountain landscape, manent collection will be on view. as their favorite. Other favorite paintings included Mary The Portrait Gallery will send four shows based on Cassatt's Susan on a Balcony Holding a Dog (c. 1880) and its permanent collection on the road. These include Sargent's Mrs. Henry White (1883). one focusing on portraits of notable Americans, an exhibit of photographs of American women, and an The Courtauld Institute of Art in London, has received a exhibit of portraits from the museum's Hall of grant from the Paul Mellon Centre for Studies in British Art Presidents. The Hall of Presidents show will travel to to fund a three-year research appointment for the catalogue the Truman, Nixon, Ford and Bush presidential of the forthcoming exhibition ‘A Rage for Exhibitions': libraries as well as three other venues. Displaying Modern Art at Somerset House 1730-1836. Services of the Archives of American Art in Washington are expected to be unaffected by the clo­ The Dahesh Museum in New York City reports that it is sure as the archives plans to move out of the Old working to secure a larger building, ideally by the year Patent Office Building in May 1999 to new quarters in 2000, in a prominent location with additional gallery space, the Aerospace Building at Washington's L'Enfant Plaza. room for storage, public programming, education and con­ servation. A spokesman confirmed a December 11,1998, report in the Neiv York Times that the Dahesh was among Canova Amorino, or Cupid, which an Irish patron, John those presenting proposals to the city for use of the city- David La Touche, had commissioned from the sculptor in owned building at 2 Columbus Circle, which has been 1789. The figure eventually ended up in the garden of a empty since the Department of Cultural Affairs moved out house in England. It was donated to the gallery by the iir April 1999. Donald Trump has proposed tearing down Bank of Ireland, and was the focus of an exhibition. The La the building and constructing a 12-story hotel there. No Touche Amorino, which closed February 28. action has been taken by the city to date.

Tire Dallas Museum of Art has acquired Armed Soldier The Yale Center for British Art in New Haven reopened (The Halbedier) by Ferdinand Hodler, a painting of a larger- January 23 after a year-long renovation, including roof than-life figure brandishing a battle axe. The painting, once repairs. From April 30-September 5,1999, it is honoring owned by modernist collector Josef Muller, was part of a founder Paul Mellon with a special show, George Stubbs in cycle of 44 heroic figures commissioned from Hodler for the Collection of Paul Mellon: A Memorial Exhibition. the exterior of the Pavilion of Fine Arts at the Swiss National Exposition in Geneva in 1896. It was acquired by Classified the Foundation for the Arts Collection, Mrs. John B. Through the Alumni Association of the Victorian Society O'Hara Fund, and a gift of Nona and Richard Barrett. Summer Schools, Margo Gayle, a founder of the Victorian Society in America and President of the Friends of Cast Iron The Isabella Stewart Gardner Museum in Boston has Architecture, kindly offers the proceeds of signed copies of her reopened its Blue Room, which houses its most notewor­ new book, Cast-Iron Architecture in America: The Significance of thy acquisitions of 19th-century art, after restoration of its James Bogardus, to go toward summer school scholarships. If fabric-covered walls and lighting improvements. Letters desired, Ms. Gayle will personalize the dedication. The cost is and photographs are on display along with paintings. $45 including shipping and handling. Please send payment to: John Martine, President, VSSS Alumni Association, 2122 Sarah St., Pittsburgh, PA 15203. In Dublin, the National Gallery of Ireland has acquired a

24 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 BALLOT FOR AHNCA OFFICERS Please send your complete ballot by May 15,1999, to: Sura Levine, CCS, Hampshire College, Amherst, MA 01002. You also may vote via e-mail. Please address your message to: [email protected]. The results will be published in the Fall Newsletter and on www.injorm.umd.edu/arthlahnca

PRESIDENT VICE-PRESIDENT: Petra ten-Doesschate Chu □ Gabriel P. Weisberg □

Write-in______—I Write-in______Jl

SECRETARY: TREASURER: Sura Levine (incumbent) Q Sally Webster (incumbent) □

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Membership Coordinator: Please nominate/self-nominate candidates for the position of membership coordinator.

Membership Coordinator ______

Letter From the Editor must be tightly and clearly written and accessible to the educated reader. Producing this newsletter, my first for the AHNCA, has In the next issue, we will be launching a new feature, been a lot of labor, learning and fun. My heartfelt thanks to “The Nuts and Bolts of Scholarship," which will deal with Lucy Oakley for patiently explaining the system she dili­ such practical issues as how to do research, get picture per­ gently worked out over the years for producing a first-class missions, find publication outlets, curate an exhibition, publication for our association. Thanks also to Gabe and teach a class or even land a job in our field. The first topic, Yvonne Weisberg, who sent along several weighty pack­ to be tackled by Gabe Weisberg (from the Europeanist ages of materials from which to glean information for this point of view) and Sally Webster (from the Americanist issue. Sura Levine generously offered help with proofread­ side), will be “Publishing Opportunities in Nineteenth- ing as well as writing the front-page piece on the AHNCA Century Art." Please submit your ideas to me for future elections. Contributors William Hauptman, Cheryl Snay “Nuts and Bolts" columns. and Susan Canning shared with readers their insights on You can also look forward to a redesign of tire newsletter exhibitions and reinstallation. and increased visual elements in the Fall 1999 issue. The Now I'd like to hear from you. In order to maintain a desktop publishing of this issue was largely the labor of great newsletter that keeps our community of scholars Sean McCormally. Our daughter Brenda helped with the well-informed about often far-flung events, we need to mailing. Rexford Chen, a CUNY student, updated the mail­ see some new voices and ideas on our pages. I am seek­ ing labels and kept track of members' entries in the annual ing correspondents from outside the States—especially directory. from Germany, Italy and Spain—to keep us regularly The newsletter comes out twice a year, in April and apprised of new exhibitions, books, scholarly conferences early October. Deadlines for submission of copy are March and paradigm shifts in scholarship abroad. The same is 1 for the Spring issue and September 1 for the Fall issue, true within the United States. I would like to see some Please send your information and your ideas my way. fresh voices and approaches on these pages, and am Many thanks. receptive to top-quality work from both advanced gradu­ Cynthia Mills ate students and senior scholars. Innovative submissions AHNCA Newsletter are welcome, including discussions of trends within the 205 Dogwood Avenue field and compilations of new literature on specific sub­ Takoma Park, MD 20912 jects or themes. How well, for example, have we used [email protected] theory in nineteenth-century scholarship? Submissions Fax: 301-563-3069

HNCA Newsletter, Vol. 6, No. 1, Spring 1999 25 Annotated Bibliography Of Original, Illustrated French Books and Periodicals: 1865-1915

The Herbert D. and Ruth Schimmel Rare Book Library At The Jane Voorhees Zimmerli Art Museum Rutgers, The State University of New Jersey

This Catalogue was funded with a generous grant from The Florence J. Gould Foundation

http://schimmel.rutgers.edu

25 HNCA Newsletter, Vol. 6, No. 1, Spring 1999 Association of lHistorians of 9{imteentfi-Century Art

To save on labor costs and postage, AHNCA does not per year; Patrons $100; Supporting Members $50. send out renewal notices. Memberships run from January to December of the calendar year in which Please complete and return this form to: you join or renew. Payments must be in U.S. funds. Association of Historians of Nineteenth-Century Art Program in Art History, C.U.N.Y. Graduate Center Current members receive two newsletters annually 33 W. 42nd St., New York NY 10036-8099 and a directory of AHNCA members. Dues are $20 ($15 for students with current i.d.). (Do not send dues or change-of-address notices to the newsletter editor.) Contributions above the minimum will improve the quality of our publications and meetings. Names of If this is a renewal, please check your entry in the contributors in the following amounts will be listed directory and fill in only the information that needs to in the next issue of the newsletter: Benefactors $200 be changed. This will save many hours of work.

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HNCA Newsletter, Vol. 6, No. 1, Spring 1999 27 c/o Program in Art History Graduate Center CUNY 33 West 42nd Street New York, NY 10036-8099 www.inform.umd .edu / arth / ahnca First Class Mail President wllacntMersx Gabriel P. Weisberg No Ma# flsctptad*' ~ ~ Mcvw. Left No Mtex ------Secretary Bo* CtotedV'------Sura Levine Cocoa; as _

Treasurer Sally Webster

Newsletter Editor Cynthia Mills 205 Dogwood Avenue Takoma Park, MD 20912 Fax: 301-563-3069 E-mail: [email protected]

Advisory Board Nina Athanassaglou-Kallmyer Petra ten-Doesschate Chu Patricia Mainardi Lucy Oakley