Contents: Introduction: Alternative venues, Andrew Graciano Nathaniel Hone's 1775 exhibition:... more Contents: Introduction: Alternative venues, Andrew Graciano Nathaniel Hone's 1775 exhibition: the first single-artist retrospective, Konstantinos Stefanis Branding Shakespeare: Boydell's Shakespeare gallery and the politics of display, Heather McPherson Fantasy and rivalry: Jean-Baptiste Regnault's solo exhibition, Paris 1800, Katie Hanson Rereading 'Court' in the touring exhibition of Rembrandt Peale's Court of Death (1820), Tanya Pohrt 'Plasmati dalle sue mani': Canova's touch and the Gipsoteca of Possagno, Christina Ferando Art history as spectacle: blockbuster exhibitions in 1850s England, Amy M. Von Lintel Merging form and formlessness: the 1892 monotype exhibition by Edgar Degas, Christine Y. Hahn The radical work of Oskar Kokoschka and the alternative venues of Die Kunstschauen of 1908-1909, Vienna, Austria, Rosa J.H. Berland Bringing the boudoir into the gallery: Florine Stettheimer's 'failed' solo exhibition, Karen Stock Exhib...
Andrew Graciano's thorough study is a re-evaluation of Joseph Wright's career and social ... more Andrew Graciano's thorough study is a re-evaluation of Joseph Wright's career and social status that demonstrates how his later landscapes, portraits and historical pictures are connected to a broader historical context, including contemporary science, industry and economics. In doing so, Graciano reinforces the idea that Wright was an intellectual painter, very much engaged with current ideas in these realms, as well as a gentleman of means beyond his artistic income, which gave him a social standing that has often been ignored by previous scholars.
Chapter in _Facts & Feelings: Retracing emotions of artists, 1600-1800_, eds. Katlijne Van der St... more Chapter in _Facts & Feelings: Retracing emotions of artists, 1600-1800_, eds. Katlijne Van der Stighelen and Hannelore Magnus (Turnhout, Belgium: Brepols, 2015): 40-50.
This is the introduction to _Visualizing the Body in Art, Anatomy, and Medicine since 1800: Model... more This is the introduction to _Visualizing the Body in Art, Anatomy, and Medicine since 1800: Models and Modeling_ (Routledge, 2019).
In recent years, there has been increasing scholarly interest in the history of museums, academie... more In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so—for example J.L. David's exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874—despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.
Maia Wellington Gahtan and Donatella Pegazzano’s edited collection, Monographic Exhibitions and t... more Maia Wellington Gahtan and Donatella Pegazzano’s edited collection, Monographic Exhibitions and the History of Art, is the fruit of a remarkable symposium hosted at the Istituto Lorenzo de’Medici in Florence in March/April 2016. The event brought together likeminded scholars of art history and museum studies from around the world to speak about, to discuss, and to reflect upon the impact of monographic exhibitions on the written trajectory of art historical scholarship, and vice versa. The volume’s essays consider monographic exhibitions that occurred from the late-eighteenth through twenty-first centuries, featuring artists ranging from the Renaissance to the contemporary periods. In this way, the book is of value and of interest to scholars specializing across these many centuries.
Contents: Introduction: Alternative venues, Andrew Graciano Nathaniel Hone's 1775 exhibition:... more Contents: Introduction: Alternative venues, Andrew Graciano Nathaniel Hone's 1775 exhibition: the first single-artist retrospective, Konstantinos Stefanis Branding Shakespeare: Boydell's Shakespeare gallery and the politics of display, Heather McPherson Fantasy and rivalry: Jean-Baptiste Regnault's solo exhibition, Paris 1800, Katie Hanson Rereading 'Court' in the touring exhibition of Rembrandt Peale's Court of Death (1820), Tanya Pohrt 'Plasmati dalle sue mani': Canova's touch and the Gipsoteca of Possagno, Christina Ferando Art history as spectacle: blockbuster exhibitions in 1850s England, Amy M. Von Lintel Merging form and formlessness: the 1892 monotype exhibition by Edgar Degas, Christine Y. Hahn The radical work of Oskar Kokoschka and the alternative venues of Die Kunstschauen of 1908-1909, Vienna, Austria, Rosa J.H. Berland Bringing the boudoir into the gallery: Florine Stettheimer's 'failed' solo exhibition, Karen Stock Exhib...
Andrew Graciano's thorough study is a re-evaluation of Joseph Wright's career and social ... more Andrew Graciano's thorough study is a re-evaluation of Joseph Wright's career and social status that demonstrates how his later landscapes, portraits and historical pictures are connected to a broader historical context, including contemporary science, industry and economics. In doing so, Graciano reinforces the idea that Wright was an intellectual painter, very much engaged with current ideas in these realms, as well as a gentleman of means beyond his artistic income, which gave him a social standing that has often been ignored by previous scholars.
Chapter in _Facts & Feelings: Retracing emotions of artists, 1600-1800_, eds. Katlijne Van der St... more Chapter in _Facts & Feelings: Retracing emotions of artists, 1600-1800_, eds. Katlijne Van der Stighelen and Hannelore Magnus (Turnhout, Belgium: Brepols, 2015): 40-50.
This is the introduction to _Visualizing the Body in Art, Anatomy, and Medicine since 1800: Model... more This is the introduction to _Visualizing the Body in Art, Anatomy, and Medicine since 1800: Models and Modeling_ (Routledge, 2019).
In recent years, there has been increasing scholarly interest in the history of museums, academie... more In recent years, there has been increasing scholarly interest in the history of museums, academies and major exhibitions. There has been, however, little to no sustained interest in the histories of alternative exhibitions (single artwork, solo artist, artist-mounted, entrepreneurial, privately funded, ephemeral, etc.) with the notable exception of those publications that deal with situations involving major artists or those who would become so—for example J.L. David's exhibition of Intervention of the Sabine Women (1799) and The First Impressionist Exhibition of 1874—despite the fact that these sorts of exhibitions and critical scholarship about them have become commonplace (and no less important) in the contemporary art world. The present volume uses and contextualizes eleven case studies to advance some overarching themes and commonalities among alternative exhibitions in the long modern period from the late-eighteenth to the late-twentieth centuries and beyond. These include the issue of control in the interrelation and elision of the roles of artist and curator, and the relationship of such alternative exhibitions to the dominant modes, structures of display and cultural ideology.
Maia Wellington Gahtan and Donatella Pegazzano’s edited collection, Monographic Exhibitions and t... more Maia Wellington Gahtan and Donatella Pegazzano’s edited collection, Monographic Exhibitions and the History of Art, is the fruit of a remarkable symposium hosted at the Istituto Lorenzo de’Medici in Florence in March/April 2016. The event brought together likeminded scholars of art history and museum studies from around the world to speak about, to discuss, and to reflect upon the impact of monographic exhibitions on the written trajectory of art historical scholarship, and vice versa. The volume’s essays consider monographic exhibitions that occurred from the late-eighteenth through twenty-first centuries, featuring artists ranging from the Renaissance to the contemporary periods. In this way, the book is of value and of interest to scholars specializing across these many centuries.
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