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The Paul Mellon Centre for Studies in British Art Yale University June 2011 Issue 32 Landscape and the ‘arts of prospect' in Early Modern Britain 18 November 2011 at the Paul Mellon CentreRecent years have seen a major re-evaluation of British artand culture of the early modern period. Much of this workhas focused on the representation of the national territory,in word and image, in plays and poems, illustrated surveysand travel accounts. Historians have addressed how thesecultural practices responded to dramatic and sometimesviolently contested change in the national landscapewrought by agricultural and commercial improvementas well as civil wars and religious strife, fire and plague.
Yet, accounts of the specifically pictorial treatment oflandscape in this period remain oddly divorced from theseconcerns, in large part because it is treated in isolation fromother ‘arts of prospect'. This conference will explore the origins of British landscape as a pictorial genre, addressing developments inthe two centuries that followed Henry VIII's dissolution ofthe monasteries. It aims to re-examine landscape imageryin drawings, paintings and prints of the period, byexploring its relationship with other ‘arts of prospect'employed to observe, record and moreover evaluate thecountry's transformations. Prospects assumed variousforms, visual and verbal, and included maps, plans andelevations, as well as views and verse, pageantry andtheatrical scenery, the collaborations of artists, architectsand surveyors, patrons, poets and place-makers. A prospectwas a far-reaching vision of the future as well as a surveyof the present, if also oftentimes reflecting on the pasts thathad shaped the national territory. Accordingly, a central Jan Siberechts (1627–1703), Wollaton Hall, c. 1697. theme of the conference will be to consider the relationship Yale Center for British Art, Paul Mellon Collection between landscape imagery and the making, unmaking andremaking of Britain as a nation state. Kevin Sharpe (Queen Mary, University of London); Papers will consider a range of imagery, rural and Andrew McRae (University of Exeter); Joseph Monteyne urban, and address themes of travel and mobility, loyalty (SUNY at Stony Brook); Christine Stevenson (Courtauld); and rebellion, health and disease, in order to re-assess the Paula Henderson (Independent); An Van Camp (British origins of British landscape representation and its Museum); and Julie Sanders (University of Nottingham).
histories. Speakers will explore continuities as well as Full conference fee, including coffee, lunch, tea: £40.
change in various related practices, including scenography Student and Senior concessions £20. To register for the and ichnography, chorography and cosmography. conference check availability with Ella Fleming at the Paul Organised by John Bonehill (University of Glasgow) Mellon Centre. Email: [email protected].
and Nick Grindle (Open University), speakers will include Tel: 020 7580 0311; Fax: 020 7636 6730 The Paul Mellon Centre Staff Director of Studies: Brian Al en Assistant Director for Academic Activities: Martin Postle
Assistant Director for Administration: Kasha Jenkinson Librarian: Emma Floyd Archivist and Photographic Archivist: Emma Lauze Archivist and Records Manager: Charlotte Brunskil IT/Website/Picture Research: Maisoon Rehani Administrative Assistant: El a Fleming Yale-in-London Coordinator: Viv Redhead Grants Administrator: Mary Peskett Smith Editor Research Projects: Guil and Sutherland Senior Research Fel ows, Special Projects: Hugh Belsey, Elizabeth Einberg, Alex Kidson, Eric Shanes, Paul Spencer-Longhurst
Advisory Council: Caroline Arscott, Paul Binski, Penelope Curtis, Philippa Glanvil e, Mark Hal ett, Nigel Llewel yn, 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 THE PAUL MELLON CENTRE Call for PapersJohan Zoffany and his International ContextsAnnouncing a conference co-hosted by the Paul Mellon Centre for Studies in British Art, the Yale Center for British Art and the Royal Academy of Arts.
To be held on 14 May 2012 at the Royal Academy of Arts and the Geological Society, London The Paul Mellon Centre for Studies in British Art, theYale Center for British Art, New Haven and the RoyalAcademy of Arts, London will be co-hosting a conferenceon Monday 14 May 2012 to accompany a major exhibitionon the eighteenth-century Anglo-German artist JohanZoffany (1733–1810). The exhibition, Johan Zoffany RA:Society Observed, is curated by Martin Postle (Paul MellonCentre) with Gillian Forrester (Yale Center for BritishArt) and MaryAnne Stevens (Royal Academy), and willbe on display at the Yale Center for British Art from 27 October 2011 to 12 February 2012, and at the RoyalAcademy of Arts from 10 March to 10 June 2012.
Born in Frankfurt in 1733, Johan Zoffany trained as an artist in Germany and Italy. In 1760 he moved toLondon, where he adapted brilliantly to the indigenousart culture and patterns of patronage, creating virtuosoportraits and subject pictures that proved to be highlydesirable to a wide range of patrons. Of all the majorartists working in eighteenth-century England, noneexplored more inventively the complexities of Georgiansociety and British imperial rule than Zoffany. Yet,despite achieving considerable success there, he remainedin many ways an outsider, looking dispassionately atBritish society. Resisting complete integration into hisadopted country, Zoffany travelled for extended periodsin Europe and spent six years in northern India. His bodyof work offers unique perspectives on key British andEuropean institutions, including the art academy, theroyal court, the theatre, and the families of thearistocracy and bourgeoisie. In India, Zoffanyconstructed new idioms for portraying the emergingcolonial society in both public and private spheres, as well Johan Zoffany (1733–1810) The Tribuna of the Uffizi (detail), c.1772–77.
providing a nuanced account of the complex network of Oil on canvas. Royal Collection power relations, race and culture at a critical moment inBritish imperial history. The conference aims to address Zoffany's art in the Please send an outline of no more than 500 words for a context of four locations that were central to his practice: 25-minute presentation, attaching a brief CV.
Germany, England, Italy and India. Proposals are sought Proposals should be sent to Martin Postle at that examine aspects of Zoffany's work, career and patrons, as well as the institutions and social circles with at [email protected] and MaryAnne Stevens at which he associated, in relation to these very different geographical and political environments. Deadline for submissions is 30 September 2011.
ONLINE CATALOGUE THE PAUL MELLON CENTRE PUBLICATIONS New online catalogue and website at the Yale Center for British Art J. M. W. Turner, Steamboat in a Storm, c. 1841, Watercolour, graphite andscratching out on medium, slightly textured, cream wove paper, Yale Center for British Art, Paul Mellon Collection The New Painting of the 1860s
Between the Pre-Raphaelites and the Aesthetic Movement
Allen Staley
The Yale Center for British Art has launched a new online This handsome volume is the first authoritative survey of catalogue as part of its redesigned and expanded website one of the most intriguing periods of British art – the – britishart.yale.edu – to provide visitors with the ability radically innovative decade of the 1860s. The book to search across the Center's entire collection of paintings, explores new developments in English painting of this sculpture, prints, drawings, rare books, manuscripts, and period, focusing on the early work of Edward Burne-Jones, works in the Reference Library. In addition, they will be Frederic Leighton, Albert Moore, Edward Poynter, able to download high-resolution images of objects in the Simeon Solomon and James McNeill Whistler, as well as public domain from the website, free of charge. At the time on paintings by Frederick Sandys and the older G. F. Watts, of launch, the Center's site includes basic ‘tombstone' and by Dante Gabriel Rossetti and his Pre-Raphaelite information for the complete paintings and sculpture colleagues Holman Hunt and John Everett Millais. Allen collection, the Center's rare books and reference library Staley argues that engagement in the decorative arts, holdings, as well as drawings and prints by key artists, particularly by Burne-Jones, Moore and Poynter at the including George Stubbs, Paul Sandby, Thomas outset of their careers, led to a transcending of traditional Rowlandson, William Blake, Thomas Girtin, J.M.W.
expectations of painting, making abstract formal qualities, Turner, John Constable, and Samuel Palmer. The online or beauty for beauty's sake, the main goal. Rather than collection will be updated regularly until the entire prints being about what it depicts, the painting itself becomes its and drawings collection is represented, and it will be own subject. The New Painting of the 1860s examines the augmented by records on new acquisitions. In addition to interplay among the artists and the shared ambitions the online catalogue, the new website features a underlying their works, giving impetus to what would user-friendly online calendar allowing visitors to view a soon come to be known as the Aesthetic Movement. comprehensive list of programs at the Center by day,week, or month, as well as filter results by categories.
Allen Staley is professor emeritus of art history, The website will continue to be amplified; and future Columbia University. developments will include an expanded conservationsection showing before-and-after treatments of artworks October 400 pp. 285x245mm.
and highlights in technical art history.
150 b/w + 200 colour illus.
HB ISBN 978-0-300-17567-7 £50.00 THE PAUL MELLON CENTRE Empire to Nation: Art, History and the Visualization of
Inigo Jones: The Architect of Kings
Maritime Britain, 1768–1829
Geoff Quilley
Empire to Nation offers a new consideration of the image of Inigo Jones (1573–1652) is widely acknowledged to have the sea in British visual culture during a critical period for been England's most important architect. As court both the rise of the visual arts in Britain and the expansion designer to the Stuart kings James I and Charles I, he is of the nation's imperial power. It argues that maritime credited with introducing the classical language of imagery was central to cultivating a sense of nationhood architecture to the country. He famously travelled to Italy in relation to rapidly expanding geographical knowledge and studied firsthand the buildings of the Italian masters, and burgeoning imperial ambition. At the same time, particularly admiring those by Andrea Palladio. Much less the growth of the maritime empire presented new well known is the profound influence of native British arts opportunities for artistic enterprise. Taking as its starting and crafts on Jones's architecture. Likewise, his hostility to point the year 1768, which marks the foundation of the the more opulent forms of Italian architecture he saw on Royal Academy and the launch of Captain Cook's first his travels has largely gone unnoted. This book examines circumnavigation, it asserts that this was not just an both of these overlooked issues. Vaughan Hart identifies interesting coincidence but symptomatic of the well-established links between the classical column and the relationship between art and empire. This relationship was crown prior to Jones, in early Stuart masques, processions, officially sanctioned in the establishment of the Naval heraldry, paintings and poems. He goes on to discuss Gallery at Greenwich Hospital and the installation there of Jones's preference for a ‘masculine and unaffected' J.M.W. Turner's great Battle of Trafalgar in 1829, the year architecture, demonstrating that this plain style was that closes this study. Between these two poles, the book consistent with the Puritan artistic sensitivities of Stuart traces a changing historical discourse that informed visual England. For the first time, the work of Inigo Jones is representation of maritime subjects.
understood in its national religious and political context. Geoff Quilley is senior lecturer in art history at the Vaughan Hart is professor of architecture in the University of Sussex. He was formerly curator of fine art Department of Architecture and Civil Engineering, Bath at the National Maritime Museum, Greenwich, London.
September 336 pp. 280x220mm.
August 304 pp. 256x192mm.
130 b/w + 100 colour illus.
100 b/w + 40 colour illus. HB ISBN 978-0-300-14149-8 £35.00 HB ISBN 978-0-300-17568-4 £40.00 THE PAUL MELLON CENTRE Canterbury Cathedral Priory in the Age of Becket
Richard Parkes Bonington: The Complete Drawings
This fascinating book recounts the extensive building By the time of Richard Parkes Bonington's tragic death programme that took place at Canterbury Cathedral Priory from tuberculosis in 1828, the 25-year-old artist, who was from 1153 to 1167, during the time when Thomas Becket born in England and moved to France as a teenager, was served as Royal Chancellor and then as Archbishop of already a seminal figure in the development of modernism Canterbury. Masterminded by Prior Wibert, the renewal in nineteenth-century French painting. This catalogue included the physical expansion of the cathedral's raisonné of his drawings serves as a companion to Patrick precinct, the construction of new buildings and the Noon's Richard Parkes Bonington: The Complete Paintings installation of a pioneering pressurized water system.
and represents the next stage in his objective to present the This ambitious undertaking utilised a Late Romanesque artist's complete known oeuvre. Drawing on more than 25 style, lavish materials and sculpture, and drew on the years of research, Noon catalogues, analyses and optimism and creative energy of the young Angevin rulers reproduces more than 400 drawings now indisputably of England, Henry II and his queen, Eleanor of Aquitaine.
attributed to Bonington. This is the first time many of Canterbury Cathedral Priory in the Age of Becket reassesses these exquisite works have appeared in print, among the surviving remains and relates them to important them drawings composed during an 1826 trip through changes in Benedictine monasticism concerned with Switzerland and northern Italy.
hospitality, hygiene, the administration of law, liturgy andthe care of the sick. It also restores to history a neglected Patrick Noon is Patrick and Aimee Butler Chair of major patron of unusual breadth and accomplishments.
Paintings, Minneapolis Institute of Arts. He was Peter Fergusson sheds fresh light on the social and cultural previously Curator of Prints, Drawings and Rare Books at history of the mid-twelfth century.
the Yale Center for British Art.
Peter Fergusson is emeritus professor of art history at October 400 pp. 285x245mm.
Wellesley College.
150 b/w + 200 colour illus.
HB ISBN 978-0-300-17045-0 £50.00 October 288 pp. 280x220mm.
100 b/w + 50 colour illus.
HB ISBN 978-0-300-17569-1 £50.00 THE PAUL MELLON CENTRE FELLOWSHIP AND GRANT AWARDS Fellowship and Grant Awards At the March 2011 meeting of the Centre's Advisory Council the following Fellowships and Grants were awarded:
SENIOR FELLOWSHIPS JUNIOR FELLOWSHIPS Malcolm Baker to prepare his book The Marble Index: Anna Arabindan-Kesson to conduct research in the Roubiliac and Sculptural Portraiture in Eighteenth-century United Kingdom for her doctoral thesis Threads of Empire: Art and the Cotton Trade in the Indian and Atlantic Louise Campbell to prepare her book Studio Lives: Artists, Ocean Worlds 1780–1900 Studios and Houses in Twentieth-century Britain Esther Chadwick to conduct research in the United Andrew Moore to prepare his book Kingdom for her doctoral thesis Thomas Coke's Grand The Radical Print Tour & Holkham: A Cultural Impact Assessment of an Early Eleanor Dew to conduct research in the United Kingdom European Tour 1712–18 for her doctoral thesis Between Britain and the USA: Sylvia Shorto to prepare her book Public Lives, Private Places: Lenygon & Morant (1904–1943), Transatlantic Dealers and British Houses in Late Mughal Delhi Lydia M. Soo to prepare her book Miranda Routh to conduct research in the United The Places and Spaces of Kingdom for her doctoral thesis Architectural Discourse in Restoration London The Idea of the Renaissance in British Architecture, 1750–1890 Julian Stallabrass to prepare his book The War of Images inthe Digital Age RESEARCH SUPPORT GRANTS Catherine Attkisson for research in the United Kingdomon Romantic Frames of Mind, or Vision's Role in Sympathetic Nicholas Temple for research in Rome on Sir William Knowledge in the Long Nineteenth Century Chambers' Grand Tour: Reconciling Orientalism and John Bonehill for research in the United Kingdom on Estate Portraiture and the Landscape Arts in Britain,c.1660–1760s POSTDOCTORAL FELLOWSHIPS Oliver Bradbury for research in the United Kingdom and Vanessa Alayrac-Fielding to prepare her book From United States on A Forgotten Legacy: From Benjamin Henry Chinamania to Englishness: China, Chinoiserie and the Latrobe to Philip Johnson, Sir John Soane's Influence on Fashioning of English Culture 1688–1800 John Munns to prepare his book The Cross of Christ and Mirjam Brusius for research in the United Kingdom on Anglo-Norman Religious Imagination Preserving the Forgotten: William Henry Fox Talbot,Photography and the Antique Kate Nichols to prepare her book Greece and Rome at theCrystal Palace. Classical Sculpture and Modern Britain, Christine Casey for research in the United Kingdom on Ornament and Architecture: Architects, Stuccatori, and theEighteenth-century Interior Samuel Shaw to prepare his book William Rothenstein:Identity, Influence and the British Art World c.1800–1920 Gul Cephanecigil for research in the United Kingdom onWilliam James Smith: A British Architect in the Chiara Teolato to prepare her book Seriality after the Nineteenth-century Architecture of Istanbul Antique: Decorative Roman Bronzes (1760–1800) Betsy Chunko for research in the United Kingdom on Matthew Walker to prepare his book Genus Architectus: Peasant Iconography on Late-Medieval English Misericords The Architect in England, 1650–1700 Susanne Cowan for research in the United Kingdom onEulogies to Fallen Monuments: British Architectural Criticismand the Mourning of Buildings Damaged in World War II THE PAUL MELLON CENTRE FELLOWSHIP AND GRANT AWARDS Fellowship and Grant Awards Veronika Decker for research in the United Kingdom on Emma Peacocke for research in the United Kingdom on The Art Patronage of William of Wykeham, Bishop of British Romanticism and the Emergence of the Public Winchester (1367–1404) Charles Ellis for research in the United Kingdom on The Caroline Pegum for research in Great Britain and Florentine Sojourn of George Nassau Clavering, 3rd Earl Ireland on Charles Jervas (c.1675–1739), Principal Painter Cowper (1738–1789) to Kings George I and II Julie Farguson for research in Denmark on Prince George Brooke Permenter for research in the United Kingdom of Denmark as Artistic Patron: The Influence of on Fifteenth-century Manuscripts and Incunabula of the Seventeenth-century Danish Art and Court Culture on ‘Fortress of Faith' (Fortalitium fidei) English Royal Portraiture, 1683–1708 Sonia de Puineuf for research in the United Kingdom on Gemma Field for research in the United Kingdom on Up Archigram: Graphic Translation of the Architectural and Close and Personal: A Critical Examination of Portraits of Urban Project Women at the Caroline Court by Sir Anthony van Dyck in James Rothwell for research in the United Kingdom on Collections and Institutions throughout England The Silver Collection at Ickworth House, Suffolk Romana Filzmoser for research in the United Kingdom Rebecca Shields for research in the United Kingdom on on Hurenbilder. Phänomenologie eines Motivs in der Grafik The Space Between: Politics and Urban Development in des 17. und 18. Jahrhunderts (Images of Whores. Seventeenth-century London Phenomenology of a motif in seventeenth- and eighteenth-century prints) Abbie Sprague for research in the United Kingdom onThe Craftsman's Club: Collaboration, Camaraderie, and the Anuradha Gobin for research in Europe on Public Birmingham Arts and Crafts Movement Punishment, Medicine and the City: Representations ofExecution, Dissection and Burial Spaces in the 17th Century Lindsay Stainton for research in the United States onGainsborough's Subject Pictures; and his Copies after the Old Giovanna Guidicini for research in the United Kingdom on Scotland Triumphant: Staging Triumphal Ceremonies inScotland 1503–1633 Lyrica Taylor for research in the United Kingdom onWinifred Knights and Interwar British Modernism, Matthew Hunter for research in the United Kingdom on Joshua Reynolds's Liquid Intelligence Amanda Lahikainen for research in the United Kingdomon Eighteenth-century British Skits: Satire, Representation EDUCATIONAL PROGRAMME GRANTS and the Politicization of Paper Currency The Holburne Museum grant towards a study day, 14 Arlene Leis for research in the United States on Sarah November 2011, Gainsborough's Landscapes: Themes and Sophia Banks: Femininity, Sociability and the Practice of Collecting in Late Georgian England University of Lincoln grant towards a two-day Kate Lowry for research in the United Kingdom on Oil symposium, 5–6 November 2011, Architecture as Paintings in UK Collections Attributed to Richard Wilson Cosmology: Lincoln Cathedral and Bishop Robert Grosseteste(1235–53) Liz McFarland for research in Ireland on Poor ContainersImproved: The Evolution of Irish Workhouse Design University of York grant towards a one-day symposium,15 June 2011, ‘What is to become of the Crystal Palace?': Susanna Pasquali for research in the United Kingdom on The Crystal Palace after the Great Exhibition British Commissions for Italian Architects: Opportunities forGiacomo Quarenghi, Mario Asprucci and Vincenzo Balestra

1080 Chapel Street New Haven, Connecticut summer & fall 2011 visiting scholars
Art in Focus:William II Steffen Egle, PhD candidate, University of Heidelberg, 8 April–31 July 2011 Annual Yale student guide exhibition Crystal Lake, Marion L. Brittain Postdoctoral Fellow, School of Literature, Communication, and Culture, Georgia 20 May–11 September 2011 Institute of Technology Explorations across the permanent collection, celebrating the Center's new online catalogue and redesigned website David Lawrence, Postdoctoral fellow and instructor, Social Sciences and Humanities Research Council of Canada, Adapting the Eye: An Archive of the British in India, 11 October–31 December 2011 Patricia Mainardi, Professor of 18th and 19th Century Art, Organized by the Center to complement Doctoral Program in Art History, the Graduate Center of Johan Zoffany RA: Society Observed the City University of New York Wednesday, 12 October 2011, 5:30 pm Matthew Reeve, Associate Professor of Art, Queen's Holly Shaffer, Graduate Research Assistant,Yale Center University, Ontario for British Art, and PhD candidate in the History of Art, Michael Rosenthal, Professor Emeritus, Department of History of Art, University of Warwick Johan Zoffany RA: Society Observed Arnika Schmidt, PhD candidate, History of Art Department, 27 October 2011–12 February 2012 University of Dresden Co-organized with the Royal Academy of Arts, London Phillipa Simpson, Assistant Curator,Tate Britain Johan Zoffany: A Question of National Identity Wednesday, 26 October 2011, 5:30 pm Geoff Snell, Arts and Humanities Council Collaborative Martin Postle, Assistant Director for Academic Activities, doctoral student, University of Sussex and the National Paul Mellon Centre Diane Wolfthal, Professor and Chair, Department of Art This summer sees the publication of Louis I. Kahn and History, Rice University the Yale Center for British Art: A Conservation Plan, written by Peter Inskip and Stephen Gee, and edited by Eriko Yamaguchi, Associate Professor of the Doctoral Constance Clement, Deputy Director at the Center, which Program in Modern Languages and Cultures, Graduate will be published by the Center in association with Yale School of Humanities and Social Sciences, University of University Press. Johan Zoffany RA: Society Observed will be accompanied by a major publication edited by Martin Postle and published by the Center in association with the Jonny Yarker, PhD candidate, Department of History of Art, Royal Academy of Arts, London, and Yale University Press.
Cambridge University We are also delighted to announce the publication this fall of The Anglo-Florentine Renaissance: Art for the Early Tudors, Olga Zoller, independent art historian edited by Cinzia Maria Sicca and Louis Waldman, with a foreword by Brian Allen and Joseph Connors.This will be For complete details of the Center's exhibitions the twenty-second volume in the series Studies in British and programs, please visit britishart.yale.edu, phone Art, which is published by the Center and the Paul Mellon 001 203 432 2800, or e-mail: [email protected].
Centre for Studies in British Art in association with Yale Art in Focus:William III exhibition,Yale Center for British Art, photo by Richard Caspole University Press.

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