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The Experimental Group
"Matthew Jesse Jackson's writing and quality of mind put him in the forefront of the next wave in modern art studies." Thomas E. Crow, Institute of Fine Arts --
East Asian Aesthetics and the Space of Painting in Eighteenth-Century Europe
An insightful look at how East Asian notions of space transformed Western painting. This volume offers the first critical account of how European imports of East Asian textiles, porcelain, and lacquers, along with newly published descriptions of the Chinese garden, inspired a revolution in the role of painting in early modern Europe. With particular focus on French interiors, Isabelle Tillerot reveals how a European enthusiasm for East Asian culture and a demand for novelty transformed the dynamic between painting and decor. Models of space, landscape, and horizon, as shown in Chinese and Japanese objects and their ornamentation, disrupted prevailing design concepts in Europe. With paintings no longer functioning as pictorial windows, they began to be viewed as discrete images displayed on a wall—and with that, their status changed from decorative device to autonomous work of art. This study presents a detailed history of this transformation, revealing how an aesthetic free from the constraints of symmetry and geometrized order upended paradigms of display, enabling European painting to come into its own.
East Asian Aesthetics and the Space of Painting in Eighteenth-Century Europe
An insightful look at how East Asian notions of space transformed Western painting. This volume offers the first critical account of how European imports of East Asian textiles, porcelain, and lacquers, along with newly published descriptions of the Chinese garden, inspired a revolution in the role of painting in early modern Europe. With particular focus on French interiors, Isabelle Tillerot reveals how a European enthusiasm for East Asian culture and a demand for novelty transformed the dynamic between painting and decor. Models of space, landscape, and horizon, as shown in Chinese and Japanese objects and their ornamentation, disrupted prevailing design concepts in Europe. With paintings no longer functioning as pictorial windows, they began to be viewed as discrete images displayed on a wall--and with that, their status changed from decorative device to autonomous work of art. This study presents a detailed history of this transformation, revealing how an aesthetic free from the constraints of symmetry and geometrized order upended paradigms of display, enabling European painting to come into its own.
The Mobile Image from Watteau to Boucher
Reframing long-held assumptions about what distinguishes fine from decorative art, this innovative study explores a mode of making, seeing, and thinking that slices across eighteenth-century visual culture. This book provides a new way of thinking about eighteenth-century French art and visual culture by prioritizing production over reception. Abandoning the ideologically driven discourse that distinguished fine from decorative art between the 1690s and 1770s, The Mobile Image reveals how the two have been inextricably bound from the earliest stages of artistic instruction through the daily life of painters’ workshops. In this study, author David Pullins defines artisanal and artistic mean...
Acad?e Royale
From its establishment in 1648 until its disbanding in 1793 after the French Revolution, the Acad?e Royale de Peinture et de Sculpture was the centre of the Parisian art world. Taking the reader behind the scenes of this elite bastion of French art theory, education, and practice, this engaging study uncovers the fascinating histories - official and unofficial - of that artistic community. Through an innovative approach to portraits - their values, functions, and lives as objects - this book explores two faces of the Acad?e. Official portraits grant us insider access to institutional hierarchies, ideologies, rituals, customs, and everyday experiences in the Acad?e's Louvre apartments. Unoffi...
Lectures on Art
For the first time, a critical selection of the Académie Royale de Peinture et de Sculpture’s highly influential conférences is available in English. Between 1667 and 1792, the artists and amateurs of the Académie Royale de Peinture et de Sculpture in Paris lectured on the Académie’s conférences, foundational documents in the theory and practice of art. These texts and the principles they embody guided artistic practice and art theory in France and throughout Europe for two centuries. In the 1800s, the Académie’s influence waned, and few of the 388 Académie lectures were translated into English. Eminent scholars Christian Michel and Jacqueline Lichtenstein have selected and annotated forty-two of the most representative lectures, creating the first authoritative collection of the conférences for readers of English. Essential to understanding French art of the seventeenth and eighteenth centuries, these lectures reveal what leading French artists looked for in a painting or sculpture, the problems they sought to resolve in their works, and how they viewed their own and others’ artistic practice.
Art and Artifice in Visual Culture
This edited volume explores the notion of “artifice” in modern visual culture, ranging from the eighteenth century to the present, in countries around the globe. Artifice has been regarded as a primarily Western phenomenon, playing as it does a central role in European art theory since the Renaissance. This volume proposes that artifice is better understood as a transcultural artistic phenomenon and requires far broader conceptualization across international contexts. It acquaints readers with works of art, visual modes of communication, and concepts originating in France, Germany, the United States, Japan, and China, and includes painting, sculpture, drawings, prints, photographs, film, and virtual reality/augmented reality (VR/AR) objects. Contributors demonstrate how practices of artifice function as both symbol and form, in parallel and divergent ways, in multiple cultural settings. The book will be of interest to scholars working in art history, visual culture, and material culture.
Mariette and the Science of the Connoisseur in Eighteenth-Century Europe
Celebrated connoisseur, drawings collector, print dealer, book publisher and authority on the art of antiquity, Pierre-Jean Mariette (1694-1774) was a pivotal figure in the eighteenth-century European art world. Focusing on the trajectory of Mariette?s career, this book examines the material practices and social networks through which connoisseurs forged the idea of art as an object of empirical and historical analysis. Drawing on significant unpublished archival material as well as on histories of science, publishing, collecting and display, this book shows how Mariette and his colleagues? practices of classification and interpretation of the graphic arts gave rise to new conceptions of artistic authorship and to a history of art that transcended the biographies of individual artists. To follow Mariette?s career through the eighteenth century is to see that art was consolidated as a specialized category of intellectual inquiry-and that style emerged as its structuring analytic device-in the overlapping spaces of the collector?s cabinet, the connoisseur?s portfolio and the dealer?s shop.
Pastiche, Fashion, and Galanterie in Chardin’s Genre Subjects
Pastiche, Fashion and Galanterie in Chardin’s Genre Subjects seeks to understand how Chardin’s genre subjects were composed and constructed to communicate certain things to the elites of Paris in the 1730s and 1740s. The book argues against the conventional view of Chardin as the transparent imitator of bourgeois life and values so ingrained in art history since the nineteenth century. Instead, it makes the case that these pictures were crafted to demonstrate the artist’s wit (esprit) and taste, traits linked to conventions of seventeenth-century galanterie. Early eighteenth-century Moderns like Jean-Siméon Chardin (1699–1779) embraced an aesthetic grounded upon a notion of beauty t...
Getty Research Journal No. 3
The Getty Research Journal showcases the remarkable original research underway at the Getty. Articles explore the rich collections of the J. Paul Getty Museum and Research Institute, as well as the Research Institute's research projects and annual theme of its scholar program. Shorter texts highlight new acquisitions and discoveries in the collections, and focus on the diverse tools for scholarship being developed at the Research Institute. This issue features essays by Bridget Alsdorf, Mari-Tere Alvarez, Sussan Babaie, Jane Bassett, Eckhart Gillen, Ara H. Merjian, Avinoam Shalem, Astrit Schmidt-Burkhardt, Isabelle Tillerot, and Wim de Wit; the short texts examine a scripta of Bartolomeo Sanvito, a sixteenth-century Florentine list of buildings to be demolished, a print by Donato Rascicotti, the diaries of James Ward, a family photo album of Morocco, Julius Shulman's A to Z negatives, Robert Alexander and Instant Theatre, and Anselm Kiefer's Die berühmten Orden der Nacht.
