FALL 2011 Volume 18, No. 2
Historians of
Nineteenth-Century Art
Newsletter
BONJOUR MONSIEUR COURBET! THE MUSÉE COURBET REOPENS
By Jennifer Pride
Courbet’s landscapes were signifiers of place, material embodiments of his native village of Ornans in the Franche- Comté, only a three-hour train ride outside of Paris. The Gustave Courbet Museum, which opened its doors to the public on 2 July 2011 following three years of extensive renovation and expansion, combines successfully views of Ornans and the Loue River with Courbet’s paintings. Here, museology involves more than the building itself; it incor- porates the surrounding river, cliffs, and landscapes of the countryside. When juxtaposed with the artist’s paintings of these familiar sites, the museum-goer experiences a play of interior/exterior that enlivens the circuit through Courbet’s Musée Courbet, Ornans. The glass gallery runs between exhibition rooms career. The impressive 2000 m2 space comprises 22 perma- enabling the visitor to engage with the surrounding landscape and the Loue River. nent and temporary exhibition rooms spanning three build- Photo ©Jennifer Pride, 2011. ings: the hôtel Hébert (Courbet’s home), the hôtel Borel, and the hôtel Champereux. Before the renovation, only every period of the artist’s career from his early training the hôtel Hébert housed the collection. Architect Christine under Claude-Antoine Beau to his exile in Switzerland. Since Edeikins unified respectfully the environment of the city of the museum space occupies three former private homes, the Ornans with the museum structure while preserving the rooms are intimate and manageable, as is the size of the col- authenticity and historical character of Courbet’s home and lection. The museum holds 75 works, including 45 paintings, the adjacent houses. drawing, and sculptures by Courbet. These works are exhib- ited alongside archival documents and photographs meant Much like the pilgrimage one takes to Giverny to behold to trace the political and artistic milieu in which Courbet’s the source of Monet’s waterlilies, a journey to Ornans and works were produced. Most of these paintings, like the the Courbet Museum enables the visitor to gain a deeper private-home setting, are small scale and the rooms remain understanding of the artist’s oeuvre as a whole, rather than relatively uncrowded allowing for an intimate viewing expe- focusing on his more well-known canonical works. Using the rience. In fact, the intimacy of the setting allows the visitor to artist’s minor works, the museum does a superb job of flesh- experience the materiality of Courbet’s technique, the build- ing out Courbet’s artistic development, personal life, politi- up of the pigment on the canvases, the visual evidence of his cal proclivities, and his efforts to paint contemporary history palette knife, all in dialogue with the actual rugged terrain in Ornans. Likewise, the diversity of the collection addresses of Ornans surrounding the museum. Most impressive is the lengthy passageway from the final rooms to the gift shop family. The artist’s sculpture, the Boy Fishing for Bullheads where a solid wall is replaced by a wall of glass that opens (1862), a gift to adorn a public square in Ornans, offers view- up the panoramic vista of the cliffs and river that comprise ers an example of a public work that became imbued with a large portion of the permanent collection. At the end of political meaning and was destroyed by the townspeople fol- the passageway, the visitor descends a stairwell only to land lowing Courbet’s involvement with the Commune. Courbet on a glass floor over the Loue River – completing a visceral returned regularly to Ornans to visit family and friends, engagement with the topography of Ornans. for celebrations, and to escape city-life in Paris for hunting, nature walks, studies for paintings in the familiar country- The 16 rooms devoted to Courbet’s works are divided side – many of these studies and portraits of his relatives into three sections across the three houses, arranged both occupy Room 7 (The Ornans Milieu). Room 8 (Bohemian chronologically and thematically. The sections parallel the Paris) and Room 9 (1848) focus on Courbet’s involve- traditional art historical understanding of Courbet’s artistic ment with the bohemian art scene in Paris with Charles development. The first section comprises nine rooms 1819- Baudelaire, Jules Champfleury, Pierre Dupont, and Pierre 1848: Courbet: from Ornans to Paris introduces the viewer to Proudhon. The archival material herein chronicles a collec- Courbet’s early works in the context of his family, his train- tive effort among artists and intellectuals in favor of a Realist ing, experiments with the Romantic school of painting, and school in art, with Courbet leading the charge, as well as the links between Coubet’s involvement with the Ornans coun- artist’s participation in the popular insurrection following tryside with Parisian bohemia. The second section, 1849- Louis-Philippe’s abdication in 1848. 1851: Rupture and Assertion of a New Aesthetic, charts Courbet’s break with pictorial tradition and focuses on the trilogy of The “Black Box” room (Room 10) is where the museum works at the Salon of 1850-51. The final section, 1852-1877: attempts, albeit unsuccessfully, to set itself apart from the Courbet, Leader of Modernity, Realism to Impressionism, puts typical museum experience. In an effort to provide a com- forth a Courbet who has established himself as a leading prehensive overview of Courbet’s oeuvre, but without the realist painter. Rooms 1-3 establish Courbet’s artistic train- artist’s major painting, the museum boasts the audio-visual ing, first under the painter Père Beau, and later at the Royal portion of the tour as a break between the two sections of College of Besançon; his move at age 20 to Paris where he the permanent collection. An original installation, the Black studied the Spanish, Flemish, and French masters at the Box, presents an audiovisual loop on the ground-breaking Louvre; and finally three 1847 commissions that form part paintings of the 1850-51 Salon: the Stone Breakers (former of his rare religious works, St. Jerome, St. Nicholas, and a collection of the Dresden Museum of Fine Arts, destroyed), sketch of “Jésus au calice”. The fourth room gives the his- the Peasants of Flagey (Besançon Museum of Fine Arts), and tory of the Hôtel Hébert and presents portraits of Courbet’s A Burial at Ornans (Musée d’Orsay, Paris). Indeed, the Black
ABOUT THIS ISSUE
The Newsletter of the Association of DEPARTMENT EDITORS: U.S. Exhibitions: Jeanne-Marie Musto Historians of Nineteenth-Century Symposia Lectures and Conferences: [email protected] Art is published twice a year, in April Brian E. Hack and October. The submission deadline [email protected] New Books: Karen Leader for the Spring 2012 issue is March [email protected] 1st. Submissions may be sent to: Grants and Fellowships: Prizes and Awards: ADVERTISING RATES: Caterina Y. Pierre Leanne Zalewski full page: $300; half-page: $150 AHNCA Newsletter Editor [email protected] (horizontal); quarter page: $100. [email protected] Museum News and International Reduced rates are available for Exhibitions: insertions in two issues: full page: $400; half-page: Alison Strauber $225; and quarter page: $150. [email protected]
2 Fall 2011 / AHNCA Newsletter Box serves as a point of rupture in the tour in the same way of Ornans so that the paintings could be admired; however that Courbet’s major paintings served as a rupture in 19th it was not until 1971 that the Hôtel Hébert was established century painting. While the film (in French with English by the minister of culture, Jacques Duhamel, as the site of a subtitles) is interesting enough, the Black Box room is archi- museum dedicated to the art of Gustave Courbet. tecturally ill-conceived at best. The museum staff ushers visi- tors from Room 9 into the dark room when the film is set Ultimately, the new museum seeks to gain a foothold in the to begin. On my visit, I had just entered Room 9 when I international tourism industry. In line with recent devel- was told I must move forward to view the film. Along with opments in the industry (Monet, Cezanne, Millet) geared other slightly confused visitors, I entered and watched the toward a more authentic and less crowded artistic experi- film with the assumption that I could return to view the pre- ence, the musee Courbet encourages travellers to make the vious room. Such is not the case, we were told; we had to pilgrimage not only to the museum, but also to the farm exit the Black Box into Room 11 or return to the previ- at Flagey and the Source of the Loue River. Indeed, such ous room and wait until the film looped again (20 min.) to a well-rounded excursion enables one to engage with the move through. Certainly there should be a corridor through artist on a deeper level and fosters a comprehensive under- which one can pass at leisure both before and after the Black standing of the artist and his world. Box experience.
Landscape paintings comprise two-thirds of Courbet’s oeu- vre and, in the second half of the Courbet Museum, they are used to trace his artistic development – first in his views of Ornans and later in his Swiss landscapes. The artist also recounts his life and travels with views of Montpellier, REMINDER: PLEASE KEEP YOUR Normandy and Saintonge – all of which are represent- MEMBERSHIP ACTIVE ed along with some hunting scenes in Rooms 11-13. The Membership renewals for the calendar year 2012 are landscapes are discussed in terms of time spent paint- due on or before November 30, 2011. Please use the back ing alongside artists James Whistler, Eugène Boudin, and page of this Newsletter to renew, or renew on line at Claude Monet in Normandy, Trouville and Deauville in www.ahnca.org. 1865. Room 14, The Commune and Exile in Switzerland, We would also appreciate your help in encouraging your exhibits the artist’s self-portrait at Sainte-Pélagie (1872) students and colleagues to join AHNCA. Thank you! along with landscapes and archival material regarding his involvement with the Commune, his arrest on 7 June 1871, and his exile and death in Switzerland. The final two rooms (Rooms 15 and 16) feature paintings by Courbet’s followers in order to establish a lineage for the realist tradition in art and to establish the widespread influence of his technique. IN THIS ISSUE: Artists exhibited include Cherubino Pata, Jean-Jean and Armand Cornu, Marcel Ordinaire, François-Louis Français, p.01 / Bonjour Monsieur Courbet! Alexandre Rapin. These artists form a sort of workshop p.04 / Greetings from the President that gives birth to a Comtoise school of painting. Likewise, p.05 / Filiz Burhan Obit while in Saintonge in 1862 Courbet fostered a school of art p.06 / AHNCA News (Saintongeaise landscape painters) after teaching young p.08 / Symposia, Lectures, and Conferences painters Louis-Augustin Auguin and Hyppolyte Pradelles. p.13 / New Resources The final room is dedicated to the history of the museum, first conceived by Courbet’s sister, Juliette Courbet, who p.14 / Grants and Fellowships donated three paintings to the city of Ornans so that a muse- p.23 / U.S. Exhibitions um could be built on the road to Besançon. However, the p.29 / International Exhibitions museum was not established during Courbet’s lifetime. In p.36 /New Books 1947, Robert Fernier opened a small room at the city hall
Fall 2011 / AHNCA Newsletter 3 GREETINGS FROM THE PRESIDENT
The College Art Association annual conference took place century can seem reassuringly familiar in contrast to antiquity, six months ago, yet one presentation in particular continues the Middle Ages, and even the Renaissance. Its fascination to resonate in museums, research institutes, and academic with celebrity, its booming consumer culture, and its preoccu- departments of art history. That this paper was delivered by a pation with material signs of wealth make the nineteenth cen- past president and current program coordinator of AHNCA tury accessible. These conditions also raise students’ aware- serves as the excuse for this departure from my custom- ness of the historical basis of many contemporary art practices. ary report on the current state of our organization. Patricia Mainardi’s insightful—and provocative—talk on the conse- But let us return to the question of what the discipline will quences of art history’s “contemporary turn” has prompted a become if evacuated of its historical consciousness. The discipline-wide discussion. In her contribution to the “Crisis answer, again, might be found in the nineteenth century, in Art History” panel, Professor Mainardi observed that when historical interpretation of art was in its infancy and the field of contemporary art has become the most popu- when aesthetic and commercial interests dominated art writ- lar among undergraduate and graduate students, and, not ing. Along with giving rise to such affecting responses to the surprisingly, academic institutions are shifting resources in visual arts as Goethe’s ruminations on Gothic cathedrals, order to accommodate this demand. But beyond its impact Charles Baudelaire’s “The Painter of Modern Life,” and on employment trends, publishing prospects, and research Walter Pater’s enchanting Imaginary Portraits, this aesthetically funding, the dominance of contemporary art reflects a rapacious yet historically unselfconscious age witnessed the broader disciplinary renegotiation of the practice of history. looting of millions of artworks and artifacts from sites in Asia, Without its commitment to interpreting artworks in light of Africa, Europe, the Americas, and the South Pacific, often to specific historical conditions, what will art history become? the disadvantage of the culture of origin and almost always to the detriment of the objects’ social significance. Acquisitiveness This is a question that scholars of nineteenth-century art are trumped historical awareness as nations and robber barons well positioned to address. Many issues central to the study alike built empires. As our own Gilded Age seems to be gain- of contemporary art can be traced to the nineteenth centu- ing momentum, the distinction between art history and other ry: the effects of a global art market; the emergence of new forms of art writing needs to be acknowledged. Art criticism, venues for exhibiting artworks; the uncertain efficacy of con- a designation that could be used to describe much writing on ventional arts education; the relevance of avant-gardism; the contemporary visual culture, can illuminate and even trans- interaction between tradition and innovation; and the role of form our perception of the formal and conceptual properties industrial and technological innovation in the proliferation of of an artwork (surely this is the case with Baudelaire’s essay), new media. Historical consideration of these issues contextu- but it cannot account for the aspirations or degradations that alizes them within the trajectories of social movements such as shape cultural expression over time. What is more, the effects collectivism, feminism, consumer capitalism, and colonialism. of individual and institutional pressures on the creation and reception of an artwork are difficult to discern when they Happily, college students seem to understand the value of coincide with social forces shaping the scholar’s own work; nineteenth-century art history even if their personal pref- ideology becomes less opaque with the passing of time, gen- erence is for the art of the moment: recent market research erations, and regimes. Critical awareness of the operation of undertaken by textbook publisher Prentice Hall confirms that ideology is essential for historical studies. Nineteenth-century enrollments continue to grow in classes on nineteenth-centu- art history provides the best point of access for a consider- ry art. AHNCA’s own programs could also serve as a gauge ation of how the intertwined ideologies of capitalism, impe- of the field’s enduring appeal to young scholars: the annual rialism, and democratic social movements might be shaping CAA Future Directions in Nineteenth-Century Art panel and contemporary visual culture. History endows the study of art Graduate Student Symposium elicit more submissions with with its ethical conscience, and nineteenth-century art history each passing year. Graduate students’ interest in the field is promises to be the most convincing advocate for the disci- no doubt attributable at least in part to college coursework. pline’s self-awareness. In classes on European and American nineteenth-century art, students encounter not only captivating artworks but a com- Elizabeth C. Mansfield | AHNCA President | [email protected] fortable point of entry into cultural history: the nineteenth
4 Fall 2011 / AHNCA Newsletter FILIZ BURHAN (1950-2011)
Filiz Burhan died unexpectedly in Paris on May 23, 2011. She was 60 years old and a longtime faculty member at The American University in Paris, where she was Associate Professor of Art History. Filiz was born in Chicago of Turkish parents (she was fluent in Turkish), received a BA degree from Bryn Mawr and a PhD from Princeton University. Her 1979 dissertation, “Vision and Visionaries: Nineteenth-Century Psychological Theory, the Occult Sciences and the Formation of a Symbolist Aesthetic in France,” inaugurated a new area of scholarship and was far ahead of its time. She received numer- ous offers to publish it, but, a perfectionist, she always wanted to work on it a bit more, and so, like Frenhofer’s “Unknown Masterpiece” in Balzac’s story, it remained a work-in-progress. It was hardly unknown, however. Available through UMI, it has found its way into footnotes of all the subsequent major time to serve on the Fulbright grant commission to France publications in its field. Because she was so scrupulous in her for many years, and to lecture for numerous programs that scholarship, she published little, but her influence was out of brought groups to Paris. all proportion to her publications. Her ongoing interests in the inter-relationship of art and science won her a fellowship An outgoing, funny, and vivacious person with a formidable to the International School for Theory in the Humanities at intellect, Filiz remained at the crossroads of French studies Santiago de Compostella and resulted in an article, one of the scholarship, keeping up an impressive correspondence with few that met her exacting standards, “Rendering Visible the dozens of scholars. Throughout the summer of 2011, new Invisible: The New Science of the Soul.” A long essay, “Marcel arrivals in Paris reported that they had been in email corre- Duchamp, or the Weaver of Morphisms,” originated from spondence with her all Spring and were planning to see her the 2004 SANART conference at Ankara’s Middle Eastern during the summer. Outings to her favorite Turkish restaurant Technical University, and was published in Turkish in the in Paris (Le Janissaire) were a treat that brought together new conference proceedings. friends and old, and also brought fabulous food ordered, in Turkish, by Filiz. Outings to exhibitions with Filiz were another Filiz moved to Paris to conduct research for her dissertation, treat since, regardless of the subject, she always seemed to have met and married Alexandre Tourraix, and moved with him read everything on the topic and stimulated discussion. One of to Senegal where she taught at the Université de Dakar from her special interests - which, she explained to me one day, she 1980 to 1983. On their return to France, she helped to rees- shared with most art historians because we are all detectives tablish the Parsons School of Design Program in Paris and, in of some kind - was mystery stories. As with everything else she 1984, joined the faculty of The American University of Paris did, she knew so much about the genre that she could have where she remained for twenty-five years, serving as depart- taught a graduate seminar in it, and she made a special point ment chair for eight years. Although her marriage eventually of ferreting out novels from other cultures, which she gener- ended in divorce, the couple remained on friendly terms. ously shared with friends. Nor did her interest in art end with its history. She dressed with a kind of flair that inspired the A passionate teacher, she constantly expanded her horizons envy of all her friends, drawing on a seemingly endless collec- by offering new courses and keeping in touch with former tion of the Kenzo scarves that she loved. students; besides a full range of courses in modern art, she developed courses in history of photography, film studies, A Memorial Service was held at the American University in and, in her last semester at AUP, designed and taught a spe- Paris on September 10. She leaves her brother and sister-in- cial course on global contemporary art. In recognition of her law, Charles Burhan and Patricia Holden, her former hus- pedagogical efforts, she received a Mellon Grant in 2000, and band, and numerous greatly saddened friends. was given the AUP “Best Teacher of the Year Award” in 2002. Along with her teaching and AUP administration, she found Patricia Mainardi
Fall 2011 / AHNCA Newsletter 5 AHNCA NEWS
AHNCA EVENTS AT CAA 2012 as Cultural Patrimony in U.S. and Mexican Private Viewing at Norton Simon Museum Anthropological Exhibits at World’s Fairs AHNCA members are invited to a private visit to the Norton Simon Museum. Curator Leah Lehmbeck will introduce FUTURE DIRECTIONS members to highlights and rarely exhibited holdings in the Scott Allen, Assistant Curator of Paintings at the J. Paul Getty collection. The visit will conclude with a reception generously Museum, will moderate the annual “Future Directions” panel, hosted by the Norton Simon. This event will begin at 2pm which takes place Thursday, February 23 from 12:30 until on Wednesday, February 22 and will last roughly 2 ½ hours. 2pm in the Concourse Meeting Room 402AB and includes There is no cost for AHNCA members, but space is limited. the following talks: Please contact Elizabeth Mansfield ([email protected]) before January
15, 2012 to reserve your place. � Allan Doyle (Princeton) “Michelangelo as Model: Xavier Sigalon’s Copy of the Last Judgment” AHNCA-SPONSORED SESSIONS AT CAA � Jeremy Melius (Johns Hopkins) “Ruskin’s Botticelli: David O’Brien of the University of Illinois will chair AHNCA’s Labyrinth and Grave” main session on “Civilization and Its Others in Nineteenth- � Sarah C. Schaefer (Columbia) “Reading from the Book Century Art.” Due to the number of excellent proposals, this of Gustave Doré: Religious Media and the Shaping of session will feature two panels: Modernity”
FIRST SESSION: Thursday, February 23, 2:30-5:00 PM BUSINESS MEETING Concourse Meeting Room 402AB AHNCA’s annual business meeting takes place Thursday � Daniel Guernsey, Florida International University, at 5:30 in Concourse Meeting Room. All members are “Theism and the Civilizing Process in James Barry’s encouraged to attend and participate in the election of new Society of Arts Murals” officers as well as in discussions about how AHNCA can best � Melissa Dabakis, Kenyon College, “Civilizing Rome: serve its members. Anglo-American Women and the Colonial Encounter” � Julie Codell, Arizona State University, “Going Native: Victorian Portraits of Civilized Barbarity” � Maria Taroutina, Yale University, “Second Rome or AHNCA VISITS MANET Seat of Savagery?: Byzantium in Nineteenth-Century IN PARIS European Imaginaries” � Jeanne-Marie Musto, “Franz Kugler’s Handbuch der Kunstgeschichte: A Prussian View of Civilization and Its By Marilyn R. Brown Others in 1842” University of Colorado at Boulder
SECOND SESSION: Saturday, February 25, Despite being delayed by the threat of a strike by Musée Concourse Meeting Room 405 d’Orsay guards, and in spite of what participants generally � Greg Thomas, University of Hong Kong, “Chinese agreed were conceptual shortcomings of the exhibition Manet, Civilization and Imperial Ambivalence in Britain” inventeur du moderne, the AHNCA Manet event in Paris on � Emily Brink, Stanford University, “Reading without June 22, 2011, was itself a great success. What began with an Words: The Reception of Japanese Albums in 1860s France” enthusiastic gathering of a dozen attendees at the museum � Ting Chang, “Gold, Silver, and Bronze: Metals and entrance soon turned into a soggy wait in the rain while our World Civilizations in Nineteenth-Century France” fearless leader, Pamela Warner, negotiated with museum � Gyewon Kim, University of Pittsburgh, “Envisioning a representatives in an attempt to salvage the day. After an Civilized Nation: The Claims of Photography in Late hour, she wisely sent us to a café across the street, where, Nineteenth-Century Japanese Geo-Encyclopedias” after a second hour of pleasant conversation, we were finally � Matthew Johnston, Lewis and Clark College, “The admitted. Even though the dream of seeing the show before ‘Crisis of History’: Pre-Columbian Civilization the arrival of the general public had evaporated, it was a
6 Fall 2011 / AHNCA Newsletter pleasure to see the works, whatever the problematic hanging, of the exhibition and catalogue went unfulfilled. Central to especially those one rarely sees because of their locations. this was the catalogue’s claim of overthrowing “puritanical The Portrait of Baudelaire’s Mistress Reclining (Budapest), along formalism.” This inspired a collective reaction of “What with Chez le Père Lathuille (Tournai), and the two fragments of have we been doing for thirty years already?” The stated the Gitanos recently acquired for the Louvre Abu Dhabi after aim of turning to something more “historical” was never being presumed lost, were a feast for the eyes. Chatting with consistently borne out. Critical issues of politics, social class, fellow AHNCA members made the viewing an intellectual gender, and visual culture seemed not to be in the picture in pleasure as well. a conceptually substantial way, even as formalism was held up as straw man and Manet the great painter was deployed A brisk walk across the Seine, past the Louvre and Palais to pull in the crowds. (André Dombrowski, it should be Royal, brought us to the Bistrot des Victoires, whose menu noted, will be publishing a complete review of the exhibition quickly made us forget the earlier frustrations of the day. The and catalogue in an upcoming issue of Nineteenth-Century conversation was lively and the profiteroles were memorable. Art Worldwide.) Although our general response to the show This -- along with the reappearance of the sun -- put us in a was mixed, we had a great time discussing why, and left in fine mood for the afternoon seminar at the nearby Institut hopes of attending similar AHNCA events in the future. National d’histoire de l’art. Led by Frédérique Desbuissons Sincere thanks are due to Pamela Warner for her hard (Université de Reims), André Dombrowski (University of work in organizing the event and her cool equanimity and Pennsylvania), and James Rubin (State University of New perseverance in trying circumstances. Any AHNCA members York, Stony Brook), with Warner (University of Rhode Island) interested in organizing similar events around important serving as moderator, we spent a couple of hours discussing nineteenth-century exhibitions in their cities should contact the exhibition and the introduction to its catalogue, of which the organization’s president, Elizabeth Mansfield, at: ecm7@ Warner had sent us all a PDF. Participants ranging from NYU.edu . students to professors were in agreement that the promises
WHAT’S NEW IN NINETEENTH-CENTURY ART WORLDWIDE Volume 10, No. 2/ Fall 2011 Table of Contents
ARTICLES Henri de Toulouse-Lautrec’s Au Pierre Puvis de Chavannes by Aimée An American Journey: The Life and Remembering the Past in Restoration Cirque: Écuyère (At the Circus: The Brown Price. Reviewed by Philip Photography of James Presley Ball. France: An Expiatory Chapel Bareback Rider) by Gloria Groom Walsh Reviewed by Theresa Leininger- for Marie-Antoinette by Anja Miller Butenschön A Touch of Blossom: John Singer BOOK REVIEWS Sargent and the Queer Flora of Fin- Nineteenth-Century Landscape Infesting the Galleries of Europe: William Bouguereau by Damien de-Siècle Art by Alison Syme. Photographers in the Americas: The Copyist Emma Conant Church Bartoli, with Frederick C. Ross Reviewed by Laurinda Dixon Artists, Journeymen or Entrepreneurs? in Paris and Rome by Jacqueline Reviewed by Scott C. Allan Reviewed by Marjorie Schreiber Marie Musacchio Kinsey Le Salon de 1827: Classique ou EXHIBITION REVIEWS romantique? by Eva Bouillo The Art of the Americas Wing, Japanese Cloisonné Enamels: The NEW DISCOVERIES Reviewed by John P. Lambertson Museum of Fine Arts, Boston. Seven Treasures. Reviewed by Responses to Anonymous, Young Reviewed by Sally Webster Yvonne M.L. Weisberg and Woman Lying on a Meadow Looking The Hare with Amber Eyes: A Gabriel P. Weisberg at Swans: A Riddle for NCAW Family’s Century of Art and Loss by Degas, Sculpteur (1834–1917): Un Readers Edmund de Waal. Reviewed by exceptionnel Orsay hors les murs. The Orient Expressed: Japan’s Marjorie Munsterberg Reviewed by Caterina Y. Pierre Influence on Western Art, 1854– A Nineteenth-Century Copy 1918. Reviewed by Karen Pope of Giovanni Bellini’s Madonna The Diary of J. J. Grandville and Johan Thorn Prikker - de Jugendstil degli alberetti from the Collection the Missouri Album: The Life of an voorbij (Beyond Art Nouveau). De Delacroix à Kandinsky: of Théophile Gautier by Paolo Opposition Caricaturist and Romantic Reviewed by Alba Campo Rosillo L’Orientalisme en Europe. Tortonese Book Illustrator in Paris under the Reviewed by Jane Van Nimmen July Monarchy by Clive F. Getty. Jean-Louis Forain (1852–1931),“La Two Parisian Porcelain-mounted Reviewed by Cheryl K. Snay Comédie parisienne”. Reviewed by Tables by Louis-François Bellangé Gabriel P. Weisberg by Sylvain Cordier
Fall 2011 / AHNCA Newsletter 7 SYMPOSIA, LECTURES, AND CONFERENCES
CALLS FOR PAPERS: Deja-vu & Authentic in Anglophone Culture Consortium on the Revolutionary Era, 1750-1850 (Strasbourg, Mar. 16-17, 2012) The Déjà-vu and the Authentic (Baton Rouge, LA Feb. 23-25, 2012) (formerly Consortium in Anglophone Literature and Culture: Contacts, Frictions, on Revolutionary Europe, 1750-1850) Clashes.University of Strasbourg, France
The 2012 meeting of the Consortium on the Revolutionary This international conference, organized by the University Era, 1750-1850 will be hosted by Louisiana State University of Strasbourg’s Research Group in Anglophone Literature and all of the conference events will be taking place at the and Culture (EA 2325 SEARCH - www.search.unistra.fr), is downtown Hilton Baton Rouge Capitol Center Hotel, with a follow up to its successful March 2010 conference “Reprise, easy access from the airport and within walking distance recycling, recuperating: the déjà-vu and the authentic in of many museums and restaurants. We are soliciting panel Anglophone literature and culture.” proposals treating any aspect of history, literature, or art or music history on the period from 1750 to 1850. Although the The 2012 conference will focus on dissonance and discor- conference group’s traditional focus has been on Europe, we dance. The musical metaphor can provide a way to apprehend are eager to globalize our perspective and welcome scholars contacts, frictions, clashes in representations of Anglophone working on the Americas, Asia and Africa. The Consortium literature and culture. Is it not the dynamics of disharmony also publishes Selected Papers for each annual meeting. that provides the impetus to build culture? Are not frictions and clashes inherent in historical change? For a new authen- Keynote speakers will include Woodruff Smith, University ticity to emerge from the déjà-vu, are not chafing, jarring and of Massachusetts, Boston (emeritus), Alison Frank, Harvard resistance inevitable? University, and Darius Spieth, of Louisiana State University, Baton Rouge. We welcome papers in the domains of literature, civilization, history of art, cultural history and expect a broad range of The program committee prefers proposals for complete ses- theoretical and conceptual approaches. sions (three papers, plus a chair and a commentator). However, we will accept proposals for incomplete sessions, and even Papers will be published. Deadline for proposals: November individual paper proposals. Session proposals should include 15, 2011. Please contact Jean-Jacques Chardin (chardin@ name of presenter, title of paper, and brief abstract (no more unistra.fr), Christian Auer ([email protected]) or Anne Bandry- than one page single-spaced) for each paper; and brief CVs Scubbi ([email protected]). (no more than 2 pages) for each participant. The deadline for proposals is October 20, 2011. Anti-Modernists? Conservative Currents in French Art, 1900-1925 (Paris, March 27, 2012) Call for papers for a Study Go to the Consortium website to make reservations at the Day at the Institut national d’histoire de l’art, Paris, Neil Hilton Capitol Center and for the registration form. Email McWilliam, Duke University, & Laura Karp Lugo, INHA submissions are preferred; please attach documents in Word format and send to Suzanne Marchand at smarch1@ The exhibition “Emile Bernard: Beyond Pont-Aven,” to be lsu.edu. Mailing address for proposals: Suzanne Marchand, held in the INHA’s gallery between January and April 2012, Department of History, Louisiana State University, Baton offers the opportunity to initiate a debate on the place of con- Rouge, LA 70803, [email protected] . Those whose paper servative and “anti-modernist” currents in French art during or panel proposals are accepted will receive an email by the early decades of the twentieth century. Long dominated by November 15, 2012. The Consortium’s website offers a short a fixation with the avant-garde, French art history has begun video about Baton Rouge and an on-line registration form. in recent years to recognize the complexity of an artistic field The web address is at http://www.revolutionaryeurope.org. whose elements defy reductive contrasts between progres- Any questions may be addressed to Karl Roider (kroider@lsu. sives and “Pompiers” – a complexity graphically illustrated by edu) or Suzanne Marchand ([email protected]). the evolution of Emile Bernard himself. Repudiating his early experimentation at Pont-Aven, Bernard increasingly gravi- tated towards identifying himself with the European grand
8 Fall 2011 / AHNCA Newsletter tradition and was harshly critical of innovative currents in We invite submissions for twenty-minute original papers on contemporary art. His trajectory is far from unique, though – the following aspects: in common with similar figures at the turn of the century – it has generally been discounted in analyses of developments in � Nordic Landscapes: representations and symbols of the early twentieth-century French art. northern flora and fauna, the wilderness, landscapes and seasonal rhythm. This study day sets out to bring together art historians who � Nordic Emotions: representations of melancholia and have begun to look beyond the modernist paradigm in order nostalgia in Naturalist and Symbolist literature, music to reinterpret the cultural landscape around the First World and arts. War. The event is intended to open up the field and explore � Nordic Primitivism: representations of the archaic and the the formal, critical and ideological stakes that characterize the mythic, meeting of “civilized” and “primitive” cultures. resistance to modernism in several fields – from painting to decorative art, from architecture to garden design. The study will focus on the relationships between aesthetic and political KEYNOTE SPEAKERS: anti-modernism, between tradition in the arts and national Anne-Marie Thiesse, CNRS, Ecole normale supérieure, Paris: identity, and between artistic archaism and Catholic renewal. “Esthétiques nationals.” Pirjo Lyytikäinen, Professor, Department of Finnish, Finno- We invite the submission of proposals for contributions in Ugrian and Scandinavian Studies, University of Helsinki, English or French. Papers will be 30 minutes long. Participants Finland: “The Swan on the River of Death: Nordic melan- will be invited to contribute to a follow-up seminar on the choly and Symbolism.” afternoon of March 29. Please send outline proposals of no more than 250 words to [email protected] before March 30, 2012 (papers in French): Musée d’Orsay November 1, 2011. The final program will be announced on Auditorium, 1, rue de la Légion d’Honneur, 75007 Paris. December 15, 2011. March 31, 2012 (papers in English): Institut finlandais, 60, rue des Ecoles, 75005 Paris. The North, a Literary, Musical and Artistic Myth (Paris, Mar. 30-31, 2012) Paris, Musée d’Orsay and Institut Please email proposals for papers (max. 500 words) with a Finlandais Le Nord. Un mythe artistique, littéraire et musi- short CV or a biographical summary no later than October cal: The North, a Literary, Musical and Artistic Myth 30, 2011 to: Riikka Rossi: [email protected] and Laura Gutman-Hanhivaara: [email protected] In connection with the exhibition on the Finnish artist Akseli http://institut-finlandais.asso.fr/index.php?option=com_ Gallen-Kallela presented at Musée d’Orsay during the spring grokevents&task=view_group&catid=806&Itemid=43 of 2012, the association The Birch and the Star - Finnish per- The applications will be selected by the Scientific Comittee spectives on the long nineteenth century is organizing jointly of The Birch and The Star: (Anna-Maria von Bonsdorff, with Musée d’Orsay and Institut Finlandais an international Ateneum Art Museum; Riitta Ojanperä, Central Art Archives; symposium on “The North, a Literary, Musical and Artistic Itha O’Neill, Amos Anderson Art Museum; Anne Pelin, The Myth.” It intends to explore the representation of the North Gallen-Kallela Museum; Riikka Rossi, University of Helsinki; in fin-de-siècle literature, music and arts, with a focus on Juha-Heikki Tihinen, University of Helsinki; Helena the mythical images of the North created by Naturalist and Tyrväinen, University of Helsinki). Please note that only Symbolist artists as an arctic space for isolation, melancholy accepted applicants will receive an invitation. and silence; the kind of symbols and myths used in the narra- tion of the North, and how these images were understood and Music and the Visual Arts interpreted in different cultural contexts. By emphasizing a (AAH, Milton Keynes, Mar. 29-31, 2012) 38th AAH comparative study on the images of the North, the sympo- Conference & Bookfair, The Open University, Milton sium encourages discussion on the possible diverse “Norths.” Keynes, UK
Fall 2011 / AHNCA Newsletter 9 Permeable Boundaries: Music and the Visual Arts” second half of the nineteenth and the first half of the twenti- Artists have been inspired by music as metaphor, object, sub- eth century - smaller cities and regional centers, such as Liège, ject and practice throughout history. Music can supply an Pozna, Edinburgh or Wolverhampton, staged their own attribute for a portrait, a symbol for an allegory, or a suitable “great exhibitions” modeled on those held in the national (or subject for the practice of perspective. Since the Renaissance imperial) centers. Their goals, although executed on a more at least, and in particular since the nineteenth century, the modest scale, were often the same and involved the promo- audible experience of music and sound has been drawn into tion and sale of goods but also communication of ideas, ide- the aesthetics of the visual arts. Issues of medium specific- ologies and identities. These smaller shows usually had large ity, medium impurity and the formal concerns of music have ambitions and tried to engage not only the local population featured prominently in modernist discourse. From the sub- but also national and international audiences and exhibitors. jects of painting to the live engagement of performance and the ephemera of the recording industry, music is inescapably This symposium turns attention to the exhibitions of arts ingrained in visual experience. Musical performance always and industries in the regions outside the capitals and to the entails the manipulation of the visual world, and a multi-sen- assumptions that lay behind them. Its main focus will be sory experience for the audience. placed on their ambitions, originality, their relationship to the “greater” exhibitions and, in particular, their engagement In what ways do the ideas and practices of music and the visu- with visual culture. The questions explored may include: al arts converge? What critical approaches should be used in the investigation of musical concerns in the visual arts, and � what ambitions motivated the idea of staging an exhi- visual concerns in music? What aesthetic and historical per- bition in the particular location and what were its spectives are illuminated or occluded by terms such as synthe- objectives? sis, multi-disciplinary and hybridity? How we respond to such � what was the long-term impact of the show on the region, questions is useful in furthering our understanding of both nationally and internationally? disciplines, and the permeable boundaries between the two. � how were the arts displayed at the exhibition and what role they played? This session brings together scholars interested in the engage- � what specific influence did exhibitions like the Great ment of music and the visual arts, and the critical language Exhibition or Expositions Universelles in Paris have on required for the examination of such issues, in all periods. the exhibitions in the margins?
To propose a paper please send an abstract of no more than The symposium encourages an inter-disciplinary approach to 250 words to the session convenors, Tim Shephard (email: the topic and papers are therefore welcome from scholars in [email protected]) and Diane Silverthorne a wide range of disciplines, including the history of art and (email: [email protected]), by Monday November 7, design, history, politics, anthropology, ethnography, cultural 2011. Please include your name, institutional affiliation, and studies etc. A network of researchers interested in the subject contact details. of exhibition cultures will be created through the symposium as further academic activities on the theme are planned (a Great Exhibitions in the Margins, 1851-1938 publication and a research network). News about the sym- (Wolverhampton, Apr. 26-27, 2012) University of posium and the research network will be posted at http:// Wolverhampton greatexhibitions.blogspot.com.
Research has for a long time focused on world fairs, great Please send paper proposals of up to 250 words to Dr. Marta exhibitions or Expositions Universelles in the capitals of Filipová at [email protected] by November 1, 2011. Europe and in the large cities of the USA. Their crucial role in communicating ideas about the identities of the exhibiting Probing the Interior, 1800-2012 nations (and their relation to other cultures) and in showcas- (London, May 25, 2012) ing contemporary art and design has been examined in detail. The Courtauld Institute of Art, Somerset House, Strand, However, in the heyday of these spectacular events - in the London WC2R 0RN; A conference to be held at The
10 Fall 2011 / AHNCA Newsletter Courtauld Institute of Art and King’s College London Palaces of Art supports the consortium’s mission of promoting Bodily, psychic and spatial interiors can be mapped, traversed innovative scholarship on the art of James McNeill Whistler and violated in multiple ways. This one-day conference will and his international circle of contemporaries. Papers will interrogate and re-evaluate the contested terrain of the inte- consider how issues of patronage, collecting, display and rior in its varied forms. It will examine the interlacing and critical interpretation informed theories and practices of overlapping of different types of interiors, and seek to re-posi- Aestheticism and its reception in Europe, the United States, tion the ‘interior’ in critical terms. Moreover, it will attempt to and beyond. Collectively, these presentations will challenge develop new ways of thinking about the relationship between our preconceptions about Aestheticism and Whistler’s place the decorative arts, furniture, bio-technologies, anatomy within the Aesthetic movement. Please visit http://www.asia. and space. The conference will take place in The Courtauld si.edu/lunderSymposium.asp for conference program and Institute of Art Research Forum and conclude with a keynote free on-line registration. address in the Anatomy Theatre at King’s College London. African-American Art and France: In Henry Ossawa The conference will be built around three themes: Threshold, Tanner’s Footsteps (Paris, Nov. 9-10, 2011) Incision and Autopsy. We encourage prospective speakers to Musée d’Orsay, 62 rue de Lille, 75007 Paris, France outline how their papers engage with one or more of these themes. “In Paris, … no one regards me curiously, I am simply ‘M. Tanner, an American artist.’ Nobody knows or cares what This conference welcomes papers from across a wide range of was the complexion of my forbears. I live and work there on periods and regions. Issues addressed might include, but are terms of absolute social equality”-- Henry Ossawa Tanner. not limited to: Henry O. Tanner (1859-1937), a pioneering African-American � Modes of mapping space artist raised in Philadelphia in the years after the Civil War, � Figurative and literal gateways/boundaries went on to become an American expatriate artist at the high- � Temporality and space est levels of the international art world at the turn of the twen- � Space and subjectivity tieth century. He devoted 46 years of his life and career to � Domestic interiors France. Three religious paintings a genre in which Tanner � Decorative arts and the body gained his fame were acquired by the French State during the � The fabrication of furniture artist’s life, and now form a part of the Musée d’Orsay’s collec- � Anatomical drawing tion. They will be on display at the Musée d’Orsay during the � Different types of medical imaging study day, and shortly thereafter, travel to the United States � Medical portraiture - one of them, The Resurrection of Lazarus - for the first time.
Please send your proposals of no more than 250 words Using the career of Henry Ossawa Tanner as a starting point, (20-minute papers) by November 30, 2011 to probingthein- this study day will explore the century-long history of African [email protected] American art and France, asking how racial and cultural identities interplayed with transatlantic exchanges from fin- de-siècle cosmopolitanism into the post-colonial age. A panel TO ATTEND: of international speakers will discuss the work of artists trav- Palaces of Art: Whistler and the Art Worlds of Aestheticism eling to Paris specifically and France more generally. At first (Washington, DC, October 27-28, 2011) attracted by a rich artistic and intellectual scene and the possi- Freer Gallery of Art and Arthur M. Sackler Gallery bility of artistic recognition that was not always to be found in This symposium honors the achievements of Professor their home country, these artists were later motivated by the Margaret MacDonald, University of Glasgow. It is the inau- vibrant and creative “années folles” to be found in Jazz Age gural event of the Lunder Consortium for Whistler Studies, Paris. African Americans played a noteworthy role in this new a scholarly collaboration of the Freer Sackler, Colby College Bohemia, not only as the jazz performers, who played the Museum of Art, and the University of Glasgow. preferred music of the Parisian avant-garde, but writers and
Fall 2011 / AHNCA Newsletter 11 artists as well. During the 1920s Paris and Harlem together suggest. Taking as its point of departure Derrida’s insight created new ideas of blackness and modernity. Artists such as that there can be no clear separation of ergon (work) from Aaron Douglas, Lois Mailou Jones, and William H. Johnson parergon (not-the-work, ‘wall’), the symposium will attempt were indebted to the legacy of Tanner. to investigate the rich questions raised by the phenomenon of art against the wall. From the Parisian art scene disrupted by World War II and the repercussions of these changes on the reception of black To book a place: £15 (£10 students) Please send a check artists in Europe in the second half of the twentieth century, made payable to ‘Courtauld Institute of Art’ to: Research the day will conclude with analysis of the celebration of post- Forum Events Coordinator, Research Forum, The Courtauld modern artists such as Jean-Michel Basquiat in France, as well Institute of Art, Somerset House, Strand, London WC2R as examine the way contemporary African-American artists 0RN, clearly stating that you wish to book for the ‘Art against continue a critical engagement with the French art world. the Wall’ symposium. For credit card bookings call 020 7848 2785 (9.30 – 18.00, weekdays only). For further information, Organized by the Musée d’Orsay and the Pennsylvania send an email to: [email protected] Academy of the Fine Arts with funding from the Terra Foundation for American Art.
Third Early Modern Symposium: ‘Art Against the Wall’ (London, Nov. 19, 2011) The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN. Kenneth Clark Lecture Theatre, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN HELP AHNCA GO GREEN!
‘Art against the Wall’ is the third symposium of The Courtauld’s Switch over to a digital copy of the AHNCA Newsletter! Early Modern department. The symposium will provide an Benefits of switching over to digital Newsletters: occasion for established and emerging scholars to present and ✜ You will receive your copy of the Newsletter discuss their research together. 2-3 weeks BEFORE members who request the paper version! (No more missed exhibi- This one-day symposium (from 10:00 am – 5:30 pm, with tions or calls for papers!) registration beginning at 9:30am) will explore the relation- ✜ International members will receive the ship between walls and art in early modern visual culture. Newsletter as soon as it is published; During the period 1550-1850 the interplay between work no more waiting for an International mail de- and wall became increasingly complex as art objects began to livery pull away from the walls which had previously defined them. ✜ You will help AHNCA save printing and The enduring association between artistic skill and craft pro- mailing costs so that funds can be allocated to other member benefits! duction meant that many art works were often still regarded ✜ as elements in overarching decorative schemes; paintings You can save your Newsletters digitally when you receive them as pdfs installed in eighteenth-century English domestic interiors, ✜ for example, continue to be described as part of the orna- Now with Hyperlinks! mentation, even as the furniture, of a room. Conversely, walls ✜ Can be read on your iPad now had the power to redefine art works, giving them a new (with any pdf reader). meaning through a new context; thus, in late sixteenth-centu- To switch to digital Newsletters, e-mail the editor, ry debates on the status of the religious image, walls – which Caterina Y. Pierre, at [email protected]. map the division between sacred and secular space – take on Use the subject line: “Digital AHNCA Newsletter” and crucial importance. Yet the wall could also become art, as the include the e-mail address where you would like your numerous examples of trompe l’oeil wall illustration to be newsletter to be sent. found in seventeenth-century architecture and garden design
12 Fall 2011 / AHNCA Newsletter NEW RESOURCES
ARTstor and the RMN de Michel de Pure, Livre d’architecture d’Alexandre The ARTstor Digital Library has launched the first installment Francine of nearly 4,000 (of a projected total of 12,000) images of works ✛ de livres de fête dont Feste in Venezia, Balletti from the premier national and regional museums of France d’invenzione nella Finta pazza di Giovanbatta Balbi ou through our collaboration with the Réunion des Musées L’Orologio del Piacere, Nationaux (RMN) and Art Resource. The collection in the ✛ de photographies : des vues de Samarkand, les ARTstor Digital Library presents high-resolution images of photographies de la Mission archéologique en Tunisie important works of art from antiquity to the 20th century. The de MM. Babelon et S. Reinach, les premiers essais de majority of images focus on works by key artists from major photographies en couleurs de Charles Cros. European schools, as well as decorative arts and furnishings from castles and royal residences throughout France. French Yale Center for British Art announces new website museums with significant holdings in the arts of Asia, Africa, The Yale Center for British Art has announced the launch of and Oceania are also included. The images have been its new website (www.britishart.yale.edu) which offers online selected from the archives of the Agence photographique de access to the collections of the Center through a seamless la RMN, which include the collections of 28 museums, such cross collections search that retrieves works of art, rare books, as the Musée du Louvre, the Musée d’Orsay, and the Musée and reference materials. Through the website and collections National d’Art Moderne – Centre Georges Pompidou. For search, the Center now offers publication-quality images of all more info: www.artstor.org. Many other collections focused its art objects in the public domain. Images from the Center’s on a variety of disciplines and subject areas are released collections are now free to download with no restrictions on monthly in ARTstor. Please visit us on www.artstor.org/blog use. For the first time, visitors to the museum’s redesigned and to learn about new developments and sign up for our news expanded website—britishart.yale.edu— will have the ability announcements. to search across the Center’s entire collection of paintings, sculpture, prints, drawings, rare books, manuscripts, and H-ArtHist Announces new Website works in the Reference Library. In addition, they will be able http://arthist.net/ is powered by a new content management to download high-resolution images of objects in the public system, the website has been redesigned and contains now domain, free of charge. The launch of the Center’s online many new features with improved usability and navigation catalogue dovetails with Yale University’s recently announced such as: “Open Access” policy, which will make high-quality digital ✛ online forms for contribution / registration images of Yale’s vast cultural heritage collections in the public ✛ latest H-ArtHist posts and website archive domain openly and freely available. The full press release ✛ fast access to H-ArtHist reviews is available here: http://britishart.yale.edu/sites/default/files/ Website-Catalogue_press-release_0.pdf Please note that in the future scholars should use the online- form for any contribution to the list: http://arthist.net/mailing- Digitized Russian Rare Books from the Metropolitan list/mode=contribute Museum of Art The Thomas J. Watson Library at the Metropolitan Museum INHA announces new online resources of Art recently digitized a small selection of rare books Pour information, 142 nouveaux documents ont été mis en published in Imperial and early Soviet Russia. This small sliver ligne sur la bibliothèque numérique de l’INHA. Il s’agit : represents a wide range of themes and formats, including ✛ d’estampes : eaux-fortes de Félix Bracquemond, Soviet caricature, arms and armor, 19th-century photograph gravures et dessins de Charles Cottet, eaux-fortes et albums, collection and exhibition catalogs. Please browse and clichés-glaces de Charles François Daubigny, eaux fortes use this collection at: http://libmma.contentdm.oclc.org/cdm4/ de James McNeill Whistler tirées après le rayage des browse.php?CISOROOT=/p15324coll7&CISOSTART=1,1 plaques de cuivre par l’artiste, ✛ de classiques de l’histoire de l’art : Recueil de gravures You may also access it via Watson Library’s catalog by going pour servir à l’histoire des arts en France d’Alexandre- to the Digital Collections link: http://library.metmuseum.org/ Marie Lenoir, Idée des spectacles anciens et nouveaux screens/opacmenu.html
Fall 2011 / AHNCA Newsletter 13 GRANTS AND FELLOWSHIPS
FELLOWSHIPS & GRANTS FOR PRE- AND the Library of the New York Historical Society, New York POST-DOCTORAL CANDIDATES Public Library, and the Schomburg Center. Ten $3,000 Columbia University Council for European Studies offers fellowships are awarded twice a year. Deadlines (postmarked summer pre-dissertation fellowships for graduate students or submitted via email): December 1st and May 1st. Contact working on Europe. There are usually fifteen to seventeen The Gilder Lehrman Institute of American History, 19 W. recipients and the stipend is $4,000.00. Deadline February 44th St., Ste. 500, New York, NY 10036-5902; (646) 366-9666; 15, 2012. Contact: CES, Columbia University, 1203A, email: [email protected], web: http://www.gilderlehrman.org/ International Bldg., MC3310, 420 w. 118th St., New York, 10027. historians/scholar4.html. Tel: (212) 854-4172. web: http://councilforeuropeanstudies. org/index.php?option=com_content&view=article&id=2 Columbia University (NY) offers fellowships for scholars 6&Itemid=28; email: [email protected]. The Harriman who are interested in working at its Institute for Scholars at Institute Post-doctoral Fellows Program enables junior Reid Hall (in cooperation with the Maison des Sciences de scholars who have recently received their Ph.D. to spend a l’Homme). Preference given to scholars in the Humanities, specified term in residence focusing on the revision of their Social Sciences and related disciplines. Collaborative group dissertation for publication in book form. Deadline: January proposals encouraged, although individual applications will 10 for fellowships to being the following September, decisions be considered. Applications can be made for a single semester in May. Contact: Barbara Singleton, Harriman Institute, or full academic year. Deadline: March 1, 2012. Contact: Columbia University, 420 West 118th Street, 12th floor, New Office of the Provost, Columbia University, 535 W. 116 Street, York, New York 10027, (212) 854-6219, [email protected], 408 Low Memorial Library, Mail Code 4336, New York, NY http://www.harrimaninstitute.org/courses/fellows_visiting_ 10027; (212) 854-3813, fax: (212) 854-9720; ps27@columbia. scholars.html edu, web: www.columbia.edu/cu/reidhall.
The Hagley Museum and Library offers the Henry Belin du American Antiquarian Society announces Short-Term Pont Dissertation Fellowship (stipend = $6,500) supports Visiting Academic Research Fellowships, available for the dissertation stage of doctoral work with four-month scholars holding the Ph.D. and for doctoral candidates residencies. Deadline: November 15, 2011. www.hagley.lib. engaged in dissertation research. Fellowships comprise de.us/grants.html. Submit applications online. 1-3 months, stipends = $1,000/month. The following are offered annually: Kate B. and Hall J. Peterson Fellowships The French Government offers the Chateaubriand (research on a topic supported by the AAS collections); The Scholarship for Humanities Research for doctoral research Legacy Fellowship (research on a topic supported by the for which involvement in French research institutions or AAS collections); Stephen Botein Fellowships (research archives would be beneficial. Fellowships are given for in the history of the book in American culture); The Joyce research in topics in French culture and history. Applicants Tracy Fellowship (research on newspapers and magazines); must be of U.S. citizenship. Tenure (9 mo.) carries a stipend AAS-American Society for Eighteenth-Century Studies of 1300 euros per month plus health coverage and travel. Fellowships (research on the American 18th Century); Deadline: December 15, 2011. Contact: Chateaubriand American Historical Print Collectors Society Fellowship Fellowships, French Embassy, Bourse Chateaubriand/SCULE, (research on American prints of the 18th and 19th centuries 4101 Reservoir Rd., Washington, DC 20007. E-mail: Meghan. or for projects using prints as primary documentation); [email protected]. Call: (202) 944-6294. Web: The Reese Fellowship (research in American bibliography http://france-science.org/chateaubriand2/chateaubriand_/ . and the history of the book in America); The “Drawn to Art” Fellowship (research on American art, visual culture or The Gilder Lehrman Institute of American History offers other projects using graphic materials as primary sources); fellowships in American Civilization for pre- and post- The Christoph Daniel Ebeling Fellowship (for a scholar in doctoral research. The fellowships support work in one American studies at the dissertation or habilitation research of the five archives in New York City including the Gilder level at a university in Germany, jointly funded by the German Lehrman Collection at the New York Historical Society, the Association for American Studies and AAS). Deadline for Columbia University Rare Book and Manuscript Collection, all fellowships applications except the Ebeling Fellowship
14 Fall 2011 / AHNCA Newsletter January 15, 2012; Deadline for Christoph Daniel Ebeling post-doctoral or equivalent research related to British art and Fellowship: January 2012-not yet posted. Contact: American to museum professionals whose research interests include Antiquarian Society, 185 Salisbury Street, Worcester, MA British art. Deadline: (January 15, 2012). Contact: Lisa Ford, 01609-1634, (508) 755-5221, fax: (508) 753-3311, or visit: Associate Head of Research, Yale Center for British Art, P.O. http://www.americanantiquarian.org/acafellowship.htm Box 208280, New Haven, CT 06520. web: http://ycba.yale. edu/education/edu_fellowships.html Wesleyan University invites scholars who have received their Ph. D. within the last four years in any humanistic field to The Alexander von Humboldt Foundation supports scholarly apply for the Andrew W. Mellon Post-doctoral Fellowship in research and study in Germany. It offers as many as 600 Cultural Studies. One Fellow will be appointed for the 2012- Humboldt Research Fellowships annually to post-doctoral 2013 academic year with a stipend of $40,000. He or she scholars to support research for six- to twenty-four-month will be in residence to teach a one-semester undergraduate periods in Germany. Scholars may be in any academic field course. The theme for 2012-2013 was not yet posted. and come from any country except Germany. Applications Deadline (postmarked): November 1, 2011. The Center may be submitted at any time. Contact: The U.S. Liaison for the Humanities will also grant a small number of non- Office of the Alexander von Humboldt Foundation, 1055 stipendiary Research Fellowships for a semester or a year Thomas Jefferson St. N.W., Suite 2030, Washington, D.C., to scholars working in the humanities or the social sciences. (202) 296-2990. Web: http://www.humboldt-foundation.de/ Arrangements for Research Fellowships are informal and web/771.html individual (consult site for details). Deadline: received March 30, 2012. Contact Jill Morawski, Director, Center of The Center for Advanced Judaic Studies, University of the Humanities, Mellon Post-doctoral Fellowship Program Pennsylvania, annually invites approximately twenty post- Wesleyan University, 95 Pearl Street, Middletown, CT 06459- doctoral candidates to the Center to conduct research on a 0069, (203) 685-2170. Web: http://www.wesleyan.edu/chum/ specific theme within the various fields of Judaic Studies. The research_fellowship.html theme for 2012-2013 is Converts and Conversion to and from Judaism. Outstanding graduate students in the final stages of The Carter G. Woodson Institute for Afro-American and writing their dissertations may also apply. Stipend amounts African Studies at the University of Virginia offers pre-doc are based on academic standing and financial need (max. and post-doc residential fellowships to scholars whose work $45,000 / academic year). Deadline: November 10, 2011. focuses on race, ethnicity and society in Africa and the Atlantic Contact: Administrator, Fellowship Program, CAJS, Univ. of world (broadly defined as the African Diaspora). Post-doctoral Pennsylvania, 420 Walnut St., Philadelphia, PA 19106. 215- fellows receive one-year fellowships (stipend = $45,000). Pre- 238-1290. E-mail: Sheila Allen: [email protected], web: doctoral fellowships cover two (annual stipend = $20,000). http://www.cjs.upenn.edu/program/2012-2013/announce.htm The fellowship is not restricted by citizenship. Deadline December 1, 2011. The Woodson Institute also operates a The Institute of European History awards ten fellowships Visiting Scholars program and invites scholars working in for 6-12 month research stays at the Institute in Mainz. African American and African Studies to apply for short- The application is open to all young historians in Germany term or long-term residential affiliations as visiting scholars. and abroad, who apply with a research project in German Applications for long-term residency will be considered in the and European history since the sixteenth century. The Spring (June 15 deadline) and Fall (November 1 deadline). department’s fellowship selection commission meets three Applications for short-term residency will be considered times a year, in March, July and November. Contact: The year-round. Contact: Octavia Phillips, Research Fellowships, American Institute for Contemporary German Studies, 1400 Carter G. Woodson Institute, University of Virginia, P.O. 16th Street, NW Suite 420, Washington, DC. 20036. Phone: Box 400162, Charlottesville, VA 22904-4162. (434) 924-3109 (+1-202) 332-9312, fax:. (+1-202) 265-9531. [email protected], or e-mail: [email protected]; web: www.virginia.edu/ or web: www.inst-euro-history.uni-mainz.de. Deadlines are woodson/programs/fellowships.html. continuous.
The Yale Center for British Art Visiting Fellowship Program Stanford University invites applications for the Stanford offers several month-long resident fellowships to scholars in Humanities Fellows Program, a post-doctoral fellowship
Fall 2011 / AHNCA Newsletter 15 designed to give the best recent Ph.D. recipients in the address: Social Science Research Council, 810 Seventh humanities a unique opportunity to develop as scholars Avenue, 31st Floor, New York, NY 10019 USA; (212) 377- and teachers. Fellowships are awarded for a two-year term, 2700 ext. 606; fax: (212) 377-2727; email: [email protected]. For renewable for a third year. Fellows will teach one course the International Dissertation Research Fellowship (IDRF) and contribute a second course-equivalent per year in one the online application deadline is November 3, 2011. Email: of Stanford’s fifteen humanities departments. The stipend [email protected]. (approx. $50,000) may include additional support, depending on need. Deadline: November 15, 2011. Contact the The Hagley Museum and Library offers several fellowships Program Administrator at [email protected] or visit and grants. Hagley/Winterthur Fellowships in Arts and http://fellows.stanford.edu or write: Anna North, Program Industries represent a cooperative, residential program Administrator, Bldg. 460, Rm. 201, Stanford University, 450 of short- to medium-term research fellowships for scholars Serra Mall, Stanford, CA 94305-2087. Ph: (650) 723-3316. interested in the historical and cultural relationships between economic life and the arts, including design architecture, crafts, and the fine arts. Henry Belin du Pont Fellowships FELLOWSHIPS & GRANTS – ALL CAREER support serious scholarly work. Applicants must be from out STAGES of state. Application is not restricted to those with advanced The Woodrow Wilson Fellowship Foundation, in conjunction degrees. Stipends (for periods ranging from 1 to 6 mo.) may with the Andrew W, Mellon Foundation, announces Career offer up to $1,600 per month. Deadline: November 15. The Enhancement Fellowships for Junior Faculty. The 12-month Hagley Museum and Library Grants-in-Aid support short- fellowship seeks to increase the presence of minority junior term visits for scholarly research. Stipends (from two weeks faculty members, and other faculty members committed to to two months) may offer up to $1,600 per month. Deadlines eradicating racial disparities in the arts and sciences. Awards: for 2012-2013: March 31, June 30, October 31. Contact: Dr. $30,000 stipend and a small grant for research/travel. Philip Scranton, Center for History of Business, Technology, Deadline: November 30, 2011. For info: Caryl McFarlane, and Society, P.O. Box 3630, Wilmington, DE 19807-0630, or Asst. Director, Assistant Director, Public Policy/International call (302) 658-2400 or e-mail [email protected]. Web: www.hagley. Affairs Programs, Woodrow Wilson National Fellowship org and www.hagley.lib.de.us/grants.html. Foundation, P.O. Box 2995, Princeton, NJ 08543. Phone: (609) 452-7007; e-mail: [email protected]. The Samuel H. Kress Foundation offers several grants and fellowships at the pre-doctoral and professional levels. The The Smithsonian Institute and its Renwick Gallery invite Kress Fellowship in Art History at Foreign Institutions grants applications for one-year research fellowships in art, visual four pre-doctoral candidates two-year research appointments culture, and craft of the United States. Pre-doctoral fellowship at one of several participating European Institutions. The stipends = $30,000, plus research/travel allowances. Senior stipend is $22,500. Deadline: November 30, 2011. Kress or post-doctoral fellowship stipends = $45,000, plus research/ Travel Fellowships in the History of Art, carrying stipends travel allowances. The standard residency is twelve months, of $3,500 to $10,000, support travel expenses are granted but shorter terms will be considered; stipends are prorated for to pre-doctoral candidates finishing their dissertations on shorter periods. Deadline (postmarked): January 15, 2012. European art before 1900. Deadline: November 30, 2011. All Contact: Amelia Goerlitz, Fellowship Program Coordinator, pre-doctoral fellows must be U.S. citizens (or be matriculated SAAM Fellowship Office, Smithsonian American Art into a U.S. university) and nominated by his/her department. Museum; (202) 633-8353. Email: [email protected]. These and other fellowships can be found on the Kress For applications visit http://www.si.edu/ofg/fell.htm. website www.kressfoundation.org. Or contact: Wyman Meers, Program Administrator, Samuel H. Kress Foundation, 174 E. The Social Science Research Council sponsors fellowship 80th Street, New York, NY 10021, or (212) 861-4993. and grant programs on a wide range of topics, across many different career stages. Most support goes to pre-dissertation, The American Philosophical Society offers several grants and dissertation, and post-doctoral fellowships, offered through fellowships at the pre-doctoral, post-doctoral and senior level. annual competitions. Deadlines vary per program, but can The Franklin Research Grant is available to post-doctoral be as early as September. Web: www.ssrc.org/fellowships; (or publication equivalent) scholars. Funding is in multiples
16 Fall 2011 / AHNCA Newsletter of $1,000, with a maximum of $6,000 for one calendar year, Road, San Marino, CA 91108. Robert C. Ritchie, W.M. Keck $12,000 for two years. Deadline: October 1 and December Foundation Director of Research. Phone: (626) 405-2194; 1, 2011. The APS Sabbatical Fellowship (one academic year, Fax: (626) 449-5703; e-mail: [email protected], web: $30-40,000) invites applications from mid-career faculty of http://www.huntington.org/huntingtonlibrary.aspx?id=566 American colleges and universities. Deadline: October 15. The Phillips Fund of the APS provides grants for research in The Schomburg Center for Research in Black Culture’s Native American linguistics and ethno history, and the history Scholar-in-Residence program seeks to assist scholars of studies of Native Americans, in the continental United States studying black history culture from a humanist perspective and Canada. Preference given to younger scholars who have and professionals in fields related to the Center’s collections received the doctorate. Graduate students working on their and facilities. The Center encourages research and writing theses/dissertations may apply. Awards not to exceed $3,000. in black history and culture, including that of African, Afro- Deadline: March 1. The APS Library accepts applications for American and Afro-Caribbean people, with interaction short-term residential fellowships (four consecutive weeks) between scholars through lectures, publications, colloquia for conducting research in its collections, from scholars who and seminars. Tenure lasts six months to one year (max. reside beyond a 75-mile radius of Philadelphia. Stipend: stipend, $25,000 for six months and $50,000 for twelve $2,000 per month (1-3 months). Deadline (receipt): March months). Deadline (postmarked): December 1, 2011. 1. Contact all individual programs through Linda Musumeci, Contact: Scholars-in-Residence Program, Schomburg Center Committee on Research, American Philosophical Society, for Research in Black Culture, 515 Malcolm X Blvd., New Independence Mall East, 104 South 5th Street, Philadelphia, York, NY 10037-1801, (212) 491-2228. Web: http://www.nypl. PA 19106. (215) 440-3429; e-mail: lmusumeci@amphilsoc. org/locations/tid/64/node/138. org; web: www.amphilsoc.org. The Harvard University Houghton Library Fellowship The Center for Advanced Study in the Visual Arts (CASVA) provides short-term fellowships for travel to work within offers an extensive program of fellowships at all levels and the Library’s collections. Fellows have access to the Widener disciplines. This includes the Senior Fellowship Program: library, the world’s largest university library and receive a Deadline: October 15, 2011; Visiting Senior Fellowship stipend ($3000). Other fellowships are awarded to those Program: Deadlines: September 21, 2011, March 21, 2012, whose research is based primarily in the Houghton Library September 21, 2012; The J. Paul Getty Trust Paired Research Collections (especially those collections which are rare Fellowships in Conservation and the History of Art and and unique). Fellows must be in residence at Harvard for Archaeology; the Pre-doctoral Fellowship Program: Deadline: at least one month out of the fellowship year (July-June). November 15, 2011; and the Pre-doctoral Fellowship Program Deadline: January 13, 2012. Contact: The Fellowship for Summer Travel Abroad for Historians of American Art: Selection Committee, Houghton Library, Harvard University, Deadline: February 15, 2012. Visit: http://www.nga.gov/ Cambridge, MA 02138. Web: http://hcl.harvard.edu/libraries/ casva/index.shtm. Contact: Center for Advanced Study in houghton/public_programs/visiting_fellowships.cfm. the Visual Arts, National Gallery of Art, 2000B South Club Drive, Landover, Maryland 20785. Phone: (202) 842-6482; Metropolitan Museum of Art Conservation Fellowships are fax: (202) 789-3026; e-mail: [email protected]. offered annually to qualified graduate students at the pre- doctoral level and to post-doctoral researchers. Applicants The Huntington Research Center The Huntington will award from senior Museum conservators interested in short-term over one hundred fellowships for the academic year, derived tenures are also considered. Fields for conservation research from a variety of funding sources and having different terms. include paper, objects, textiles, musical instruments and Fellows are in continuous residence at the Huntington and costumes. Fellows maintain residence in the department participate in its intellectual life. Candidates must hold a Ph.D. with which they are affiliated for the course of tenure. One- or the equivalent, or be a doctoral candidate in the dissertation year tenures are stipended at $40,000 (senior), and $30,000 stage. Tenure ranges from 1-5 months with a stipend of $2000 (junior), with additional travel monies available. Deadline per month. A number of specialized fellowships are available. (receipt): January 2, 2012. The Metropolitan Museum of Deadline (postmarked): December 15, 2011. Contact: Art also offers Resident Pre- and Post-doctoral Fellowships Committee on Fellowships, The Huntington, 1151 Oxford in Art History to qualified graduate students and post-
Fall 2011 / AHNCA Newsletter 17 doctoral researchers in fields represented by the collections. Publication Grant ($6,000), available to women college/ Deadline: November 4, 2011. For further information, write: university faculty or independent researchers to prepare Fellowship Program in Art History OR Fellowship Program in completed research for publication. Deadline (postmarked): Conservation, Attn. Marcie Karp, the Metropolitan Museum November 15, 2011. International Fellowships are awarded of Art, 1000 5th Ave., New York, NY 10028-0198, Fax: 212 for full-time study or research to women who are not U.S. 396-5168. E-mail: [email protected]. Web: citizens or permanent residents. Deadline (postmarked): http://www.metmuseum.org/education/er_fellow.asp. December 1, 2011. Contact: AAUW Educational Foundation, c/o Customer Service Center, Dept. 60, 301 ACT Drive, Iowa The Winterthur Museum offers three categories of City, IA 52243-4030, phone: 319/337-1716 ext.60. E-mail: fellowships: NEH Fellowships, McNeil Dissertation [email protected], http://www.aauw.org/education/fga/index.cfm Fellowships, Winterthur Research Fellowships. The NEH Fellowship supports scholars pursuing advanced research. The American Council of Learned Societies supports a Tenure = four to twelve months/stipend up to $40,000 variety of programs to assist scholars at all stages of their (generally $3300/month). Scholars make use of the museum’s professional careers. Applications for all fellowships must extensive library and collections related to the study of be submitted online, received by dates listed. The Henry American artistic, cultural, social and intellectual history. The Luce Foundation Dissertation Fellowships in American McNeil Dissertation Fellowship awards one or two semesters Art ($25,000.one-year, non-renewable) support any stage of of McNeil funding yearly, at $7,000 per semester. Applicants Ph.D. dissertation research or writing in the art of the United may apply for one or two semesters. Short-term Winterthur States in any period (applicants must be US citizens, A.B.D. Research Fellowships carry a stipend of $1,500 per month. before beginning tenure). Deadline: November 9, 2011. The Fellowships are open to all candidates who demonstrate a Southeast European Studies Program offers post-doctoral specific need for research in the collections. Deadline (all research fellowships (stipends up to $25,000) and dissertation fellowships): January 15, 2012. Contact: Katherine C. Grier, fellowships (stipends up to $17,000) in any discipline(s) of the Director, Research Fellowship Program, Office of Advance humanities and the social sciences. Proposals dealing with Studies, Winterthur Museum and Country Estate, Winterthur, Albania, Bulgaria, Romania, and the successor states of the DE 19735, (302) 888-4649. E-mail: academicprograms@ former Yugoslavia are particularly encouraged. Deadline: winterthur.org or www.winterthur.org/research/fellowship.asp November 11, 2011. Contact: American Council of Learned Societies, 663 Third Avenue, New York, NY 10017-3398; The John Simon Guggenheim Memorial Foundation 212-697-1505, ext. 136 or 138; email [email protected]; Web: provides fellowships for advanced professionals in the natural http://www.acls.org/programs/overview/. sciences, social sciences, humanities, and non-performing creative arts. Fellowships are awarded through two annual The Beinecke Rare Book & Manuscript Library offers competitions: one open to citizens and permanent residents short-term fellowships to visiting scholars pursuing post- of the United States and Canada (Deadline: September doctoral or equivalent research in its collections. The one- 15, 2011), and the other open to citizens and permanent month fellowships (stipend = $4000/month), are designed to residents of Latin America and the Caribbean (Deadline: provide access to the library for scholars who reside outside December 1, 2011). Contact: Edward Hirsch, Pres., John the greater New Haven area. Fellowships must be taken up Simon Guggenheim Memorial Foundation, 90 Park Avenue, between September 1, 2012 and May 31, 2013. Recipients are New York, NY 10016; (212) 687-4470; Fax: (212) 697-3248. expected to be in residence during the period of their award. E-mail: [email protected] Web: http://www.gf.org/ There is no application form (see website for application process/details). Deadline: received December 15, 2011. The American Association of University Women (AAUW) Web: www.library.yale.edu/beinecke/blgrdfll.htm#visit; email: invites applications from outstanding women scholars for a [email protected]. one-year research fellowship or short-term publication grant (must be U.S. citizens or permanent residents). The “American The Council of American Overseas Research Centers Fellowships” include Post-doctoral Fellowships ($30,000), (CAORC) announces a fellowship program that supports Dissertation Fellowships ($20,000 to women in the final year advanced regional research. The program is open to U.S. of a doctoral degree) and a Summer/Short-Term Research doctoral candidates (ABD) and scholars who have already
18 Fall 2011 / AHNCA Newsletter earned their Ph.D. in fields in the humanities, social sciences, and mid-February to the third week of May. Fellowships are or allied natural sciences and wish to conduct research of residential, carry no stipend, and typically have a duration regional or trans-regional significance. Fellows must conduct of either one month or a half-semester (47 days). In special research in more than one country, at least one of which circumstances, residencies of other lengths may be approved. hosts a participating American overseas research center Applications are reviewed twice a year: January 15 for fall- (see website for a complete list of participants). Awards: up winter semester and April 15 for the winter-spring semester. to $9,000 each. Individuals or those working in teams may Contact: The Boliasco Foundation, 10 Rockefeller Plaza (16th apply. Preference will be given to candidates examining floor), New York, New York 10020-1903, email: info@bfny. comparative and/or cross-regional questions requiring org; web http://www.bfny.org/english/fellowships.cfm. research in two or more countries. Applicants must be U.S. citizens. Deadline January 12, 2012. Contact: Council The Amon Carter Museum’s Davidson Family Fellowship of American Overseas Research Centers (CAORC), Multi- Program is for scholars working at the pre- or post doctoral Country Research Fellowship Program, P.O. Box 37012, NHB level. Fellows will initiate new research or continue work on Room CE-123, MRC 178, Washington, D.C. 20013-7012, Ph. an existing topic in American art that draws on the Museum’s (202) 633-1599. [email protected]; web: http://caorc.org/ collections. Stipend: $7,500 for a minimum of four weeks of programs/multi.htm. full-time research at the Amon Carter Museum. Deadline: March 1, 2012. Contact: Davidson Family Fellowship Program, The American Historical Association (AHA) awards more Amon Carter Museum, Attn: Samuel Duncan, Library than 100 grants and fellowships for research and travel Director, 3501 Camp Bowie Boulevard, Fort Worth, Texas related to historical research in virtually any field. See website 76107-2695, p. (817) 989-5073; email: samuel.duncan@ for specific fellowship information. Applications for the cartermuseum.org. or web: http://www.cartermuseum.org/ Bernadotte E. Schmitt Grants, the Albert J. Beveridge Grant library/davidson-family-fellowship. for Research in the History of the Western Hemisphere, the Michael Kraus Research Grants, and the Littleton-Griswold Washington University announces the fifth year of a five-year Grants are due on February 15 of the award year. Note: Only Andrew W. Mellon Foundation Post-doctoral Fellowship AHA members are eligible to apply for these grants. All grants Program. The Fellowship Program brings together new are offered annually and are intended to further research in and recent Ph.D.s to participate in the university’s ongoing progress. Preference is given to advanced doctoral students, interdisciplinary programs and seminars. Fellows receive a non-tenured faculty, and unaffiliated scholars. www.historians. two-year appointment with stipends beginning at $43,150/ org/prizes/index.cfm. year and will teach three undergraduate courses in their home discipline and collaborate each spring semester in leading The Center for Cultural Analysis at Rutgers University a seminar in the theory and methods of interdisciplinary awards two external fellowships (stipend: $40,000) to scholars research. No application form; deadline: December 1, 2011. and practitioners, including graduate students, “interested Contact: Steven Zwicker, Dept. of English, Washington in issues and problems arising from the complicated University, Box 1122, One Brookings Drive, St. Louis, MO interrelations among the Americas during the past century- 63130; 314-935-5190. Email:[email protected]. Web: their history, politics, economics and culture.” Theme: http://mii.wustl.edu/. Formalisms. Deadline January 12, 2012. Contact: Center for the Critical Analysis of Contemporary Culture, Rutgers The Henry Moore Institute offers fellowships to artists, University, 8 Bishop Place, New Brunswick, NJ 08903, academics, curators and/or educators interested in pursuing 732- 932-8426, email: [email protected]. Web: www. work at the institute on historical and contemporary criticalanalysis.rutgers.edu/fellowships. sculpture. Fellows have access to collections including sculpture, a library, slide library, an archive of works on paper, The Liguria Study Center for the Arts and Humanities grants models and original documents. The sculpture and archive Bogliasco Fellowships to qualified persons doing advanced collections are devoted to British sculpture, principally after creative work or scholarly research. Bogliasco Fellowships c. 1850, and are especially strong for the period c. 1900- are scheduled during the two semesters of the traditional 1975. The library is an excellent resource for research on academic year: mid-September to the third week of December, both historical and contemporary sculpture. Tenure is up to
Fall 2011 / AHNCA Newsletter 19 four months with travel expenses and a per diem provided. Fellows will also have opportunities to either publish or The Newberry Library supports a wide range of long and present research. Application deadline: January 9, 2012. short-term fellowships. Long-term fellowships are available Contact Kirstie Gregory – Research Programme Assistant, to post-doctoral scholars (holding the Ph.D. at the time Henry Moore Institute, The Headrow, Leeds LS1 3AH. T: of application) for periods of six to eleven months; they + 44 (0) 113 246 7467, E: [email protected] carry stipends up to $40,000 unless specified otherwise. ‘Research Fellowships.’ Web: http://www.henry-moore.org/ Deadlines: long-term fellowships January 11, 2012; short- hmi/research/hmi-research-fellowships1. term March 1, 2012, check website. For more information, contact: Committee on Awards, The Newberry Library, 60 The School of American Research (SAR) awards a Resident West Walton Street, Chicago, IL 60610, 312 255-3666. Web: Scholar Fellowship to six scholars with anthropologically www.newberry.org/research/felshp/fellowshome.html. E-mail: informed perspectives in humanistic fields who have completed [email protected]. research and are now looking to pursue topics “important to the understanding of humankind.” Resident scholars are The Camargo Foundation awards one-semester residential given an apartment and office on campus, stipends up to fellowships to scholars, visual artists, composers, and $40,000, a small reference library and other benefits. The writers working on humanistic topics related to French tenure: September 1 through May 31. Deadline: November and Francophone countries. Fellows pursue projects 1. Contact: the Director of Academic Programs at School of while in residence at the Foundations’ estate in Cassis, American Research, PO Box 2188, Santa Fe, NM 87504-2188; France. Applications are welcome from college professors, e-mail: [email protected]. Web: www.sarweb.org. independent scholars, secondary school teachers (private and public), graduate students, writers, composers and The Filson Fellowship offers full-time university history visual artists. Stipend amount: $2,500. Application deadline: faculty and doctoral students an opportunity to pursue postmarked January 12, 2012. Contact: The Camargo scholarly research at the Filson Historical Society, Louisville, Foundation, 1, Avenue Jermini, 13260 Cassis, France. Web: KY, by providing funds for travel and lodging. The society’s www.camargofoundation.org. collections focus on the frontier, antebellum and Civil War eras of Kentucky. Out-of-state fellows receive a $500.00 award The New England Regional Research Fellowship Consortium for a one-week period. State residents may receive partial offers a number of awards. The Consortium grants ($5,000 support. Application deadlines: annually, October 15 and / eight weeks of research at a participating institution) are February 15. Contact: 502 635-5083, e-mail markweth@ meant to encourage work drawing from multiple agencies filsonhistorical.org, web http://www.filsonhistorical.org/ and are awarded to anyone who demonstrates a serious programs-and-publications/fellowships-and-internships.aspx need for the use of collections and facilities of associated or write Mark Wetherington, The Committee on Fellowship/ organizations. Participating Institutions include the Boston Internships, The Filson Historical Society, 1310 S. Third Athenaeum, Connecticut Historical Society, John Nicholas Street, Louisville, KY 40208. Ph; (502) 635-5083. Brown Center for the Study of American Civilization, Maine Historical Society, Massachusetts Historical Society, Mystic The Capitol Fellowship Program grants a maximum of Seaport Museum, New England historical Genealogical $18,000 to scholars for research related to the art and Society, New Hampshire Historical Society, Rhode Island architecture of the U.S. Capitol complex. Fellows are granted Historical Society, Vermont Historical Society, and Historic access to extensive documents housed in the Office of the Deerfield. Application deadline: January 15, 2012. For Architect of the Capitol, The Library of Congress and the more information contact: Regional Fellowships, MHS, 1154 National Archives. Office space is provided in the Curator’s Boylston Street, Boston, MA 02215, 617-646-0513. Web: www. Office of the Architect of the Capitol. Tenure = one-twelve masshist.org/fellowships/ email: [email protected]. months/$2,000 per month. Application deadline: March 15, 2012. Contact Dr. Donald Kennon, U.S. Capitol Historical The Massachusetts Historical Society offers short term Society, 200 Maryland Ave. N.E., Washington, D.C. 20002. fellowships for researchers who need to use the collections 202 228-1222. See: http://www.csus.edu/calst/capital_fellows_ to complete a major project relevant to the MHS collections. programs_overview.html E-mail: [email protected]. Each of the fellowships includes a stipend of $1,500 for four
20 Fall 2011 / AHNCA Newsletter weeks of research. Candidates who live 50 or more miles t.b.a. [November]. Contact: Traci Rucker, Prog. Asst., Visiting from Boston receive preference. Post-mark deadline: March Scholars Program, Center for Advanced Holocaust Studies, 1, 2012. With support from the National Endowment for U.S. Holocaust Memorial Museum, 100 Raoul Wallenberg the Humanities the MHS also awards either one long-term Place, SW, Washington, DC 20024-2126, Tel. (202) 314-7829. grant of six to twelve months or two grants of a maximum Email: [email protected] Web: www.ushmm.org/ of five months. Stipend: no more than $40,000 for a term research/center. of six to twelve months and smaller amounts for shorter terms. Tenure must be continuous. Application post-mark The Caroline and Erwin Swann Foundation for Caricture deadline: January 15, 2012. Contact: Long term/short term and Cartoon awards one fellowship per year, with a stipend Fellowships, Massachusetts Historical Society, 1154 Boylston of $15,000 to assist ongoing scholarly research and writing St., Boston, MA 02215, (617) 646-0513; Web: www.masshist. projects in the field of caricature and cartoon. Applicants may org/fellowships. be candidates for an M.A. or Ph.D. degree in a university in the United States, Canada or Mexico and working toward The Library Company of Philadelphia and Historical Society the completion of a dissertation or thesis for that degree, or of Pennsylvania Program in Early American Economy and be engaged in postgraduate research within three years of Society offers several types of fellowship awards to be granted receiving an M.A. or Ph.D. Application deadline: February for research and scholarship. One-month fellowships (stipend 15, 2012. Contact: Martha Kennedy, 202-707-9117. Web: = $1,600) are available to scholars at all levels of research. www.loc.gov/rr/print/swann. Email: [email protected]. Two Barra Foundation International Fellowships (stipend: $2,500 plus travel expenses) are reserved for foreign national The Wolfsonian-Florida International University Research scholars whose residence is outside the United States. The Fellowship promotes the examination of modern material Program in Early American Economy and Society (PEAES) culture. The focus of the Wolfsonian collection is on North Fellowships consist of: one dissertation-level fellowship, American and European decorative, propaganda, and fine tenable for nine consecutive months (stipend: $20,000); arts of the period 1885-1945. The United States, Great Britain, one advanced research fellowship, also tenable for nine Germany, Italy, and the Netherlands are the countries most consecutive (stipend: $40,000). Deadline for post-doctoral comprehensively represented. There are also smaller but long-term fellowships is November 1, 2011. The fellowships significant collections of materials from a number of other promote scholarship in early American economy and society, countries, including Austria, France, Japan, the former broadly defined, through the 1850s. All applicants may Soviet Union and Hungary. The Wolfsonian library has submit proposals based on any printed and manuscript approximately 50,000 rare books, periodicals, and ephemeral materials of the Library Company and other institutions items, as well as standard reference materials. Eligibility is nearby. Deadline: March 1, 2012. Contact: Program in Early limited to those with a master’s degree or higher; doctoral American Economy and Society, The Library Company of candidates are eligible to apply. Awards: 3-5 weeks, with Philadelphia, 1314 Locust Street, Philadelphia, PA 19107. stipend, airfare, and accommodations. Deadline: December (215) 546-3181 or write James Green, email: jgreen@ 31 for residency after July 1st. Web: http://www.wolfsonian. librarycompany.com. Web: http://www.librarycompany.org/ org/education/research/index.html or contact: Fellowship fellowships/american.htm. Coordinator, The Wolfsonian-FIU, 1001 Washington Ave., Miami Beach, FL 33139 tel. 305-535-2613, research@thewolf. The United States Holocaust Memorial Museum’s Center fiv.edu. for Advanced Holocaust Studies awards fellowships to support research and writing on the Holocaust and genocide The Institute of Turkish Studies sponsors an annual grant studies. Awards are granted to Ph.D. candidates, post- program that offers a variety of awards to individual scholars, doctoral researchers, senior scholars, and professionals colleges and universities in the United States. The Institute holding degrees from accredited academic and research will offer grants and fellowships in the field of Ottoman and institutions worldwide. All humanistic disciplines welcomed. Modern Turkish Studies to graduate students, post-doctoral The specific fellowship awarded and the length of the award scholars, universities, and other educational institutions. are made at the discretion of the Center (tenure normally Deadline (receipt): March 7, 2012. For detailed application consists of a semester, summer, or academic year. Deadline: guidelines and downloadable application forms, visit http://
Fall 2011 / AHNCA Newsletter 21 turkishstudies.org/ Ph: (202) 687-0295, Fax (202) 687-3780, Applications are encouraged from scholars investigating the or write: Institute of Turkish Studies, Intercultural Center, transatlantic cultural exchange of ideas, in particular, but not Georgetown University, Washington, DC 20057-1033. exclusively those affected by times of war. It is the goals of the fellowship to foster inquiry into the nature of the cultural The American Association of Netherlandic Studies annual and intellectual dialog between Europe and the United $2,000.00 scholarship is offered in support of graduate States. The fellowships range from one to three months, with research in the field of Netherlandic studies, to be conducted stipends of $3,000 per month. Also available are $1,200 to in the Netherlands or Belgium. The field of Netherlandic $1,700 travel stipends and dissertation fellowships with a Studies is broadly defined and includes research on aspects $1,500 stipend. Deadline: February 1, 2012. For detailed of Dutch culture as they relate to Indonesia or South Africa, information, including eligibility requirements, go to http:// or research on the Afrikaans language. The grant is intended www.hrc.utexas.edu/research/fellowships/application/ or call for citizens or residents of the United States who study at an The Harry Ransom Center, The University of Texas at Austin American university. Preference is given to those scholars (512) 471-8944. who do not receive research support from their home institutions. Applicants must submit a proposal of at least two pages, a timetable, a budget, two letters of recommendation, a curriculum vitae, and a set of transcripts. The proposal should establish the scholarly contribution and significance of the project, its relevance to the applicant’s professional goals, and progress already made. Deadline: February 15, 2012. PRIZES AND AWARDS The selection committee will consist of members of the AANS Executive Council. Please send completed (hardcopy only — The Terra Foundation for American Art International provide 4 copies) applications to:Dr. C.P. Sellin, Assist. Prof of Essay Prize recognizes excellent scholarship by a non-U.S. Art History,California Lutheran University, Art Department, scholar in the field of historical American art (circa 1500- 60 West Olsen Road, mail code 3800, Thousand Oaks, CA. 1980). The winning manuscript submission should advance 91360. Contact: Dr. Jenneke Oosterhoff, Univ. of Minnesota, understanding of American art and demonstrate new findings Dept. of German, Scandanavia and Dutch, 205 Folwell Hall, and original perspectives. It will be translated and published Minneapolis, MN 55455, email: [email protected]. Web: in American Art, the Smithsonian American Art Museum’s http://netherlandicstudies.com/news/?page_id=24. scholarly journal, which will also cover the cost of image rights and reproductions, and the winner will receive a $500 award. The Mount Vernon Hotel Museum, funded by the William Essays should be submitted via e-mail by January 15, 2012, Randolph Hearst Foundation, offers two summer fellowships to [email protected]. For more information regarding for undergraduate or graduate students interested in U.S. the essay length and the format for submission, please visit history, material culture, historic preservation, museum www.americanart.si.edu/research/awards/terra studies, or museum education. Appointments are full-time for a nine-week period during June and July, and each carry Please check websites to verify deadlines and application a $2,750 stipend. Deadline: mid-March, 2012 (date TBA). procedures. Contact the Museum at 212-838-6878. Visit website or write: Hearst Fellowship Program, Mount Vernon Hotel Museum, 421 East 61st Street, New York, NY 10065. Web: http://www. mvhm.org.
Harry Ransom Humanities Research Center announces its Research Fellowships to support scholarly research projects in all areas of the humanities. Priority, however, will be given to those proposals that concentrate on the Center’s collections and that require substantial on-site use of them. This year’s special topic will be announced on the website in October.
22 Fall 2011 / AHNCA Newsletter U.S. EXHIBITIONS
exhibition includes 60-65 oil paintings by Lockwood de Forest (1850-1932) ranging in date from 1874-1918.
San Francisco. Asian Art Museum. Maharaja: The Splendor Of India’s Royal Courts. October 21, 2011–April 8, 2012. The heyday of the maharajas began in earnest after the collapse of the Mughal Empire in the early eighteenth century. The exhibition opens with this period of chaos and adventure and closes with the end of British rule in 1947, when the Indian princes’ territories were incorporated into the modern states of India and Pakistan.
San Francisco. Legion of Honor. Pissarro’s People. October 22, 2011–January 22, 2012. Camille Pissarro drew, painted, and made prints featuring human subjects from every walk of life. Pissarro’s People brings together nearly 100 works of art, including some 37 paintings William Heath, Modern Oddities by P. Pry Esqr - P1 1st: The Sleeve Curiously Cut - Petruchio, Ay There’s the Villainy - vide Shakespeare, June 30, 1829. On view: Infinite Jest: Caricature and Satire from Leonardo to Levine at the and numerous works on paper made over the Metropolitan Museum of Art, New York. course of his entire career. The Cult of Beauty: The Victorian Avant-Garde, 1860–1900. February 18, 2012–June 17, 2012. The first ALABAMA Los Angeles County Museum of Art. Monet/ major exhibition to explore the unconventional Birmingham Museum of Art. Daumier: Art Lichtenstein: Rouen Cathedrals. October 2, creativity of the British Aesthetic Movement, for the Masses. Selected works from the Rowe 2011–January 1, 2012. Monet/Lichtenstein: tracing the evolution of this movement from Collection. 9 October, 2011–1 January, 2012. Rouen Cathedrals presents a group of Monet’s a small circle of progressive artists and poets 169 lithographs that Daumier made to illustrate Impressionist Rouen cathedral paintings to its broad impact on fashion and the middle- popular daily newspapers. Fourteen prints in together with Lichtenstein’s 1969 appropriation class home. the exhibition remain intact in the original of that subject. Contested Visions in the newspapers. Spanish Colonial World. November 6, 2011– Santa Barbara Museum of Art. Echoes of January 29, 2012. Examines the significance of Japan: The Prints of Henri Rivière (1864- Mobile Museum of Art. John James Audubon: indigenous peoples within the artistic landscape 1951). October 1, 2011 – January 1, 2012. American Artist and Naturalist. October 14, of colonial Latin America. The exhibition, the This exhibition, the first to showcase SBMA’s 2011–January 8, 2012. first of its kind, offers a comparative view extensive holdings of Rivière’s work, traces of the two principal viceroyalties of Spanish his career from his early days as a designer of ARKANSAS America—Mexico and Peru—from the fifteenth shadow plays for the Cabaret du Chat Noir to Crystal Bridges Museum of American Art. to the nineteenth centuries. the albums of Parisian cityscapes and Breton On November 11, 2011, the museum opens to landscapes with which he made his name. the public; its collection includes important Moraga. Hearst Art Gallery, Saint Mary’s nineteenth-century works. (No special College of California. The Comprehensive Stanford. Cantor Arts Center. Rodin and exhibitions announced to date.) Keith: 100th Anniversary Celebration. October America: Influence and Adaptation 1876–1936. 2–December 18, 2011. More than 145 paintings October 5, 2011–January 1, 2012. This CALIFORNIA from the Saint Mary’s College William Keith exhibition demonstrates the influence of French Irvine Museum. California Rhapsody. collection, including recent acquisitions and sculptor Auguste Rodin (1840–1917) on a Through November 3, 2011. In 1872, a number newly restored paintings, will be on view. The generation of American artists. of San Francisco painters, writers, musicians exhibition coincides with the publication of an and actors joined together as a group and important new book on the life and work of the formed the Bohemian Club. The artists in great 19th century landscape painter. this exhibition were all early members of this remarkable club. Palm Springs Art Museum. Night and Day: The Paintings of Lockwood de Forest. December 17, 2011–April 8, 2012. This
Fall 2011 / AHNCA Newsletter 23 COLORADO beliefs current before the Society was founded GEORGIA Fort Collins. University Art Museum, in 1707, and reveals how new discoveries, Atlanta. High Museum of Art. Beaux Arts Colorado State University. Small Worlds: technologies, and interpretations have & Crafts: Masterpieces of American Frame European Portrait Miniatures. January 28– transformed our understanding of the history of Design 1890 – 1920. September 25–November June 9, 2012. Features a collection of European Britain since the eighteenth century. 27, 2011. portrait miniatures produced from the 17th to the early 20th century. DELAWARE Savannah. Telfair Museums, Jespson Center. Wilmington. Delaware Art Museum. Beyond Utility: Pottery Created by Enslaved CONNECTICUT Howard Pyle: American Master Rediscovered. Hands. Through December 18, 2011. Compiled Hartford. The Wadsworth Athenaeum. Colts November 12, 2011–March 4, 2012. In from local private collections, this exhibition & Quilts: The Civil War Remembered. celebration of the centenary of the death of the provides a visual supplement to the the October November 16, 2011–May 6, 2012. An American artist Howard Pyle (1853 – 1911), symposium, Slavery and Freedom in Savannah. exhibition using costumes, decorative arts, and the Delaware Art Museum is presenting a paintings illustrating reactions to the political comprehensive retrospective exhibition. Columbus Museum. Likenesses in the and military conflict. Latest Style: Historical Portrait Photography. Winterthur Museum, Garden and Library. Through October 30, 2011. The photographs New Haven. Yale University Art Gallery. Life, Paint, Pattern & People: Furniture of help illustrate the changes in photographic Liberty, and the Pursuit of Happiness: Southeastern Pennsylvania, 1725-1850. April techniques during this critical period. American Art from the Yale University Art 2, 2011–January 8, 2012. This landmark Gallery. An Exhibition Presented in Three exhibition explores the stunning and diverse ILLINOIS Parts. This exhibition draws upon the Gallery’s furniture of southeastern Pennsylvania and Art Institute of Chicago. Design Inspiration: renowned collection of American art to the people who made, owned, inherited, and 19th-Century American Builders’ Manuals illuminate the diverse and evolving American collected it. and Pattern Books. September 6–November experience from the time of the settlements 1, 2011. Beginning with one of the earliest of the 17th century to the World’s Columbian FLORIDA manuals published in the United States, printed Exposition in 1893. July 29–December 31, Daytona Beach. Museum of Arts and in Philadelphia in 1797, the exhibition surveys 2011: “We the People.” January 31–April 8, Sciences. The Weird and Wonderful: Unique popular pattern books throughout the 19th 2012: “Defining the Nation.” May 8–July 8, Decorative Arts From the Lightner Museum, century and conclude with the appearance of 2012: “America Rising.” St. Augustine. Through October 2011. Otto C. the pre–World War I catalogs offering ready- Lightner left behind an outstanding legacy in to-construct home kits. Timothy O’Sullivan: New Haven. Yale Center for British Art. the form of art objects and artifacts relating to The King Survey Photographs. October 22, Adapting the Eye: An Archive of the British science and industry of the late 19th century. 2011–January 15, 2012. O’Sullivan served in India, 1770–1830. October 11, 2011– Audubon! Birds and Quadrupeds of North as the official photographer for three U.S. December 31, 2011. This exhibition explores America. Through February 27, 2012. government survey expeditions, including the the complex and multifaceted networks of Geological Exploration of the Fortieth Parallel British and Indian professional and amateur Orlando. Charles Hosmer Morse Museum (or “King Survey”) of 1867–69 and 1872. artists, patrons, and scholars in British India of American Art. A Church Record— Working alongside geologists, naturalists, and in the later eighteenth and early nineteenth Photographs from the Tiffany Studios surveyors, O’Sullivan produced some of the centuries, and their drive to create and organize Ecclesiastical Department. July 23, 2010– earliest and most influential photographs of the knowledge for both aesthetic and political January 15, 2012. In 1889, Louis Comfort American frontier. purposes. Johan Zoffany RA: Society Observed. Tiffany designated a department to create “all October 27, 2011–February 12, 2012. After forms of church decoration and instrumenta Chicago. Smart Museum of Art. Awash in his death there was no move to situate Zoffany ecclesiastica.” Tiffany kept a photographic Color: French and Japanese Prints. as one of the key figures in the burgeoning record of its completed commissions. The October 4, 2012–January 20, 2013. The rise British school of art; this exhibition aims to Museum recently completed an extensive of color printmaking in France in the late correct that oversight and will demonstrate multi-year conservation effort to stabilize the nineteenth century is often attributed to a his central importance to the artistic culture of glass-plate negatives and to produce exhibit- fascination with Japanese woodblock prints, eighteenth-century Britain and Europe. Making quality images from them. This exhibition which began to circulate in great numbers after History: Antiquaries in Britain. February 2, of 30 photographs provides a glimpse into the opening of Japan in 1854. But a closer 2012–May 27, 2012. The exhibition, featuring the creative range of Tiffany’s ecclesiastical look at the history of color printmaking in one hundred works selected from the Society commissions. Tiffany departmental ledgers, these two cultures reveals that the story is not of Antiquaries of London’s treasures (with a trade catalogs, and other archival material so simple. Parallel traditions were flourishing number of additions from the collections at the supplement the exhibit and enhance in both France and Japan well before 1854. Center), focuses on the discovery, recording, understanding of these important images. And, when the two cultures met, the channels preservation, and interpretation of Britain’s of technical and aesthetic influence flowed in past through its material remains. It explores both directions, not merely from East to West.
24 Fall 2011 / AHNCA Newsletter As the first major exhibition to take account of but for the way they reveal each artist’s Portland Museum of Art. Edgar Degas: The these complexities, Awash in Color explores expressive powers. Private Impressionist. February 23, 2012–May the roles, functions, and technology of color in 27, 2012. Edgar The first comprehensive French and Japanese prints. Dubuque Museum of Art. A New Generation: exhibition in the history of the Museum Images of Children from The North American devoted to the 19th century French master Evanston. Mary and Leigh Block Museum of Indian by Edward S. Curtis. Through Edgar Degas and his works on paper. From Art. Tango with Cows: Book Art of the Russian November 27, 2011. An image of a child gave Portland to Paris: Mildred Burrage’s Years Avant-Garde, 1910–1917. September 23– momentum to The North American Indian in France. April 7, 2012–August 5, 2012. December 11, 2011. During the years spanning project, when Curtis was one of the winners This exhibition focuses on Portland-born the revolutions of 1905 and 1917, Russia was in the “Prettiest Children in America” contest artist Mildred Burrage (1890-1983), who as in spiritual, social, and cultural crisis. This sponsored by Ladies Home Journal in 1904. a young aspiring painter traveled in the early exhibition explores the way Russian avant- 1900s to Giverny, France. While Burrage garde poets and artists responded to this crisis KANSAS was a prolific artist up until her death, this through their book art. Lawrence. Spencer Museum of Art. Passages: exhibition celebrates these crucial, formative Persistent Visions of a Native Place. September years (1909-1914) when she traveled abroad Lakeview Museum of Arts and Sciences. 10–January 15, 2012. Features historical Native and was introduced and exposed to modern Skirting Convention: Illinois Women American art from the Spencer’s collection European movements. The Draw of the Artists, 1840-1940. October 1, 2011 to January and serves as a companion and complement Normandy Coast (1820–1920). June 14, 2012– 15, 2012. to “Heartland Reverberations,” an exhibition of September 2, 2012. Spanning roughly 100 contemporary Native American art. years (1820–1920), this exhibition will explore Urbana-Champaign. Krannert Art Museum the importance of the towns and villages and Kinkead Pavillion. Jerusalem Saved! KENTUCKY of Honfleur and Le Havre and such unique Inness and the Spiritual Landscape. Through Louisville. Speed Art Museum. Kentucky destinations as Étretat, and will feature more May 13, 2012. Antiques from the Noe Collection: A Gift than 40 works of European and American art, to the Commonwealth. August 20, 2011– mostly paintings and works on paper, from the INDIANA February 5, 2012. Organized geographically, Portland Museum of Art and from the private Indianapolis Museum of Art. Venetian Views: the objects illustrate the great diversity of collection of Scott M. Black. Weatherbeaten: American Works on Paper. Through November artists and artisans that influenced the lives The Late Paintings of Winslow Homer. 27, 2011. Presents 28 works on paper by of Kentuckians from 1800 to 1900. Renoir September 22, 2012–December 30, 2012. American artists who visited Venice in the late to Chagall: The Allure of Color. February In celebration of the opening of the newly 19th and early 20th centuries. 3, 2012–May 6, 2012. This major exhibition restored Winslow Homer Studio, the Portland features paintings by the great French Museum of Art presents this exhibition IOWA Impressionist and Post-Impressionist masters comprised of 35 major oils and watercolors Ames. Brunnier Art Museum. French Art and related artists dating from the late 19th and painted during Homer’s tenure in the Studio, Nouveau: From the Permanent Collection. early 20th centuries. The diverse subjects and which will introduce new perspectives on Through December 2011. A selection of French styles of these artists are unified by their bold Homer’s life and work. cameo glass and tapestry. Included are objects explorations of form and color. The exhibition by Emille Gallé and his glass studio, which is comprised of some fifty paintings on loans MASSACHUSETTS popularized 19th century cameo glass. from the renowned Impressionist and Post- Amherst. Mead Art Museum. Disunion! The Impressionist collection of the Dixon Gallery & American Civil War 150 Years Later. July Davenport. Figge Art Museum. Turn of the Gardens in Memphis, Tennessee, and important 16–December 31, 2011. This installation of Century Posters from the Krannert Art Museum works from both the Speed Art Museum’s paintings, photographs, prints, and sculptures is Collection. September 3, 2011 - January 8, 2012. collection and private and institutional enhanced by a special loan from the American collections in Kentucky. Antiquarian Society in Worcester, Mass.: Des Moines Art Center. Vincent van Gogh Liberty, the Fair Maid of Kansas in the Hands and the Psychology of Portraiture. MAINE of the “Border Ruffians” (1856). This popular October 7, 2011–January 15, 2012. This Lewiston. Bates College Museum of Art. lithograph by John L.Magee sheds new light exhibition was inspired by the recent James Ensor: Scènes de la vie du Christ on Massacre of the Innocents (ca. 1858), an acquisition of Vincent van Gogh’s Portrait of and other works. January 21–March 18, oil painting by William Rimmer that the Mead Dr. Gachet (L’Homme à la Pipe), 1890. The 2012. Scènes de la vie du Christ (1921) is a highlights in an expanded presentation. only etching van Gogh ever made, the work portfolio of thirty-two lithographs executed vividly portrays the doctor who treated and after drawings in colored pencil Ensor made Andover. Addison Gallery of American Art. befriended him during the last months of his between 191l and 1920. Considered his most The Civil War: Unfolding Dialogues. life. Following the spirit of this work, several all-encompassing graphic project, the portfolio October 14–Winter 2012. From Alexander psychologically charged portraits have been is inspired by the late-medieval combination of Gardner’s and Winslow Homer’s eyewitness chosen not only for their emotional intensity religious themes and carnival humor. accounts to works by living artists such as
Fall 2011 / AHNCA Newsletter 25 Glenn Ligon and Kara Walker, this exhibition MINNESOTA The Nelson-Atkins Museum of Art, and The reexamines the realities and fictions of the Minneapolis Institute of Art. Edo Pop: The Cleveland Museum of Art have collaborated to Civil War, its haunting memories, and its Graphic Impact of Japanese Prints. October reunite the three panels of Agapanthus as the lasting effect on American culture. 30, 2011–January 8, 2012. The Minneapolis artist himself intended. Institute of Arts is home to about 3,000 Boston. Museum of Fine Arts. Passion and Japanese woodblock prints, collectively NEBRASKA Precision in the Age of Revolution. Through known as ukiyo-e, produced during Japan’s Omaha Joslyn Art Museum. From Sea to May 13, 2012. Neoclassical and Romantic Edo period (1600-1868). The exhibition Shining Sea: Currier & Ives Prints from the art of the late eighteenth and early nineteenth showcases 160 of the MIA’s best prints by the ConAgra Foods Collection. October 1, 2011– centuries, featuring about forty-five works by genre’s greatest artists, including Harunobu, January 15, 2012. artists including Ingres, Delacroix, Desprez, Kiyonaga, Utamaro, Shunsho, Sharaku, Prud’hon, Turner, Blake, Gericault, Girodet, Toyokuni, Hokusai, and Hiroshige. In addition, NEW JERSEY Flaxman, and Schinkel. the exhibition will also feature the works Montclair Art Museum. George Inness: of contemporary artists who are inspired by Private Treasures. November 6, 2011–April Around the World in Watercolor, 1860-1920. Japanese woodblock prints. Bonjour Japon: 1, 2012. This exhibition will consist of 10 July 16, 2011–March 4, 2012. Features work A Parisian Love Affair with Japanese Art. works, nine from private collections, mostly by Americans who ventured across the Atlantic October 1, 2011–January 22, 2012. The arrival in the Montclair area, as well as one from the and Pacific Oceans and traversed the American of Japanese woodblock prints, screens, scrolls, Montclair Historical Society. continent. Two Masters of Fantasy: Bresdin and decorative objects awed and inspired and Redon. May 25, 2011–January 16, 2012. artists such as Bonnard, Cassatt, Degas, Princeton University Art Museum. Princeton French printmaker and draftsman Rodolphe Toulouse-Lautrec, and Whistler. and the Gothic Revival: 1870-1930. Bresdin (1822-1885) created a miniature February 25, 2012–June 24, 2012. This world dominated by the overwhelmingly MISSOURI exhibition explores the Gothic Revival intricate web of nature. He was the teacher of Kansas City. Nelson-Atkins Museum of movement in architecture and design across Odilon Redon (1840-1916), who was master Art. Town and Country: French Types in the America at the end of the nineteenth century, of blackness in his lithographs and drawings 19th Century. Through January 22, 2012. Art using Princeton’s campus as a case study and (noirs). Two major drawings (one newly production in France during the 19th century launching point. John Constable: Oil Sketches acquired) and a selection of lithographs explore was marked by a fascination with defining from the Victoria and Albert Museum. March his invented mythologies. Degas and the Nude. and classifying various social types. Currently 17, 2012–June 10, 2012. October 9, 2011–February 5, 2012. The nude on view is a selection of works on paper that figure was critical to the art of Degas from the reflects this desire to representle peuple, or NEW MEXICO beginning of his career in the 1850s until the the French people, from the 1830s to the Albuquerque Museum of Art & History. end of his working life, but the subject has 1890s. Bingham@200. Now through October Hispanic Traditional Arts Of New Mexico. never been explored in a Museum exhibition. 2, 2011. George Caleb Bingham (1811–1879), September 18, 2011–January 8, 2012. This Co-organized by the Museum of Fine Arts, whose bicentennial we celebrate this year, used exhibition will place historic objects from the Boston, and the Musée d’Orsay in Paris. drawing as a foundation of his art throughout 19th and early 20th centuries beside passionate his career. The drawings that have survived— and dynamic recent works. Worcester Art Museum. More Than Face of single figures or details of them—relate Value: Non-Traditional Subjects in American to his popular paintings of everyday life and NEW YORK Miniature Painting. Through November 2011. politics in Missouri. Inventing the Modern New York City. The Brooklyn Museum. This installation brings together a diverse World: Decorative Arts at the World’s Fairs, Nineteenth-Century Modern. September 2, selection of nineteenth- and twentieth-century 1851–1939. April 14–August 19, 2012. The 2011–April 1, 2012. This exhibition will focus miniatures. In particular, it showcases the first comprehensive exhibition to explore on the emergence of Modernism, a design work of Rosina Cox Boardman (1878-1970), decorative arts made for world’s fairs. Rodin: aesthetic based in part on the machine as a an influential artist, teacher, and leader of the Sculptures from the Iris and B. Gerald Cantor source of artistic inspiration. The installation 20th Century American Miniature Revival Foundation. October 1, 2011—June 3, 2012. will feature objects dating from the early movement. This exhibition brings together more than 40 nineteenth century, when the trend toward bronze sculptures by Rodin from the Iris and Modernism began, to the twentieth century. MICHIGAN B. Gerald Cantor Foundation, which aims to Kalamazoo Institute of Arts. Shimmerings promote understanding and appreciation of the New York City. The Frick Collection. of Light, Mysteries of Shadow: The Etching artist’s achievements. Picasso’s Drawings, 1890–1921: Reinventing Revival of the 19th Century. September 24– Tradition. October 4, 2011–January 8, 2012. November 27, 2011.This exhibition focuses on Saint Louis Art Museum. Monet’s Water The Frick Collection, New York, and the the artists of the “etching revival,” including Lilies: The Agapanthus Triptych. October 2, National Gallery of Art, Washington D.C., have such masters of the medium as James McNeill 2011–January 22, 2012. For the first time in co-organized an exhibition that looks at the Whistler, Charles Meryon, and Samuel Palmer. over 30 years, The Saint Louis Art Museum, dazzling development of Picasso’s drawings,
26 Fall 2011 / AHNCA Newsletter from the precocious academic exercises of his 8, 2012. This exhibition features stereoscopic Columbus Museum of Art. Monet to Matisse: youth in the 1890s to the virtuoso classical photographs by John R. Moore (1841-1909) of Celebrating the 20th Anniversary of the Sirak works of the early 1920s. the same landscape views the painter Thomas Collection. September 23, 2011–April 22, 2012. Hicks depicted in the Museum’s concurrent When acquired in 1991, The Howard C. and New York City. The Jewish Museum. exhibition, The Moore Family and Trenton Babette L. Sirak Collection of the Columbus Edouard Vuillard: A Painter and His Muses, Falls: Three Paintings by Thomas Hicks. Museum of Art was saluted in ARTnews as 1890-1940. May 04, 2012–September 23, 2012. one of the finest private collections in the NORTH CAROLINA world. CMA celebrates the 20th anniversary New York City. The Metropolitan Museum Charlotte. Mint Museum Randolph. Of of this watershed moment in the Museum’s of Art. Duncan Phyfe: Master Cabinetmaker Hounds and Men: Rockingham Pottery from history with a special exhibition of the entire in New York. December 20, 2011–May 6, the Lewis Collection. Through 30 October collection. 2012. This exhibition—the first retrospective 2011. The term “Rockingham” refers to a rich on Duncan Phyfe (1770–1854) in ninety brown glaze that received its characteristic PENNSYLVANIA years—will serve to re-introduce this color through the addition of manganese. It Carlisle. The Trout Gallery. Picasso and the artistic and influential master cabinetmaker was first made in England in the late eighteenth Circus: Fin-de-siècle Paris and the Suite de to a contemporary audience. Infinite Jest: century, but a few decades later the technique Saltimbanques. September 2, 2011–October 12, Caricature and Satire from Leonardo to Levine. spread to the United States, where it became a 2011. Examines a pivotal moment in Picasso’s September 13, 2011-March 4, 2012. This standard of many potters—especially those in early career, between his Blue and Rose exhibition will include sheets by 19th-Century the Northeast, Maryland, and Ohio. By 1845, periods, c. 1900–1905. The exhibition focuses artists such as Delacroix, Goya, Toulouse- Rockingham pottery dominated the American exclusively on prints. Lautrec, Daumier and others. ceramics industry, and it remained immensely popular for the rest of the century. Aesthetic Philadelphia. American Philosophical Society New York City. The Morgan Library and Ambitions: Edward Lycett and Brooklyn’s Museum. Of Elephants & Roses: Encounters Museum. Ingres at the Morgan. Faience Manufacturing Company. 17 with French Natural History, 1790-1830. Through November 27, 2011. The Morgan September 2011–26 February 2012. During the Through December 31, 2011. This exhibit will present seventeen superb drawings and 1880s, the Faience Manufacturing Company examines the science and art of French natural three letters by Ingres from its collection, (1881-1892) owed its artistic and commercial history from the 1789 Revolution to the July together with one exceptional loan, in a success to Edward Lycett, an English china Monarchy of 1830. focused exhibition. David, Delacroix, and painter who became its artistic director in 1884. Revolutionary France: Drawings from the Philadelphia. The Pennsylvania Academy of Louvre. September 23–December 31, 2011. Durham. Nasher Museum of Art. Land, Sea the Fine Arts. Henry Ossawa Tanner: Modern And Sky In The Nineteenth Century. Spirit. January 28–April 15, 2012. The subject New York City. The New-York Historical August 27, 2011–January 29, 2012. An of this exhibition is the career and life of the Society. Revolution! The Atlantic World installation of land-and-sea landscapes from artist Henry O. Tanner (1859-1937) - including Reborn. November 11, 2011–April 15, 2012. the permanent collection showcases the the pioneering African-American artist’s While the revolutions in America, France and major landscape painting styles of the 19th upbringing in Philadelphia in the years after Haiti have usually been presented exclusively century, particularly the Hudson River School, the Civil War and his success as an American as chapters within national histories, now for Tonalism and the Barbizon School. expatriate artist in the international art world at the first time, the story of these 18th-century the turn of the 20th century. Atlantic revolutions will be explained as a OHIO global narrative. Akron Art Museum. Landscapes from the Age Philadelphia Museum of Art. Van Gogh of Impressionism. October 29, 2011–February Up Close. February 1–May 6, 2012. This Utica. Munson-Williams-Proctor Arts 5, 2012. The exhibition offers an in-depth look exhibition focuses on the period of feverish Institute Museum of Art. The Moore Family at landscape painting as practiced by such artistic experimentation that began when and Trenton Falls: Three Paintings by Thomas leading French artists as Claude Monet and van Gogh left Antwerp for Paris in 1886 and Hicks. October 29, 2011–January 8, 2012. Gustave Courbet and their most significant continued until his death in Auvers in 1890. This exhibition features three remarkable American followers including John Singer Gauguin, Cézanne, Matisse: Visions of Arcadia. historical American paintings that have not Sargent and Frederick Childe Hassam. June–September 2012. This exhibition explores been displayed publicly for more than twenty the theme of Arcadia in three French paintings years. All three were created in the mid-1850s Cincinnati. Taft Museum of Art. George of the early 1900s: Paul Gauguin’s Where Do in the Manhattan studio of the American Inness in Italy. October 7, 2011–January 8, We Come From? What Are We? Where Are portraitist and landscape painter Thomas 2012. This is the first exhibition of Italian We Going? (1898), Paul Cézanne’s The Large Hicks (1823-90), an artist who summered in landscapes Inness made during and between Bathers (1906), and Henri Matisse’s Bathers central New York State on the banks of the his two transformative visits to Italy in 1851- by a River (1909-17). Placed on view together, West Canada Creek. Trenton Falls Stereoviews 52 and 1870-74. This exhibition is organized in a dialogue of sorts, these three masterpieces by John R. Moore. October 29 2011–January by the Philadelphia Museum of Art. take visitors to the very foundations of modern
Fall 2011 / AHNCA Newsletter 27 art. Shipwreck! Winslow Homer and The Life VERMONT portraiture to rehabilitate her public image. The Line. September–December 2012. Winslow Shelburne Museum. Something Old, Freer Gallery’s thirty-five glass plate negatives Homer’s masterpiece The Life Line (1884) is Something New: Continuity And Change In are the only group of these intimate portraits an exhibition about the making and meaning of American Fine Furnishings From 1700 – 1820. held outside of the Palace Museum in Beijing. an iconic American image of rescue. Through October 30, 2011. National Gallery of Art. A New Look: Samuel RHODE ISLAND VIRGINIA F. B. Morse’s Gallery of the Louvre. Providence. RISD Museum of Art. Pilgrims Williamsburg. Abbey Aldrich Rockefeller June 25, 2011–July 8, 2012. One of Morse’s of Beauty: Art and Inspiration in 19th-Century Folk Art Museum. Art in Clay: Masterworks most important works is on loan from the Italy. February 3-June 10, 2012. Throughout of North Carolina Earthenware. September Terra Foundation for American Art—the newly the 19th century, the landscape, history, 24, 2011–July 29, 2012. This loan exhibition conserved Gallery of the Louvre (1831–1833). architecture, and art of Italy served as a features dazzling slip-decorated wares and tremendous source of inspiration for artists. richly glazed sculptural bottles made between National Museum of Women in the Arts. Masters such as Ingres, Turner, Sargent, and 1755 and 1850. The Art of Travel: Picturesque Views of Europe Whistler were among those who benefitted by Richenda Cunningham. Through October from, and contributed to, the spirit of artistic WASHINGTON 30, 2011. This exhibition features “Nine experimentation and collaboration Italy Seattle. Fry Art Museum. Gabriel von Views Taken on the Continent,” c. 1830, a offered. Featuring more than 60 works of art— Max: Be-tailed Cousins and Phantasms of lithographic portfolio of travel prints from including paintings, sculpture, drawings, prints, the Soul. Through October 30, 2011. Despite NMWA’s collection by British artist Richenda photographs, and jewelry, from the Museum’s international acclaim, Gabriel von Max (Gurney) Cunningham (1782—1855). permanent collection—Pilgrims of Beauty is a (1840–1915) has not been the subject of a solo window into the array of styles and approaches museum exhibition in America until now. National Portrait Gallery. Mementos: that emerged from Italy in this period. Painted and Photographic Miniatures, 1750- Seattle Art Museum. Gauguin and Polynesia: 1920. June 17, 2011–May 13, 2012. 150th SOUTH CAROLINA An Elusive Paradise. February 9–April 29, Commemoration of the Civil War: Columbia Art Museum. Nature and the 2012. Through a balanced contextual analysis Grand American Vision: Masterpieces of the of Polynesian art alongside Gauguin’s works, The Death of Ellsworth. April 29, 2011–March Hudson River School Painters. Nov 19, 2011– this exhibition brings Polynesian arts and 18, 2012. This exhibition recounts the death of Apr 1, 2012. Forty-five magnificent paintings culture into the center of Gauguin studies. Colonel Elmer E. Ellsworth in Alexandria, Va., from the rich collection of the New-York the first Union officer to be killed in the four- Historical Society will be on view. WEST VIRGINIA year-long struggle. Huntington Museum of Art. Mary H. & J. TENNESSEE Churchill Hodges Present On Inland Waters: The Phillips Collection. Degas’s Dancers at Nashville. Cheekwood. Visions of the Steamboats and the Ohio River 1811-2011. the Barre: Point and Counterpoint. October American West: Masterworks From the Buffalo September 10–November 6, 2011. 1, 2011–January 8, 2012. The exhibition Bill Historical Center. October 22, 2011– uncovers the rich history behind Degas’s March 4, 2012. We are excited to reintroduce WISCONSIN late masterpiece in The Phillips Collection. you to Buffalo Bill, the star of the world- Milwaukee Art Museum. Impressionism: Snapshot: Painters and Photography, Bonnard traveling Wild West show of the late 1800s. Masterworks on Paper. October 14, 2011– to Vuillard. February 4–April 29, 2012. This January 8, 2012. This exhibition will present exhibition debuts many previously unpublished TEXAS approximately 110 drawings, watercolors photographs taken by painters including Pierre Austin. Blanton Museum of Art. American and pastels by the Impressionists and Post- Bonnard, Felix Vallotton, and Edouard Vuillard Scenery: Different Views in Hudson River Impressionists. This is the first international with the hand-held Kodak during the 1890s. School Painting. February 26–May 13, 2012. exhibition devoted exclusively to drawings by This exhibition explores the Hudson River these artists. Smithsonian American Art Museum. The School’s practice of creating pairs, series, and Great American Hall of Wonders. July 15, groupings of thematically related works that WASHINGTON, D.C. 2011–January 8, 2012. The exhibition The were intended to be seen together. Freer|Sackler: The Smithsonian’s Museusms Great American Hall of Wonders examines the of Asian Art. Sweet Silent Thought: Whistler’s nineteenth-century American belief that the Fort Worth. Kimbell Art Museum. The Age of Interiors. Through Summer 2012. Power|Play: people of the United States shared a special Impressionism: Great French Paintings from China’s Empress Dowager. September 24, genius for innovation. From Impressionism the Clark. March 11–June 17, 2012. 2011–January 29, 2012. Following China’s to Modernism: The Chester Dale Collection. disastrous Boxer Rebellion, the Grand January 31, 2010–January 2, 2012. Picasso’s Empress Dowager Cixi (1835–1908) was Drawings, 1890–1921: Reinventing Tradition. held in low regard throughout the world. In January 29–May 6, 2012. 1903, a strategy emerged to use photographic
28 Fall 2011 / AHNCA Newsletter INTERNATIONAL EXHIBITIONS
AUSTRALIA Vienna. Albertina. Impressionism. Pastels, Ghent. Design Museum. The Alonso Brisbane. Gallery of Modern Art. Matisse: Watercolors, and Drawings. Feb. 10–May 13, Collection. From Art Nouveau to the Studio Drawing Life. In collaboration with the 2012. Klimt — Drawings. March 14–June Glass Movement. Through Dec. 31 Bibliothèque nationale de France, Paris. 17, 2012 Dec. 3, 2011–March 4, 2012 Ghent. Museum voor Schone Kunsten. Vienna. Kunsthistorisches Museum. John Constable. Oil Sketches from the Victoria Brisbane. Queensland Art Gallery. Eugene Winter Tales. Depictions of Winter in European and Albert Museum, London. Sept. 17, 2011– von Guérard: Artist and Traveler. Dec. 17, Art from Bruegel to Beuys. Oct. 18, 2011–Jan. Jan. 29, 2012. The World of Minne and 2011–March 25, 2012 8, 2012 Maeterlinck. Oct. 22, 2011–Feb. 19, 2012
Canberra. National Gallery of Australia. Vienna. Österreichisches Ghent. Kunsthal Sint-Pietersabdij. L’Oiseau Out of the West. Art of Western Australia from Theatermuseum. Disguise — Seduce — Bleu. Maurice Maeterlinck’s philosophical the National Collection. Through April 1, 2012 Transform. Costumes from the Collection of the play. Dec. 9, 2011–April 22, 2012 Österreichischen Theatermuseums. Extended Canberra. National Portrait Gallery. through Dec. 12. Heinrich von Kleist (1777– Leuven. M—Museum Leuven. Divine Impressions: Painting Light and Life. 1811). Oct. 20, 2011–March 18, 2012. Sounds: Seven Centuries of Gregorian Australian portraits 1885–1915. Nov. 25, System Operetta. 153 Years of Controversial Manuscripts in Flanders. Musical 2011–March 4, 2012 Operettas in Vienna, 1858–2011. Dec. 1, manuscripts 1100 to 1800. Isala & 2011–Sept. 24, 2012 Louise. Portraiture and the social status Melbourne. National Gallery of Victoria of nineteenth-century women. Both Australia (Ian Potter Centre). Man Style. Vienna. Österreichische Galerie exhibitions run Sept. 8–Nov. 27. From A broad survey of menswear c. 1740– Belvedere. Gustav Klimt / Josef Hoffman. before Teniers to after Van Gogh. Works present. This Wondrous Land: Colonial Art Pioneers of Modernism. Oct. 25, 2011–March from the Noordbrabants Museum, on Paper. Exhibitions run through Nov. 27 4, 2012 ’s-Hertogenbosch. Through March 8, 2012
Melbourne. National Gallery of Victoria Vienna. Wien Museum. Angelo Soliman. CANADA International. The Dr. Robert Wilson An African in Vienna. Sept. 29, 2011–Jan. Edmonton. Art Gallery of Alberta. 19th Collection of 19th Century Ceramics and Glass. 29, 2012 Century French Photographs. Organized Through Jan. 1, 2012 by the National Gallery of Canada. BELGIUM Sept. 24, 2011–Jan. 29, 2012. A Passion Perth. Art Gallery of Western Australia. Antwerp. Koningin Fabiolazaal. The for Nature: Landscape Painting from 19th Plates, Blocks and Stones: Five Centuries Modernists. Masterpieces from the Koninklijk Century France. From the Corcoran Gallery of International Prints. Through Nov. 28. Museum voor Schone Kunsten, Antwerp. of Art, Washington. Runs with State of Princely Treasures: European Masterpieces Through Jan. 8, 2012. The Modernists. Nature: Modern Landscapes from the Museum 1600–1800 from the Victoria and Albert Art from the Netherlands. Works from the Collection. Oct. 15, 2011–Feb. 22, 2012 Museum. Sept. 24, 2011–Jan. 9, 2012 collection of the Koninklijk Museum voor Schone Kunsten. Jan. 28–Aug. 19, 2012 Fredericton. Beaverbrook Art Gallery. Sydney. Art Gallery of New South Royal Portraits. Through Jan. 8, 2012 Wales. What’s in a Face? Aspects of Portrait Antwerp. Museum aan de Stroom. Photography. Sept. 24, 2011–Feb. 5, 2012. Masterpieces in the MAS. Five Centuries of Hamilton. Art Gallery of Hamilton. Picasso: Masterpieces from the Musée National Images in Antwerp. Works from the three Ruby B. McQuesten: The Jewel of Whitehern. Picasso, Paris. Nov. 12, 2011–March 25, 2012 of the city’s major museum collections. Through Nov. 13. Masters of French Realism. Through Dec. 30, 2012 Sept. 24, 2011–Jan. 15, 2012. Becoming: AUSTRIA Photographs from the Collection of John and Miesenbach. Gauermann Museum. Carl Antwerp. Zilvermuseum Sterckshof. A Ginny Soule. Oct. 1, 2011–Jan. 15, 2012. Pischinger. Animal Painter of the Biedermeier Modern Esthetic. Silver objects of Art Quilts! A Gift from Carole and Howard Era. Through May 8, 2012 Nouveau and Art Deco design. Oct. 18, Tanenbaum to the Textile Museum of Canada. 2011–April 9, 2012 Late nineteenth century craftwork. Oct. 1, Salzburg. Residenzgalerie. Center of Power: 2011–Jan. 15, 2012 The Salzburger Residenz 1668–1803. Nov. 18, Brussels. Palais des Beaux-Arts. Brazil. 2011–Feb. 5, 2012 Brasil. The search for national artistic Kleinburg. McMichael Canadian Art identity in artworks 1820 to 1950. Oct. 6, Collection. In Focus: Photographing the 2011–Jan. 15, 2012 Alberta and Montana Frontier, 1870–1930. Organized by the Glenbow Museum, Calgary. Sept. 24, 2011–Jan. 28, 2012
Fall 2011 / AHNCA Newsletter 29 Montreal. Musée de la civilisation. ROME. DENMARK Brighton. Royal Pavilion. Dress for Excess: From Its Origins to Its Emergence as Italy’s Charlottenlund. Ordrupgaard Collection. Fashion in Regency England. Through Feb. Capital. Through Jan. 29, 2012 Helene Schjerfbeck. Sept. 23, 2011–Feb. 12, 5, 2012 2012. Continues at the Helsinki Ateneum Montreal. Musée national des beaux- in Summer 2012 Lacock. Fox Talbot Museum. George arts du Québec. Up Close and Personal Bernard Shaw: Man and Cameraman. with the Caillebotte Brothers. Painter and Copenhagen. Hirschsprung Collection. Through Dec. 11 Photographer. In collaboration with the P.S. Krøyer in International Perspective. Nov. Musée Jacquemart-André, Paris. Oct. 7, 20, 2011–April 10, 2012. Continues at the Liverpool. Sudley House. Costume Drama: 2011–Jan. 8, 2012 Skagens Museum in Summer 2012 Fashion from 1790 to 1850. Through May 7, 2012 Ontario. Art Gallery of Ontario. Songs of Copenhagen. Nationalmuseets the Future: Canadian Industrial Photographs, Egmonthal. Europe Meets the World. Artistic Liverpool. Tate Liverpool. Alice in 1858 to Today. Through April 29, 2012 and cultural interaction over three Wonderland. Period illustrations and millennia. From Jan. 6, 2012 photographs, as well as modern and Toronto. Gardiner Museum. Creamware. contemporary artworks inspired by the Through Dec. 4. The Tsars’ Cabinet: Two Copenhagen. Ny Carlsberg Glyptotek. book. Nov. 4, 2011–Jan. 29, 2012 Hundred Years of Decorative Arts under the Gauguin and Polynesia — A Fleeting Romanovs. Works from an American Paradise. In collaboration with the Seattle London. Asia House. The Flamboyant Mr. private collection; organized by the Art Museum and Art Centre Basel. Sept. Chinnery (1774–1852): An English Artist in Muscarelle Museum of Art, College of 24–Dec. 31. In the Shadow of the Pyramids. India and China. Nov. 4, 2011–Jan. 21, 2012 William and Mary, Williamsburg, VA. Oct. The excavations of British archaeologist 13, 2011–Jan. 8, 2012 and Egyptologist Flinders Petrie. Nov. 11, London. Courtauld Gallery. The Spanish 2011–March 25, 2012 Line: Drawings from Ribera to Picasso. Oct. Toronto. Royal Ontario Museum. 13, 2011–Jan. 15, 2012 Embellished Reality: Indian Painted Copenhagen. Statens Museum for Kunst. Photographs. Through March 2012. Sitting Henri de Toulouse-Lautrec. Graphic works London. Guildhall Art Gallery. Atkinson Still: Faces of Childhood. 19th century from the Royal Collection. Sept. 17, 2011– Grimshaw: Painter of Moonlight. Continues Canadian portraiture. Through Spring Feb. 19, 2012. Hammershøi and Europe. Feb. from the Mercer Art Gallery, Harrogate. 2012 4–May 20, 2012 Sept. 19, 2011–Jan. 15, 2012. Age of Elegance: 1890–1930. Feb. 11–May 28, 2012 Victoria. Art Gallery of Greater Victoria. ENGLAND Indian and Persian Miniature Paintings. In Barnard Castle. Bowes Museum. At the London. Museum of London. Dickens and collaboration with the Maltwood Art Heart of Progress: Coal, Iron and Steam since London. Dec. 9, 2011–June 10, 2012 Museum and Gallery. Sept. 16–Nov. 20 1750. Images of the Industrial Revolution from the John P. Eckblad Collection. Sept. London. National Portrait Gallery. The CZECH REPUBLIC 11, 2011–Jan. 15, 2012 First Actresses: Nell Gwyn to Sarah Siddons. Prague. City Gallery. Václav Radimský Oct. 20, 2011–Jan. 8, 2012 (1867–1946). Impressionist-inspired Birmingham. Barber Institute of Fine Bohemian landscapes. Oct. 28, 2011–Feb. Arts. Leisurely Pursuits: Recreational Culture London. Royal Academy of Arts. Degas 25, 2012 in Victorian Britain. A exhibition of works and the Ballet: Picturing Movement. Sept. published in Punch. Through Jan. 2012 17–Dec. 11 Prague. Galerie Rudolfinum. Controversies: A Legal and Ethical History of Photography. Bournemouth. Russell-Cotes Art Gallery London. Tate Britain. John Martin: Exhibition organized by the Musée de & Museum. Stripped: The Body Beautiful. Apocalypse. In collaboration with the Laing l’Elysée, Lausanne. Sept. 28–Nov. 13 Through Jan. 2, 2012. Picture in Focus Art Gallery, Newcastle upon Tyne. Sept. (On Loan from the Leighton House Museum). 21, 2011–Jan. 15, 2012. Picasso and Britain. Prague. National Gallery. Adolf Chwala Paintings and preparatory studies for Feb. 15–July 15, 2012 (1836–1900). Including the first Clytie, Music, and The Dance. Jan. 20–June monographic catalogue devoted to the 5, 2012 London. Victoria and Albert Museum. artist. Sept. 14–Dec. 31. Joza Uprka (1861– Beatrix Potter: Botanical Illustrations. 1940): A European in Rural Slovakia. Sept. Brighton Museum and Art Gallery. George Through Dec. 11. Japanese Enamels: the 23, 2011–Jan. 22, 2012 IV and His Friends. Caricatures. Through Seven Treasures. With an emphasis on the Nov. 6. Ragamala: Paintings from India. nineteenth century. Through Aug. 19, 2012 Miniatures 1400–1900. With the Dulwich Picture Gallery. Oct. 22, 2011–Jan. 8, 2012
30 Fall 2011 / AHNCA Newsletter Manchester Art Gallery. Ford Madox Turku. Turun Taidemuseo. Crème de Paris. Bibliothèque-musée de l’Opéra. The Brown: Pre-Raphaelite Pioneer. Sept. 24, la Crème. Masterpieces from the Turku Art Belle Époque of Massenet. (1842–1912). Dec. 2011–Jan. 29, 2012. Continues at the Museum. Finnish art c. 1880–1910. 14, 2011–April 15, 2012 Museum of Fine Arts, Ghent, Feb. 25– Through Feb. 5, 2012. Carl Larsson – June 3, 2012 Dreams of Harmony. Sept. 16, 2011–Jan. 8, Paris. Bibliothèque nationale de France. 2012. Continues at the Helsinki Ateneum David d’Angers. The Faces of Romanticism. Manchester. Lowry. Adolphe Valette: A Feb. 10–April 29, 2012 Nov. 22, 2011–March 25, 2012 Pioneer of Impressionism in Manchester. Oct. 15, 2011–Jan. 29, 2012 FRANCE Paris. Centre Pompidou. Edvard Munch: Arras. Musée des Beaux-Arts. Unknown The Modern Gaze. In collaboration with Newcastle upon Tyne. Laing Art Treasures from the Arras School. Previously the Munch-museet, Oslo. Sept. 21, Gallery. Watercolor Gems. Works from unpublished works in private collections, 2011–Jan. 9, 2012. Continues at the the eighteenth and nineteenth centuries. as well as the museum’s own holdings. Schirn Kunsthalle, Frankfurt, Feb. 9–May Through June 30, 2012 Nov. 5–Dec. 15 13, 2012 and subsequently at the Tate Modern, London Penzance. Penlee House. Another Cornwall / Avignon. Musée Calvet. Magnificent Egypt. Une Autre Cornouaille. Artistic links between Includes a section on French Egyptomania Paris. Galeries nationales du Grand Britain and France. In collaboration with in the eighteenth and nineteenth Palais. Matisse, Cézanne, Picasso... The the Musée departmental Breton, Quimper. centuries. Through Nov. 14 Adventures of the Steins. In collaboration March 24–June 9, 2012 with the MOMA, San Francisco, and the Berck-sur-Mer. Musée d’Opale-Sud. Metropolitan Museum of Art, New York. Port Sunlight. Lady Lever Art Gallery. Fernand Quignon (1854–1941), Land and Oct. 5, 2011–Jan. 16, 2012 The Finishing Touch: Women’s Accessories, Sea. Held jointly at the Musée Roger 1830–1940. Through Dec. 11 Rodière, Montreuil-sur-Mer. With a Paris. Maison Rouge. Memories of the Future. catalogue raisonné. Through Dec. 23 The Olbricht Collection. Oct. 22, 2011–Jan. Truro. Royal Cornwall Museum. So Near 15, 2012 and Yet So Far. Advertising the 1880s to Caen. Musée des Beaux-Arts. Edvard 1950s. Jan. 14–April 1, 2012 Munch: Paintings and Prints from the Bergen Paris. Musée Bourdelle. Antoine Bourdelle. Kunstmuseum. Nov. 5, 2011–Jan. 22, 2012 All Drawing. The first retrospective of Warwickshire. Compton Verney. Remember, drawings. Nov. 9, 2011–Jan. 29, 2012 Remember: A History of Fireworks in Britain. Clermont-Ferrand. Musée d’Art Roger- In collaboration with the Museum of Quilliot. The Châteaux of Auvergne. Period Paris. Musée Carnavalet. Les Halles. Oct. 5, British Folklore. Oct. 15–Dec. 11 drawings and lithographs. Through Dec. 31 2011–Feb. 26, 2012. The People of Paris in the 19th Century. Oct. 5, 2011–Feb.26, 2012 FINLAND Compiègne. Palais Impérial and the Helsinki. Ateneum. Heavy Stones. Château de Malmaison. Sovereign Destiny: Paris. Musée d’art et d’histoire du Lithographs from the nineteenth and Napoleon, the Tsar and the King of Sweden. In Judaïsme. Walter Benjamin Archives. In twentieth centuries. Oct. 14, 2011–Jan. collaboration with the Nationalmuseum, collaboration with the Akademie der 16, 2012 Stockholm, and the Hermitage Museum, Künste, Berlin, and the Hamburger St. Petersburg. Sept. 23, 2011–Jan. 9, 2012 Stiftung zur Förderung von Wissenschaft Helsinki. Helsinki Taidemuseo. Akseli und Kultur. Oct. 12, 2011–Feb, 5, 2012 Gallen-Kallela. Sept. 23, 2011–Jan. 15, 2012. Dieppe. Château-Musée. Romantic Visions Continues at the Musée d’Orsay, Paris, Feb. of the English Channel. Through Nov. 6 Paris. Musée d’Orsay. Beauty, Pleasure 7–May 6, and the Museum Kunstpalast, and Morality in Oscar Wilde’s England. In Düsseldorf, June 1–Sept. 2, 2012 Lille. Palais des Beaux-Arts. Boilly (1761– collaboration with the Victoria & Albert 1845). The artist’s first retrospective since Museum, London, and the Fine Arts Porvoo Museo. La Belle Époque. Ruling the 1930, with substantial loans from French Museums of San Francisco. Sept. 13, Riversides. Works by Albert Edelfelt and and international collections. Nov. 4, 2011– 2011–Jan. 15, 2012. Degas and the Nude. In Ville Vallgren. Through Dec. 31 Feb. 6, 2012 collaboration with the Museum of Fine Tornio. Aineen Taidemuseo. I Always Arts, Boston. March 13, 2011–July 1, 2012 Think of the River. Depictions of rivers in Montauban. Musée Ingres. Ingres. Secret Northern Europe 1800– present. Through Drawings. Through Nov. 6 Paris. Musée de l’Orangerie. Spain between Jan. 8 Two Centuries. From Zuloaga to Picasso (1890–1920). In collaboration with the Fundacion Mapfré, Madrid, and the
Fall 2011 / AHNCA Newsletter 31 Musée d’Orsay. Oct. 7, 2011–Jan. 9, 2012. Valenciennes. Musée des Beaux-Arts. Cologne. Museum für Ostasiatische Debussy. Music and the Arts. Feb. 21–June Michelangelo in the Age of Carpeaux. Kunst. Golden Impressions: Japanese Painting 11, 2012. Continues at the Bridgestone Drawings and Sculptures from Géricault to 1400–1900. Oct. 29, 2011–March 5, 2012 Museum, Tokyo Rodin. Nov. 4, 2011–Feb. 19, 2012 Cologne. Wallraf-Richartz-Museum & Paris. Musée du Louvre. The Forbidden City GERMANY Fondation Corboud. Panopticon — Secret at the Louvre. Chinese Emperors and French Berlin. Alte Nationalgalerie. Karl Friedrich Treasures of the Wallraf. Oct. 21, 2011–Jan. Kings. Sept. 29–Jan. 9, 2012. Schinkel. Designs for Sculpture. Sept. 28, 22, 2012. Wilhelm Leibl and the Color Black. 2011–Jan. 8, 2012 Nov. 25, 2011–Feb. 12, 2012 Paris. Musée du Luxembourg. Cézanne and Paris. In collaboration with the Petit Palais. Berlin. Martin-Gropius-Bau. Door to Darmstadt. Galerie der Schader-Stiftung. Oct. 12, 2011–Feb. 26, 2012 Door: Poland – Germany. 1000 Years of Art Views of the Self. Self-portraits from the and History. In collaboration with the late nineteenth century to the present. Paris. Musée Eugène-Delacroix. Fantin- Königsschloss, Warsaw. Sept. 23, 2011–Jan. In collaboration with the Hessischen Latour, Manet, Baudelaire – The Homage to 9, 2012 Landesmuseums. Oct. 27, 2011–Jan. Delacroix. In collaboration with the Musée 29, 2012 du Louvre. Dec. 7, 2011–March 19, 2012 Berlin. Museen Dahlem. Kashmir in 19th Century Photography. Extended through Düsseldorf. Museum Kunstpalast. Samurai, Paris. Musée Marmottan Monet. Henri Nov. 30. The Double Fuji. Udo Kaller / Actors, and Beautiful Women. Japanese Color Edmond Cross and Neo-Impressionism. From Katsushika Hokusai. Contemporary oil Woodcuts by Kunisada and Kuniyoshi. Sept. Seurat to Matisse. Oct. 20–Feb. 19, 2012. paintings after Hokusai’s 36 Views of Mount 10, 2011–Jan. 15, 2012. Continues at the Continues at the musée départemental Fuji, alongside some of the woodcuts Galerie Stihl, Waiblingen. Worldclass: The Matisse, Cateau- Cambrésis, March 12, that inspired them and a rare Hokusai Düsseldorf Painting School 1819–1918. Sept. 2011–June 10, 2012 painting. Sept. 2, 2011–Jan. 8, 2012 24, 2011–Jan. 22, 2012
Paris. Musée Rodin. Capturing the Model: Berlin. Deutsches Historisches Museum. Frankfurt. Städel Museum. German Master Rodin. Nov. 18, 2011–Feb. 26, 2012 The German Forest. A Cultural History. Dec. 2, Drawings of the 19th Century. Through Jan. 2011–March 4, 2012 31, 2012 Paris. Petit Palais. The Comédie-Française on Display. Oct. 13, 2011–Jan. 15, 2012. Amusing Bielefeld. Kunsthalle. Picasso 1905 in Paris. Hamburg. Deichtorhallen. Paris in Photo the Eye: Joseph Maria Sert, Painter Decorator Sept. 25, 2011–Jan. 15, 2012 Books from 1890 to the Present. Sept. 16, (1874–1945). March 8–July 8, 2012 2011–Jan. 8, 2012 Bonn. Kunst- und Ausstellungshalle Quimper. Musée des beaux-arts. The Tree der Bundesrepublik Deutschland. Art Hamburg. Kunsthalle. Max Liebermann. and the Forest: From the Land of the Rising and Design for All: The Victoria and Albert Forerunner of Modernism. In collaboration Sun to the Bois d’Amour. Japonisme in the Museum. Reconstructs the museum’s with the Kunst- und Ausstellungshalle der art of the Nabis and Symbolists in Breton. original collections. In collaboration with Bundesrepublik Deutschland, Bonn. Sept Feb. 10–May 21, 2012 the V & A. Nov. 18, 2011–April 15, 2012 30, 2011–Feb. 19, 2012
Saint-Germain-en-Laye. Musée Bremen. Kunsthalle. Edvard Munch — Hamburg. Museum für Kunst und departmental Maurice Denis. Maurice Denis Enigma beneath the Canvas. Oct. 15, 2011– Gewerbe. Decoration on Open Ground: and Brittany. Oct. 18, 2011–Jan. 22, 2012 Feb. 26, 2012 Katagami – Japanese Color Stencils. Late eighteenth and early nineteenth century Strasbourg. Musée d’Art Moderne et Bremen. Paula Modersohn-Becker works. Through Nov. 6. Body and Soul. Contemporain. Europe and the Spirit World, Museum. Oda Krohg — Painter and Muse in Images of Human Beings from Four Millennia. or the Fascination of the Occult, 1750–1950. the Circle of Edvard Munch. Oct. 16, 2011– Through Dec. 31 In collaboration with the Zentrum Paul Feb. 26, 2012 Klee, Berne. Oct. 8, 2011–Feb. 12, 2012 Jena. Kunstsammlung. From Renoir Coburg. Kunstsammlungen der Veste to Picasso — Artists of the École de Paris. Toulouse. Musée des Augustins. Theaters Coburg. Prince Albert — Image of a Man. Paintings and Drawings from the Petit Palais, of the Intimate. French genre painting in Sept. 9–Nov. 6 Geneva. Dec. 3, 2011–March 3, 2012 the late eighteenth and early nineteenth centuries. Oct. 22, 2011–Jan. 22, 2012 Cologne. Käthe Kollwitz Museum. Alfred Jena. Romantikerhaus. “Puss in Boots”— Kubin — Subsidiary Worlds. In collaboration Romantic Fairy Tales and Their Origins. Nov. with the Kunstforum Ostdeutsche Galerie 12, 2011–March 10, 2012 Regensburg. Oct. 7–Dec. 4
32 Fall 2011 / AHNCA Newsletter Karlsruhe. Staatliche Kunsthalle. Of Wuppertal. Von der Heydt-Museum. Possagno. Museo Canova. Canova Beauty and Death: Animal Still-Life from Alfred Sisley. Sept. 13, 2011–Jan. 29, Italianissimo. Nationalistic aspects of the the Renaissance to the Modern Era. Nov. 19, 2012. Me! Artist Portraits from the Museum artist’s work. Sept. 6, 2011–March 17, 2012 2011–Feb. 19, 2012 Collection. Through April 3, 2012 Rimini. Castel Sismondo. Rodin Mannheim. Kunsthalle. Private Passions: Zwickau. Kunstsammlung. The Divinity Masterpieces. Oct. 16, 2011–March 20, 2012. Collecting in Mannheim. Modernist and of Light—Fritz von Uhde. Through Nov. From Vermeer to Kandinsky. Masterpieces from post-war works from private collections. 6. Concurrent exhibition at the Schloss around the World. Jan. 21–June 3, 2012 Nov. 27, 2011–Feb. 26, 2012 Wolkenburg, Limbach-Oberfrohna, through Nov. 30 Rovigo. Palazzo Roveralla. Divisionism. The Munich. Neue Pinakothek. Naples and Light of the Modern. Feb. 25–June 24, 2012 South Italy. 19th-Century Photographs from HUNGARY the Dietmar Siegert Collection. Nov. 27, 2011– Budapest. Hungarian National Gallery. San Marino. Palazzo Sums. Rodin: Dance. Feb. 11, 2012. George Stubbs. Jan. 26–May El Greco to Rippl-Rónai: Marcell Nemes, Art Oct. 16, 2011–March 20, 2012 6, 2012 Patron and Collector. Oct. 27, 2011–Feb. 19, 2012. Károly Ferenczy (1862–1917). Works Torino. Palazzo Madama. Torino. History of Munich. Stadtmuseum. Flirtatious Fans: An by a pioneer of Hungarian modernism a City. Through Dec. 31. There Will Be an Object with A Secret Code. In collaboration and his descendants. Nov. 30, 2011–June Italy. The Reconstruction of the First Senate. with the Deutsche Meisterschule für Mode. 3, 2012 The building ca. 1848–1864. Through Jan. Through Jan. 8, 2012 8, 2012 IRELAND Munich. Villa Stuck. Jules Chéret (1836– Dublin. Chester Beatty Library. China Venice. Museo Correr. Hope for Venice: 1932): Artist of the Belle Époque and Pioneer through the Lens of John Thomson: 1868– Italian Unification (1859–1866). Extended of Poster Design. In collaboration with Les 1872. Nov. 17, 2011–Feb. 26, 2012 through Dec. 31 Arts Décoratifs, Paris. Nov. 10, 2011–Feb. 5, 2012 ITALY JAPAN Bergamo. Galleria d’Arte Moderna e Hiroshima Museum of Art. Fujishima Nuremburg. Stadtmuseum Fembohaus. Contemporanea. A Beautiful Country for Takeji and Okada Saburosuke. Japanese Beauty. The Discovery of Nuremburg as a Tourist Artists: Ethics and Aesthetics of the Nation. Continues from the Mie Prefectural Art Destination in the Early Romantic Era. Images of Italian life and culture from the Museum. Oct. 29, 2011–Feb. 11, 2012 Through Nov. 20 nineteenth century through the present. Sept. 28, 2011–Feb. 19, 2012 Kyoto National Museum. The Impact of Remagen. Arp Museum Bahnhof Modern Chinese Painting in Japan. Jan. 7– Rolandseck. The Romantic Rhine. Myth and Florence. Galleria dell’Accademia. Feb. 26, 2012 Trademark. Sept. 4, 2011–March 4, 2012 Lorenzo Bartolini: Sculptor of Natural Beauty. Through Nov. 6 Mie Prefectural Art Museum. Étrangèrs Schweinfurt. Museum Georg Schäfer. - The Eyes of Exoticism. Japanese artists Man and Beast: Paintings and Drawings from Florence. Palazzo Pitti. Beautiful Italy: abroad and foreign artists in Japan. Feb. 4, Wilhelm von Kobell to Franz Marc. Through Art and Identity in the Capital Cities. 2011–March 25, 2012 Nov. 6. Carl Spitzweg and Artists from the Representations of the regional capitals Collection. Nov. 27, 2011–Feb. 19, 2012 over the centuries leading up to Italian Nagoya/Boston Museum of Fine Arts. Still unification in 1861. Oct. 11, 2011–March Life from the Museum of Fine Arts, Boston: Stuttgart. Staatsgalerie. Soot, Charcoal, 4, 2012 Tradition and Innovation. Sept. 17, 2011– Pencil. Hermann Pleuer’s Railway Drawings. Feb. 19, 2012 Sept. 9, 2011–Feb. 12, 2012 Genoa. Palazzo Ducale. Van Gogh and the Journey of Gauguin. Nov. 12, 2011–April Nagoya. Tokugawa Art Museum. The Tübingen. Kunsthalle. Cézanne, Renoir, 15, 2012 Elegance of the Imperial Court. Paintings and Picasso & Co. 40 Years of the Kunsthalle decorative objects from the Edo period to Tübingen. Sept. 17, 2011–Jan. 29, 2012 Genoa. Palazzo Rosso. The Duchess’s Legacy. the modern era. Sept. 23–Nov. 6 Period furniture from the Paris home of Wolfsburg. Kunstmuseum. The Art of Maria Brignole-Sale de Ferrari (1811– Tokyo. Bridgestone Museum of Art. From Slowing Down. Rest and Motion in the Arts 1888), Duchess of Galliera. Through Dec. the Birth of Impressionism to 20th Century Art. from Caspar David Friedrich to Ai Weiwei. 31, 2011 Sept. 14–Oct. 18 Nov. 12, 2011–April 9, 2012
Fall 2011 / AHNCA Newsletter 33 Tokyo Metropolitan Museum of NEW ZEALAND Moscow. Tretyakov Gallery. “Hostages Photography. Social Documentary in Europe. Auckland Art Gallery. James Mackelvie’s Gift of the Void.” The Aesthetics of Empty Space Dec. 10, 2011–Jan. 29, 2012 to Auckland. Sept. 3, 2011–Feb. 6, 2012. From in Russian Art from the 19th–21st Centuries. French Chateau to Kauri Canopy: The Gallery’s Sept. 24–Nov. 13. What Is Truth? Nikolai Tokyo. National Art Center. To See as Architecture. Sept. 3, 2011–Jul. 31, 2012 Ge (1839–1894). Oct. 19, 2011–Feb. 5, Artists See: American Art from The Phillips 2012. Mark Antokolsky. Sculptures from Collection. Sept. 28–Dec. 12 Wellington. Adam Art Gallery. Victoria the collection. Nov. 4, 2011–Jan. 29, 2012. University. The Victorian Album: the Feminine Elena Polonova. Works on paper and Tokyo. National Museum of Modern Art. and the Personal. Pakeha and Maori decorative objects. Nov. 23, 2011–Feb. Undressing Paintings: Japanese Nudes 1880– women’s experience of modernity. Oct. 8– 26, 2012. Valentin Serov. Life Line. Nov. 1945. Nov. 15, 2011–Jan. 15, 2012 Nov. 13 29 2011–April 8, 2012. “O Dolce Napoli”. Naples in the Eyes of Italian and Russian Tokyo. National Museum of Western Art. Wellington. Museum of New Zealand. Artists of the 18th and Early 19th Centuries. Light and Shadow. Masterpieces by Goya European Master Prints: The Founding Gift Dec. 9, 2011–March 11, 2012 from the Prado Museum. Oct. 22, 2011–Jan. of Bishop Monrad. Sept. 22, 2011–Feb. 20, 29, 2012 2012. Unveiled: 200 Years of Wedding Fashion St. Petersburg. Menshikov Palace. “Around this from the Victoria and Albert Museum, London. Place, the Memories are Alive”. Menshikov Palace: Tokyo. Sompo Japan Museum of Art. Dec. 17, 2011–April 22, 2012 1711–2011. Oct. 29, 2011–Feb. 26, 2012 Maurice Denis. Organized by the Musée Départemental Maurice Denis, Saint- NORTHERN IRELAND St. Petersburg. State Hermitage Museum. Germain-en-Laye. Sept. 10–Nov. 13 Belfast. Ulster Museum. Flower Power. In the Shadow of the Cross. Western-European Floral motifs in costume from the Crosses and Crucifixes of the 8th– 19th THE NETHERLANDS Victorian Age to the present. Through Centuries. Works from a Milanese private Amsterdam. Van Gogh Museum. East— Nov. 20. Art of the Enlightenment. Drawings collection. Sept. 23, 2011–Jan. 29, 2012. West: Japan and Japonisme. Sept. 23, and watercolors. Through Jan. 29, 2012 ‘Pool in a Harem’ and Other Works by Jean- 2011–Jan. 15, 2012. Snapshot. Painters and Léon Gérôme in the Hermitage. Nov. 2, 2011– Photography 1888–1915. Oct. 14, 2011–Jan. NORWAY Feb. 5, 2012. Italian Nineteenth-Century 8, 2012. Bedroom Secrets. Restoration of a Oslo. Munch-museet. Munch’s Laboratory. The Painting from the Museums of Italy. Nov. Masterpiece. The artist’s painting of his Path to the Aula. Sept. 4, 2011–Jan. 8, 2012 20, 2011–Jan. 22, 2012. The Age of the bedroom, with a life-size model of the Daguerreotype. Early Russian Photography. interior. Through Jan. 15, 2012 POLAND Dec. 8, 2011–Feb. 5, 2012 Warsaw. Royal Castle. Stanislaus Augustus. The Apeldoorn. CODA Museum. Gustaaf van Last Polish King. Nov. 26, 2011–Feb. 19, 2012 St. Petersburg. St. Michael’s Castle. Holy de Wall Perné. Nov. 6, 2011–Feb. 26, 2012 Russia. Religious objects from the 10th– PORTUGAL 19th centuries. Oct. 27, 2011–Jan. 2012 Apeldoorn. Palais Het Loo. Recent Lisbon. Museu Calouste Gulbenkian. The Acquisitions for the Palace. Through Dec. Presence of Things. The Still Life in Europe. St. Petersburg. State Russian Museum. 31. Orange Above All! Five centuries Part Two: 1840–1955. Oct. 21, 2011–Jan. 8, Konstantin Korovin 1861–1939. Through of souvenirs celebrating the House of 2012 Nov. 8. Photography from Russian Public and Orange-Nassau. Oct. 8, 2011–Jan. 8, 2012 Private Collections. Works c. 1850–1950. ROMANIA Nov. 17, 2011–Jan. 2012. Aleksey Morozov. Dordrechts Museum. Expedition to Java: Sibiu. Brukenthal National Museum. Nec Dec. 15, 2011–Jan. 16, 2012 Frans Lebret’s Drawings of the Indies. Sept. Temere, Nec Timide: Masterpieces of Painting 1–Nov. 13 from the National Museum Gdansk. Sept. 13, SCOTLAND 2011–Jan. 22, 2012 Aberdeen Art Gallery. Stage Directions. The Hague. Mesdag Collectie. Through the Images of the theater in the nineteenth Eyes of Vincent van Gogh. From Sept. 7 RUSSIA and twentieth centuries. Through Nov. 19 Moscow. Pushkin State Museum of Fine Rotterdam. Nederlands Fotomuseum. Art. Danish Masterpieces 1800–1850. In Edinburgh. Queen’s Gallery, Palace of Eugene Atget. Sept. 24, 2011–Jan. 8, 2012. collaboration with the Statens Museum Holyroodhouse. Royal Treasures: A Diamond The Dark Room. A gradually expanding for Kunst and the Thorvaldsen Museum, Jubilee Celebration. March 16 –Sept. 16, 2012 exhibition on the history of Dutch Copenhagen. Through Nov. 6. William photography. Through Dec. 29, 2013 Blake and the British Visionaries. Works Edinburgh. Royal Scottish Academy. from the collections of six major British MUSE: A Search for Beauty (Paintings from museums. Nov. 29, 2011–Feb. 2, 2012 the RSA Collections). Through Jan. 9, 2012
34 Fall 2011 / AHNCA Newsletter Edinburgh. Talbot Rice Gallery, SWITZERLAND Zürich. Kunsthaus. Albert Welti — Pastel University of Edinburgh. Beholder. Bern. Kunstmuseum. Ernest Biéler. Landscapes. Dec. 16, 2011–March 4, 2012 Conceptions of beauty and taste in relation Through Nov. 13. Continues at the to the theories of David Hume. Nov. 19, Fondation Pierre Giannada, Martigny, Dec. Zürich. Landesmuseum / Musée national. 2011 – Feb. 18, 2012 11, 2011–Feb. 26, 2012 A.-L. Breguet. Clock Making Conquers the World. Oct. 7, 2011–Jan. 8, 2012. The Most Glasgow. Hunterian Museum, University Geneva. Cabinet d’arts graphiques. Beautiful Pages of Written Jewish Culture. of Glasgow. The Art of the Poster. Period Ferdinand Hodler. Works on Paper. Nov. 10, The Collection Braginsky. Nov. 25, 2011– works. Oct. 8, 2011–Jan. 8, 2012 2011–Feb. 19, 2012 March 11, 2012
SINGAPORE Geneva. Musée d’art et d’histoire. Zürich. Museum Bellerive. Perfume — Singapore. National Museum. Dream Carlos Schwabe (1866–1926): Virtuosic Packaged Seduction. December. 2, 2011– and Reality. The embrace and refusal Drawing. The last in a series of exhibitions April 9, 2012 of modernity in nineteenth-century art. highlighting the museum’s collection of Organized by the Musée d’Orsay. Oct. 25, Schwabe’s paintings and drawings. Oct. 11, 2011– Feb. 10, 2012 2011–Jan. 15, 2012
SLOVAKIA Lausanne. Fondation de l’Hermitage. Bratislava. National Gallery. Rome - The Course of the Collections: From Tiepolo to Florence - Venice | Travelogue Photography in Degas. Jan. 27–May 20, 2012 Italy. Nov. 3, 2011–Feb. 26, 2012 Lausanne. Musée cantonal des Beaux- SPAIN Arts. Incongruous. When Art Makes Us Barcelona. CaixaForum. French Masterpieces Laugh. Historical and geographic overview from the Clark Collection: From the Barbizon incorporating a wide range of media. Oct. School to Impressionism. Nov. 18, 2011–Feb. 8, 2011–Jan. 15, 2012 12, 2012 Lugano. Museo Cantonale d’Arte. From Bilbao. Museo de Bellas Artes. Anselmo the Baroque Era to the Threshold of Modernity. Guinea (1855–1906): The Origins of Works from the Collections of the Museo Modernity in Basque Painting. Sept. 26, Cantonale d’Arte and the Museo d’Arte 2011–Jan. 15, 2012 della Città di Lugano, 1600–1870. Oct. 9, 2011–Jan. 8, 2012. Adolfo Feragutti Visconti. SWEDEN Works from the collection of the Cornèr Malmo Konsthall. Francisco Goya — Bank. Nov. 12, 2011–Jan. 22, 2012 Disasters of War. In collaboration with the Norrköpings Konstmuseum. Dec. 17, Rancate. Pinacoteca cantonale Giovanni 2011–Feb. 26, 2012 Züst. Transparency: The Heyday of Nineteenth- Century Watercolor Painting in Lombardy and Stockholm. Moderna Museet. Turner Ticino. Oct. 9, 2011–Jan. 8, 2012 — Monet — Twombly. Oct. 8, 2011–Jan. 5, 2012. Continues at the Staatsgalerie, Solothurn. Kunstmuseum. Ferdinand Stuttgart, Feb. 11–May 28, 2012, and Holder and Cuno Amiet. Sept. 24, 2011–Jan. subsequently at the Tate Liverpool 2, 2012
Stockholm. Nationalmuseum. Peredvizjniki Winterhur. Fotomuseum. Clouds — The — Pioneers of Russian Painting. A Scientific Image of the Sky. In collaboration groundbreaking artist’s society founded with the Museum für Photographie, in the 1870s. In collaboration with the Braunschweig. Nov. 26, 2011–Feb. 12, 2012 Tretyakov Gallery, Moscow, and the State Russian Museum, St. Petersburg. Sept. Winterthur. Villa Flora. “The Stories 29, 2011–Jan. 22, 2012. The Four Seasons. Behind the Pictures.” A Personal History of the Swedish art 1800–present. Through May Villa Flora Collection. Nov. 18, 2011–Oct. 27, 2012 28, 2012
Fall 2011 / AHNCA Newsletter 35 NEW BOOKS
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Avcioglu, Nebahat. Turquerie and the Politics of Calatrava, Juan. Romanticismo y arquitectura: Representation, 1728-1876. Ashgate, 2011. 338 la historiografia arquitectonica en la Espana de Dabakis, Melissa. Visualizing Labor in American pp. Hardcover $124.95. Mediados del Siglo XIX. Abada, 2011. 304 pp. Sculpture : Monuments, Manliness, and the Work Paperback $43.75. Ethic, 1880–1935. Cambridge Univ. Press, 2011. Bal-Parisot, Colette and Francois Lespinasse. 296 pp. Paperback $60.00. École de Rouen: Les peintres impressionnistes et Caputo, Rosario. Infinite emozioni: La scuola di postimpressionnistes. Valhermeil, 2011. 127 pp. Posillipo. Voyage pittoresque, 2010. 320 pp. Dal Pra, Laura. Non ancora Italia: Temi Paperback $35.00. Hardcover $450.00. risorgimentali dell’arte in Trentino. Provincia autonoma di Trento, Soprintendenza per i Beni Barbiero, Ivano and Filippo Ghisi eds. Torino: Caracciolo, Maria Teresa. The History of Rome Storico-artistici, 2011. 154 pp. Paperback $18.95. La citta che cambia, Fotografie, 1880-1930. Silvana, in Painting. Abbeville Press, 2011. 496 pp. 2011. 287 pp. Paperback $67.50. Hardcover $185.00. Daverio, Philippe ed. L’avventura dei mille: La spedizione di Garibaldi attraverso i disegni ritrovati Barryte, Bernard ed. Rodin and America: Influence Caraffa, Costanza ed. Photo Archives and the di Giuseppe Nodari. RCS Libri, Rizzoli, 2010. 191 and Adaptation 1876-1936. Silvana, 2011. 480 pp. Photographic Memory of Art History. Deutscher pp. Hardcover $110.00. Hardcover $85.00. Kunstverlag, 2011. 456 pp. Paperback $112.50. Dayan, Peter. Art as Music, Music as Poetry, Poetry Bassegoda Nonell, Joan. El Mestre Gaudi. Pages, Cariou, Andre. De Turner à Monet: La découverte as Art, from Whistler to Stravinsky and Beyond. 2011. 335 pp. Hardcover $68.95. de la Bretagne par les paysagistes du XIXe siécle. Ed. Ashgate, 2011. 180 pp. Hardcover $99.95. Palantines, 2011. 191 pp. Paperback $62.50. Bassi, Raffaella, Cesare Biasini Selvaggi and Derosier, Bernard et al. Rodin: le plaisir infini du Maria Grazia Massafra eds. So Light and Yet a Carrubba, Sergio et al. L’anima e la musica: dessin. Snoeck, 2011. 134 pp. Paperback $50.00. Metal: The Art of Cast Iron in the 19th and 20th L’esperienza romantica e l’eta del Risorgimento. Centuries. Barbieri Salvaggi, 2011. 135 pp. Silvana, 2011. 94 pp. Paperback $28.95. De Vonyar, Jill and Richard Kendall. Degas and Paperback $58.50. the Ballet: Picturing Movement. Royal Academy Cherubini, Donatella ed. Studenti e professori in of Arts, November 2011. 288 pp. Hardcover Bastek, Alexander. Edvard Munch (1863– battaglia: Insieme sotto il Tricolore. L’Università di $65.00. 1944): Holzschnitte: Aus einer norwegischen Siena nel Risorgimento. Silvana, 2011. 160 pp. Privatsammlung. Imhof, 2011. 144 pp. Paperback Paperback $42.50. Di Benedetto, Giuseppe. Carlo Giachery 1812- $38.50. 1865: Un architetto “borghese” a Palermo tra Chiappini, Rudy. Cézanne: Les ateliers du Midi. didattica, istituzioni e professione. Flaccovio, 2011. Bell, Esther et al. The Age of Elegance: The Joan Skira, Fall 2011. 240 pp. Hardcover $92.50. 119 pp. Paperback $35.00. Taub Ades Collection. The Morgan Library & Museum, 2011. 102 pp. Paperback $20.00. Cimorelli, Dario ed. Giorgio Barrera: Champi de Duffy, Michael H. The Influence of Charles- bataille. Campi di battaglia 1848-1867. Silvana, François Daubigny (1817-1878) on French Plein-Air Beltrami, Cristina and Giovanni C. F. Villa. 2011. 61 pp. Paperback $36.98. Landscape Painting: Rustic Portrayals of Everyday Scolpire gli eroi: La scultura al servizio della memoria. Life in the Work of a Forerunner to Impressionism. Silvana, 2011. 160 pp. Paperback $42.50. Codes Luna, Miquel-Angel. La febre d’or: Escenes The Edwin Mellen Press, 2010. 242 pp. de la nova burgesia. Obra Social “la Caixa”, 2011. Hardcover $149.95. Bentini, Jadranka ed. La voce delle donne: Guida 186 pp. Paperback $87.50. al Risorgimento dell’Emilia Romagna. Umberto Duncan, Alice Levi, Thayer Tolles et al. Shaping Allemandi, 2011. 174 pp. Paperback $42.50. Coke, David E. and Alan Borg. Vauxhall Gardens: the West: American Sculptors of the 19th Century. A History. Yale Univ. Press, for the Paul Mellon Petrie Institute of Western American Art, Bertholet, Ferry M. Concubines and Courtesans: Centre for Studies in British Art, 2011. 473 pp. Denver Art Museum, 2010. 95 pp. Paperback Women in Chinese Erotic Art. Prestel, 2011. 208 Hardcover $95.00. $10.95. pp. Hardcover $60.00.
36 Fall 2011 / AHNCA Newsletter Duvivier, C. et al. De Véronèse à Matisse: Dessins et Greub, Suzanne. Gauguin & Polynesia. Hirmer, Husslein-Arco, Agnes. Hans Makart: Painter of the aquarelles des musées de Pontoise. Velhermeil, 2011. 2011. 340 pp. Hardcover $85.00. Senses. Prestel, 2011. 252 pp. Hardcover $49.95. 159 pp. Paperback $42.50. Groom, Gloria. Ker-Xavier Roussel, 1867-1944: Le Ireson, Nancy and Anna Gruetzner-Robins. Fallett, Franca, Silvestra Bietoletti and Annarita Nabi bucolique. Somogy, Musée des Beaux-Arts Toulouse-Lautrec and Jane Avril: Beyond the Moulin Caputo. Lorenzo Bartolini: Beauty and Truth in de Pont-Aven, 2011. 175 pp. Paperback $56.50. Rouge, Holberton, 2011. 143 pp. Paperback Marble. Giunti, 2011. 384 pp. Paperback $92.50. $50.00. Grummt, Christina. Caspar David Friedrich: Ferrari, Roberto. La geografia dei sistemi dell’arte Die Zeichnungen: Werkverzeichnis / Katalog / Jones, Kimberly A. Impressionist and Post- nella Lombardia ottocentesca. Aref, 2011. 689pp. Kunstführer. Beck, 2011. 2. vols. 1088 pp. Impressionist Masterpieces from the National Gallery Paperback $68.50. Hardcover $315.00. of Art. Del Monico Books, Prestel, 2011. 192 pp. Hardcover $49.95. Pamela Fletcher & Anne Helmreich. The Rise Guégan, Stephane. Manet inventeur du moderne. of the Modern Art Market in London, 1850-1939. Gallimard, 2011. 297 pp. Hardcover $82.50. Jorda i Olives, Marta. Josep Monserrat I Portella: Manchester Univ. Press, October 2011. 336 pp. Un escultor del realisme. Publicacions de l’Abadia de Hardcover $100.00. Guttmann, Allen. Sports and American Art from Monteserrat, 2011. 121 pp. Paperback $26.00. Benjamin West to Andy Warhol. Univ. of Massachusetts Foglia, Andrea ed. Catalogo delle Collezioni Press, 2011. 277 pp. Hardcover $39.95. Jude, Patrick and Catherine Carré-Mével. Eugene- del Museo Civico di Cremona: Le collezioni Louis Gillot et la Beaux-Arts de la mer. Marines risorgimentali, Parte I. Silvana, 2011. 176 pp. Haag, Sabine ed. Der Himmel hängt voller Editions, 2011. 128 pp. Paperback $68.50. Hardcover $67.50 Geigen: Die Violine in Biedermeier und Romantik. Kunsthistorisches Museum, 2011. 167 pp. Junker, Patricia. Albert Bierstadt: Puget Sound on the Fontanella, Elena ed. Giovani ribelli del ‘ 48: Paperback $85.00. Pacific Coast. Univ. of Washington Press, Seattle Memorie del Risorgimento Lombardo. Fratelli Art Museum, 2011. 72 pp. Paperback $19.95. Alinari, Regione Lombardia, 2011. 414 pp. Hadjiafxendi, Kyriaki and Zakreski, Patricia eds. Hardcover $77.50. What is a Woman to Do? A Reader on Women, Work Krämer, Felix. Moderne im Städel Museum 1800- and Art, c. 1830-1890. Peter Lang, 2011 388 pp. 1945. Hatje Cantz, November 2011. 264 pp. Furjan, Helene. Glorious Visions: John Soane’s Paperback $77.95. Paperback $67.50. Spectacular Theater. Routledge, 2011. 198 pp. Hardcover $155.00, paperback $54.95.. Hanley, Keith and Emma Sdegno eds. Ruskin, Krings, Veronique and Catherine Valenti eds. Venice and Nineteenth-Century Cultural Travel. Les antiquaires du Midi: savoirs et mémoires, XVIe Gallati, Barbara Dayer ed. Making American Libreria Editrice Cafoscarina, 2010. 474 pp. XIXe siècle. Errance, 2011. 190 pp. Paperback Taste: Narrative Art for a New Democracy. Giles, Paperback $49.50. $55.00. 2011. 324 pp. Hardcover $65.00. Haudiquet, Annette et al. De Delacroix à Marquet: Lepage, Jean. L’Orient fantasmé. Somogy, coédité Garibaldi, Vittoria. Mariano Guardabassi Donnation Oliver Senn-Foulds. Dessins. Somogy, avec le musée d’Art et d’Histoire de Narbonne, fotografo pittore conservatore: Viaggio nell’Umbria co-edition with musée Malraux du Havre, 2011. 2011. 239 pp. Paperback $67.50. dell’Ottocento. EFFE Fabrizio Fabbri, 2011.126 320 pp. Paperback $55.00. pp. Paperback $29.95. Lenain, Thierry. Art Forgery: The History of Hazan, Eric. Vues de Paris 1750-1850. Éditions Modern Obsession. Reaktion Books, November Getsy, David J. Rodin: Sex and the Making of de la Bibliothèque nationale de France, 2011. 384 pp. Hardcover $55.00. Modern Sculpture. Yale Univ. Press, 2011 (US Bibliotheque de l’Image, October 2011. 88 pp. release.) 245 pp. Hardcover $45.00. Paperback $19.95. Le Nouëne, Patrick and Patrizia Rosazza Ferraris. Guillaume Bodinier (1795-1872): un peintre angevin Giusti, Annamaria and Clarice Innocenti. Dagli Hery, Jean-Marc. Louis-Felix Chabaud: Paradoxes en Italie. Édition Expressions contemporaines, splendori di Corte al lusso borghese: L’Opificio delle d’un sculpteur oublié. Mare & Martin, 2011. 277 2011. 315 pp. Paperback $78.95. Pietre Dure nell’Italia Unita. Sillabe, 2011. 256 pp. pp. Paperback $68.95. Paperback $58.50. Analisa Leppanen-Guerra. Children’s Stories and Hills, Patricia et al. Perfectly American: The Art- ‘Child-Time’ in the Works of Joseph Cornell and the Goldhill, Simon. Victorian Culture and Classical Union and Its Artists. Univ. of Oklahoma Press, Transatlantic Avant-Garde. Ashgate, 2011. 268 pp. Antiquity: Art, Opera, Fiction, and the Proclamation 2011. 200 pp. Hardcover $39.95. Hardcover $99.95. of Modernity. Princeton Univ. Press, 2011. 352 pp. Hardcover $45.00. Hodermarsky, Elisabeth. John La Farge’s Second Levra, Umberto. Il Museo Nazionale del Paradise: Voyages in the South Seas, 1890-1891. Yale Risorgimento Italiano di Torino. Skira, 2011. 269 Goldin, Marco. Van Gogh e il viaggio di Gauguin. Univ. Press, 2010. 240 pp. Hardcover $55.00. pp. Paperback $45.00. Linea d’ombra Libri, December 2011. 250 pp. Paperback $87.50. Hojer, Annette and Dorothea Ritter. Neapel Llorens, Tomás et al. Retratos de La Belle Époque. und der Süden: Fotografien 1846-1900. Sammlung Fundación La Caixa, Consorcio de Museos de la Grabner, Sabine et al. Rudolf von Alt 1812-1905: Siegert. Hatje Cantz, 2011. 192 pp. Hardcover Comunitat Valenciana y Ediciones El Viso, 2011. Die Ölgemälde. Christian Brandstätter Verlag, $77.50. 270 pp. Hardcover $100.00. 2011. 200 pp. Hardcover $112.50. Holmes, Caroline. Monet at Giverny. Garden Art Locatelli, Valentina. Metamorfosi romantiche: Le Grabner, Sabine. Josef Danhauser: Biedermeierzeit Press, 2011. 192 pp. Hardcover $49.50. teorie del primo Romanticismo tedesco nel pensiero im Bild: Monografie und Werkverzeichnis. Böhlau, sull’arte di Giovanni Morelli. Campanotto, 2011. 2011. 375 pp. Hardcover $95.00. House, John. The Genius of Renoir: Paintings 188 pp. Paperback $35.00. from the Clark. Yale Univ. Press, 2011. 140 pp. Hardcover $39.95.
Fall 2011 / AHNCA Newsletter 37 Mainterot, Philippe. Aux origines de l’égyptologie: Nuzzo, Mariella. Eugenio Cisterna: Un artista Sheehan, Tanya. Doctored: The Medicine of Voyages et collections de Frédéric Cailliaud, 1787- eclettico fra tradizione e modernità 1862-1933. Photography in Nineteenth-Century America. 1869. Presses Universitaires de Rennes, 2011. Gangemi, 2011. 112 pp. Paperback $55.00. Pennsylvania State Univ. Press, 2011. 202 pp. 326 pp. Paperback $46.50. Hardcover $74.95. Ossman, Laurie and Heather Ewing. Carrère Mammucari, Renato. Ottocento romano: and Hastings. Rizzoli, October 2011. 320 pp. Spencer, Stephanie. Francis Bedford, Landscape Neoclassicismo, Realismo, Decadentismo, Divisionismo. Hardcover $75.00. Photography and Nineteenth-Century British Culture: Edimond, 2011. 461 pp. Paperback $122.50. The Artist as Entrepreneur. Ashgate, 2011. 202 pp. Ostermark-Johansen, Lene. Walter Pater and the Hardcover $104.95. Massaia, Alberto Stefano. Dall’eclettismo Language of Sculpture. Ashgate, 2011. 364 pp. accademico allo stile Novecento: L’architettura a Hardcover $124.95. Stewart. Jacqueline Widmar. Parks and Gardens in Torino fra il 1860 ed il 1930. L’Artistica, 2011. 191 Greater Paris. Menges, 2011. 240 pp. Hardcover pp. Paperback $55.00. Otto, Elizabeth and Vanessa Rocco eds. The $98.00. New Woman International: Representations in Mazzocca, Fernando, Carlo Sisi and Maria Vittoria Photography and Film from the 1870s through the Storm, Eric. El descubrimiento del Greco: Marini Clarelli. Il Simbolismo in Italia. Marsilio, 1960s. Univ. of Michigan Press, 2011. 345 pp. Nacionalismo y arte moderno (1860-1914). Centro October 2011. 304 pp. Paperback $80.00. Hardcover $75.00. de Estudios Europa Hispánica, Pons, 2011. 235 pp. Paperback $62.95. Mazzocca, Fernando, Sandrina Bandera and Parkins, Ilya and Elizabeth M. Sheehan eds. Isabella Marelli. Hayez nella Milano di Manzoni e Cultures of Femininity in Modern Fashion. Univ. of New Sumner, Ann. Court on Canvas: Tennis in Art. Verdi. Skira, 2011. 117 pp. Paperback $75.00. Hampshire Press, 2011. 268 pp. Hardcover $35.00. Philip Wilson, 2011. 167 pp. Paperback $135.00.
McKeown, William. The Role of Venetian Pergam, Elizabeth A. The Manchester Art Treasures Tedeschi, Letizia and Francesco Repishti. Luigi Renaissance Painting in John Ruskin’s Utopian Exhibition of 1857: Entrepreneurs, Connoisseurs and the Canonica 1764-1844: Architetto di utilità pubblica Theories: A Sociopolitical History of Art. Edwin Public. Ashgate, 2011. 368 pp. Hardcover $124.95. e privata. Silvana, 2011. 432 pp. Paperback Mellen Press, 2011. 298 pp. Hardcover $159.95. $160.00. Perry, Claire. The Great American Hall of Mersmann, Susanne. Die Musées du Trocadéro: Wonders: Art, Science, and Invention in the Thomas, Greg M. Impressionist Children: Viollet-le-Duc und der Kanondiskurs im Paris des 19. Nineteenth Century. Giles in association with the Childhood, Family, and Modern Identity in French Jahrhunderts. Reimer, November 2011. 330 pp. Smithsonian American Art Museum, 2011. 242 Art. Yale Univ. Press, 2011. 240 pp. Hardcover Paperback $92.50. pp. Hardcover $65.00. $65.00.
Miraglia, Marina. Specchio che l’occulto rivela: Pfeifr-Helke, Tobias. Die Koloristen: Schweizer Verger, Annie & Gabriel. Dictionnaire biographique Ideologie e schemi rappresentativi della fotografia fra Landschaftsgraphik von 1766 bis 1848. Deutscher des pensionnaires de l’Académie de France à Rome, Ottocento e Novecento. Franco Angeli, 2011. 254 Kunstverlag, 2011. 476 pp. Hardcover 132.50. 1666–1968. L’Echelle de Jacob, 2011. 3 vols. pp. Paperback $58.95. 1650 pp. Hardcover $460.00. Pinto, Rosario. Artiste in Italia 1800-1950. Istituto Molteni, Gianfranco and Francesca Petrucci. Grafico Editoriale Italiano, 2011. 290 pp. Westheider, Ortrud and Michael Philipp. William Il Risorgimento nelle terre di Siena: Amos Cassioli Paperback $62.50. Turner: Maler der Elemente. Hirmer, 2011. 256 pp. e il Risorgimento dipinto: L’Anti-Risorgimento nelle Hardcover $77.50. campagne senesi, dal “Viva Maria” all’Italia unita. Pontynen, Arthur and Rod Miller. Western Silvana, 2011. 112 pp. Paperback $38.50. Culture at the American Crossroads: Conflicts Over Wilcox, Timothy. Constable and Salisbury: The Soul the Nature of Science and Reason. ISI Books, of Landscape. Scala, 2011. 192 pp. Paperback Moore Valeri, Anna. Catrosse a Cortona. Una Intercollegiate Studies Institute, 2011. 412 pp. $39.95. manifattura di terraglie e maioliche in Toscana Hardcover $34.95. Winkler, Gail Caskey. Capricious Fancy: Draping (1796-1910). All’insegna del Giglio, 2011. 168 and Curtaining the Historic Interior, 1800-1930. pp. Hardcover $95.00. Rapelli, Paola. Symbols of Power in Art. J. Paul Univ. of Pennsylvania Press, 2011. 408 pp. Getty Museum, 2011. 384 pp. Paperback Hardcover $85.00. Myrone, Martin ed. John Martin: Apocalypse. $24.95. Tate, 2011. 192 pp. Paperback $34.95. Wolf, Norbert. Art Nouveau. Prestel, October Rey, Xavier et al. Degas and the Nude. MFA 2011. 304 pp. Hardcover $75.00. Napione, Ettore. Il Museo del Risorgimento: Verona Publications, October 2011. 336 pp. Hardcover dagli Asburgo al Regno d’Italia. Silvana, 2011. 96 $65.00. Wolner, Edward W. Henry Ives Cobb’s Chicago: pp. Paperback $42.50. Architecture, Institutions, and the Making of a Rivière, Anne and F. Chappey eds. Modern Metropolis. Univ. of Chicago Press, 2011. Navone, Nicola. Costruire per gli zar: architetti Sculpture’Elles: Les sculpteurs femmes du XVIIIe 384 pp. Hardcover $45.00. ticinesi in Russia, 1700-1850. Casagrande, 2011. siècle à nos jours. Musée des Années Trente, 163 pp. Paperback $39.50. Boulogne-Billancourt, 2011. 270 pp. Hardcover Yglesias, Caren. The Complete House and Grounds: $82.50. Learning from A. J. Downing’s Domestic Architecture. Nilsen, Micheline. Architecture in Nineteenth Center for American Places, November 2011. Century Photographs: Essays on Reading a Collection. Salwa, Ursula and Attilio Wanderling eds. Roma 224 pp. Hardcover $40.00. Ashgate, October 2011. 220 pp. Hardcover nella Belle Époque. Intra Moenia, 2011. 191 pp. $104.95. Paperback $28.50. Zafran, Eric and James H. Rubin. Monet’s Water Lilies: An Artist’s Obsession. Wadsworth Atheneum Nordstrom, Alison. Truth Beauty: Pictorialism and Sauwen, Rik. Les Peintres du Large de Nieuport Museum of Art, 2011. 56 pp. Paperback $19.95. the Photography as Art, 1845-1945. Douglas & par Coxyde à la Panne 1830-1975. Stichting McIntyre, 2011. 160 pp. Hardcover $60.00. Kunstboek, 2011. 175 pp. Hardcover $75.00.
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