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Simiolus
The current issue of Simiolus is dedicated to the memory of long-time editor Ger Luijten (1956–2022) and contains contributions by his friends about the kind of art and art history he loved. Some highlight Luijten’s crucial role for artists both past and present, such as Huigen Leeflang and Marjolein Leesberg’s chronicle of the Hollstein series, and Gijsbert van der Wal’s testimony to his importance for contemporary Dutch graphic artists. Others pick up on Luijten’s pioneering work, such as Ilja Veldman’s essay on games in northern prints, and Gregor Weber’s publication of an unknown print series after Abraham Bloemaert. And finally, there are essays that discuss subjects that particularly interested Luijten, such as Peter Galassi’s reflections on Corot’s open-air sketches after returning from Italy, Ruben Suykerbuyk’s analysis of Jan Frans van Dael’s near-photographic depiction of his own house, Hans Luijten’s dive into the Van Gogh family correspond-
Grants of up to £2000 will be awarded from the Francis Haskell Memorial Fund this year to enable scholars to spend time in libraries or archives carrying out advanced research in the history of western art.
Preference may be given to candidates in the early stages of their careers; to subjects related to the commissioning, collecting or interpretation of works of art made before 1914; and to research carried out outside the applicant’s country of residence.
Applications from students exploring possible subjects for doctoral research are not appropriate. The scholarships are intended for discrete projects that can be realised with the funding requested.
Scholars from any country may apply.
Applications, including a two-page proposal, a C.V. and a budget, should be sent by email to francishaskellmemorialfund@gmail.com by 30 July 2024 – please label all attachments with the surname of the Applicant. There is no application form. Applicants should ask two referees to write separately to the same email address by the same deadline in support of their proposal. Awards will be made by the end of October 2024
Netherlands quarterly for the history of art
ence, and Jeroen Stumpel’s important new take on Mondrian’s art theory through a close reading one of his letters. This issue thus testifies to the impressive breadth of Luijten’s knowledge and interests.
Simiolus is published in English and pays for the cost of translating essays submitted in Dutch, German, French or Italian. To continue providing this service while maintaining our very modest subscription fee, we need your support. So please urge your library to subscribe or continue subscribing, and/or take out a subscription yourself!
Institutions pay €100 a year and individuals pay €60. Visit simiolus.nl for the conditions of subscription and information on how to advertise, where to send your copy and how to order back issues not yet available via JSTOR . We are also still accepting submissions for the Haboldt-Mutters Prize of 2024.
With impeccable French royal provenance, this historically important portrait of Henri IV of France, painted only months before he was assassinated, will be published for the first time in a second edition of our popular catalogue, “From Merchants to Monarchs: Frans Pourbus the Younger”, which will be available in July 2024.
Interested parties are recommended to contact us in the first instance.
Frans Pourbus the Younger (1569 - 1622) Oil on canvas: 23 1/8 x 17 1/8 in. (58.7 x 43.5 cm.)
Henri IV of France (1553 - 1610) Dated, upper right: ‘ANo 1610’
WHITNEY BIENNIAL 2024
Liveness (MultiScalar Motion #1), by Torkwase Dyson (b.1973). 2022. Glass, graphite, acrylic, wood and steel, approximately 400 by 1400 by 880 cm.
THE EIGHTY-FIRST EDITION of the Whitney Biennial features contemporary works of art by seventy-one artists and collectives, displayed across four floors and the outdoor spaces of the Whitney Museum of American Art, New York. Curated by Chrissie Iles, Curator at the Whitney, and Meg Onli, Associate Curator at the Institute of Contemporary Art, Philadelphia, this year’s Biennial, titled Even Better than The Real Thing, engages with the anxieties surrounding Artificial Intelligence and authenticity, and strives to foreground voices of those from marginalised communities.
TEMPO RUBATO (STOLEN TIME), by Nikita Gale (b.1983). 2023–24. Modified player piano, audio and LED lighting system, dimensions variable.
The Whitney Biennial is the longest-running survey of contemporary art in the United States and was initiated by the museum’s founder, Gertrude Vanderbilt Whitney, in 1932, as an invitational exhibition organised by medium, featuring works created in the preceding two years. The 2024 iteration has a particular emphasis on film and performance, in addition to a showcase of sculptural and sound-based installation works. Many of the exhibited artists explore political issues in American society such as reproduction rights, LGBTQ+ struggles, racism and legacies of colonialism.
Guest curators were invited to organise a rota of ten programmes that run alongside the main exhibition for the duration of the Biennial: Taja Cheek curated five performance programmes; and Korakrit Arunanondchai, asinnajaq, Greg de Cuir Jr and Zackary Drucker organised five film screenings.
For more information, visit: whitney.org/exhibitions/2024-biennial
Still from In Her Time (Iris’s Version), by Diane Severin Nguyen (b.1990). 2023–24. HD video, colour, sound, 62 min 37 sec.
Daughters: Reverance, by Rose B. Simpson (b.1983). 2024. Ceramic, twine, grout, steel, lava beads, osha root, pine, hide and leather, dimensions variable.
CELEBRATING 100 YEARS OF ILLUMINATING THE CREATIVE PROCESS
Join us in our year-long celebration of our Centennial with a remarkable line-up of exhibitions, events, and programs. To learn more, visit themorgan.org.
WHITNEY BIENNIAL 2024
Still from Too Bright to See (Part I), by Madeleine Hunt-Ehrlich (b.1987). 2022. 16mm film, colour, sound, 24 min.
Talking Shit with Amaru (Wari), by Eamon Ore-Giron (b.1973). 2023. Mineral paint and Flashe on canvas, 213.4 by 152.4 cm.
How Many Ways Can You Disappear, by Karyn Olivier (b.1968). 2021. Potwarp, lobster traps, buoys washed ashore on Matinicus Island, and rope reproduced in salt, height 4.5.m.
UNTIL 11TH AUGUST
Black Cross II, by Harmony Hammond (b.1944). 2020–21. Oil and mixed media on canvas, 229.6 by 183.5 by 7 cm.
Still from Mojo’q che b’ixan ri ixkanulab’/Antes de que los volcanes canten/Before the Volcanoes Sing, by Clarissa Tossin (b.1973). 2022. HD video, colour, sound, 64 mins 17 secs.
xhairymutantx Embedding Study 1, by Holly Herndon (b.1980) and Mat Dryhurst (b.1984). 2024. Thermal dye diffusion transfer print, 119 by 180 cm.
New titles from the Paul Mellon Centre
Esther Chadwick
The Radical Print Art and Politics in Late Eighteenth-Century Britain
The Radical Print argues for printmaking in Britain as the most exciting, innovative and critically engaged field of artistic production in the late eighteenth century. Moving the print from the margins to the centre of art history, this new critical study demonstrates how print responded to the acceleration of historical events, the polarisation of public discourse and the sense of a world turned upside down in ways that traditional artistic media could not.
In this book, Esther Chadwick assembles a rich array of material, from the period’s best-known prints to unpublished ephemera, revealing print’s dynamic role in one of the most turbulent periods of British history.
HB 9781913107437 | £45
The Radical Print
Julia CameronMargaret
Jeff Rosen
Julia Margaret Cameron
Julia CameronMargaret
The Colonial Shadows of Victorian Photography
Julia Margaret Cameron, the celebrated Victorian photographer, was a child of the colonies. Born in 1815 in Calcutta, she was the daughter of a governing official of the East India Company.
In 1857, Indians rebelled against British rule, and in London, Cameron became absorbed by news of the Uprising. In the aftermath of the revolt, national and imperial politics transfixed England. The impact of the Uprising, and the inspiration of the literary, artistic and political works produced by her circle, influenced her earliest imagery. Through close readings of these photographs this book exposes how Cameron embedded in her work a visual rhetoric of imperial power.
HB 9781913107420 | £45
Esther Chadwick
Pigments
Barbara H. Berrie, Caroline Fowler, Karin Leonhard, and Ittai Weinryb
Painting with Monet Harmon Siegel
Artemisia Gentileschi and the Business of Art Christopher R. Marshall
NEW & FORTHCOMING
Hippolyte Bayard and the Invention of Photography
Edited by Karen Hellman and Carolyn Peter
This volume, the first English-language book about Hippolyte Bayard, showcases some of the world’s earliest, rarest, and most fragile photographs.
Money in the Air
Art Dealers and the Making of a Transatlantic Market, 1880–1930
Edited by Gail Feigenbaum, Sandra van Ginhoven, and Edward Sterrett
This volume explores the crucial, yet often-overlooked, role of art dealers in creating a transatlantic art market in the late nineteenth and early twentieth centuries.
Picture Worlds
Storytelling on Greek, Moche, and Maya Pottery
Edited by David Saunders and Megan E. O’Neil
This abundantly illustrated volume is the first to explore the painted pottery of the ancient Greek, Moche, and Maya cultures side by side.
The Book of Marvels
A Medieval Guide to the Globe
Larisa Grollemond, Kelin Michael, Elizabeth Morrison, and Joshua O’Driscoll
This fascinating volume explores an important fifteenth-century illustrated manuscript tradition that provides a revealing glimpse of how western Europeans conceptualized the world.
Uta Barth Peripheral Vision
Edited by Arpad Kovacs, with contributions by Lucy Gallun and Jeremy Gilbert-Rolfe
This retrospective of contemporary artist Uta Barth’s decades-long career explores the ways in which she uses the camera to investigate sight, perception, light, and time.
New Building in Old Cities
Writings by Gustavo Giovannoni on Architectural and Urban Conservation
Gustavo Giovannoni
Edited by Steven W. Semes, Francesco Siravo, and Jeff Cody; translated by Steven W. Semes
Abundantly illustrated, this critical anthology makes Gustavo Giovannoni’s seminal texts on the appreciation, understanding, and planning of historic cities available in English for the first time.
Sir Thomas Lawrence, P.R.A. Bristol, 1769 - London, 1830
Portrait of Anne, Viscountess Pollington, later Countess of Mexborough, with her son, John Charles, later 4th Earl of Mexborough Oil on canvas, 236.2 x 144.8 cm
Littleton & Hennessy
nic fiddian green sculpted in
HEWETSON ( c .1737–1798)
Provenance: Commissioned by the sitter, thence by family descent until 2014
Exhibited: Museum het Cuypershuis, Roermond, 1963–2014 info@tomasso.art
CHRISTOPHER
Portrait Bust of Prince Francis Xavier of Saxony (1730–1806), dateable to the 1790s White marble, 75 cm (29½ in.) high
