PMC Notes

Januar y 2019 / No. 11 p aul-mellon - c e ntre. a c.uk

The Paul Mellon Centre for Studies in British Art is an educational charity committed to promoting original research into the history of British art and architecture. It is a part of Yale University and its activities and resources include research events, public lectures, publications, fellowships, grants programmes, and a library and archival collection. PMC Notes, the Centre’s newsletter, is published three times per year.

PMC Staff Director of Studies Mark Hallett Deputy Director for Grants and Publications Martin Postle Deputy Director for Finance and Administration Sarah Ruddick

Office Administrator Stephen O’Toole Buildings Officer George Szwejkowski

Deputy Director for Research Sarah Victoria Turner

Senior Research Fellow Hugh Belsey

Librarian Emma Floyd

Senior Research Fellow Hammad Nasar

Archivist and Records Manager Charlotte Brunskill

Research Fellow and Filmmaker Jonathan Law

Assistant Librarian Natasha Held

Advisory Council

Assistant Archivist and Records Manager Jenny Hill Cataloguer: Auction Catalogues Mary Peskett Smith Digital Manager Tom Scutt Digital Officer Alice Read Events Manager (Maternity Cover) Tom Knowles Office Manager Suzannah Pearson Education Programme Manager Nermin Abdulla Fellowships, Grants, and Communications Manager Harriet Fisher Editor Baillie Card

Christopher Breward, National Galleries of Scotland Tarnya Cooper, National Trust Anthony Geraghty, University of York Julian Luxford, University of St Andrews David Mellor, University of Sussex Martin Myrone, Tate Britain Lynda Nead, Birkbeck Christine Riding, Art Historian and Curator Andrew Saint, English Heritage MaryAnne Stevens, Art Historian and Curator Nicholas Tromans, Christies Education Simon Wallis, The Hepworth Gallery Board of Governors Peter Salovey, President of Yale University Ben Polak, Provost of Yale University Amy Meyers, Director of Yale Center for British Art Stephen Murphy, Vice President for Finance and Chief Financial Officer of Yale University

Editor Emily Lees

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Editorial Assistant Tom Powell

Baillie Card and Harriet Fisher Template by Cultureshock Media

Picture Researcher Maisoon Rehani

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Paul Mellon Centre for Studies in British Art 16 Bedford Square London, WC1B 3JA United Kingdom T: 020 7580 0311 www.paul-mellon-centre.ac.uk

Contents January 2019 – No.11

Director’s Note 2 Panoramas and Global Landscapes 4 Nicholas Hilliard’s First Encounter with Elizabeth I 10 Interview: Creative Collaborations 16 Turner, Ruskin & the Storm Cloud 22 New Book Profile 28 Public Lecture Course 29 PMC Events Calendar 30 New Acquisition: Oppé Archives 32 YCBA Events Calendar 33

Cover: Film still, The Ballet of the Nations, 2018.

Director’s Note As we report later in this issue of PMC Notes, we are delighted to announce the arrival at the Centre of the Paul OppÊ library and archive, which we have been granted under the British government’s Acceptance in Lieu scheme.

Thanks to the importance and richness of individual collections such as these, our Research Collections as a whole are attracting ever-increasing attention and growing numbers of visitors. As many readers will know, our library offers comprehensive, open-access holdings of publications on all aspects of British art and architecture, of all periods. Our archives, meanwhile, which specialise in the papers of art historians, curators, and critics, provide a treasure trove of riches for all those who are interested not only in the individuals to whom these materials directly relate, but also in the historiography of British art more generally.

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Even in a digital age, the appeal and importance of such collections never palls. As it happens, I have been spending some time looking at archival materials recently. This has been in pursuit of research for a forthcoming display of collages by the remarkable twentieth-century artist Nigel Henderson, which I am curating with my fellow art historian Rosie Ram. Looking at the collection of Henderson’s papers in Tate Britain’s archives has reminded us both of the gains that are to be made when we tear ourselves away from our screens and spend time with the material traces of an artist’s life and practice. Henderson’s daily working activity was structured around the manufacture of collages of a bewildering variety of types, ranging from tiny boxes and postcards overlaid with the imagery of cigarette cards, magazine advertisements and commercial packaging, through to the more monumental kind of photographic collages that he famously exhibited at the Whitechapel Gallery’s This is Tomorrow exhibition of 1956. Rosie and I have been leafing through the mass of scrawled notes, crumpled photographs, bleached slides, coffee-stained letters, tattered albums, scissored newsprint, and ripped sketchbook pages that Henderson accumulated around himself over his career. Doing so has been transformative for both of us, generating insights and responses that feel very different in their character to those one experiences during the pursuit of other, more disembodied kinds of scholarly research. Like a gardener exploring the soil with their fingers, this kind of work makes you feel that you are getting your hands a little bit dirty, even when wearing a pair of white archival gloves.

So, if you have a mind to it, come to the PMC, sit in our Public Study Room, which itself provides an oasis of scholarly calm in the centre of London, and enjoy our library and archives. Turn off your phones, send your screens to sleep, and come and get your hands dirty, even if just a little.

Mark Hallett Director of Studies

January 2019 — No. 11

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Panoramas and Global Landscapes

Tim Barringer, Yale University, introduces his forthcoming Paul Mellon Lectures. This series of five lectures, titled Global Landscape in the Age of Empire, will take place at the National Gallery in London between Monday, 7 January and Monday, 4 February, 2019.

Detail from Robert Mitchell, Section of the Rotonda, Leicester Square, 1801. (British Library)

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From its inception, the painted panorama was understood as a global technology. Its circular form suggested limitless reach, with breathtaking views to distant horizons on all sides; its thematic content brought distant scenes to the heart of the metropolis with an uncanny effect of reality. The panorama came before the public during a period of warfare between rival empires, between 1789 and 1815, and offered nineteenthcentury audiences a place at the centre of spectacular landscapes from all over the world.

According to the patent document lodged in 1787 by its Irish inventor, Robert Barker, the panorama provides “an entire view of any country or situation, as it appears to the observer turning quite round.” Although a plethora of objects and practices have since been described as “panoramic”, the neologism “panorama” (from the Greek pan, meaning “all” and horama meaning “view”) was coined in 1791 to describe massive circular paintings, some reaching up to 300 feet long and 50 feet high, installed in specially constructed rotundas. We use the term “panorama” today to describe laterally expanded photographs taken by our mobile phones; cinematic “panning shots” scan the landscape along a horizontal axis. All of this mimics the actions of viewers at the Leicester Square panorama more than two centuries ago.

Robert Mitchell’s Section of the Rotunda, Leicester Square, published in 1801, indicates the ingenious architecture of the panorama. Customers would enter a relatively inauspicious entrance, pay a small fee, move along a dark corridor, climb a flight of stairs—and emerge into another world, a virtual reality. On the viewing platform, early panorama visitors were habitually overwhelmed by the wonder of what they beheld. “The public poured in by the hundreds and thousands, for even a transient gaze,” one recalled, “for such a sight was altogether as marvellous as it was novel.”

The panorama offered the visitor on the viewing platform an insistent, phantasmagorical juxtaposition of “here” and “there”—home and abroad; familiar and exotic; imperial centre and colonial periphery; metropole and province; civilization and (as the nineteenth-century London viewer probably believed) its negation. Artists travelled in every direction in order to capture novel scenery for representation in the new medium.

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Opposite: James Wales, View of Malabar Hill from Bombay Views, 1800. (Yale Center for British Art)

Panoramas in Leicester Square represented scenes of European conflict, including military and naval battles; they brought to the London public for the first time vivid, compelling representations of the new colonies in Australia and Van Diemen’s Land, Canada, South Africa, and India. Soon panoramas were erected all over the world, in New York, Calcutta, and Cape Town, the scenes changing regularly to satisfy consumers’ demand for novelty. Soon artists all over the world, from J.M.W. Turner to Caspar David Friedrich, began adopting the conventions of the medium, and the panoramic view became a paradigm of imperial vision.

Description of the field of battle, and disposition of the troops engaged in the action, fought on the 18th of June, 1815, near Waterloo: illustrative of the representation of that great event, in the Panorama, Leicester-Square, [London]: J. Adlard, printer, 1816, Cambridge University Library, Pam.6.81.23(1), folding plate opposite title page

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These early panoramas and panoramic views introduce the larger subject of this year’s Paul Mellon lectures—the relationship between landscape and empire in the decades either side of 1800. The second lecture follows British artists to Italy on the Grand Tour and, much further south, aboard missions of exploration to Australasia. In the third lecture, wartime restrictions on travel in the 1790s force metropolitan tourists and artists to travel north from London, to the picturesque and industrial regions of the British Isles.

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Detail from JMW Turner, Leeds, 1816. (Yale Center for British Art, Paul Mellon Collection)

Finally, British artists follow the trade routes of empire east, to India, and west, to the Caribbean and the Americas. Conventions of landscape representation—the panoramic, the picturesque, the sublime—were adapted to serve the purposes of empire. At crucial moments, however, landscape artists encountered resistance, and the realities of colonial conflict or the complexities of the contact zone demanded radical new ways of looking and painting. Indigenous figures and those left aside by colonial narratives of progress demanded representation.

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this makes me to remember the wourds also and reasoning of her majestie, when first I came in her highnes presence to drawe [i.e. paint], whoe after showing me howe shee notied great difference of shadowing in the works, and diuersity of Drawers of sundry nations, … chosse her place to sit … in the open ally of a goodly garden, where no tree was neere, nor anye shadowe at all.

Nicholas Hilliard, The Arte of Limning (ca. 1598–1603)

Nicholas Hilliard’s First Encounter with Elizabeth I: Identifying the Moment Elizabeth Goldring, University of Warwick, shares a discovery made while researching her forthcoming book, Nicholas Hilliard: Life of an Artist.

When attempting to make sense of events that occurred more than 400 years ago, often there are significant gaps in the documentary record, so that basic questions such as “who”, “what”, “when”, “where”, “why”, and “how” cannot be answered. This applies with particular force when the subject is painting in Tudor England, for surviving references to art and artists tend to be patchy and imprecise. Nicholas Hilliard’s recollection, in his Arte of Limning, of the first time he portrayed Elizabeth I from the life offers a case in point—as well as an illustration of the ways in which archival detective work, coupled with a bit of luck, can make it possible to draw connections previously unseen.

Hilliard’s account of “when first I came in her highnes presence to drawe” constitutes the only known firsthand description of the Virgin Queen sitting for her portrait and discussing her requirements: namely, her desire to avoid “shadowing”, to which end she “chosse her place to sit … in the open ally of a goodly garden, where no tree was neere”.

Frustratingly, however, Hilliard’s narrative raises almost as many questions as it answers. When and where did this outdoor encounter, which was to prove formative for both artist and sitter, occur? And how and why did this most prestigious of commissions come about? In the main, Hilliard’s biographers have skated over such questions—though, in the absence of any evidence to the contrary, it has often been assumed that the sitting described in The Arte of Limning must have occurred in 1572, the date of Hilliard’s earliest surviving miniature of Elizabeth.

Opposite: Nicholas Hilliard, Elizabeth I, 1572. Watercolour on vellum, 51 x 48 mm.

(National Portrait Gallery, London)

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In the course of researching my new biography, Nicholas Hilliard: Life of an Artist, I gradually came to realise that much of what we thought we knew—and, indeed, could know—about this most celebrated of Elizabethan portraitists is ripe for re-evaluation. In the case of the occasion when Hilliard first “came in her highnes presence to drawe”, clues from disparate documents—including acts of the Privy Council, accounts of the wardens of the Goldsmiths’ Company, and correspondence of the French ambassador to England—enabled me not only to identify the political and cultural contexts out of which Hilliard’s first miniature of Elizabeth arose but also to pinpoint the probable date and location of the sitting. Assembling the pieces of this particular puzzle was a slow, accretive, and forensic process— though no less thrilling for that. The full story may be followed in my book. But the bare bones are as follows.

Having become a freeman of the Goldsmiths’ Company in the previous year, by 1570, Hilliard counted Elizabeth’s powerful favourite, Robert Dudley, Earl of Leicester, as his patron. It was a connection facilitated, in all probability, by the goldsmith Robert Brandon, Hilliard’s former master (and future father-in-law), who supplied plate to Leicester and also acted as the earl’s banker and moneylender. In spring 1571, Leicester, who regularly exchanged art with Catherine de Medici, sent the French Queen Mother a painting of himself “en petit volume”, a miniature which must have been by Hilliard, whom Leicester had just begun to patronize. Catherine, who long had bemoaned the poor quality of English

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painting and portraiture, expressed uncharacteristic delight on receipt of this new image. She reciprocated by sending Leicester two drawings by François Clouet of her son, the future Henri III, whom she was at the time scheming to marry off to Elizabeth. Catherine also requested, in a letter dated 3 July 1571, that Leicester procure for her a new portrait of Elizabeth straight away (“bientost”), just like the one “en petit volume” she recently had received of him—presumably, so that she might show it to Henri.

Events moved swiftly. The French ambassador seems to have delivered Catherine’s letter to Leicester shortly before 10 July 1571. Not long after, on 22 July 1571, the requested miniature of Elizabeth was dispatched to France.

The Elizabethan court often spent the period from May to September on farflung progresses through the English countryside. But Elizabeth (and Leicester)

Nicholas Hilliard, Robert Dudley, Earl of Leicester, c. 1571-74.

Watercolour on vellum, d. 44 mm. (V&A, London)

Nicholas Hilliard, Self-Portrait, 1577. Watercolour on vellum, d. 41 mm. (V&A, London)

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remained close to London throughout the summer of 1571, spending most of June and early July at Westminster, before decamping, on 8 or 9 July, to Hampton Court, where they remained until early August. It was a state of affairs which doubtless contributed to the speed with which it was possible for a new miniature to be executed for Catherine.

In all probability, this now-lost portrait “en petit volume” for the French Queen Mother, begun around 10 July 1571, and completed less than a fortnight later, was the first that Hilliard executed of Elizabeth— and, thus, the one that resulted from the sitting described in The Arte of Limning. If so, then the setting, “where no tree was neere, nor anye shadowe at all”, must have been “the open ally” of one of the many “goodly” gardens at Hampton Court—perhaps the sunny, southfacing privy garden which, during Elizabeth’s reign, was stocked with strawberries and roses and divided into squares, like a chessboard, by wooden posts painted with green and white chevrons topped with heraldic beasts. Leicester may well have been in attendance when his protégé “came in her highness presence to drawe”, perhaps joining in the conversation about the “diuersity of Drawers of sundry nations”.

Whatever the case, within about two years of being made free of the Goldsmiths’ Company, Hilliard seems to have been living the Albertian dream of the artist as a cultured gentleman.

Elizabeth Goldring’s new book is co-published by the Paul Mellon Centre and Yale University Press. It will be released on 12 February 2019 to mark the 400th anniversary of Hilliard’s death.

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François Clouet, Catherine de’ Medici, c. 1555.

Watercolour on vellum, 60 x 44 mm. (V&A, London)

François Clouet, The Future Henri III, c. 1571, head a later addition in another hand. Crayon on paper, 32 x 22 mm. (Cabinet des Estampes, BNF, Paris)

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Creative Collaborations: Dance and Film in British Art Studies This interview explores a new creative partnership between the Centre’s open access journal, an art historian, and a contemporary dance company.

The Winter 2019 special issue of British Art Studies (BAS) will present content inspired by the pacifist satire, The Ballet of the Nations, which was written by Vernon Lee in 1915 and illustrated by Maxwell Armfield as a response to the outbreak of war. Coordinated by the art historian Grace Brockington, the issue will feature an online exhibition of her research on avant-garde theatre groups in London during the First World War. The special issue will also host an exciting new film produced by Impermanence, a contemporary dance company, which re-imagines The Ballet of the Nations as a script for performance today. Directed by Roseanna Anderson and Joshua Ben-Tovim, with production design by Pam Tait and an original soundtrack by Robert Bentall, Impermanence’s film incorporates original dialogue inspired by Lee’s text, among intricate and stylised dance pieces.

In this interview, conducted by BAS editors Baillie Card and Sarah Victoria Turner, the directors reflect on their creative process. A longer version will be published in the journal’s special issue.

January January 2019 2016 — — No. No. 11 5

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BAS: This was your first major film production. How did choreographing for film differ from choreographing for a live performance?

Roseanna: Film gives you the opportunity to direct the gaze of the audience through a sort of choreography for the camera. This expanded the creative considerations and felt incredibly exciting.

BAS: Were there models, or sources of inspiration, in terms of dancing on camera, which helped you think through this project?

Roseanna: I love how dance is captured in Busby Berkeley films, and we incorporated

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ideas and techniques from some of those old Hollywood classics. We’d referenced his work previously in stage productions, and it was great to explore them more in their native medium.

Josh: Daniel Hay Gordon and Eleanor Perry are artists we’ve worked closely with in the past, and who over the years, have always made beautiful short experimental dance films. These definitely fed into the way we thought about colour, pace, framing, narrative, and abstraction in our film.

BAS: When did Grace bring you the book itself, The Ballet of the Nations? Can you remember whether its aesthetics made an impression on you?

Film still, The Ballet of the Nations, 2018.

Josh: Really early on, she showed us a first edition—her enthusiasm around it and the sense of it as a solid artefact was immediate. The language is quite dense, but the completeness of the allegory, which describes the tragic nature of conflict and how the grapples of the collective unconscious can lead to war, was so impressive.

Roseanna: We had been reflecting on Impermanence’s collaborative working methods, and how it’s important to have a specific thing in the middle of a process—so that everyone can respond to something, rather than the central “idea” existing in someone’s head. And all of a sudden, Grace appeared and brought with

Film still, The Ballet of the Nations, 2018.

her this incredible timeless object!

BAS: The film ends with a list of all the wars that have taken place since the First World War. When did that idea come about?

Roseanna: I was thinking about the final sequence during the last weeks of editing.

How could we show that this story was from the First World War, acknowledge our own time, whilst gesturing to everything in between? I kept thinking about the last line in the book “And thus the ballet of the nations is still a dancing.” The shockingly long list of wars affirms Lee’s prophetic vision and the foreboding nature of the text.

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BAS: Is any specific imagery in the film drawn from Grace’s research into the visual culture of the First World War? Josh: Margaret Morris photographs inspired poses and frieze-like movements, whilst Edward Gordon Craig stage designs influenced the lighting and scenery. A big part of our role, with Pam Tait, was to scan volumes of source imagery and then ask, how do we translate this material into something on bodies, in film, in a space, as part of the storyline?

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BAS: This was your first experience directing a large-scale film. How did you communicate your vision to the dancers and crew?

Josh: In film, you can do anything anywhere, but there are lots of logistical constraints. The process of film-making feels like finding a way to marry these two opposing forces. Through working with some amazingly talented people, we were able to develop a shared vision and plan our time on set very clearly. It’s been an amazing process.

Film still, The Ballet of the Nations, 2018.

Film still, The Ballet of the Nations, 2018.

January 2019 — No. 11

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Detail from JMW Turner, The Dormitory and Transept of Fountains Abbey, Evening, exhibited 1798. (York Art Gallery) 22

Detail of George II’s silver chandelier, designed by William Kent and made by the German silversmith Balthasar Friedrich Behrens for the royal palaces in Hanover in 1736-7.

Ruskin, Turner & the Storm Cloud Dr Suzanne Fagence Cooper, Research Curator at York Art Gallery, shares insights from the new exhibition that will mark Ruskin’s 200th birthday. PMC grants supported research for the exhibition and its accompanying publication.

May 2018 — No. 9 October January 2018 2019 — — No. No. 10 11

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Detail from JMW Turner, The Passage of Mount St. Gothard, taken from the centre of the Teufels Broch, Switzerland, exhibited 1804. (Lakeland Arts)

Detail from Hurbert Herkomer, John Ruskin, 1879. (National Portrait Gallery)

“The living inhabitation of the world—the grazing and nesting in it,—the spiritual power of the air, the rocks, the waters, to be in the midst of it, and rejoice and wonder at it … this was the essential love of Nature in me, this the root of all that I have usefully become.”

John Ruskin’s desire to share his love of the natural world shines through his writings. This passage, from his autobiography Praeterita, describes the revelatory experience of the time he spent as a young man in the Alps. It conveys his wish to help others see landscapes, clouds, and creatures more clearly, while insisting that he himself should not become the object of focus. As a critic, an artist, and a cultural commentator, Ruskin suggests new ways of looking. He heightens our appreciation of works of art by painters like J.M.W. Turner, as well as the world outside our windows.

To commemorate the 200th anniversary of Ruskin’s birth, York Art Gallery and Abbot Hall, Kendal have worked in partnership to create a major exhibition of watercolours and drawings, Ruskin, Turner & the Storm Cloud. The displays focus on the complex critical relationship between Ruskin and his contemporaries, as they each recorded their journeys into the mountains, or observed changing weather patterns. In particular, they highlight Ruskin’s opinion, which was articulated in his multi-volume study Modern Painters, that Turner’s landscapes were a truthful response to “Mountain Beauty” and “Cloud Beauty”.

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The exhibition shows that Ruskin’s engagement with art and nature became disturbed from the mid-1870s by his awareness of darkening skies. He felt “persecuted by the storms and clouds”. The overcast heavens seemed to coincide with his own feelings of grief and mental fragility. In February 1878, he wrote in his diary about his “dreamy scatterment and bewilderment”, the “Perpetual fog, and depression of total me—body and soul—not in any great sadness, but in a mean, small— withered way.” By the mid-1880s, he was convinced that bad stewardship of the earth’s resources and industrial pollution were causing “The StormCloud of the Nineteenth Century”. In lectures under that title, delivered in 1884, he pointed to “Blanched Sun,—blighted grass,—blinded man”. The clouds seemed to him to be “made of poisonous smoke; very possibly it may be: there are at least two hundred furnace chimneys in a square of two miles on every side of me. But mere smoke would not blow to and fro in that wild way. It looks more to me as if it were made of dead men’s souls.”

Through displays of works on paper, diaries, and letters, the curators at York have teased out the twin themes that emerge most urgently from Ruskin’s “Storm Cloud” writings: his awareness of climate change caused by industrialisation, and his own internal turbulence. We have also brought these themes into the twenty-first century, by commissioning new work from Emma Stibbon, RA. She has engaged with Ruskin’s insistence that artists must continue to watch carefully, and communicate what they see in the landscape. Stibbon has followed in the footsteps of Turner and Ruskin, returning to the Mer de Glace at the base of Mont Blanc. Her large-scale drawings, photographs, and cyanotypes eloquently illustrate how far the great glacier has retreated since Ruskin’s day.

Stibbon’s works echo Ruskin’s own prescient fears. In a letter to an old friend, he wrote of the “calamity of the ruin of the things we loved.

Our Geneva—our Como—our Verona—twice dead—and plucked up by the roots.” The exhibition and its accompanying collection of essays will reposition Ruskin at the heart of today’s debates about environmental damage, mental well-being, and the true value of art.

Ruskin, Turner & the Storm Cloud: Watercolours and Drawings will be on view at York Art Gallery from 29 March to 23 June 2019, and on display at Lakeland Arts from 11 July to 5 October 2019.

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Detail from John Ruskin, The View from my Window, Mornex, 1862.

(Lakeland Arts)

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New Book Spring 2019

Nicholas Hilliard Life of an Artist Elizabeth Goldring This illustrated biography follows Nicholas Hilliard’s long and remarkable life (c.1547–1619) from the West Country to the heart of the Elizabethan and Jacobean courts. It showcases new archival research and stunning images, many reproduced in colour for the first time. Hilliard’s portraits – some no larger than a watch-face – have decisively shaped perceptions of the appearances and personalities of many of the key participants in one of the most exciting, if volatile, periods in British history. Hilliard’s sitters included Elizabeth I, James I and Mary, Queen of Scots; explorers Sir Francis Drake and Sir Walter Ralegh; as well as members of the middle class from which he himself hailed. The first native-born British artist to have acquired a reputation for excellence both at home and abroad, Hilliard counted the Medici, the Valois, the Habsburgs and the Bourbons among his continental European patrons and admirers. Published to mark the 400th anniversary of Hilliard’s death, this is the definitive biography of one of Britain’s most notable artists.

Publication date: February 2019 Dimensions: 280 x 195 mm Pages: 352 Illustrations: 250

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Photography and its Histories Public Lecture Course 21 February to 21 March 2019, every Thursday evening How has photography shaped the aesthetic sensibilities and ethical sensitivities of the modern world?

Through a series of discrete but related talks by experts in the field, this programme considers how the camera has informed our understanding of art, politics, nature and the self.

Registration opens 21 January 2019 at 10am.

Detail from J Moffat, carte-de-visite of W H Fox Talbot, Edinburgh, c. 1864.

January2018 2019——No. No.10 11 October

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Events

Spring Calendar All events are at the Paul Mellon Centre unless otherwise indicated.

January 2019

25 January, 13.00-14.00

February 2019

Research Lunch 7 January, 18.30-20.30

The Duchess of Portland’s

Every Thursday from 21 February to

The Paul Mellon Lectures

Museum-Salon: Bluestocking

21 March, 18.30-20.30

The Global Panorama

Collecting, Craft, and

Public Lecture Course

Tim Barringer

Conversation, c. 1770-1786

Photography and its Histories

National Gallery

Madeline Pelling

11 January, 13.00-14.00

28th January, 18.30–19.45

The Paul Mellon Lectures

Research Lunch

The Paul Mellon Lectures

West: The Black Atlantic and the

The Earl, his Heir, and their

East: Orientalism and the British

American Sublime

Psalter: the Ormesby Psalter

in India

Tim Barringer

and East Anglian medieval

Tim Barringer

National Gallery

painting

National Gallery

4 February, 18.30-19.45

Frederica Law Turner

8 February, 13.00-14.00 29 January, 13.00-14.00

Research Lunch

14 January, 18.30-19.45

Fellows Lunch

Sublime Symmetry - The

The Paul Mellon Lectures

A Postcard Tour of Rome

Mathematics behind William De

South: Grand Tours and the

Renee Tobe

Morgan’s Designs

Origins of the Picturesque

Sarah Hardy

Tim Barringer

31 January, 10.00-17.00

National Gallery

Conference

12 February, 13.00-14.00

Repton Revived: The Landscape

Fellows Lunch

21 January, 18.30-19.45

Gardener’s Legacy

‘A Devious Route’: Building

The Paul Mellon Lectures

The Garden Museum, London

Products and the Emergence of

North: The Industrial Revolution

the Architect-Shopper in 1930s

and the British Isles

Britain

Tim Barringer

Katie Lloyd Thomas

National Gallery

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Detail from William Hodges, A View of Matavai Bay in the Island of Otaheite [Tahiti], 1776.

(Yale Center for British Art, Paul Mellon Collection)

22 February, 13.00-14.00 Research Lunch The Magic Hand of Chance: Reframing Modern Textiles in the Interwar Shop Lotte Crawford 26 February, 13.00-14.00 Fellows Lunch Researching Black Queer Artistic Life Histories: Berto Pasuka in Jamaica, Britain, and France Gemma Romain 27 February, 18.00-20.00 Fellows Lecture British Dealers, Museums, and Collecting in Gilded Age America Alison Clarke

March 2019 6 to 7 March Conference The LYC Museum & Art Gallery and the Museum as Practice Manchester Art Gallery and University of Manchester 8 March, 13.00-14.00 Research Lunch In Search of the Landscape Artists’ Studio: A Database and Map of London 1780-1850 Rhian Addison 28 to 29 March Conference Hilliard, Oliver, and the Miniature in Context National Portrait Gallery

Detail from Humphrey Repton, Sarsden House and Gardens, Oxfordshire: Bird’s-eye View, circa 1795. (Yale Center for British Art, Paul Mellon Collection)

January 2019 — No. 11

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Showing, Telling, Seeing: Exhibiting South Asia in Britain, 1900–Now

Paul Oppé Library and Archive The Paul Mellon Centre is delighted to announce that it has been permanently allocated the Paul Oppé Library and Archive under the Acceptance in Lieu Scheme. This is a landmark in the Centre’s history.

The library of Adolph Paul Oppé (1878–1957), art historian and art collector, includes auction sale catalogues, printed books, and annotated and manuscript versions of his own books. The archive includes Oppé’s extensive series of diaries, notebooks, correspondence, travel notes and journals, as well as Oppé family papers.

Under the terms of the allocation, the material will not be available for consultation until it has been fully catalogued. The Paul Mellon Centre is keen to achieve this as soon as possible and over the next few months will be recruiting for two project posts: an archive cataloguer and a library cataloguer. For more information about the Oppé Archive and Library please visit our website.

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YCBA Exhibitions and Events 1080 Chapel Street, New Haven, Connecticut 06520 USA Exhibitions 18 December 2018 – 24 March 2019 Before the Deluge: Apocalyptic Floodscapes from John Martin to John Goto, 1789 to Now 17 January – 23 May 2019 Instruction and Delight: Children’s Games from the Ellen and Arthur Liman Collection 24 January – 21 April 2019 Victorian Idyll 14 February – 20 May 2019

6 February, 17.30

6 March, 17.30

William Hunter and the Anatomy

Andrew Carnduff Ritchie Lecture

Lecture

of the Modern Museum

E pluribus lecti. Out of many,

Of Punch Bowls, Gold Regalia,

some…

Divine Kingship, and Slaves:

Kim Sajet, Director, National

Asante, England, and America,

Portrait Gallery, Washington, DC

1390–1980

Lectures and Talks 19 January, 15.00

Suzanne Blier, Allen Whitehill

Theatrical Performance

20 February, 17.30

Clowes Professor of Fine Arts and

Under Milk Wood, by Dylan

Exhibition Opening Conversation

of African and African American

Thomas

William Hunter and the Anatomy

Studies, Harvard University

Guy Masterson, Olivier Awardwinning British director and actor

of the Modern Museum This event will be streamed live.

4 April, 17.30

23 January, 17.30

1 March, 10.00 – 17.00

Was There an American

Exhibition Opening Lecture

Colloquium

Enlightenment?

Social Realism, Class Politics, and

Making the Modern Museum:

Caroline Winterer, Anthony P.

Pastoral in Later Victorian Art

Issues of Collecting and Display

Meier Family Professor in the

Lewis Walpole Library Lecture

Alex Potts, Max Loehr Collegiate

Humanities and Director of the

Professor, University of Michigan

Stanford Humanities Center;

This event will be streamed live.

Professor of History and, by courtesy, of Classics, Stanford University

To stay connected and learn more about the Center’s programmes, visit britishart.yale.edu.

Detail from Allan Ramsay, William Hunter, ca. 1764-65, oil on canvas.

(The Hunterian, University of Glasgow) January 2016 — No. 5

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