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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#3 Lifelike

Pyrotechnic Profusion: Fireworks, Spectacles, and Automata in Time

Noémie
25th March 2017
Pyrotechnic Profusion: Fireworks, Spectacles, and Automata in Time

Lihong Liu Fireworks in the early modern world paradoxically wedded a local experience of ephemeral sensations with an impulse to create patterns of perpetual motion. Exploring the custom of fireworks in China alongside their pictorial representations and decorative applications in a transcultural context during the long eighteenth century, this article…

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#3 Lifelike

Vividness without Vitality: The Specola Venus’s Intersecting Afterlives

Noémie
25th March 2017
Vividness without Vitality: The Specola Venus’s Intersecting Afterlives

David Mark Mitchell   In her memoirs, Elisabeth Vigée Le Brun recounted a 1792 viewing of anatomical wax models in Florence as an experience of both awe and horror. First, the detailed replication of complex anatomical mechanisms inspired the painter with reverence for the divine creator; then, a glimpse of…

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#3 Lifelike

Antoine Benoist’s Wax Portraits of Louis XIV

Noémie
25th March 2017
Antoine Benoist’s Wax Portraits of Louis XIV

Robert Wellington   What spectacle offers he to our eyes? Is le Cercle alive? It looks like it breathes. Benoist, your ingenious art By a novel secret seems to animate the wax. I admire your rare talent; Your portraits, of an excellent taste, Cause extreme surprise One seems to see…

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#3 Lifelike

Anatomy of the Bel Effet: Wax between Science and Art

Noémie
25th March 2017
Anatomy of the Bel Effet: Wax between Science and Art

Charles Kang   In 1794, Honoré Fragonard—cousin of the painter Jean-Honoré Fragonard—returned to the Cabinet d’anatomie at the National Veterinary School in the Parisian suburb of Alfort.[1] He had previously worked at the school as a surgeon, anatomist, and preparer of anatomical specimens and models. This time, he was visiting…

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#3 Lifelike

“The Fullest Imitation of Life”: Reconsidering Marie Tussaud, Artist-Historian of the French Revolution

Noémie
25th March 2017
“The Fullest Imitation of Life”: Reconsidering Marie Tussaud, Artist-Historian of the French Revolution

Paris Amanda Spies-Gans   On July 12, 1789, Parisians began to revolt. News had just arrived that France’s King Louis XVI had dismissed his trusted finance minister, Jacques Necker. Accordingly, in a contemporary print by Jean Baptiste Le Sueur, The Beginning of the French Revolution, the orator Camille Desmoulins advocates…

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NOTES & QUERIES

  • 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
  • Reinterpreting Porcelain Figures: A Review – by Noelle Yongwei Barr
  • Laboring Likeness: Charlotte Daniel Martner’s Paint Box in Martinique (1803-1821) – by Damiët Schneeweisz
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