The Fine Arts, Crafts and Design of the Fin-de-Siècle

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Associate Editors: Anne Anderson, Síghle Bhreathnach-Lynch, Isa Bickmann, Nicola Gauld, Sarah Turner.

Contributors: Antoine Capet, Tricia Cusack, Margaret de Fonblanque, Danielle Guérin.

AUTUMN 2008

For the VISIONS homepage, click   | To hub page |For Table of Contents, click

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EDITORIAL

This is the third issue of VISIONS, which is still evolving both in form and content, and we are sensitive to reader response. With this issue our Editorial team is joined by Dr Anne Anderson, as Arts & Crafts Editor. For profiles of all our editors, click .

Clicking on the brush icon in the Table of Contents will bring you directly to each section: you can also scroll down this page, but four of sections (Bibliographies, Exhibitions, Societies and Reviews) are now on separate pages.

VISIONS is one of three journals published on our website that cover the arts and æsthetic of the fin-de-siècle, the others being NOCTURNE and THE EIGHTH LAMP. The first series of NOCTURNE, our James McNeill Whistler journal, came to an end when we moved websites, and after various attempts to revive it, is now being merged with VISIONS. THE EIGHTH LAMP, edited by Anuradha Chatterjee and Carmen Casaliggi, is devoted to John Ruskin, and the second issue is now on line.

Please contact oscholars@gmail.com for inclusion on the mailing list for alerts to new issues for any of our journals. The alert to this issue of VISIONS will go to sixty art historians: we hope this number will increase.

All our journals are served by a discussion forum which also functions as a 'Letters to the Editor' section. This will also be used for posting announcements and readers are strongly recommended to sign up. It can be reached by clicking its icon.

Ø We are now seeking original essays (which will be refereed) on any aspect of the Fine Arts, Crafts and Design of the Fin-de-Siècle. We would also like to appoint editors responsible for developing our Auctions listings and our coverage of art journals. Please contact oscholars@gmail.com.

TABLE OF CONTENTS
Scroll down the page or click the paint brush
Abstracts
Auctions
Bibliographies. Note: this is a separate page.
Conferences – Seminars – Symposia – Lectures – Calls for Papers
Exhibitions: Austria – Australia – Belgium – Canada – England – Germany – Italy – The Netherlands – Scotland – Spain – Sweden – Switzerland – USA. Note: this is a separate page.
Journals
Publications & research (1): General
Publications & research (2): MA and doctoral theses currently being undertaken in Germany. Note: this is a separate page.
In the Eye of the Critic: Ford Madox Brown – British Orientalism – Hans von Marées – Viennese Cafés.
Index to Reviews. Note: this is a separate page.
Societies. Note: this is a separate page.
Brushstrokes

ABSTRACTS

This section will present abstracts of theses, conference papers and work in progress. These will then be indexed. If you would like your abstract to appear here, please contact Sarah Turner @

AUCTIONS

with links to illustrations, catalogues and exhibition details

Date

Recent auctions held by Sotheby’s

Click Catalogue to view

07/10/08, New York

Impressionist and Modern Art including Latin American and Russian Art

22/10/08, New York

19th Century Furniture, Sculpture, Ceramics, Silver and Works of Art

23/10/08, New York

19th Century European Art including The Orientalist Sale

29/10/08, Paris

Orientalist Sale: Paintings, Sculptures and Works of Art

03/11/08, New York

Impressionist & Modern Art Evening Sale

O5/11/08, New York

Impressionist & Modern Art Day Sale including Important Russian Paintings

11/11/08, London

19th and 20th Century European Sculpture

GO (Image unavailable)

09/12/08, London

Victorian & Edwardian Art

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CONFERENCES – SEMINARS – SYMPOSIA – LECTURES – CALLS for PAPERS

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British Aestheticisms: Sources, Genres, Definitions, Evolutions

Université Paul Valéry, Montpellier 2nd-3rd October 2009. www.esthetismes.org

Both a social phenomenon, an artistic movement, and a literary trend, British Aestheticism has been the object of multiple, sometimes contradictory, definitions which all point to its central role in the advent of modernity. As a movement and as an operative notion Aestheticism is of major importance to anybody interested in nineteenth and early twentieth century British culture.

This international conference on ‘British Aestheticisms: Sources, Genres, Definitions, Evolutions,’ which will take place in October 2009, aims at re-examining the notion of Aestheticism from a transdisciplinary perspective and hopes to attract contributions (in French or in English) from researchers across the fields of British studies, comparative studies, art history, publishing history, aesthetics, philosophy, reception theory, women’s studies, queer theory, and gay and lesbian studies.

Papers may focus on the definition and the boundaries of Aestheticism, its relationship with tradition, and its links with contemporary or subsequent movements (European Decadence, Modernism, etc.) ; we also encourage contributions on the generic definition of Aestheticism, its editorial policies or its circulation and popularization via other media (visual arts, theatre, music-hall) in mainstream culture as well as in various alternative communities, in the general context of the explosion of the means of communication and mechanic reproduction, or what L. Dowling calls 'artistic vulgarisation'. What authors were/are considered aesthetic? Who read Aesthetic writings (both fiction and non-fiction), bought or saw Aesthetic products, or attended Aesthetic performances? Furthermore, as Aestheticism is concomitant with a re-envisaging of gender and identities, contributors may want to explore the links between Aestheticism and Victorian feminism and with the 'third sex'. Finally, one may want to examine the philosophical underpinnings of a movement based on Kantian philosophy which aimed at challenging oppositions between aesthetics and ethics : is Aestheticism a subversion, a redefinition, or a suspension of the oppositions between aesthetics and ethics ?

We welcome papers addressing, but not limited to, the following issues :

Aestheticism and literary tradition; *Aestheticism and subversion; *Aestheticism, its scandals and its trials (Rossetti, Ruskin, Whistler, Wilde); *Reception of British Aestheticism abroad; *Aestheticism and European Decadence; *Aestheticism and Modernism; *Aestheticism and the theatre, the opera, or popular culture; *Fashion and/or Avant-garde; *Seriousness, humour, irony; *The sex of Aestheticism; *Women aesthetes; *Aestheticism and the visual arts; *Aestheticism in the museum : its exhibition style, its exhibition venues, its artists, its exhibitions then and now; *The circulation of Aesthetic production : publishing, reproduction, periodicals; *Aestheticism and philosophy : ethical implications; *Aestheticism and the issue of its possible religious affiliation (Catholic/Anglican); *Nationalism and Cosmopolitanism; *The Politics of Aestheticism.

This conference is organised by the CERVEC Research Center (Centre d'Etudes et de Recherches Victoriennes, Edourdiennes et Contemporaines, EA 741) of the Université Paul Valéry Montpellier, France. Selected papers will be published. Please send a 300-word abstract before 1st December 2008 to Catherine Delyfer @ AND Bénédicte Coste @.

Lectures at the Van Gogh Museum, Amsterdam

The Van Gogh Museum presents a series of lectures for all those interested in finding out more about Vincent van Gogh and his contemporaries. Every first Sunday of the month the museum hosts a presentation highlighting the latest research into the collection or a current exhibition. Researchers, curators and restorers tell the story behind the art on display and present new insights and findings. The lectures start at 14.00 in the auditorium and last 30-45 minutes. Entrance is free for visitors to the museum. The language is Dutch. In case of speakers from abroad the language is English.

Intersections

This is the theme of the 35th Conference of the (British) Association of Art Historians, to be held at Manchester Metropolitan University, Manchester 2nd–4th April 2009. For the Call for Papers and other details, see http://aah.org.uk/conference/index.php.

ICAF, the International Comic Arts Forum, held its thirteenth annual meeting at the School of the Art Institute of Chicago in Chicago, Illinois, from Thursday, October 9th, through Saturday, October 11th 2008. Nothing fin-de-siécliste about that, but we have prepared a bibliography of Oscar Wilde in comic book (or graphic novel) form, and will follow this up with others that relate to the fin-de-siècle – Proust, for example. All contributions welcome. To learn about ICAF's mission, click here.

Envisioning Utopia: British Art and Socialist Politics, 1870-1900:

A Walter Crane Study Day at the Whitworth Art Gallery, University of Manchester.

Friday, 5th December, 17:30 keynote address followed by reception.

Saturday, 6th December, registration begins at 11:00; programme begins 11:30.

On 5th and 6th December, 2008, the Whitworth will host a conference, “Envisioning Utopia: British Art and Socialist Politics, 1870-1900.” This conference will examine the dynamic between the urban and the pastoral in utopian visions of a socialist future and explore the role of visual art in formulating and articulating these political ideals.

Keynote address Friday at 5:30 by Professor Tim Barringer (History of Art, Yale University). Speakers include Dr Matthew Beaumont (English, UCL), Dr. Jo Briggs (Yale Center for British Art), Professor Michael Hatt (History of Art, Warwick), Dr Ruth Livesey (The Victorian Centre, Royal Holloway, University of London), Sarah Turner (Courtauld Institute), and Dr Anna Vaninskaya (King’s College, Cambridge University Victorian Studies Group).

Registration fee £20, concessions £10. Registration includes reception on Friday and refreshments and lunch on Saturday. For more information, email waltercranearchive@gmail.com.

This event is supported by the Paul Mellon Centre for Studies in British Art.

Artists’ Writings 1750-present

Courtauld Institute of Art, 6th-7th June 2009

Despite Matisse’s warning that ‘he who wants to dedicate himself to painting should start by cutting out his tongue’, artists in the modern period have frequently expressed themselves in writing (whether memoir, fiction or theory). This conference will ask what motivates artists to write, how they view the relation between their visual and textual practice, and how they use writing to manipulate or challenge the public reception and critical interpretation of their work. Challenging the myth of the visual artist as an intuitive anti-intellectual, it will demonstrate the extent and diversity of artists’ contributions to modern literature and criticism in various languages. It will also investigate how scholars interpret these texts: are they works of art in themselves or simply evidence about the artist’s life and craft? Do they conceal as much as they reveal? How has the role and perception of artists’ writings changed over time?

Topics could include, but are not limited to: Questions of genre; Public versus private writing; Authorship, authority and intention; Writing as justification / explanation / polemic ; Writing as obfuscation; Self-expression versus silence; Fact and fiction; Life-writing; The politics of identity (ethnicity, gender, sexuality); Travel writing; Ekphrasis / transposition d’art / synaesthesia; Interchange and rivalry between the arts; The artist as critic; Artists’ interviews; Public lectures, instruction and guidance; Manifestos and treatises; Text-based art works and artists’ books; Writing and visuality; Writing and performance.

The Call for Papers has closed. More information from Linda Goddard @.

Word & Image

The 8th International Conference on Word and Image Studies / 8e congrès international sur l'étude des rapports entre texte et image took place in Paris, Institut national d'histoire de l'art, 7-11 July/juillet 2008. The programme can be found on line.

States of art: the nineteenth century

Study day organised by the équipe interdisciplinaire XIX^e (centre Louis et Charles Blanc) du CHAHR, with the support of the École doctorale « Milieux, cultures et sociétés du passé et du présent » de l’université Paris Ouest Nanterre La Défense et de l’Institut universitaire de France.

This took place at the National Institute for the Study of the History of Art in Paris on 5th November. To learn more, click here.

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JOURNALS

The Art Book

Volume 15 Issue 4 (November 2008), published on behalf of the Association of Art Historians and edited by Sue Ward & Marion Arnold, is now available. Article and reviews include Renoir at the Theatre: looking at La loge by Ernst Vegelin Van Claerbergen & Barnaby Wright (eds), reviewed by Adrian Lewis.

Art History

Published on behalf of the Association of Art Historians and edited by David Peters Corbett and Christine Riding, Art History (ISSN 0141-6790) is a refereed journal that publishes essays and reviews on all aspects, areas and periods of the history of art, from a diversity of perspectives, 5 issues per year. Founded in 1978, it has established an international reputation for publishing innovative essays at the cutting edge of contemporary scholarship. At the forefront of scholarly enquiry, contributors to Art History are opening up the discipline to new developments and to the interdisciplinary and cross-cultural approaches that are increasingly important in this globalised world. Art History publishes a thematic ‘special issue’ each year.

Art History offers a diverse reviews section for those involved in the history of art and related fields. You can get online information about the journal directly from Blackwell’s website. This includes a listing of contents, the aims and scope of the journal, notes for contributors, subscription information for non-members.

The latest issue is that of Volume 31 Issue 4 (September 2008). This contains no article that falls within our interests.

Artefact

Artefact is a new peer reviewed journal published by the Irish Association of Art Historians in consultation with academics from universities across Ireland, north and south. Artefact welcomes submissions on all periods and aspects of art history and visual culture, and aim to provide an outlet for publication of new and emerging scholarship in Ireland. The inaugural issue of Artefact was launched in autumn 2007, and will be published annually.

Arts & Crafts Newsletter

The latest issue on line of Mark Golding’s Arts and Crafts Newsletter, to be found on-line by clicking the banner, is that for June 2008, no 76. Notice of each monthly issue of this very useful and informative journal is available by e-mail from mark@achome.co.uk.

British Art Journal

The British Art Journal (‘The research journal of British Arts Studies’, founded in 1999), maintains a website at www.britishartjournal.co.uk, but no Table of Contents is as yet published and the website seems unchanged since 2003. One cannot tell from the website which was its most recent issue, and the Archive page has been suspended ‘for lack of funds’. Submissions are still being invited and we will continue to monitor the site in case articles on fin-de-siècle artists should appear. (From our summer and earlier issues)

Ø Update November 2008. This has at last appeared live on line once more, rechristened The British Art Blog, although not all the internal links are working. We will look more closely for our next issue.

Journal of design history

Journal of Design History is a leading journal in its field. It plays an active role in the development of design history (including the history of the crafts and applied arts). Click here. The current issue is Volume 21, Number 3, Autumn 2008

Journal of modern craft

Edited by Glenn Adamson, Victoria & Albert Museum; Edward S. Cooke, Jr., Yale University; Tanya Harrod, Royal College of Art.

Print ISSN: 1749-6772; Online ISSN: 1749-6780 .Frequency: 3 times per year starting in March 2008

The Journal of Modern Craft is the first peer-reviewed academic journal to provide an interdisciplinary and international forum in its subject area. It addresses all forms of making that self-consciously set themselves apart from mass production—whether in the making of designed objects, artworks, buildings, or other artefacts. 

The journal covers craft in all its historical and contemporary manifestations. It starts in the mid-nineteenth-century, when handwork was first consciously framed in opposition to industrialization, through to the present time, when ideas once confined to the ‘applied arts’ have come to seem vital across a huge range of cultural activities. Special emphasis is placed on studio practice, and on the transformations of indigenous forms of craft activity throughout the world. The journal also reviews and analyses the relevance of craft within new media, folk art, architecture, design, contemporary art, and other fields.

The Journal of Modern Craft is the main scholarly voice on the subject of craft, conceived both as an idea and as a field of practice in its own right.

NAVSA Newsletter

The North American Victorian Studies Association has published its latest on-line newsletter, no 10.

Nineteenth Century Art Worldwide

Nineteenth-Century Art Worldwide is the world’s first scholarly, refereed e-journal devoted to the study of nineteenth-century painting, sculpture, graphic arts, photography, architecture, and decorative arts across the globe, and functions as the journal of Association of Historians of Nineteenth Century Art. Open to various historical and theoretical approaches the editors welcome contributions that reach across national boundaries and illuminate intercultural contact zones. The chronological scope of the journal is the ‘long’ nineteenth century, stretching from the American and French Revolutions, at one end, to the outbreak of World War I, at the other.

The Autumn 2008 edition (Volume VII Number 2) is now published. The leading articles for late nineteenth century scholars are listed below (hyperlinked):

ARTICLES

Fleshing Out the Museum: Fernand Cormon’s Painting Cycle for the New Galleries of Comparative Anatomy, Paleontology, and Anthropology by Maria P. Gindhart

The Baby-in-a-Half-Shell: A Case Study in Child Memorial Art of the Late Nineteenth Century by Annette Stott

The Invisible “Sculpteuse”: Sculptures by Women in the Nineteenth-Century Urban Public Space—London, Paris, Brussels by Marjan Sterckx

REVIEWS

Nationalism and French Visual Culture, 1870-1914, June Hargrove and Neil McWilliam, eds. Reviewed by Rachel Esner

Victor Regnault and the Advance of Photography: The Art of Avoiding Errors, by Laurie Dahlberg. Reviewed by Joel Hollander

Current Issues in 19th-Century Art: Van Gogh Studies 1. Reviewed by Michael Marlais

Gustave Courbet. Reviewed by Mary Morton

Barcelona 1900. Reviewed by Gabriel P. Weisberg

La matière de l’étrange, Jean Carriès (1855-1894). Reviewed by Caterina Y. Pierre

The Review of the Pre-Raphaelite Society

First issued in the Spring of 1993, The Review has appeared three times a year (except in 1998, 2000 and 2003), when special issues on Burne-Jones, Ruskin and Millais each represented two numbers. The latest issue of which details are given on line is Vol. XVI, No.1, Spring 2008. Click the image for the Table of Contents.

WORD & IMAGE

Word & Image concerns itself with the study of the encounters, dialogues and mutual collaboration (or hostility) between verbal and visual languages, one of the prime new areas of humanistic criticism. Word & Image provides a forum for articles that focus exclusively on this special study of the relations between words and images. Themed issues, guest-edited by internationally acknowledged scholars, are a regular feature of the journal. Recent examples include reading ancient and medieval art, the picture and the text, and artists in two media. 4 issues per year; print version only. It is not easy to find its Table of Contents on-line. We gave up.

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PUBLICATIONS & RESEARCH

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Research Studies on Fin de Siècle Art History

Announcements from the institutes of art history in Germany begin this new section of VISIONS. Please click to reach it.

Willa Silverman’s The New Bibliopolis: French Book Collectors and the Culture of Print, 1889-1914 has been published by the University of Toronto Press, 2008. ISBN 9780802092113. $75.00; £48.00. The publisher’s description is as follows:

The late-nineteenth century in Europe was a period of profound political, social, and technological change. One result of these changes was the rise in France of an upper-bourgeois bohemian class. Many of its members stimulated interest in unique forms of artistic expression such as illustrated books. On account of their influence, an atmosphere of intense bibliophilic activity came to define French culture at the turn of the century. The New Bibliopolis explores the role of amateurs in promoting the book arts in France during this period.

Drawing on extensive original research, Willa Z. Silverman looks at the ways in which book collectors supported print culture. She shows how, through the admiration demonstrated by collectors for this medium, print came to be a crucial part of popular conceptions of aesthetics. As collectors, publishers, authors, designers, and directors of bibliophile societies, reviews, and small presses, these book lovers became passionate and prolific
interlocutors of the printed word in a uniquely artistic epoch. Silverman analyzes subjects as diverse as the relationship between book collecting and aesthetic and cultural currents such as Symbolism; the gendered nature of book collecting; the increased collaboration between authors and illustrators; and the marketing of
fine books at international exhibits.

The New Bibliopolis is an important contribution to the study of book history, French socio-cultural history, and fine and decorative arts.

Christina Bradstreet’s article ‘Wicked with Roses: Floral Femininity and the Erotics of Scent' has been published in Nineteenth-Century Art Worldwide http://www.19thc-artworldwide.org/spring_07/articles/brad.shtml. The article explores the idea of nineteenth-century constructions of femininity by looking at the motif of women inhaling floral fragrance in British painting and visual culture, from about 1880 to 1910.  It includes discussion of scent-inspired fantasy with reference to Waterhouse's painting ‘The Soul of the Rose.’

Dr Bradstreet adds ‘My thesis “Scented Visions: The Nineteenth-Century Olfactory Imagination” (University of London, 2007) explores the role of smell in art and aesthetics c.1880–1910 and includes research on the role of the perfumer as artist, smell and memory, odour and orientalism, perfume concerts and the visual representation of smell in painting. Within this context I explored visions of the mind's eye (memories, dreams, hallucinations and imaginings) inspired by scent as well as olfactory experiences generated by visual material.  It can be accessed through Senate House library.’

A Special Issue of Modernism/Modernity 15. 3 (September 2008) was devoted to ‘Decadent Aestheticism and Modernism’

Editor's Preface: ‘Decadent Aesthetic Modernity: Beyond Baudelaire,’ Cassandra Laity

‘The Dissipating Nature of Decadent Paganism from Pater to Yeats,’ Dennis Denisoff

‘Nightwood's Freak Dandies: Decadence in the 1930s,’ Robin Blyn

‘William Morris, Print Culture, and the Politics of Aestheticism,’ Elizabeth Miller

‘Aubrey Beardsley and H.D.'s “Astrid”: The ghost and Mrs. Pugh of Decadent Aestheticism and Modernity,’ Carolyn Kelley

‘Aestheticism's Afterlife: Wallace Stevens as Interior Decorator and Disruptor,’ Elizabeth Oliver

‘Out of the Archives’ Section:

First English translation of Théophile Gautier's ‘Messres. Millais and Hunt’ from his Beaux-Arts en Europe. Trans. for M/M by Marie-Helene Girard (Yale University). The chapter comprises Gautier's critique of Pre-Raphaelite paintings by John Millais and Hunt exhibited at the 1855 Exposition Universelle in Paris, including Ophelia and others.  Cassandra Laity adds ‘The translation of Gautier's review of the Pre-Raphaelite painters Millais and Hunt in the 1855 Paris exhibition is particularly interesting. The French strain of Decadence (Baudelaire, Gautier) did not understand the British passion for scientific naturalism that pervaded Aestheticism from the Pre-Raphaelites through Pater and Swinburne.  He calls Ophelia “bizarre” “shocking” “arresting.” The French realists, he comments, will never follow this school: they don't have the patience, the observation, the will for this “microscopic” detail. The English will fail in their “duel with nature,” he concludes.’

Beardsleian caricature by ‘Daubrey Weirdsley’

Janice Helland: British and Irish Home Arts and Industries 1880–1914: Marketing Craft, Making Fashion. Foreword by Fintan Cullen. Dublin: Irish Academic Press 2007.

Synopsis of book: This is the first book to study the revival of cottage crafts that accompanied the growing interest in an arts and crafts movement in Britain and Ireland. It focuses upon three regional craft associations, organised, sponsored and promoted by British women: the Donegal Industrial Fund (founded 1883 by Londoner Alice Rowland Hart); the Irish Industries Association (founded 1886 by Ishbel, Countess of Aberdeen and supported by a number of Irish and British aristocrats); and Highland Home Industries (revived in 1886 by the Marchioness of Stafford, later Millicent, Duchess of Sutherland). The three examples have been selected because although like many of their counterparts, the patrons endorsed a relationship between work and morality, they also recognised the significance of consumption and market. Their patrons understood the value of spectacle, the usefulness of advertising and the efficacy of exhibition. The emphasis is upon how and why they adopted these strategies to promote and sell cottage crafts for the benefit of rural workers. The introduction provides an overview of home arts and industries in Britain as part of the late nineteenth century craft revival and examines the difference between the large English based Home Arts and Industries Association and other home arts organisations in England, Scotland, Wales and Ireland.

Art, Culture, and National Identity in Fin-de-Siècle Europe, edited by Michelle Facos and Sharon Hirsh, was published by Cambridge University Press in June 2003 and went out of print in September 2006. Deplorably, there are no plans for a new impression, nor for an electronic edition. Michelle Facos has kindly sent us the Table of Contents.

Introduction     Michelle Facos & Sharon L. Hirsh, pp. 15

Chapter 1        Janis A. Tomlinson, State Galleries and the Formation of National Artistic Identity in Spain, England, and France 1814-1851, pp. 16-38

Chapter 2      Anne Helmreich, The Nation and the Garden: England and the World’s Fairs at the Turn of the Century, pp. 39-64

Chapter 3       Anna Brzyski, ‘Unsere Polen...’: Polish Artists and the Vienna Secession, 1897-1904, pp. 65-89

Chapter 4      Janet Kennedy, Pride and Prejudice: Serge Diaghilev, the Ballet Russes, and the French Public, pp. 90-118

Chapter 5      Robin Lenman, Art and National Identity in Wilhelmine Germany, pp. 119-136

Chapter 6      Carmen-Elena Popescu, National Romanian Architecture: Building National Identity, pp. 137-159

Chapter 7      Terri Switzer, Hungarian Self-Representation in an International Context: the Magyar Exhibited at International Expositions and World’s Fairs, pp. 160-185

Chapter 8       John Morrison, Nationalism and Nationhood: Late nineteenth-century Painting in Scotland, pp. 186-206

Chapter 9      Patricia G. Berman, Making Family Values Narratives of Kinship and Peasant Life in Norwegian Nationalism, pp. 207-228

Chapter 10     Michelle Facos, Educating a Nation of Patriots: Mural Paintings in Turn of the Century Swedish Schools, pp. 229-249

Chapter 11     Sharon L. Hirsh, Swiss Art and National Identity at the Turn of the Twentieth Century, pp. 250-286

Resources In Art History For Graduate Students: A Newsletter of Fellowships and other Opportunities for Art History Graduate Students.

This extremely valuable publication, edited by Adrienne DeAngelis, can be found at http://www.efn.org/~acd/resources.html.

Arielle Hesse is working on a research project at Penn State involving art collection around the turn of the 20th century. @

Eric Karpeles: Paintings in Proust A Visual Companion to ‘In Search of Lost Time’. London: Thames & Hudson 2008.

VISION INTO FILM

We here begin a new section, reproducing when we find them posters of films that depict the painters and sculptors of our period. We welcome critical reviews of such films. The posters have been supplied by Danielle Guérin.

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BRUSH STROKES

SHRINES is a new Appendix on THE OSCHOLARS website where we have begun to list, and now invite articles on, museums dedicated to the artists, writers and composers of the fin-de-siècle (with a few others added for good measure).

Joan Navarre writes that ‘Two original Beardsley illustrations for Wilde's Salome have
surfaced: “The Climax” and “A Platonic Lament”. For sale at auction (Skinner's, Boston) 16th November: see
http://auctionpublicity.com/2008/10/29/skinner%E2%80%99s-annual-auction-of-fine-books-manuscripts-set-for-november-16th/ and http://www.maineantiquedigest.com/pages/page.php?id=7183. The description of ‘A Platonic Lament’ (lot 138) as “one of the few drawings Beardsley ever made in which there is no hint of violence. . . .” is challenged in my essay published in ELT 2008.’

Aubrey Beardsley: Pierrot of Pimlico and Piccadilly, presented by Alexia Lazou, was one of the London Adventure walks, which took place on Sunday 7th September 2008. Alexia Lazou is a Beardsley enthusiast who interprets his life and work through many forms, from tours to costumes to biscuits.

Angela Thirlwell tells us that she had a Commentary piece in the TLS on Ford Madox Brown and the poet Mathilde Blind, edition of 10th October. She also gave a talk in front of the exhibition pictures 'Ford Madox Brown: the Unofficial Pre-Raphaelite' at 1.00 pm, 5th November, at the Birmingham City Art Gallery. See also www.angelathirlwell.co.uk.

The Simeon Solomon Research Archive is a fully developed and regularly updated website dedicated to this important figure of the Decadence, and forms an extremely important resource.

No student of Symbolism can ignore the website of the leading French authority on the subject, Jean-David Jumeau-Lafond, whose many works on this subject are listed.

Serena Trowbridge, editor of the Review of the Pre-Raphaelite Society has been interested in contacting anyone working on the Pre-Raphaelite painter F.G. Stephens: ‘All suggestions welcome’ to Serena Trowbridge @.

This notice has appeared on VICTORIA: ‘Birmingham Museums and Art Gallery are creating a website that gives people full access to their archive of Pre-Raphaelite paintings, drawings and related material. They are currently researching how people would be interested in using a resource like this. We would very much appreciate the comments of Victoria members and to draw on your expertise. If you'd like to participate in the design of this resource, please fill in our online survey at http://illumina.co.uk/bmag_survey/. Several small focus groups are also being set up in May for people to contribute their ideas. If you'd like to be involved in one of these, please enter your details at the end of the survey or email Anna Humphries at @ for more information. (Signed) Amelia Yeates, Birmingham Museums and Art Gallery, on behalf of Anna Humphries, Illumina Digital UK. @

NICE Paintings - the National Inventory of Continental European Paintings

Announcing the launch of a new web resource for the study of history of art, museum studies and picture research. NICE Paintings (http://vads.ahds.ac.uk/collections/NIRP/index.php) contains detailed records of nearly 8,000 pre-1900 Continental European oil paintings from 200 public collections across the United Kingdom. Over 2,500 are illustrated with digital colour images, and more images are being added regularly. This pioneering database is the first phase of a project to bring together in one searchable catalogue all 22,000 old master paintings in UK museums. The project was funded by the Arts and Humanities Research Council, the Getty Foundation and the Kress Foundation. NICE Paintings was produced by the National Inventory Research Project (NIRP), based at the University of Glasgow. NIRP is a partnership between the University of Glasgow and Birkbeck University of London. It is managed by a steering committee of curators from national and regional collections across the UK, chaired by Dr Susan Foster, Director of Collections at the National Gallery, London. The project is continuing to add digital images to the database, contributed by museums and the Public Catalogue Foundation, and is working to complete the project by adding to the database records on the 15,000 old master paintings in national university and other major regional museums not included in this initial research phase of the project. URL: http://vads.ahds.ac.uk/collections/NIRP/index.php; contact: Andrew Greg @

University of Delaware Library/Delaware Art Museum Fellowship in Pre-Raphaelite Studies

The University of Delaware Library, in Newark, Delaware, and the Delaware Art Museum are pleased to announce a joint Fellowship in Pre- Raphaelite studies. This short-term, one-month Fellowship, to be awarded in 2009, is intended for scholars conducting significant research in the lives and works of the Pre-Raphaelites and their friends, associates, and followers. Research of a wider scope, which considers the Pre-Raphaelite movement and related topics in relation to Victorian art and literature, and cultural or social history, will also be considered. Projects which provide new information or interpretation—dealing with unrecognized figures, women writers and artists, print culture, iconography, illustration, catalogues of artists’ works, or studies of specific objects--are particularly encouraged, as are those which take into account transatlantic relations between Britain and the United States.

The recipient will be expected to be in residence and to make use of the resources of both the University of Delaware Library and the Delaware Art Museum. They may also take advantage of these institutions’ proximity to other collections, such as the Winterthur Museum and Library, the Philadelphia Museum of Art, the Princeton University Library, and the Bryn Mawr College Library. Each recipient is expected to make a public presentation about his or her research during the course of Fellowship residence.

Up to $2,500 is available for the one-month Fellowship. Housing is not provided, but the funds may be used for this purpose, or for travel and other research expenses.

The Fellowship is intended for those who hold a Ph.D. or can demonstrate equivalent professional or academic experience. Applications from independent scholars and museum professionals are welcome.

Founded in 1912, the Delaware Art Museum is home to the largest and most important collection of British Pre-Raphaelite art in the United States. Assembled largely by the Wilmington industrialist, Samuel Bancroft, Jr., at the turn of the century (with significant subsequent additions), the collection includes paintings and drawings by all the major and minor Pre-Raphaelite artists, as well as decorative arts, prints, photographs, manuscripts, and rare books. The Helen Farr Sloan Library & Archives, with a reference collection of 30,000 volumes, holds Samuel Bancroft’s papers and correspondence, a rich source for the history of collecting and provenance which also contains significant manuscript material by and about the Rossettis.

The University of Delaware Library has broadly based and comprehensive collection--books, periodicals, electronic resources, microforms, government publications, databases, maps, manuscripts, media, and access to information via the Internet--which provide a major academic resource for the study of literature and art. Many printed and manuscript items related to the Pre-Raphaelites and their associates are in the Special Collections Department, including major archives relating to the Victorian artist and writer, George Adolphus Storey, and to the bibliographer and forger, Thomas J. Wise. The Mark Samuels Lasner Collection, associated with the Special Collections Department, focuses on British literature and art of the period 1850 to 1900, with an emphasis on the Pre-Raphaelites and on the writers and illustrators of the 1890s. Its rich holdings comprise 5,000 first and other editions (including many signed and association copies), manuscripts, letters, works on paper (including drawings by Edward Burne-Jones and Dante Gabriel Rossetti), and ephemera.

To apply send a completed application form, together with a description of your research proposal (maximum 1,000 words) and a curriculum vitae or resume, to the address given below. These materials may also be sent via email to: fellowships@delart.org. Letters of support from two scholars or other professionals familiar with you and your work are also required.

The deadline for applications is 1st December 2008.

For more information and an application form write to Pre-Raphaelite Studies Fellowship Committee, Delaware Art Museum, 2301 Kentmere Parkway, Wilmington, DE 19806 USA or visit www.delart.org/fellowships.html.

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