Newsletter - Issue 30

The Paul Mellon Centre for Studies in British Art

N EWSLETTER Yale University

June 2010 Issue 30

Thomas Lawrence: Regency, Power and Brilliance A Conference at the National Portrait Gallery and The Paul Mellon Centre 18-19 November 2010 artists of the late eighteenth and early nineteenth centuries. By his untimely death in 1830 Lawrence had achieved the greatest international reach and reputation of any British artist. Based on new research and fresh perspectives, this exhibition will introduce Lawrence to a new generation of museum visitors and students. It will also contextualise his work in the light of recent scholarship on the art, politics and culture of the period.

The exhibition will include the artist’s greatest paintings and drawings alongside lesser known works in order to provide a fresh understanding of Lawrence and his career. It will contrast his approach to sitters according to age and gender, juxtapose the power and impact of his public works with the intimacy and intensity of those portraits of his friends and family, trace his innovations as a draughtsman and painter, and place him within the broader contexts of the aesthetic debates, networks of patronage and international politics of his day.

Conference Programme Thursday 18 November 2010 National Portrait Gallery (2.00 pm–8.30 pm) Sir Thomas Lawrence, Charles William Vane-Stewart, 3rd Marquess of Londonderry, 1812 (National Portrait Gallery, London)

This conference accompanies the exhibition Thomas Lawrence: Regency, Power and Brilliance at the National Portrait Gallery, London (20 October 2010–23 January 2011) which will be shown at the Yale Center for British Art, New Haven, 24 February–5 June 2011). This will be the first exhibition in the United Kingdom since 1979 to examine Lawrence’s work and the first substantial presentation of this artist in the United States. It will present Lawrence as the most important British portrait painter of his generation and will explore his development as one of the most celebrated and influential European

Session One will address issues relating to Lawrence, gender and representation, and will include papers by Marcia Pointon (Professor Emerita, University of Manchester), Shearer West (Arts and Humanities Research Council and the University of Birmingham) and Sarah Monks (School of World Art Studies and Museology, University of East Anglia).

Evening: At 6 pm, delegates are invited to attend a guest lecture by Richard Holmes, the biographer and author of The Age of Wonder: How the Romantic Generation Discovered the Beauty and Terror of Science (2008) and formerly Professor of Biographical Studies at the University of East Anglia. The lecture will be followed by a wine reception hosted by the curators, and free admission to the exhibition. (cont.overleaf)

The Paul Mellon Centre Staff Director of Studies: Brian Allen Assistant Director for Academic Activities: Martin Postle Assistant Director for Administration: Kasha Jenkinson Librarian: Emma Floyd Archivist: Emma Lauze IT/Website/Picture Research: Maisoon Rehani Administrative Assistant: Ella Fleming Yale-in-London Coordinator: Viv Redhead Grants Administrator: Mary Peskett Smith Editor Special Projects: Guilland Sutherland Special Projects: Hugh Belsey, Elizabeth Einberg, John Ingamells Advisory Council: Caroline Arscott, Paul Binski, Penelope Curtis, Philippa Glanville, Mark Hallett, Nigel Llewellyn, Andrew Moore, Sandy Nairne, Marcia Pointon, Elizabeth Prettejohn, Gavin Stamp, Christine Stevenson Company Registered in England 983028 Registered Charity 313838 16 Bedford Square, London WC1B 3JA

Tel: 020 7580 0311

Fax: 020 7636 6730

www.paul-mellon-centre.ac.uk

THE PAUL MELLON CENTRE

CONFERENCES

Salvator Rosa in Britain A Conference at The Dulwich Picture Gallery, 18 October 2010 This conference, organized by Dr Helen Langdon, accompanies the exhibition at Dulwich Picture Gallery, Salvator Rosa (1615-1673): Bandits, Wilderness and Magic (15 September–28 November 2010) which concentrates on the quality and variety of Rosa’s works – savage landscapes, fanciful portraits of romantic figures, intriguing philosopher-paintings, witches and dragons. The conference explores the impact of this many-sided art on British painting, literature and art theory.

PROGRAMME Registration 9.30 am Morning Session introduced and chaired by Claire Pace (Honorary Research Fellow, University of Glasgow); Wendy Wassyng Roworth (Professor of Art History, University of Rhode Island), ‘The Legacy of Genius: Salvator Rosa, Joshua Reynolds and Painting in Britain’; Elinor Shaffer (Senior Research Fellow, Institute of Germanic & Romance Studies, University of London), ‘The Lives of Artists: William Beckford and Salvator Rosa’.

Visit to the exhibition, Salvator Rosa (1615-1673).

Bandits, Wilderness and Magic, led by Helen Langdon and Xavier F. Salomon, Arturo and Holly Melosi Chief Curator at Dulwich Picture Gallery.

Afternoon Session I introduced and chaired by Susan Jenkins (Senior Curator, English Heritage); Cinzia Maria Sicca (Associate Professor of the History of European Art, University of Pisa), ‘“One of the most excellent Masters that Italy has produced in this century”: The circulation of Salvator Rosa’s works through the English community in Leghorn’; Alexis Ashot, Associate Specialist, Old Master and British Pictures, Christie’s, ‘“Unbounded capacity”: a 1778 vita of Salvator Rosa by the London connoisseur, Charles Rogers’.

Afternoon Session II introduced and chaired by Christoph Vogtherr (Curator of Pictures, pre-1800, The Wallace Collection); Jonathan Yarker (PhD candidate, University of Cambridge), ‘Joseph Goupy and the imitation of Rosa in early eighteenth-century England’; Helen Langdon (curator of the exhibition), ‘Belisarius in Norfolk’.

Salvator Rosa, Jason Charming the Dragon, 1665–70 (detail). The Montreal Museum of Fine Arts, Purchase, Miss Olive Hosmer Fund. Photo: The Montreal Museum of Fine Arts, Christine Guest

17.00 Panel and audience discussion chaired by Claire Pace, followed by wine reception.

Full conference fee, including coffee, lunch, tea, private view of the exhibition, and wine reception: £40. Student and Senior concessions £20. To register for the conference please check availability with Ella Fleming at The Paul Mellon Centre: Email: events@paul-mellon-centre.ac.uk Tel: 020 7580 0311 Fax: 020 7636 6730

Thomas Lawrence: Regency, Power and Brilliance Fri. 19 Nov. 2010 Paul Mellon Centre (9.15 am–7.15 pm) Session Two, devoted to Lawrence and his contemporaries, will include papers by Viccy Coltman (University of Edinburgh) and Martin Myrone (Tate).

Session Three will explore technical aspects of Lawrence’s career, particularly his studio practice and relationship with engravers, and will include papers by Jacob Simon (National Portrait Gallery) and Sally Doust (Independent Scholar).

Session Four will address Lawrence’s reputation and historiography into the later nineteenth century, and will include papers by Philippa Simpson (Tate) and Pat Hardy (Walker Art Gallery, National Museums Liverpool).

The conference will conclude with a roundtable discussion, including Mark Hallett (University of York), Ludmilla Jordanova (King’s College, London), David Solkin (Courtauld Institute of Art), and the curators of the exhibition, which will consider themes arising from this exhibition and conference. The discussion will be followed by a wine reception at 5.45 pm.

Full conference fee for both days, including coffee, lunch and tea on 19 November, and receptions: £40.

Student and Senior concessions £20. To register for the conference please check availability with Ella Fleming at The Paul Mellon Centre: Email: events@paul-mellon-centre.ac.uk Tel: 020 7580 0311 Fax: 020 7636 6730

THE PAUL MELLON CENTRE LECTURES

T HE PAUL M ELLON L ECTURES 2011 ‘The National Gallery and the English Renaissance of Art’

by Elizabeth Prettejohn Professor of History of Art at the University of Bristol Mondays 17 January–14 February 2011, 6.30–7.30 pm Sainsbury Wing Theatre, The National Gallery, London

On his famous lecture tour of 1882 Oscar Wilde told American audiences about a ‘great English Renaissance of Art’, which had begun with the Pre-Raphaelite Brotherhood and was flourishing in the work of their successors. ‘I call it our English Renaissance’, he explained, ‘because it is indeed a new birth of the spirit of man, like the great Italian Renaissance of the fifteenth century’.

Victorian artists have often been castigated for their dependence on prototypes and precedents from the Old Masters. This lecture series takes its cue instead from Wilde, who saw no inconsistency between the idea of a ‘new birth’ and the inspiration of the past. With the formation of the National Gallery in 1824, and the subsequent proliferation of exhibitions, reproductions, and scholarship on the Old Masters, the art of the past became visible and accessible as never before. Yet the history of art did not come ready-made to the Victorians. Such artists as van Eyck, Bellini, Botticelli, Piero della Francesca, and Velázquez came to the National Gallery with the force of novelty. They were interpreted by the great Victorian critics, curators, and scholars and perhaps more importantly, as these lectures will argue, by such artists as Rossetti, Burne-Jones, Whistler, Millais, and Leighton.

The lectures will explore how the art of the past and the art of the present came to illuminate one another in the Victorian period.

Lecture Programme 17 January: The Victorians and the Masters 24 January: Artist and Mirror: Pre-Raphaelites and Others 31 January: ‘Buried fire’: Finding the Early Renaissance 7 February: A Taste of Spain 14 February: Postscript: On Beauty and Aesthetic Painting

Sir William Orpen, The Mirror, 1900. Tate, London 2010

Tickets are £5, or £3 concessions.

Tickets will be available from 1 July 2010: online at www.nationalgallery.org.uk/whats-on; by post with cheques made payable to the National Gallery and sent to Advance Tickets Sales, The National Gallery, Trafalgar Square, London WC2N 5DN; in person from the Advance Tickets and Audio Guide desks, Level 2, Getty Entrance to the National Gallery; on the day, any remaining tickets will be on sale half an hour before the start of each event. Payment by cash or cheque only.

For information only, please telephone 020 7747 2888.

THE PAUL MELLON CENTRE

PUBLICATIONS

Walter Crane

The Edwardian Sense:

Above the Battlefield

The Arts and Crafts, Painting and Politics, 1875–1890

Art, Design, and Performance in Britain, 1901–1910

British Modernism and the Peace Movement, 1900–1918

Morna O’Neill

edited by Morna O’Neill & Michael Hatt

Grace Brockington

Walter Crane (1845–1915) was one of the most important, versatile and radical artists of the nineteenth century: a painter, decorator, designer, book illustrator, poet, author, teacher, art theorist and socialist. Crane’s astonishingly diverse body of work challenged the establishment, artistically and politically. In this original and carefully researched new study, Morna O’Neill presents a fascinating portrait of an artist who used his talent and energy to dismantle the traditional boundaries between fine art and decorative art, between elite and popular, between art and propaganda. Crane’s enduring influence is felt on many levels, and significant new research in this book uncovers the magnificent breadth of his artistic practice.

The finest book illustrator of the Victorian era, he revolutionised that field. A friend and associate of William Morris, his work embodied Arts and Crafts ideals. A lifelong political radical, he invented the iconography of English socialism. By reconsidering his politics and reintegrating it with his art, Crane emerges in this book as a unique figure, an artist who translated ‘art for art’s sake’ into ‘art for all’.

Although numerous studies have explored the Edwardian period, 1901-1910, as one of political and social change, this innovative book is the first to explore how art, design, and performance not only registered those changes but helped to precipitate them. While acknowledging familiar divisions between the highbrow world of aesthetic theory and the popular delights of the music hall, or between the neo-Baroque magnificence of central London and the slums of the East End, The Edwardian Sense also discusses the middlebrow culture that characterizes the anonymous edge of the city. Essays are divided into three sections under the broad headings of spectacle, setting, and place, which reflect the book’s focus on the visual, spatial, and geographic perspectives of the Edwardians themselves.

Essays by Tim Barringer, Gillian Beer, Christopher Breward, Martina Droth, Bronwen Edwards, David Gilbert, Tom Gunning, Imogen Hart, Michael Hatt, Anne Helmreich, Lynda Nead, Morna O’Neill, Barbara Penner and Charles Rice, Christopher Reed, Deborah Sugg Ryan, Andrew Stephenson, and Angus Trumble.

This book explores the role of artists and writers in the formation of a modern, secular peace movement in Britain, and the impact of ideas about ‘positive peace’ on their artistic practice. Previous studies have focused on the violence implicit in modernism, and on the disintegration of the avant-garde in Britain at the outbreak of war, but Grace Brockington argues that ‘pacifist modernism’ flourished before 1914, and that it survived during the war through a network of dissident cultural communities.

Two such groupings—Bloomsbury, and a previously unrecognised circle of artists, writers and performers based around the Margaret Morris Theatre in Chelsea—are the focus of this study. Brockington reveals the expectation of an international cultural Renaissance that motivated the Edwardian avant-garde, and that militated against conflict in 1914. She refutes the assumption that the Bloomsburies failed during the war, whether in their duty to their country or as a force for change. Rather, she argues that they demonstrated an active, principled and audaciously public commitment to pacifism. Her analysis of the Chelsea circle draws on a wealth of new material about experimental performance during the war, overturning the convention that avant-garde theatre was moribund after 1914.

Morna O’Neill is Mellon Assistant Professor of Nineteenth-Century European Art, Vanderbilt University, Nashville, Tennessee.

Studies in British Art vol. 20 (published with the Yale Center for British Art).

September 320 pp. 256x192mm.

100 b/w + 20 colour illus.

ISBN 978-0-300-16768-9 £35.00

June. 336 pp.

90 b/w + colour illus.

ISBN 978-0-300-16335-3 £45.00

Grace Brockington is Lecturer in History of Art, University of Bristol.

October 244 pp. 256x192mm. 100 b/w + 40 colour illus. ISBN 978-0-300-15195-4 £35.00

THE PAUL MELLON CENTRE

PUBLICATIONS

Decorating the ‘Godly’ Household

John Singer Sargent

The Charterhouse

Religious Art in Post-Reformation Britain

Figures and Landscapes, 1883–1899 The Complete Paintings Volume 5

Survey of London

Tara Hamling

Richard Ormond and Elaine Kilmurray

Philip Temple

The Reformation is generally regarded as a calamitous episode in the history of British art, with the rich artistic heritage of the medieval period eradicated and replaced by an austere Protestant culture of the word. This compelling new study presents a wealth of visual evidence to argue that religious subject matter was common in the arts of Protestant Britain. Tara Hamling examines decorative features from historic houses throughout England and Scotland and identifies a significant but overlooked trend in the history of British art. She reveals a widespread fashion for large-scale religious imagery in houses owned by the gentry and prosperous middle classes during the period 1560–1660.

The book is illustrated with narrative imagery in wall painting, plasterwork, carved wood and stone and objects including furniture, textiles and ceramics. The character of this ‘decorative’ art is explored in relation to the functions of rooms in the domestic interior with a focus on how religious imagery might inform and support spiritual activities taking place within the home. The visual evidence throughout the book is supported by extracts from contemporary texts. Far from being hostile towards images, many Protestant patrons continued to commission traditional religious art to decorate their houses, the imagery used to support Protestant habits of thought and behaviour.

The fifth volume of the John Singer Sargent catalogue raisonné encompasses a remarkably productive span in the beloved American painter’s life. The young artist moved from Paris to London during this period and successfully ignited his career as a portraitist, and this time also marked his experimentation with Impressionist techniques. These pages contain the first detailed account of Sargent’s relationship with Claude Monet, including letters – most published for the first time here – from the artist to the great Impressionist. This exquisitely illustrated volume also covers the period when Sargent journeyed to Egypt, Greece, Turkey, Spain, North Africa and Italy in search of inspiration for a mural cycle commissioned by the Boston Public Library. The works he painted as source material included here stand in stark contrast to the sensuous, painterly exercises of the early and mideighties, underlining his versatility and artistic reach. As in the previous volumes in this series, the images in this book are reproduced in full colour and documented in depth, with complete provenance, exhibition history and bibliography, and are accompanied by relevant studies and related drawings.

A fully illustrated, comprehensive record of London’s medieval Charterhouse, from its foundation in the fourteenth century to the present day, presented by the Survey of London team. Founded as a Carthusian priory in the fourteenth century, the Charterhouse is a magnificent complex of historic buildings in the City of London. Since the Dissolution of the Monasteries, it has functioned as a private mansion, a hospital, a school, and an almshouse, a role it still fulfills today. Located within the area covered by the Clerkenwell volumes of the Survey, it was too substantial a historic topic for inclusion in the regular volumes, and so is one of the occasional series of monographs that support the main series. The book includes original research, new photography and previously unpublished inventories.

Tara Hamling is a RCUK / Roberts Research Fellow in the Department of History, University of Birmingham, and a Fellow of the Shakespeare Institute.

October 256 pp. 256x192mm.

80 b/w + 40 colour illus.

ISBN 978-0-300-16282-0 £45.00

A great-nephew of John Singer Sargent, Richard Ormond is a Sargent scholar and an art historian. Elaine Kilmurray is research director of the Sargent catalogue raisonné.

October. 392 pp. 310x248mm.

127 b/w + 311 colour illus.

ISBN 978-0-300-16111-3 £50.00

Philip Temple is a member of the Survey of London staff within English Heritage in London.

October. 320 pp. 305x235mm.

100 b/w + 200 colour illus. & maps ISBN 978-0-300-16722-1 £80.00

THE PAUL MELLON CENTRE

FELLOWSHIP AND GRANT AWARDS

Fellowship and Grant Awards At the March 2010 meeting of the Centre’s Advisory Council the following Fellowships and Grants were awarded: SENIOR FELLOWSHIPS

POSTDOCTORAL FELLOWSHIPS

Tarnya Cooper to prepare her book Portrait Painting and the Urban Elites of Tudor and Jacobean England and Wales

Adriano Aymonino to prepare his book A Mirror of the Enlightenment: The Patronage, Collections and Cultural World of the 1st Duke and Duchess of Northumberland in Georgian Britain

Martin Hammer to prepare his book Francis Bacon: Images of Power Mark Laird to prepare his book The Environment of English Gardening, 1650-1800 Sam Smiles to prepare his book Turner’s Last Paintings: The Artist in Old Age and the Idea of Late Style David Solkin to prepare his book Art in Britain 1660-1837

Madhuri Desai to prepare her book Resurrecting Banaras: Urban Space, Architecture and Colonial Mediation (17811936) Kate Grandjouan to prepare her book Close Encounters: French Identities in English Graphic Satire c.1730-1799

ROME FELLOWSHIP

Helen McCormack to prepare a series of articles on A Collector of the Fine Arts in Eighteenth-Century Britain: Dr William Hunter (1718-1783)

David Rundle for research in Rome for his book The English Hand in Rome: Barbarous Britons and the Renaissance Arts of the Humanist Book, 1400-1520

Mellie Naydenova-Slade to prepare her book Images of the Holy Kinship: The Iconography of the Extended Family of Christ, c.1170 to c.1525

Publications (cont.)

Ford Madox Brown A Catalogue Raisonné

Mary Bennett Ford Madox Brown (1821-1893) is known predominantly for his close association, from 1848, with the Pre-Raphaelite Brotherhood and for his masterpiece, The Last of England (1852-5), with its poignant imagery of a young emigrant couple aboard ship taking their last sight of home – portraits of the artist himself and his wife. This fully illustrated catalogue provides the first complete coverage of all of Madox Brown’s work. Madox Brown’s early works were admired by the young Dante Gabriel Rossetti, through whom he came into contact with the artists of the Pre-Raphaelite Brotherhood. This association was to confirm his own interests and experiments in outdoor light effects and led to the glowing palette of his great paintings of the 1850s: Work, An English Autumn Afternoon and The Last of England. His interests also embraced decorative design and in the 1860s he was a founder member of the now famous decorating firm of Morris, Marshall, Faulkner & Co. All aspects of his documented work, extant or now lost-sight-of, are presented in this magnificent catalogue, which includes a section on Madox Brown’s frame designs (by Lynn Roberts). The artist’s diary and his largely unpublished correspondence with associates and patrons provide a fascinating insight into his ideas and plan of work. A tour de force of scholarship, this book will be of immense value to all scholars of nineteenth-century British art.

June. 2 volumes. 654 pp. 295x248mm.

522 b/w + 458 colour illus.

ISBN 978-0-300-16591-3 £125.00

THE PAUL MELLON CENTRE

FELLOWSHIP AND GRANT AWARDS

Fellowship and Grant Awards JUNIOR FELLOWSHIPS Irene Sunwoo to conduct research in the United Kingdom for her doctoral thesis ‘Alvin Boyarsky’s “WellLaid Table”: Experiments in Architectural Pedagogy’ EDUCATIONAL PROGRAMME GRANTS Centre for Research in the Arts, Social Sciences and Humanities (CRASSH) grant towards a two day workshop, 24-25 June 2010, William Henry Fox Talbot: Beyond Photography English Heritage grant towards a one day symposium, 1 December 2010, Robert Adam Furniture: Designs for Kenwood and Osterley University of Kent grant towards a one day conference, 5 November 2010, The Visual and the Verbal in the Eighteenth Century University of Leicester grant towards a two day conference, 7-8 April 2011, Balancing the A ‘ ccount’: The Study of English Medieval Sculpture a Century after Prior & Gardner RESEARCH SUPPORT GRANTS Alena Artamonova for research in the United Kingdom on ‘Sir Thomas Lawrence and the British portrait tradition’ Michelle Carriger for research in the United Kingdom on ‘Him, She, or It: Contested Performances of Victorian Femininity in Britain and Japan’ Gill Clarke for research in the United Kingdom on ‘Randolph Schwabe: Artist and Teacher’ Zirwat Chowdhury to conduct research in the United Kingdom on ‘Anglo-Indian Encounters: British Art and Architecture, 1780-1836’ Carly Collier for research in Italy and the United Kingdom on ‘The Re-evaluation of Medieval and Early Renaissance Italian Art in British Taste during the long Eighteenth Century: Creators, Collectors, Critics and “Gothic Atrocities” ’ Renate Dohmen for research in the United Kingdom on ‘Painting with Colour and Light: The Art of the Amateur Artist in British India: Madras, Bombay and the “Hindoo Patriot” ’ Sibylle Erle for research in the United Kingdom on ‘Seeing the Face Read: the Role of the Silhouette in Johann Caspar Lavater’s Physiognomy’ Polina Ermakova for research in the United Kingdom on ‘Laurence Sterne’s A Sentimental Journey through France and Italy. Poetics of the Novel and the Visual Culture of the Enlightenment’

Meredith Gamer for research in the United Kingdom on her ‘Criminal and martyr: Art and religion in Britain’s early modern eighteenth century’ Yvonne Gaspar for research in the United Kingdom on ‘Richard Bradley (1688?-1732): English Botany in Transition’ Ann Gunn for research in the United Kingdom on ‘The Prints of Paul Sandby (1731-1809): A Catalogue Raisonné’ David Hansen for research in United Kingdom on ‘Poor People: John Dempsey and his “remarkable character” portraits’ Clare Haynes for research in the United Kingdom on ‘Idol or Ornament? Art in the Church of England 16601830’ Alba Irollo for research in the United Kingdom on ‘ The lure of the antique from Pompeii to Victorian London: the diffusion of small casts in bronze and the beginnings of the “New Sculpture” ’ Katherine Isard for research in the United Kingdom on ‘Architectural Commonplaces; Books, Reading and Building Practice in the Early Modern Period’ Chloe Kroeter for research in the United Kingdom on ‘Silent Protest: Art, Activism, and Deaf Periodicals in Victorian Britain’ Kristin Mahoney for research in the United Kingdom on ‘The Politics of Post-Victorian Aestheticism: Caricatures

by Max Beerbohm and Beresford Egan’ Catriona Murray for research in the United Kingdom on ‘The Cult of the Deceased Prince Under the Stuart Monarchy’ Eleonora Pistis for research in the United Kingdom on ‘Architectural Culture in Early Eighteenth-Century Oxford’ Robert Proctor for research in the United Kingdom on ‘Roman Catholic Church Architecture in Britain, 19551975’ Kate Robertson for research in the United Kingdom on ‘The Expatriate Experience: Australian artists abroad 1890-1914’ Banmali Tandan for research in the United Kingdom on ‘British Architecture in Calcutta during the Georgian Age’ Carl Thompson for research in the United Kingdom on ‘Maria Graham’s Contribution to Art History, and her Participation in the “Callcott circle” of the 1830s’ Tatyana Tyutvinova for research in the United Kingdom on ‘British Drawings of the 18th to the early 20th century from the Pushkin State Fine Arts Museum Collection’

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