Journal18: a journal of eighteenth-century art and culture
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    • #1 Multilayered (Spring 2016)
    • #2 Louvre Local (Fall 2016)
    • #3 Lifelike (Spring 2017)
    • #4 East-Southeast (Fall 2017)
    • #5 Coordinates (Spring 2018)
    • #6 Albums (Fall 2018)
    • #7 Animal (Spring 2019)
    • #8 Self/Portrait (Fall 2019)
    • # 9 Field Notes (Spring 2020)
    • # 10 – 1720 (Fall 2020)
    • #11 The Architectural Reference (Spring 2021)
    • #12 The ‘Long’ 18th Century? (Fall 2021)
    • #13 Race (Spring 2022)
    • #14 Silver (Fall 2022)
    • #15 Cities (Spring 2023)
    • #16 Cold (Fall 2023)
    • #17 Color (Spring 2024)
    • #18 Craft (Fall 2024)
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#7 Animals

Isabelle Pinson’s Fly Catcher (1808): Genre, Anecdote, and Pictorial Theory

Assistant
4th April 2019
Isabelle Pinson’s Fly Catcher (1808): Genre, Anecdote, and Pictorial Theory

Patricia Simons Isabelle Pinson’s Fly Catcher (L’attrapeur des mouches) seems at first glance a charming genre scene of a child at play (Fig. 1), a safe, inconsequential picture of innocence, and thus a suitable subject for a female artist to paint in 1808. But there is more than meets the…

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#7 Animals

Creaturely Classicism in Bernhard Rode’s Tieranatomisches Theater Frescoes

Assistant
4th April 2019
Creaturely Classicism in Bernhard Rode’s Tieranatomisches Theater Frescoes

Stephanie Triplett The Tieranatomisches Theater (animal dissection theater) in Berlin designed by Carl Gotthard Langhans (1732-1808) and built in 1790 as part of the newly founded Prussian veterinary school features an elaborate decorative program of trompe l’oeilgrisaille friezes encircling the central dome (Fig. 1). In these frescoes, the commonplace activities…

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#7 Animals

On Girls and Birds: The Structure of Aesthetic Feelings, c. 1800

Assistant
4th April 2019
On Girls and Birds: The Structure of Aesthetic Feelings, c. 1800

Alex Weintraub The best art critics tend to write with an unmistakable assuredness. Rarely do their essays betray the doubts and uncertainties of an original encounter with a work of art. Yet this certainty, as any student of art history will attest, is not exactly how aesthetic feelings are always…

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Notes & Queries

Empresses of China’s Forbidden City, 1644-1912: A Review – by Michele Matteini

Assistant
22nd January 2019
Empresses of China’s Forbidden City, 1644-1912: A Review – by Michele Matteini

Empresses of China’s Forbidden City is on view at the Peabody Essex Museum from August 18, 2018 to February 10, 2019 Halfway through the spectacular exhibition Empresses of China’s Forbidden City, 1644-1912 at the Peabody Essex Museum in Salem, MA, a tiny metal object sits in a transparent box next…

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Notes & Queries

Agents of Faith: A Response – by Charles Kang

Assistant
3rd January 2019
Agents of Faith: A Response – by Charles Kang

Agents of Faith: Votive Objects in Time and Place is at the Bard Graduate Center Gallery from September 14 to January 6. It is accompanied by the catalogue Agents of Faith, ed. Ittai Weinryb (New York: Bard Graduate Center Gallery, 2018) Specialists and enthusiasts of eighteenth-century art and culture are…

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Notes & Queries

Committed to Memory: A Review – by Jennifer Van Horn

Assistant
9th December 2018
Committed to Memory: A Review – by Jennifer Van Horn

Cheryl Finley, Committed to Memory: The Art of the Slave Ship Icon (Princeton: Princeton University Press, 2018), 320 pages You all know the image. As Cheryl Finley explains, “Refer to ‘that image of the slave ship’ in conversation with just about anyone, and they will know what you are talking…

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Notes & Queries

François Aimé Louis Dumoulin, ou les images d’un Suisse aux Caraïbes – par Claire Brizon

Assistant
9th December 2018
François Aimé Louis Dumoulin, ou les images d’un Suisse aux Caraïbes – par Claire Brizon

L’étude des collections du 18e siècle aujourd’hui conservées dans les réserves des musées et des archives suisses montrent que de nombreuses images ont été produites en Amérique du nord et du Sud, en Chine, en Inde, ou aux Caraïbes, dans des contextes à la fois militaires, diplomatiques et commerciaux. Je…

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Notes & Queries

Circuits of Exchange: Albums and the Art Market in 18th-Century Avadh – by Natalia Di Pietrantonio

Assistant
30th October 2018
Circuits of Exchange: Albums and the Art Market in 18th-Century Avadh – by Natalia Di Pietrantonio

The nawabs (governors) of Avadh ruled the Gangetic plain of northern India from 1724 to 1856, a period that saw the collapse of the Mughal Empire and the rise of the British East India Company (EIC). The nawabs negotiated these rival imperial relationships by cultivating a courtly culture that was…

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Notes & Queries

Crafting Friendship: Mary Delany’s Album and Queen Charlotte’s Pocketbook – by Madeleine Pelling

Assistant
30th October 2018
Crafting Friendship: Mary Delany’s Album and Queen Charlotte’s Pocketbook – by Madeleine Pelling

An album of découpage created by the artist, writer, and Bluestocking Mary Delany sometime before the winter of 1781 has been strangely ignored in the scholarly record (Fig. 1). Gifted to George III’s consort, Queen Charlotte, it comprises twenty pages decorated with 114 individual cut-paper designs on a blue ground.…

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#6 Albums

Ancien vs Antique: Henri-Léonard Bertin’s Albums of the Qianlong Emperor’s “Vases Chinois”

Assistant
30th October 2018
Ancien vs Antique: Henri-Léonard Bertin’s Albums of the Qianlong Emperor’s “Vases Chinois”

Kee Il Choi Jr Though widely celebrated during his lifetime and in the nineteenth century for the intellectual scope of his Chinese collection, Henri-Léonard-Jean-Baptiste Bertin (1720-1792), a minister of state to both Louis XV (r. 1715-1774) and Louis XVI (r. 1774-1792) of France, has until recently received scant attention by…

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NOTES & QUERIES

  • Room for the Lost Paradise: A Symposium – by Jason M. Kelly
  • Reflections on Mai, Joshua Reynolds, and Eighteenth-Century Art — A Roundtable
  • Colonial Crossings: A Review–by Juan Manuel Ramírez Velázquez
  • A Pirate Primer? Review of Stan Douglas: The Enemy of All Mankind – by Lytle Shaw
  • The Art Collection of the French Royal Academy of Painting and Sculpture: Notes on the Database – by Sofya Dmitrieva
  • Lethière in Williamstown and Paris: A Transatlantic Exhibition Review – by Jennifer Laffick
  • Beijing to Dresden via St. Petersburg: An Early Qing Enameled Snuff Bottle in the Collection of Augustus II the Strong – by Kristina Kleutghen
  • Lubaina Himid’s Naming the Money at the Entangled Pasts, 1768-now exhibition, Royal Academy, London – by Geoff Quilley
  • Provocations from HECAA@30 – Edited by Elizabeth Saari Browne and Dana Leibsohn
  • Liberté, Égalité, Festivité: The Opening Ceremony of the 2024 Paris Olympics – by Matthew Gin
  • Smell of the Sea: A Review of the Musée National de la Marine – by Kelly Presutti
  • Curators’ Notes: Sad Purple and Mauve: A History of Dye-Making – by Clara Drummond and Sarah K. Rich
  • Curators’ Notes: Never Broken: Visualizing Lenape Histories – by Joe Baker and Laura Turner Igoe
  • Portraits of Resistance: An Interview with Jennifer Van Horn – by Elizabeth Bacon Eager
  • Jean-Louis Dupain-Triel’s Carte minéralogique de France (1781) – by Stephanie O’Rourke
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