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)
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    • #19 Africa: Beyond Borders (Spring 2025)
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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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#6 Albums

Albums of Conspicuous Consumption: A Composite Mirror of an 18th-Century Collector’s World

Assistant
30th October 2018
Albums of Conspicuous Consumption: A Composite Mirror of an 18th-Century Collector’s World

Gwendolyn Collaço Sumptuous holdings of the imperial treasury at Topkapı Palace in Istanbul have overwhelmingly shaped the history of Ottoman art collecting. There, among many objects, luxurious albums of sultans and their highest-ranking officials still reside today. Yet numerous and scattered compilations of works bought from the Ottoman bazaar or…

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#6 Albums

Reflective and Reflexive Forms: Intimacy and Medium Specificity in British and American Sentimental Albums, 1800-1860

Assistant
30th October 2018
Reflective and Reflexive Forms: Intimacy and Medium Specificity in British and American Sentimental Albums, 1800-1860

Freya Gowrley Between 1837 and 1852, an “Album” of poetry and personal sentiments was compiled for a woman named Helen Mar Robertson, who lived near Fort Edward, New York. Housed in a mass-produced volume, around quarto size, and labelled “Album” on its spine, the volume was published and sold by…

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#6 Albums

Effigies in Transit: Deccan Portraits in Europe at the Turn of the 18th Century

Assistant
30th October 2018
Effigies in Transit: Deccan Portraits in Europe at the Turn of the 18th Century

Marta Becherini Scattered across a variety of European museums and libraries are roughly 500 painted portraits which found their way to Europe from the Deccan region of South India towards the end of the seventeenth century. These paintings portray the kings, princes and grandees associated with four dynastic kingdoms of…

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#6 Albums

Marks and Meanings: Revealing the Hand of the Collector and “the Moment of Making” in two 18th-Century Print Albums

Assistant
30th October 2018
Marks and Meanings: Revealing the Hand of the Collector and “the Moment of Making” in two 18th-Century Print Albums

Louise Voll Box In 1922, the English writer George Somes Layard commented that: “A series of marks on a print is its diary: the fate and journey of many a masterpiece can be thereby traced until it finds at last its permanent home in the Museum.”[1] Layard succinctly foreshadowed what…

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NOTES & QUERIES

  • Art, Environment, and the Expanded Landscape: A Dialogue – by Stephanie O’Rourke and Kelly Presutti
  • Marie Antoinette Style: An Exhibition Catalogue Review – by Madeleine Luckel
  • 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
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