Journal18: a journal of eighteenth-century art and culture
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    • #1 Multilayered (Spring 2016)
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Notes & Queries

Notes & Queries

Ceci n’est pas un portrait: A Curator’s Diary – by Melissa Percival

Hannah Williams
24th November 2015
Ceci n’est pas un portrait: A Curator’s Diary – by Melissa Percival

  Melissa Percival writes about her experience of preparing a new exhibition of fantasy figures with the Musée des Augustins in Toulouse. Exeter, Thursday 5th November Next week it all becomes real. I’ve received a spreadsheet with a detailed delivery schedule of 78 old master paintings borrowed from all corners…

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Notes & Queries

China in Wonderland – by Michelle Wang

Hannah Williams
21st November 2015
China in Wonderland – by Michelle Wang

In the Lizzie and Jonathan Tisch Gallery of the China Through the Looking Glass show at the Metropolitan Museum of Art, a flat, uncut semiformal robe for the Jiaqing Emperor (r. 1796-1820) was suspended next to a Dries Van Noten Autumn/Winter 2012-13 ensemble, comprised of a jacket cinched at the…

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Notes & Queries

Shock Dog! New Sculpture at the Met – by Paris Amanda Spies-Gans

Hannah Williams
21st November 2015
Shock Dog! New Sculpture at the Met – by Paris Amanda Spies-Gans

  “The Oddity of her Atchievement [sic] is striking!—The Marble Statues from a Female Hand!—But so it is, and at least in the Work of the Two Dogs, with so much Merit in them, that Bacon himself, or at any Rate the best Pupil of Bacon need not have blushed…

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Notes & Queries

Vigée Le Brun at the Grand Palais – by Benjamin Couilleaux

Hannah Williams
21st November 2015
Vigée Le Brun at the Grand Palais – by Benjamin Couilleaux

  Vigée Le Brun, the most famous female French painter before the Revolution, has finally been recognized by a retrospective in her native country. The Parisian exhibition, to be followed by stops in New York and Ottawa, represents a landmark occasion to appreciate Vigée’s career from the late Ancien Régime…

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NOTES & QUERIES

  • 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
  • Portraits of Resistance: An Interview with Jennifer Van Horn – by Elizabeth Bacon Eager
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