The Paul Mellon Centre for Studies in British Art - Yale University
June 2007 Issue 24
newsletter
Paul Mellon by Yousuf Karsh, gelatin-silver print 1980 © Virginia Museum of Fine Arts 2007
Paul Mellon (1907-1999) This year is the centenary of the birth of the Centre’s benefactor Paul Mellon and it is being marked by a series of exhibitions focussing on his life as a collector and philanthropist. On 17th April the Yale Center for British Ar t opened the exhibition Paul Mellon’s Legacy A Passion for British Art (until 29 July) which will transfer to open at the Royal Academy of Arts in London on 20th October. At the Fitzwilliam Museum, Cambridge Paul Mellon A Cambridge Tribute will open on Paul Mellon’s bir thday (11th June) and a few weeks later 16 Bedford Square
London WC1B 3JA
Tel: 020 7580 0311
(on 11th July) the Virginia Museum of Fine Arts in Richmond, Virginia will open the exhibition Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art (until 30th September) which will transfer to the State Hermitage Museum in St Petersburg, Russia for an opening on 23rd October. Many other institutions such as the National Galler y of Ar t in Washington, D.C . are or ganising events to mar k Mr Mellon’s centenary and the most impor tant of these are listed on the following page. Fax: 020 7636 6730
www.paul-mellon-centre.ac.uk
Paul Mellon Centre exhibitions
Paul Mellon Centenary: selected shows and events
Yale Center for British Art
Jaques-Laurent Agasse given to the museum by Mellon through the British Sporting Art Trust. Coincides with the exhibition at the Royal Academy.
‘Paul Mellon’s Legacy: a Passion for British Art’ (18 April-29 July). Around 150 works from the collection. Travels to the Royal Academy of Arts, London.
Paul Mellon Centre for Studies in British Art, London
Sterling Memorial Library Yale University
The Centre will support programming associated with the Royal Academy’s show.
‘Paul Mellon (1907-99):Yale Student, Friend, and Benefactor’. Draws on university archives to focus on his undergraduate years.
Beinecke Rare Book and Manuscript Library Yale University ‘The Road to Yorktown’ (18 June-31 August). S e l e c t i o n s f r o m t h e Rochambeau Paper s and Family Cartographic Archive given by Paul Mellon in 1992.
Yale University Art Gallery ‘Art for Yale:Acquisitions for a New Century’ (18 September-13 January 2008). More than 275 works donated, promised, or purchased in a special campaign launched in 1998.
National Gallery of Art Washington, DC ‘The First Impressionist: Eugéne Boudin’ (until 5 August). Includes 40 paintings and works from the gallery’s collection, mainly gifts from Mr and Mrs Paul Mellon. Travels to the Virginia Museum of Fine Arts (14 November-27 January 2008).
Virginia Museum of Fine Arts, Richmond ‘Géricault to Bonnard: Recent Gifts from the Mellon Collection’ (opens 13 June); ‘Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art’ (11 July -30 September); ‘The First Impressionist: Eugéne Boudin’ (14 November-27 January 2008).
Hazlitt, Gooden & Fox London National Sporting Library Middleburg, Virginia ‘Reflections on a Life with Horses: Paintings by Sir Alfred Munnings from the Paul Mellon Collection at the Yale Center for British Art’ (20 April-March 2008).
The Harrison Institute and Small Special Collections Library, University of Virginia Charlottesville ‘Treasures from Paul Mellon’s Library’ (15 May-January 2008).
State Hermitage Museum St Petersburg ‘Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art’ (23 October-13 January 2008). Co-organised by the Yale Center and the Virginia Museum of Fine Arts in Richmond.
Royal Academy of Arts London ‘A Passion for British Art, 17001850: Paul Mellon’s Legacy’ (20 October-27 January 2008). Around 150 masterpieces from the Yale Center for British Art.
Tate Britain, London A display on the golden age of British sporting art (15 OctoberJanuary 2008). Includes works by George Stubbs, Benjamin Marshall and
Works from the Mellon Bank Collection to coincide with the Royal Academy Exhibition.
Fitzwilliam Museum University of Cambridge ‘Paul Mellon: a Cambridge Tribute’ (12 June-23 September). Works from Mellon’s collection from the Yale Center for British Art juxtaposed with objects from the Fitzwilliam to illustrate Mellon’s ties to the United Kingdom. The museum will also host a celebration on Mellon’s birthday, 11 June 2007.
Christie’s, King Street London Lectures in conjunction with British Art Week Autumn (15-22 November) with John Baskett, friend and advisor, on ‘Paul Mellon as I Knew Him’ (13 November) and Duncan Robinson, director of the Fitzwilliam Museum in Cambridge and former director of the Yale Center for British Art, on ‘Paul Mellon, the Collector’ (20 November).
‘Paul Mellon: In His Own Words’ Screening at the National Gallery of Art, Washington DC (9 June) and the Yale Center for British Art (25 May-end July). A 50-minute documentary film produced for PBS by Joseph Krakora, chief of external and international affairs at the National Galler y of Art.
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 Officer: Maisoon Rehani. Administrative Assistant: Lucy Nixon. Yale-in-London Coordinator: Viv Redhead. Editor, Special Projects: Guilland Sutherland. Special Projects: Judy Egerton, Elizabeth Einberg, John Ingamells, Mary Peskett Smith. Advisory Council: Malcolm Baker, David Bindman, Julius Bryant, Andrew Causey, Stephen Deuchar, Maurice Howard, Joseph Koerner, Lynda Nead, Marcia Pointon, Duncan Robinson, Michael Rosenthal, Kim Sloan, Giles Waterfield. Company Registered in England 983028 Registered Charity 313838
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Paul Mellon Centre conference
State of the Art: Collecting art and national formation c.1800-2000 Wednesday 18 July to Friday 20 July 2007
View of the Naval Gallery in the Painted Hall, by L.H. Michael © NMM
A three-day international conference at the National Maritime Museum, Greenwich, London, supported by the Paul Mellon Centre for Studies in British Art. Since the development of the public art gallery and museum in the early 19th century, art and the collecting of art in Britain have been closely linked to the articulation of national identity and the construction of nationhood. They have thus interleaved with debates on national morality, class, race and gender, and the social and civic functions of culture. In recent years ‘cultures of collecting’ have been subjects of considerable study in art history, museology and other forms of cultural studies. This international conference will build on this research, drawing together a range of academics and curators from national and international institutions, to consider the issues surrounding art collecting and
nationhood across a variety of locations and cultures. It will also develop these issues away from a purely Eurocentric focus upon the histor y of nation formation and the role of art and collecting in the evolution of European nationalism, to explore the significance of art collecting within the history of empire, and for emergent nation-states outside the European arena. It will also confront the complex and contentious issues within those larger histories, of the role of war and looting, and of art and its collecting as both victim and accomplice of international conflict and conquest. The conference will complement ‘Art for the Nation’, the recently opened display in the Queen’s House of the various oil paintings collections that make up the National Maritime Museum’s total holding. One of the principal aims of
the exhibition is to consider the history of these collections and how they relate to the historical definitions of Britain’s maritime and imperial identity. Full details of the conference programme, including speakers and paper topics, can be found at the National Maritime Museum website: www.nmm.ac.uk/conferences Registration information Full registration fee: £60.00. A number of student bursaries are available supported by the Paul Mellon Centre for Studies in British Ar t. For fur ther information on bursaries contact Lucy Nixon at the Paul Mellon Centre on 020 7580 0311. To book your place on the symposium, contact Mrs Janet Norton, Research Administrator, National Maritime Museum, Greenwich LONDON SE10 9NF Tel: 020 8312 6716 Fax: 020 8312 6592 E-mail: research@nmm.ac.uk 3
Paul Mellon Centre conference
Fruits of Exchange: England, Scotland and Architecture A Conference at the Edinburgh College of Art (14-15 September) and the Paul Mellon Centre for Studies in British Art (5-6 October)
Conference Programme Friday 14 September Edinburgh College of Art 9.00 Registration 9.15 Chair (Alistair Rowan) Opening Remarks 9.25 Charles McKean Speculations on British architecture in Scotland 9.50 Richard Fawcett English influence on Scottish church architecture in the 15th and 16th centuries 10.15 Geoffrey Stell Architecture with and without frontiers: the Anglo-Scottish Borders 1560-1707 10.40 Coffee 11.00 Ian Campbell Architectural taste and the Scottish aristocracy, 1575-1725 11.25 Chris Whatley The Union of 1707, the Scottish nation and the British state 11.50 James Simpson Sir John Clerk and the Union from an architectural perspective
Sir Gilbert Scott, St Mary’s Episcopalian Cathedral, Edinburgh 1874 -1879 © Charles McKean
The tercentenary of the Act of Union offers an ideal opportunity to look at relations between England and Scotland in architecture. This topic will be addressed in a pair of conferences and tours, focusing on architectural exchanges between the two nations from the Middle Ages to the present day, and across the spectrum from royal palaces to garden suburbs. The first conference, to be held in Edinburgh on 14-15 September 2007, will 4
examine English influences on Scottish architecture, followed by a second conference in London on 5-6 October 2007, which will concentrate on Scottish influences on English architecture. In each case a day of talks and debate will be followed by a day of visits. The events are being jointly organised by Ian Campbell of the Edinburgh College of Ar t, and Andrew Saint, General Editor of The Survey of London.
12.15 Doreen Grove The military architecture of ‘North Britain’, 1650 to1850 12.40 Lunch 1.40 John Lowrey Edinburgh New Town: influences from London 2.05 Gavin Stamp Sir Gilbert Scott in Scotland: what, where and why? 2.30 John Sanders Scottish Nationalism in the Late Victorian Church
Paul Mellon Centre conference
2.55 Julian Holder & Lou Rosenburg A road too far? Cultural adaptation and the Garden City ideal in Scotland, 1900-1930 3.20 Tea 4.00 Discussion 5.00-6.00 Wine Reception Saturday 15 September Coach tour Coach will leave Edinburgh College of Art at 9.00 a.m. and return to Edinburgh Waverley Station and College of Art by 5.30 p.m. Proposed itinerary will include: St Mar y’s Episcopal Cathedral, Edinburgh (Scott); Dalmeny House (Wilkins); St Salvador, Dundee (Bodley); Albert Institute Dundee (Scott); Perth Bridge (Smeaton); The Binns (Burn); Linlithgow parish church.
Friday 5 October Paul Mellon Centre for Studies in British Art, London 9.15 Registration 9.30 Andrew Saint Introduction: The Farfrae factor 9.55 Aonghus MacKechnie Sir David Cunningham of Robertland: the Scottish architectural scene and James VI & I’s ‘Magna Britannia’ 10.20 Margaret Stewart ‘Metaphysical Scots’: Scottish intellectual and architectural creativity in the 18th Century 10.45 Coffee 11.15 Stana Nenadic Patronage and professional identities: Scottish architects in 18th century London 11.40 Alistair Rowan The Adam brothers: builders from North Britain 12.15 Peter Guillery Scottish Dock Builders in Late Georgian London
Saturday 6 October Coach tour Meet at Tower Hill Station at 9.30 am. After a visit to St Katharine Docks, coach will depar t from Tower Hill at 10 a.m. returning in the afternoon to King’s Cross Station and the Paul Mellon Centre by 5.30 pm. Proposed itinerary will include: St Katharine Docks (Telford); 99 Aldwych (Burnet); St Mary le Strand (Gibbs); Scottish Church, Crown Court (Balfour & Turner); Chandos House (Robert Adam); Knightsbridge Barracks (Spence); Cadogan Square (Shaw, Stevenson, Young); Chelsea Town Hall (Brydon); Oakhill Road, Putney (William Young); Sudbrook Park, Petersham (Gibbs); St Michael & All Angels, Bedford Park (Shaw). Registration and Fee Information Full Conference: Edinburgh and London 14-15 September and 5-6 October £90 One conference venue: Edinburgh 14-15 September or London 5-6 October £50 One conference (lectures only): Edinburgh 14 September or London 5 October £35
12.40 Discussion 1.10 Lunch 2.15 Ted Ruddock Engineers southbound after 1760 2.40 Paul Bradley William Burn, Scottish export 3.05 David Walker Edwardian Scots and public building in London 3.30 Tea 4.00 Miles Glendinning Robert Matthew and his circle 4.25 Final Discussion Robert Adam, Chandos House, London 1769-1771 (detail) © English Heritage
5.00-6.00 Wine reception
The conference fee (Friday 14 September and Friday 5 October) includes tea, coffee, lunch and wine reception. Par ticipants will be expected to provide or purchase their own lunch on the coach trips (Saturday 15 September and Saturday 6 October). Please note: for practical purposes numbers on the coach tours may be limited. To register for the conference please forward a cheque and a self address stamped envelope to Lucy Nixon,Administrative Assistant, Paul Mellon Centre for Studies in British Art, 16 Bedford Square, London WC1B 3JA Tel: 020 7580 0311 Fax: 020 7636 6730 events@paul-mellon-centre.ac.uk www.paul-mellon-centre .ac .uk 5
Paul Mellon Centre conference
Artistic Links between the Early Tudor Courts and Medicean Florence 19-21 September 2007 at Villa I Tatti, Florence 19:00-20:00 Reception in the garden at I Tatti for the general public
Pietro Torrigiano, Tomb of Henry VII, 1517, Westminster Abbey, London (detail)
This conference, organised jointly with Harvard University’s Center for Renaissance Studies, Villa I Tatti, will focus on the artistic links between the early Tudor courts and Medicean Florence. The main emphasis will be on the sculptural projects which galvanised the attention of Henry VII and Henry VIII. The architectural context for decorative sculpture will be highlighted together with the parallel, growing interest for painting documented through imported works, as well as by the presence of Florentine painters in London. Research in these areas has been gathering momentum in the 1980s and 1990s but there is still a wealth of documentary evidence in archives in both the UK and Italy awaiting careful study.This conference is the first attempt to gather British, American and Italian scholars together to explore the progress of Renaissance, especially Florentine, artistic themes in England. After an opening address by Steven Gunn on the evening of 19th September and a day of papers on Thursday 20th September, the final day will be spent visiting relevant sites in Florence.
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Thursday 20th September 2007 09:00 Registration
15:30 Thomas Campbell (Metropolitan Museum of Art, New York) From Papal Rome to Tudor London: The context and significance of Henry VIII’s Raphael workshop tapestries
09:25 Opening remarks and morning session chaired by Joseph Connors (Director, Villa I Tatti)
16:30 Susan Foister (National Gallery, London) Antonio Toto and the market for Italian painting in early Tudor England
09.30 Cinzia Sicca (Università di Pisa) Giorgio Vasari and the progress of Italian art in early sixteenth-century England
17:00 Martin Biddle (Hertford College, Oxford) The Palace of Nonsuch
10:00 Alan P. Darr (Detroit Institute of Arts) Pietro Torrigiano and his sculpture in Henrician England: sources and influences 10:30 Louis Waldman (University of Texas) Benedetto da Rovezzano in England and after
17.30 Final discussion chaired by Joseph Connors Friday 21st September (site visits) Morning San Salvi, Cappella Pandolfini alla Badia, Museo del Bargello Afternoon Santa Trinita, Santi Apostoli, Il Carmine and the Uffizi Registration
11:30 Francesco Caglioti (Università Federico II, Napoli) Benedetto da Rovezzano in Inghilterra: novità sulla tomba del cardinale Wolsey e poi di Enrico VIII 12:00 Giancarlo Gentilini and Tommaso Mozzati (Università di Perugia) Baccio Bandinelli e il progretto della tomba per Enrico VIII
Attendance at the conference is free of charge and does not require advance booking. The Villa I Tatti website can be found at w w w. i t a t t i . i t and includes information on the Center, calendar of events and directions for getting to I Tatti.
12:30 Discussion Afternoon Session chaired by Brian Allen
Wednesday 19th September 2007 17:30 Opening remarks by Brian Allen and Joseph Connors
14:30 Philip Lindley (University of Leicester) Why were Italian sculptors successful in early sixteenth-century England?
18:00 Plenary lecture by Steven Gunn (Merton College, Oxford) Anglo-Florentine contacts 1485-1547: political and social contexts
15:00 Maurice Howard (University of Sussex) Italian architects and military engineers under royal and courtier patronage in the reign of Henry VIII
Head of the Emperor Augustus by Giovanni da Maiano, 1520-21, Hampton Court Palace © Yale University Press
support for scholarship in British Art awards
Grant Awards At the March meeting of the Centre’s Advisory Council, the following grants were awarded: Senior Fellowships Dr Daniel Abramson to prepare his book Architecture in the Age of Obsolescence Dr Lene Østermark-Johansen to prepare her book From Front to Back: Walter Pater and the Language of Sculpture Dr Banmali Tandan to prepare his book British Architecture in Calcutta in the Georgian Age: An Illustrated Gazetteer & Its Evolution in an Aesthetic and Social Context Dr Volker Welter to prepare his book Architecture without Quality? - Ernst L. Freud and Bourgeois Modernism in Architecture
Rome Fellowships Dr Viccy Coltman for research in Rome for her book Marble Mania: The art history and historiography of sculpture in Britain since 1760
Dr Richard Williams to prepare his book The Reformation of an Icon: Images of Christ in Early Modern England
Junior Fellowships Jeremy Melius to conduct research in the United Kingdom for his doctoral thesis Art History and the Invention of Botticelli Nathaniel Stein to conduct research in the United Kingdom for his doctoral thesis London in the Viewer: British Stereoscopy and Urban Embodiments, 1830-1880 Katharine Williams to conduct research in the United Kingdom for her doctoral thesis A study of themes in the architecture, symbolism and experience of Great War memorials of the 1920s Shundana Yusaf to conduct research in the United Kingdom for her doctoral thesis Wireless Sites: Radio and Architecture in Britain (1927-1945)
Postdoctoral Fellowships Dr Tracy Anderson to prepare her book The Crown and the Jewel: Images of royalty and viceroyalty in the spectacle of imperial Britain and India Dr Anne Bordeleau to prepare three journal articles from her thesis on Charles Robert Cockerell (17881863) Dr Eleanor Fraser Stansbie to prepare three journal articles from her thesis on Richard Dadd (1817-1886) Dr Alla Myzelev to prepare three journal articles from her thesis on Peasant Arts Revitalization in England: Histories and Meanings Dr Morna O’Neill to prepare her book Walter Crane: The Arts and Crafts, Painting, and Politics and an exhibition catalogue 'Art and Labour's Cause is One': Walter Crane and Manchester, 1880-1900
Educational Programme Grants Leeds City Art Gallery grant towards a series of lectures and workshops (September 2007) linked to an Exhibition of Oil Prints by George Baxter University of Leeds grant towards a conference at Shugborough, Staffordshire (30th March-1st April 2007) on ‘Shugborough - A Rediscovered Centre of Eighteenthcentury Learning.Thomas Anson, James 'Athenian' Stuart and their contemporaries’ University of Liverpool grant towards a symposium at the Walker Art Gallery and Merseyside Maritime Museum on ‘Joseph Wright of Derby’ (16th-17th November 2007)
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support for scholarship in British Art awards
Grant Awards Research Support Grants Dr Katherine Acheson for research in London on Visual Rhetoric and Seventeenth-Century English Print Culture Elizabeth Bishop for research in London on the architectural infrastructure of Empire: the British mitigation of imports via the warehouses of London's Docklands Olga Borodkina for research in the United Kingdom on the Aesthetic Movement: Literature and Art Criticism to Visual Arts Dr Antonio Brucculeri for research in the United Kingdom on the Urban Approach of Edwin Lutyens between Architectural Composition and Town Planning: A Study in the War Years, 1938-1943 Dr Elizabeth Darling for research in the United Kingdom on the Work and Life of Wells Coates, Architect-Engineer Dr Bianca De Divitiis for research in St Petersburg on Eighteenth-century British Collectors in Naples: A New Source for the Acquisition of Antique Sculpture Dr Robert Folkenflik for research in the United Kingdom on Portraits of Samuel Johnson Amy Frost for research in Scotland on Commissions undertaken by the architect Henry Edmund Goodridge (1797-1864) for the 10th Duke of Hamilton Helen Gyger for research in the United Kingdom for oral history interviews with John F.C. Turner and Christopher Alexander Alistair Kwan for research in the United Kingdom on Building Science: architecture and the early modern study of nature Professor Susan Morrison for research in the United Kingdom on Images of Excrement in Late Medieval England Dr John Potvin for research in London on Domesticating Passion: Sir Cedric Morris and Arthur Lett-Haines and the Art of Modern Living Matthew Woodworth for research in the United Kingdom on the Thirteenth-century Choir and Transepts of Beverley Minster Sigrid De Jong for research in the United Kingdom on Rediscovering Architecture. Paestum in Eighteenthcentury Architectural Thought 8
Richard Nieman for research in the United Kingdom and France on Monuments to God and Man: The Minor Cruciform Churches of Anglo-Norman Sussex and the New Norman Aristocracy Catherine Walden for research in the United Kingdom on Redemption and Remembrance:The English Episcopal Tomb in the Twelfth and Thirteenth Centuries The next application for Curatorial Research Grants, Publications Grants (Author and Publisher), Research Support Grants and Educational Programme Grants is 15 September 2007. For further details please visit: www.paul-mellon-centre.ac.uk/support.html or contact The Grants Administrator grants@paul-mellon-centre.ac.uk
DR MARTIN POSTLE On 1st March Martin Postle joined the Paul Mellon Centre as Assistant Director for Academic Activities. Dr Postle trained at the University of Nottingham, the Cour tauld Institute of Ar t, and Birkbeck College, University of London. From 1992 to 1998 he was Director of the London Centre of the University of Delaware and Associate Professor of Ar t History. In 1998 Mar tin joined the Tate Galler y as Senior Curator, and was, until he took up his present appointment, Head of British Ar t to 1900. He has published extensively on eighteenth- and nineteenth-centur y British Ar t. His books include Sir Joshua Reynolds. The Subject Pictures (Cambridge University Press 1995), Gainsborough (Tate and Princeton University Press 2002), and, with David Mannings, Sir Joshua Reynolds. A Complete Catalogue of his Paintings (Yale University Press 2000). Dr Postle’s exhibitions include The Artist’s Model. Its role in British Art from Lely to Etty (Kenwood and Nottingham 1991, with Ilaria Bignamini), Angels and Urchins. The Fancy Picture in 18th-Centur y British Art (Kenwood and Nottingham 1998), The Artist’s Model: From Etty to Spencer (Kenwood, Nottingham and York 1999, with William Vaughan), Art of the Garden. The Garden in British Art, 1800 to the Present Day (Tate Britain, Belfast and Manchester 2004, with Nicholas Alfrey and Stephen Daniels), and Joshua Reynolds. The Creation of Celebrity (Tate Britain 2005). Dr Postle’s most recent publication is Model and Supermodel. The artist’s model in British art and culture (Manchester University Press 2006, co-edited with Jane Desmarais and William Vaughan). His current projects include wor k on Gainsborough and Reynolds in Richmond upon Thames, Paul Sandby, and an exhibition on Johan Zoffany for Tate Britain and the Yale Center for British Ar t, in 2010.
Paul Mellon Centre publications
GEORGE STUBBS, PAINTER Catalogue Raisonné Judy Egerton
A BIOGRAPHICAL DICTIONARY OF BRITISH ARCHITECTS 1600-1840 Fourth Edition Howard Colvin The authoritative and now classic work of reference on the history of British architecture contains biographical information on some 2,000 architects who practised in England, Scotland and Wales from the time of Inigo Jones (1573-1652) to that of William Burn (1789-1870) and Sir Charles Barry (1795-1860).This new edition is the fourth of what began in 1954 as A Biographical Dictionary of English Architects 1600-1840, and 62 newly identified architects and about 70 buildings have been added since the previous edition. Sir Howard Colvin is emeritus fellow of St John’s College, Oxford. He is also the author of Architecture and the After Life and Unbuilt Oxford. June 296pp. 234x156mm. ISBN 978-0-300-12508-5 £75.00
George Stubbs (1724-1806) is now rightly recognised as one of the greatest and most original artists of the eighteenth century. His profound understanding of anatomy and his uncanny ability to translate the study of nature into remarkably balanced compositions mark him out from other practitioners in the field of animal painting. His most frequent commissions were for paintings of horses, dogs and wild animals, but awareness that such subjects were rated low in the artistic hierarchy did not deter him, throughout a resolute and hard-working career, from producing images that invariably arrest attention and frequently strike a deeply poetic note.
More than any other painter he steadily and uningratiatingly celebrates English sporting and country life and reveals himself, as in his ‘incidental’ portraits of jockeys and grooms, as a most perceptive observer of different levels of social behaviour.
In preparation for many years, this is the first complete catalogue of Stubbs’s paintings and drawings.The full catalogue entries are preceded by an in depth study of Stubbs’s art and career that sets his work in context. Judy Egerton is the leading authority on Stubbs and worked both at the Tate and National Gallery.This catalogue was researched and written during her tenure as Senior Research Fellow at the Paul Mellon Centre for Studies in British Art from 1998-2006.
century art and artists in Britain yet written. The author focuses closely on Sir Kenneth Clark’s influential War Artists’ Advisory Committee, and explores topics ranging from censorship to artists’ finances, from the depiction of women as war workers to the contributions of war art to evolving notions of national identity and Britishness. Lively and insightful, the book adds new dimensions to the study of British art and cultural history.
September 700pp. 330x246mm. 30 b/w + 485 colour illus. ISBN 978-0-30-12509-2 £85.00
WAR PAINT Art, War, State and Identity in Britain, 1939–1945 Brian Foss In this groundbreaking examination of British war art during the Second World War, Brian Foss delves deeply into what art meant to Britain and its people at a time when the nation’s very survival was under threat. Foss probes the impact of war art on the relations between art, state patronage and public interest in art, and he considers how this period of duress affected the trajectory of British Modernism. Supported by some two hundred illustrations and extensive archival research, the book offers the richest, most nuanced view of mid-
Brian Foss is Professor, Department of Art History, Concordia University, Montreal. In addition to teaching and publishing, he has recently co-curated a retrospective exhibition of works by Canadian artist Edwin Holgate. July 264pp. 270x217mm. 175 b/w + 35 colour illus. ISBN 978-0-300-10890-3 £35.00
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Paul Mellon Centre publications
SPECTACULAR FLIRTATIONS Viewing the Actress in British Art and Theatre 1768–1820 Gill Perry During the Georgian period there was a remarkable proliferation of seductive visual imagery and written accounts of female performers. Focusing on the close relationship between the dramatic and visual arts at this time, this beautiful and stimulating book explores popular ideas of the actress as coquette, ‘whore’, celebrity, muse and creative agent, charting her important symbolic role in contemporary attempts to professionalise both the theatre and the practice of fine art.
eighteenth-century actresses with many possibilities for unconventional role playing, both on and off stage. Sarah Siddons, Dorothy Jordan, Mary Robinson, Frances Abington and Elizabeth Farren are among her cast of leading ladies for whom portrait commissions in role could act as public advertisements, and as forms of social and artistic re-positioning. She shows how artists such as Gainsborough, Reynolds, Hoppner or Lawrence produced complex images of female performers as fashion icons, coquettes, dignified queens or creative artists.The result is a rich interdisciplinary study of the Georgian actress.
supporting a political cause, or making a fortune, or any other objective, what might art be? Art historian Elizabeth Prettejohn traces the emergence of the debates in the 1860s and their development into the 1870s, focusing especially on the principal protagonists of the Aesthetic Movement and their paintings - some of the most haunting and memorable images in modern art.
Gill Perry is Professor of Art History at The Open University. September 256pp. 280x230mm. 85 b/w + 50 colour illus. ISBN 978-0-300-13544-2 £40.00
ART FOR ART’S SAKE Aestheticism in Victorian Painting Elizabeth Prettejohn Gill Perry analyses how these identities were constructed and challenged through portraits and exhibition and theatre reviews. Using a concept of ‘flirtation’ to illuminate eighteenth-century perceptions of female sexuality, theatricality and social mobility, Perry argues that a fashionable culture of ‘dressing up’ and flirtatious masquerade provided late 10
This book is the first to explore the distinctive role of painting in the debates surrounding the notion of ‘art for art’s sake’ and Aestheticism in Victorian England. In the London circles of Dante Gabriel Rossetti and Frederic Leighton, this artistic problem became a shared concern: if art is not created for the sake of preaching a moral lesson, or
At the heart of the book are fresh and detailed interpretations of major paintings by Rossetti, James McNeill Whistler, Leighton, Edward Burne-Jones, Albert Moore and Simeon Solomon. Prettejohn also investigates the underpinnings of the movement in French and German aesthetics and the writings of its two great critics, Algernon Charles Swinburne and Walter Pater.The English painters’ search for the formula to best express the idea of ‘art for art’s sake’ was a unified and powerful artistic undertaking, the book demonstrates, and the Aesthetic Movement made important contributions to the history of modern art.
Elizabeth Prettejohn is Professor of History of Art at the University of Bristol. September 320pp. 256x192mm. 85 b/w + 40 colour illus. ISBN 978-0-300-13549-7 £35.00
PICTURING ANIMALS IN BRITAIN 1750–1850 Diana Donald From fine art paintings by such artists as Stubbs and Landseer to zoological illustrations and popular prints, a vast array of animal images was created in Britain during the century from 1750 to 1850. This highly original book investigates the rich meanings of these visual representations as well as the ways in which animals were actually used and abused. What Diana Donald discovers in this fascinating study is a deep and unresolved ambivalence that lies at the heart of human attitudes toward animals. The author brings to light dichotomies in human thinking about animals throughout this key period: awestruck with the beauty and spirit of wild animals, people nevertheless desired to capture and tame them; the belief that other species are inferior was firmly held, yet at the same time animals in stories and fables were given human attributes; though laws against animal cruelty were introduced, the overworking of horses and the allure of sport hunting persisted. Animals
Paul Mellon Centre publications
are central in cultural history, Donald concludes, and compelling questions about them - then and now - remain unanswered.
destroyed, Henry’s extensive inventory is here reassembled and reveals how, through tapestry, Henry identified himself with historic, religious and mythological figures, putting England in dialogue - and competition - with the leading courts of Early Modern Europe while promoting his own religious and political agendas at home. Campbell’s original account sheds new light on Tudor political and artistic culture and the court’s response to Renaissance aesthetic ideals.
Diana Donald was formerly Head of the Department of History of Art and Design at Manchester Metropolitan University. She is author of the prize-winning book, The Age of Caricature: Satirical Prints in the Age of George III, published by Yale. October 256pp. 270x220mm. 140 b/w + 140 colour illus. ISBN 978-0-300-12679-2 £40.00
HENRY VIII AND THE ART OF MAJESTY Tapestries at the Tudor Court Thomas P. Campbell Luxurious, beautiful and portable, tapestry was the pre-eminent art form of the Tudor court. Henry VIII amassed an unrivalled collection over the course of his reign, and the author weaves the history of this magnificent collection into the life of its owner with an engaging narrative style. Now largely dispersed or
Sumptuously illustrated with newly commissioned photographs, this stunning re-creation of Europe’s greatest tapestry collection challenges the predominantly text-driven histories of the period and offers a fascinating new perspective on the life of Henry VIII.Thomas P. Campbell is Curator in the Department of European Sculpture and Decorative Arts and Supervising Curator of the Antonio Ratti Textile Center at The Metropolitan Museum of Art. He is the principal author of Tapestry in the Renaissance: Art and Magnificence and editor of Tapestry in the Baroque:
Threads of Splendor (Yale University Press 2007). October 440pp. 280x215mm. 114 b/w + 206 colour illus. ISBN 978-0-300-12234-3 £45.00
DESIGN AND PLAN IN THE COUNTRY HOUSE From Castle Donjons to Palladian Boxes Andor Gomme and Alison Maguire The way a man thinks about his day-to-day living and the needs of his household reveals a great deal about his ambitions, his idea of himself, and his role in the community. And his house or castle offers many clues to his habits as well as those of the members of his household.This intriguing book explores the evolution of country house plans throughout Britain and Ireland, from medieval times to the eighteenth century. With photographs and detailed architectural plans of each of the 180 houses under discussion, the book presents a whole range of new insights into
how these homes were designed and what their varied plans tell us about the lives of their residents. Starting with fortified medieval tower houses, the book traces patterns that developed and sometimes repeated in country house design over the centuries. It discusses who slept in the bedchambers, where food was prepared, how rooms were arranged for official and private activities, what towers signified, and more. Groundbreaking in its depth, the volume offers a rare tour of country houses for scholar and general reader alike. Andor Gomme is Emeritus Professor of English Literature and Architectural History, Keele University, and former chairman of the Society of Architectural Historians of Great Britain. Alison Maguire is an independent architectural historian. November 356pp. 280x230mm. 200 b/w + 80 colour illus. ISBN 978-0-300-12645-7 £50.00
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ya l e center for british art 1080 Chapel Street P.O Box 208280 New Haven, Connecticut 06520-8280 www.yale.edu/ycba
Full details of the following exhibitions and programs can be found at www.yale.edu/ycba, by telephoning 001 203 432 2800, or by e-mailing ycba.info@yale.edu e x h i b i t i o n s at t h e c e n t e r Paul Mellon’s Legacy: A Passion for British Art Through 29 July 2007 Co-organized by the Yale Center and the Royal Academy of Arts Jem Southam: Upton Pyne 28 August–30 December 2007 Organized in association with the Herbert F. Johnson Museum of Art, Cornell University Art and Emancipation in Jamaica: Isaac Mendes Belisario and His Worlds 27 September–30 December 2007 A catalogue will accompany the exhibition, copublished by the Yale Center in association with Yale University Press, New Haven (September 2007).
to u r i n g e x h i b i t i o n s Paul Mellon’s Legacy: A Passion for British Art 20 October 2007–27 January 2008, Royal Academy of Arts, London Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art 11 July–30 September 2007, Virginia Museum of Fine Arts, Richmond 23 October 2007–13 January 2008, State Hermitage Museum, St. Petersburg, Russia Reflections on a Life with Horses: Paintings by Sir Alfred Munnings from the Paul Mellon Collection at the Yale Center for British Art Through 29 March 2008, National Sporting Library, Middleburg, Virginia
symposium The Legacies of Slavery and Emancipation: Jamaica in the Atlantic World 1–3 November 2007 Organized in collaboration with the Gilder Lehrman Center for the Study of Slavery, Resistance, and Abolition at Yale University. For information and to register, please e-mail ycba.research@yale.edu or call 001 203 432 7192.
p u b l i c at i o n s In 2006 the Yale Center for British Art launched an expanded publications program with Yale University Press. Recent titles published include Great British Watercolors from the Paul Mellon Collection at the Yale Center for British Art, by Matthew Hargraves, with an introduction by Scott Wilcox, copublished with the Virginia Museum of Fine Arts (April 2007); and Paul Mellon’s Legacy: A Passion for British Art, with essays by Brian Allen, John Baskett, Jules David Prown, William Reese, and Duncan Robinson, and catalogue entries by the Center’s curatorial staff, copublished with the Royal Academy of Arts, London (April 2007).
v i s i t i n g f e l low s July 2007 Mia L. Bagneris, PhD candidate, Department of African and African American Studies, Harvard University; Laura MacCulloch, PhD candidate, Collaborative PhD funded by the Arts and Humanities Research Council, University of Birmingham, and Birmingham Museums and Art Gallery; Eckart Marchand, Lecturer in the History of Art, University of Reading August 2007 Jason LaFountain, PhD candidate, Department of History of Art and Architecture, Harvard University; Frank G. Spicer III, PhD candidate, Department of Art History and Art, Case Western Reserve University August–September 2007 Karin Leonhard, Assistant Professor, Institute of Art History, University of Eichstaett-Ingolstadt September 2007 Robert M. Colls, Professor, University of Leicester; Catherine Walden, PhD candidate, McIntire Department of Art, University of Virginia October 2007 Joseph Monteyne, Assistant Professor, Department of Art, Art History, and Criticism, State University of New York at Stony Brook; Jenifer Neils, Ruth Coulter Heede Professor of Art History, Case Western Reserve University November 2007 Jordan Bear, PhD candidate, Art History and Archaeology, Columbia University; Catherine Roach, PhD candidate, Art History and Archaeology, Columbia University
J. M. W. Turner, Dort or Dordrecht: The Dort Packet-Boat from Rotterdam Becalmed (detail), 1817–18, oil on canvas, Yale Center for British Art, Paul Mellon Collection