VISIONS 4

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

Editor: D.C. Rose.

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

Contributors: Antoine Capet, Catherine Delyfer, Nicola Gordon Bowe, Morna O’Neill, Leonée Ormond, Barbara Wright.

SPRING 2009

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

EDITORIAL

This is the fourth issue of VISIONS, which continues to evolve both in form and content, and we are sensitive to reader response. With this issue our Editorial team is joined by Dr Tricia Cusack (University of Birmingham), who succeeds Síghle Bhreathnach-Lynch as Reviews Editor, upon the latter’s retirement. We are pleased to say that Dr Bhreathnach-Lynch has consented to be Hon. Advisor to VISIONS. 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. Visual arts may also spill over into other journals on our website.

Please contact oscholars@gmail.com for inclusion on the mailing list for alerts to new issues for any of our journals. The alert to the last issue of VISIONS went to sixty art historians, and this one to 113: we hope this number will increase. Do please recruit for us !

All our journals are served by a discussion forum which also functions as a 'Letters to the Editor' section. This is also 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 blind 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 – Ireland – Italy – Japan – The Netherlands – Portugal – Scotland – Spain – Sweden – Switzerland – USA – Wales. 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: Holman Hunt – Manet – Miles – Morris & Burne-Jones – Proust – Whistler – Cottage industries.
Index to Reviews. Note: this is a separate page.
Societies. Note: this is a separate page.
Brushstrokes

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ABSTRACTS

This section is intended for 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 @

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AUCTIONS

with links to illustrations, catalogues and exhibition details. None have come to our attention since our previous issue.

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CONFERENCES – SEMINARS – SYMPOSIA – LECTURES – CALLS for PAPERS

Pre-Raphaelite Art and Interiors

Wednesdays 6th May–24th June 2009; Victoria & Albert Museum, Seminar Room 1, Sackler Centre
10.30-13.00. Jo Banham, Head of Adults, Students and Creative Industries, V&A. Examine one of the great revolutionary movements of 19th century art, from its origins in the 1840s and its links to the writings of Ruskin, to later manifestations in the work of William Morris, Edward Burne-Jones, and Arthur Hughes, and its impact on designers and artists like E.W. Godwin and J.M. Whistler associated with the Aesthetic Movement. The original members of the Brotherhood – D.G. Rossetti, J.E. Millais, and W.H. Hunt – rejected the academic dryness and vapid sentimentality of Victorian painting and championed the detailed observation of nature, and the use of subjects taken from the Middles Ages, literature and modern life. Their art also often explored contemporary issues such as work, marriage, sex and the fulfillment of love. Embracing many areas of art and design including painting, furniture, wallpapers, textiles, and interiors you'll examine all aspects of Pre-Raphaelitism and focus in particular on objects, paintings and designs in the V&A's premier collection. £200, concessions available. To book, call +44 (0)20 7942 2211

British Aestheticisms: Sources, Genres, Definitions, Evolutions

Université Paul Valéry, Montpellier 2nd-3rd October 2009

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 ?

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. The programme is now on line www.esthetismes.org.

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 was the theme of the 35th Conference of the (British) Association of Art Historians held at Manchester Metropolitan University, Manchester 2nd–4th April 2009. For the programme, see http://aah.org.uk/conference/sessions2009.php.

Lecture at the frick

Wednesday, 29th April at 6:00 p.m. Ross King: Rivalries and Reputations in the Gilded Age: Manet, Meissonier, and the Birth of Impressionism.

James Abbott McNeill Whistler in The Frick Collection

Along with Gilbert Stuart, Whistler is one of only two American artists represented in The Frick Collection, and Henry Clay Frick acquired more of his works — five paintings, twelve etchings, and three pastels — than of any other artist. This two-part seminar led by Senior Curator Susan Grace Galassi focussed on his paintings and prints and the influences of Old Masters, such as Gainsborough, Reynolds, Velázquez, and Goya. 26th March and 2nd April 2009.

ART, AESTHETICS AND THE SEXUAL

The Aesthetics Research Group at The University of Kent is pleased to announce a forthcoming conference 21st–22nd May 2009 University of Kent, Canterbury, England.

Many pictures, still and moving, in high art and demotic culture, in Western culture and globally, incorporate sexual imagery and themes. This conference will explore different approaches within philosophical aesthetics to such images, including those typically classified as pornography and erotica around which much of the existing philosophical literature focuses.

INVITED SPEAKERS David Davies (McGill University, Canada) Susan Dwyer (University of Maryland, USA) Jerrold Levinson (University of Maryland, USA / University of Kent, England) Alex Neill (University of Southampton, England) Elisabeth Schellekens (Durham University, England) Kathleen Stock (University of Sussex, England) Cain Todd (Lancaster University, England)

For more information, please visit http://www.aesthetics-research.org/ or contact the conference organizers Hans Maes (H.Maes@kent.ac.uk) Michael Newall (M.B.Newall@kent.ac.uk)

We gratefully acknowledge financial support from the The Mind Association, The British Society of Aesthetics, The Leverhulme Foundation, The Kent Institute for Advanced Studies in the Humanities, SDFVA, SECL.

Women, Femininity, and Public Space in Nineteenth-Century Visual Culture

Call for Papers for the 2010 College Art Association Conference

Chairs: Temma Balducci, Arkansas State University and Heather Belnap Jensen, Brigham Young University

It is tantamount to scripture that genteel women of the nineteenth century were associated exclusively with the spaces of domesticity. While recent scholarship on the flâneuse has gone some way toward challenging this assumption, our session is premised on the notion that the descriptor ‘flâneuse’ does not adequately capture the myriad positions available to bourgeois women vis-à-vis the public sphere. We are seeking proposals that engage with the specificity of women¹s activities outside the home and other conventional ‘spaces of femininity.’ What venues and mechanisms facilitated women¹s participation in public culture? In what ways did their activities shape notions of gender and public space? From a historiographic standpoint, what is the continued lure of the separate spheres ideology for art historians?

Please submit an abstract and CV by 8th May 2009 by email to both tbalducci@astate.edu and heather_jensen@byu.edu or by mail to Heather Belnap Jensen, 3122 JKB. Department of Visual Arts, Brigham Young University, Provo, UT 84602.

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 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 @.

The Design History Society Annual Conference

Hosted by the tVAD Research Group at the University of Hertfordshire, Hatfield, England, 3rd–5th September 2009.

http://sitem.herts.ac.uk/artdes_research/tvad/event030909.html

Co-convenors: Dr Grace Lees-Maffei and Jessica Kelly

The Call for Papers closed on 12th January 2009.

How do we find out about design, as both practice and object, including the processes of designing, crafting and manufacture, marketing and consumption? A variety of methods and sources ranging from observation, participation, interview and oral history, to object analysis and documentary and visual interpretation is used in order to understand the processes and products of design and material culture. In both researching design and preparing resultant outcomes, designers, design historians, practitioners of design studies, material culture studies, popular culture studies and liteary studies use words, whether written or spoken, to describe visual and material processes and objects. Understanding design involves the use and translation of sources, both pictorial/material and written/verbal as our keynote speakers, Jeffrey L. Meikle, Professor of American Studies and Art History at the University of Texas and Dr Paul Jobling, Senior Lecturer, History of Art and Design at the University of Brighton, will explore.

As is fitting in the wake of the Design History Society's 30th Anniversary and following the 20th Anniversary of the Journal of Design History, Writing Design encourages participants to reflect on their sources, historiography and methodology, research, dissemination and teaching processes to examine the issues mobilised by articulating design and material culture with language and the ways in which writing about objects has conditioned our understanding of design. Writing Design is inclusive in its interests; the following list of indicative themes is not intended to be prescriptive, exclusive or exhaustive:

What is at stake in the translation of objects into words - written or spoken - for the purposes of research, communication and understanding?

How does the design of words and writing impact upon their interpretation, both within studies of typography and book design and more broadly?

How can the haptic and tacit knowledge be discussed and written about?

What has been the value of designers' writings?

How have designers attempted to shape their personae/biographies?

What conclusions can we draw about writing on design, from popular and specialist design journalism and trade journals to academic studies of design?

How have design and designers been represented in literature, magazines and television?

How have discourses of lifestyle expertise shaped taste and consumption?

How do we, as students, scholars and practitioners of design, engage historiography by writing ourselves and our work into an evolving history of design history?

How have archival holdings, documentary sources such as probate records, diaries and broadsheets, and curatorial practices shaped our understanding of design?

How have curators used selection and synthesis, labels and catalogues, objects, words and images to tell stories and histories about design?

How do we understand design practice through documentary sources and visual and material sources such as designer's archives and designed goods?

What impact has an existing design historical bias towards Western industrialised nations had on the understanding of design?

How have interview and oral history practices enlarged design understanding?

What pedagogical issues are raised by learning about designed objects through lectures, seminars and written assignments?

What is the role and value of the written assignment in design education?

Writing Design aims to showcase papers which will enhance the practice of design history in the future and to publish double-blind peer-reviewed outcomes from the conference. Therefore all submissions must be for original research, not previously published elsewhere. Proposals from postgraduate researchers are encouraged and the Design History Society offers bursaries to support student members' conference attendance.

Based in the Faculty for the Creative and Cultural Industries at the University of Hertfordshire, the tVAD research group examines relationships between text, narrative and image. See http://sitem.herts.ac.uk/artdes_research/tvad/event030909.html for more information about tVAD and the excellent air, road and rail transport links UH enjoys, being only 20 minutes from central London. We look forward to welcoming you to Writing Design.

The Art, Architecture, and Literature of the Gilded Age

The 13th Annual Salve Regina University Conference on Cultural and Historic Preservation, 15th–17th October 2009.

The term ‘Gilded Age’ is but one of many, such as the Age of Opulence, Age of Energy, the Brown, Mauve and White decades, and the American Renaissance, that attempts to characterize a particular period, c1860-c1910, in American history. Fuelled by the great prosperity after the Civil War, artists, writers, designers, architects and patrons looked both internally and abroad in an attempt to prove the United States equal to the Old World. These efforts pervaded all forms of artistic media, especially art, interior design, architecture, sculpture, literature and photography. Artistic and literary sources for the Gilded Age were wide ranging from the American Colonies to European Renaissances to the orient, and resulted in multi-media presentations of American supremacy.

Salve Regina University's 13th Annual Conference on Cultural and Historic Preservation will explore the application of these ideas to the art, architecture, interior design, decoration, and literature of Gilded Age epoch. Proposals for papers or panels may examine such subjects as: the interplay between architecture and literature; the Gilded Age interior; the exotic and/or oriental interior; European architectural models; technology and Gilded Age architecture; photography and its role as a transmitter of architectural ideals; artistic and/or architectural books; conspicuous consumption and the arts; the role of historic American architecture in the Gilded Age; patronage; nationalism; and the challenges in preserving Gilded Age arts, architecture and literature today. In addition, as the Gilded Age was not everyone's experience, papers may also explore related period ideas, such as African-American art, architecture and literature, immigrant artistic expressions and/or the relationship between other ethnic or minority groups and the arts. We welcome submissions from scholars of all academic disciplines, as well as from younger scholars and graduate students.

The Call for Papers closed on 15th March 2009. Information from Catherine Zipf, Salve Regina University, 100 Ochre Point Avenue, Newport, RI 02840 Catherine.Zipf@salve.edu.

WHY VICTORIAN ART?

This was a symposium organized by the Department of Art History, CUNY Graduate Center, and sponsored by the John Rewald Endowment Fund. It was held on Friday, 6th February 2009, 9am to 5pm at The Martin E. Segal Theatre, Graduate Center, 365 Fifth Avenue, New York City.

‘In American academia, British Victorian art has been perceived pejoratively as regressive relative to French art's trajectory toward modernism. In sharp contrast, English departments in the United States have encouraged the study of British Victorian literature since it was first set down on paper, with postmodern scholars championing Victorian literature's handling of issues from colonialism and racism to aspects of gender and sexual identities. The Victorians were the dominant imperial power and leaders of the industrial world at the dawn of the twentieth century, but the study of Victorian visual art and culture is still largely looked upon unfavorably in the United States, with American museums only rarely mounting exhibitions about Victorian art. Recently, this trend has been slowly changing. More students are pursuing dissertation topics in the areas of British Victorian painting, sculpture, architecture, and photography. Furthermore, conferences such as the 2008 annual meeting of NAVSA acknowledge the rising importance of Victorian art, including interdisciplinary panel sessions on topics such as sculpture and global contexts, queer visualities, and Darwinism and the arts. Why Victorian Art? brought together scholars to address two critical issues: why the study of Victorian art has been overlooked in the U.S., and how a closer examination of Victorian art can provide new or alternative perspectives in the study of nineteenth-century art and culture.’

Speakers: Geoffrey Batchen, Graduate Center, CUNY; Kathryn Moore Heleniak, Fordham University; Richard Kaye, Hunter College/Graduate Center, CUNY; Elizabeth Mansfield, New York University; Jason Rosenfeld, Marymount Manhattan College; Talia Schaffer, Queens College/Graduate Center, CUNY; Peter Trippi, editor of Fine Art Connoisseur.

Presentations by recent Ph.D. candidates on their dissertations: Jordan Bear, Columbia University; Margaret R. Laster, Graduate Center, CUNY; Catherine Roach, Columbia University; Andrea Wolk Rager, Yale University.

For more information, contact Roberto C. Ferrari at robertocferrari@gmail.com.

Vernon Lushington

Vernon Lushington: Pre-Raphaelite, Friend of William Morris and Father of ‘Mrs. Dalloway’ Lecture by David Taylor, Roehampton University.

This took place at The Grolier Club, 47 East 60th Street New York, NY on Thursday, 12 March 2009 6 p.m., sponsored by the William Morris Society in the United States, the American Friends of Arts and Crafts in Chipping Campden, the Grolier Club, the Stickley Museum at Craftsman Farms, and the Victorian Society in America.

Although he was a friend and colleague to many famous artists, authors, and activists, the lawyer and positivist Vernon Lushington (1832-1912) remains virtually unknown today. In ‘Vernon Lushington: Pre-Raphaelite, Friend of William Morris, and Father of ‘Mrs. Dalloway’, historian David Taylor will draw upon previously unavailable materials from the Lushington archive to shed light on the interesting and influential figure who arranged the first meeting between Edward Burne-Jones and Dante Gabriel Rossetti and who visited with William and Jane Morris at Kelmscott Manor. Taylor will also discuss the connection between the Lushingtons and the Stephen family. After the death of Mrs. Lushington, Vernon's three daughters were taken under the wing of Julia Stephen, wife of Leslie Stephen and mother of Virginia Woolf. Vernon Lushington's eldest daughter, Kitty, became the model for the title character of Woolf's novel Mrs. Dalloway (1925). The Lushingtons also spent summers with the Stephen family at Talland House in Cornwall, which provided the setting for the Ramsays' summer home in Woolf's To the Lighthouse (1927). Letters in the archive offer insight into Woolf's fiction.

David Taylor is a historian, writer, and lecturer living in Cobham, Surrey. A Fellow of the Society of Antiquaries, Taylor has published several works on the history of Cobham and presented lectures to the Virginia Woolf Society, the Pre-Raphaelite Society, and the William Morris Society. Vernon Lushington is the subject of Taylor's doctoral research.

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JOURNALS

We are looking for a colleague to join our editorial team with a view to developing this section. Please contact oscholars@gmail.com.
Editors are cordially invited to contact us at the same address with news of articles pertaining to our sphere of interest, and we will be pleased to hear from writers who wish us to draw attention to their articles.

The Art Book

This is published on behalf of the Association of Art Historians and edited by Sue Ward & Gillian Whiteley. Its webpages are not easily reached, and you need to be able to accept a cookie. A description is available.

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.

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. The second issue of Artefact was launched at the Lewis Glucksman Gallery, University College Cork, Friday 27 February, 2009 3.00 pm.

The Editorial Committee are pleased to announce that submissions are now invited for Issue 3 of Artefact. The deadline for receipt of full-length submissions is Friday, 1st May 2009. For a call-for-submissions notice and an information-sheet re submission guidelines contact artefactjournal@gmail.com.

Arts & Crafts Newsletter

Mark Golding’s Arts and Crafts Newsletter can be found by clicking the banner. It emanates from Mr Golding’s very fine site devoted to the Arts & Crafts movement.

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.

Ø Update March 2009. This now seems to be restored as The British Art Journal, and its ToC for Vol. IX No 3 (Spring 2009) is on line. Of particular interest is an article by Judy Oberhausen, ‘Sisters in Spirit, Alice Kipling Fleming, Evelyn Pickering de Morgan and 19th-century spiritualism’.

The burlington magazine

‘Founded in 1903 by a group of eminent art critics and historians, The Burlington Magazine soon established itself as the world's leading monthly art periodical. Covering all aspects of the fine and decorative arts from ancient times to the present day, the Magazine remains the most authoritative source of information on the visual arts available.’ Clicking the banner will take you to the issue current with this edition of VISIONS, viz. April 2009, number 1273. For later issues change the number accordingly.

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 22, Number 1, March 2009.

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 11.

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 Spring 2008 edition (Volume VIII Number 1) is now published. The leading articles for late nineteenth century scholars are listed below (hyperlinked):

ARTICLES

Compare and Contrast: Rhetorical Strategies in Edmond de Goncourt’s Japonisme by Pamela J. Warner

Making Matter Make Sense in Cézanne’s Still Lifes with Plaster Cupid by Joni Spigler

Identity and Interpretation: Receptions of Toulouse-Lautrec’s Reine de joie Poster in the 1890s by Ruth E. Iskin

REVIEWS

Impressionism and the Modern Landscape: Productivity, Technology, and Urbanization from Manet to Van Gogh by James Rubin. Reviewed by Marnin Young.

Modern Women and Parisian Consumer Culture in Impressionist Painting by Ruth E. Iskin. Reviewed by Francesca Bavuso.[1]

The New Bibliopolis: French Book Collectors and the Culture of Print, 1880-1914 by Willa Silverman. Reviewed by Elizabeth Mix

Responses to Cultural Crises in Fin-de-Siècle Painting, by Albert Boime. Reviewed by Elizabeth Mansfield

Constantin Meunier in Sevilla. De andalusische ouverture. Reviewed by Marjan Sterckx

Échappées nordiques: Scandinavian and Finnish Artists in France, 1870-1914 . Reviewed by Kathryn Brown

Van Gogh: Heartfelt Lines. Reviewed by Jane Van Nimmen

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. 2, Autumn 2008 – ‘The Pre‑Raphaelite Brotherhood’. Click the image for the Table of Contents.

Visual Culture in Britain

The website of Visual Culture in Britain is not very forthcoming about the journal, but its ToCs can be reached easily. As this is our first look, we give the titles of articles that can be found therein that come under our interest.

Volume 6, Number 1, Summer 2005

‘Stern and Just Respect for Truth’: John Ruskin, Giotto and the Arundel Society
pp. 59-78(20)
Author: Plampin, Matthew

Redefining History Painting in the Academy: The Summer Composition Competition at the Slade School of Fine Art, 1898-1922
pp. 79-100(22)
Author: Chambers, Emma

Volume 6, Number 2, Winter 2005

Introduction: Visual Culture and Taste in Late-Victorian and Edwardian Britain
pp. 1-4(4)
Author: Holt, Ysanne

An Annex to Trafalgar Square: the Tate Collection 1897-1914
pp. 21-29(9)

Author: Birchall, Heather

The Art Dealer and Taste: the Case of David Croal Thomson and the Goupil Gallery, 1885-1897
pp. 31-49(19)
Author: Helmreich, Anne

‘Solvitur ambulando’: Lord Leverhulme, Sculpture, Collecting and Display
pp. 99-123(25)
Author: Yarrington, Alison

Eddie Marsh: a Picture-Collector’s ‘Lust for Possession’
pp. 125-137(13)
Author: Holt, Ysanne

‘Bribery with sherry’ and ‘the influence of weak tea’: Women Critics as Arbiters of Taste in the late-Victorian and Edwardian Press
pp. 139-155(17)
Author: Clarke, Meaghan

Consuming Modern Art: Metaphors of Gender, Commerce and Value in Late-Victorian and Edwardian Art Criticism
pp. 157-170(14)
Author: Fletcher, Pamela M.

The English Edition of Julius Meier-Graefe’s Entwicklungsgeschichte der modernen Kunst
pp. 171-188(18)
Author: Petri, Grischka

The Theology of Painting - the Cult of Velazquez and British Art at the Turn of the Twentieth Century
pp. 189-205(17)
Author: McConkey, Kenneth

‘A keen sight for the sign of the races’: John Singer Sargent, whiteness and the fashioning of Angloperformativity
pp. 207-225(19)
Author: Stephenson, Andrew

Volume 8, Number 1, Summer 2007

Introduction. ‘Anxious Flirtations’: Homoeroticism, Art and Aestheticism in Late-Victorian Britain
pp. 1-14(14)
Author: Edwards, Jason

‘A Singularity of Appearance Counts Doubly in a Democracy of Clothes’: Whistler, Fancy Dress and the Camping of Artists’ Dress in the Late Nineteenth Century
pp. 15-35(21)
Author: Shirland, Jonathan

Recognizing the Homoerotic: the Uses of Intersubjectivity in John Addington Symonds’ 1887 Essays on Art
pp. 37-57(21)
Author: Getsy, David J.

Oedipus and the Sphinx: Visual Knowledge and Homosociality in the Ricketts Circle
pp. 59-71(13)
Author: Corbett, David Peters

Precarious Poses: the Problem of Artistic Visibility and its Homosocial Performances in Late-Nineteenth-Century London
pp. 73-103(31)
Author: Stephenson, Andrew

Space, Surface, Self: Homosexuality and the Aesthetic Interior
pp. 105-128(24)
Author: Hatt, Michael

Volume 9, Number 2, Winter 2008

The Artist in the House of His Patron: Images-within-Images in John Everett Millais’s Portraits of the Wyatt Family
pp. 1-20(20)
Author: Roach, Catherine

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. Its Table of Contents can be found on line with patience or by clicking the image below.

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PUBLICATIONS & RESEARCH

Doctoral Research Studies on Fin de Siècle Art History

Announcements from the institutes of art history are being assembled in this section of VISIONS. Please click to reach it.

Recent publications

Dictionnaire des orientalistes de langue française, éd. François Pouillon, Paris: IISMM-Karthala, 2008, xxii-1007 p.

John E. Bowlt: Moscow and St. Petersburg in Russia’s silver Age. Thames & Hudson, 2009. ‘This title covers every aspect of Russian culture at the turn of the 20th century with particular reference to those loosely associated with the symbolist movement. It will serve as a useful reference resource.’

Pamela Todd: The Arts & Crafts Companion. Thames & Hudson. ISBN 0500287597; ISBN-13 978-0500287590. 26.0 x 24.0 cm. Paperback wth flaps. 320pp. 300 illustrations, 250 in colour. First published 2008. £19.95. ‘Illustrated with 300 meticulously researched images, this is a rich, invaluable general survey of The Arts and Crafts Movement and an important work of reference for the collector.’

Lilliput Press have published The Only Art, Letters of John Butler Yeats to Jack B. Yeats, launched at the Sligo Yeats Society on 16th March 2009, the 170th anniversary of the birth of John Butler Yeats. It is a hardback of 1500 print run. There are letters from John Butler Yeats to his son Jack B. from New York, as well as a small number of letters by Jack to John Quinn and Sarah Purser. There are essays by Leslie Waddington; John Purser; John Loughery (on John Sloan); Hilary Pyle; Giovanna Tallarico; Betsy Fahlman (Arizona State University: Jack Yeats and The Armory Show); Avis Berman, (Yeats at Petitpas: The Path to a Picture); Maureen Murphy; Dr. Roisin Kennedy; with a foreword by Bruce Stewart. It is edited by Declan Foley. The book is well illustrated throughout and includes the scriptof an interview of Jack by Eamon Andrews in 1947 on Radio Eireann, as well as an article from The Irish Times of August 1960 by Arnold Harvey ‘Sketches from Letters of Jack B. Yeats’.

Forthcoming publications

Kathleen O'Neill Sims has announced a volume of essays, to be published by Ashgate Press, on the technical and æsthetic renascence of stained-glass production during the period spanning the mid-nineteenth century to the early-twentieth century. Writers are encouraged to submit proposals for essays that explore any of the technical, political, religious, economic, civil, educational, class, domestic, and gender implications of this flowering on both sides of the Atlantic as well as on the Continent. Special consideration will be given to those papers that focus on Arts & Crafts, Belle Epoque, Decadent, Art Nouveau, and Early Modern glass. Lamps, arcades, apartment buildings, banks, libraries, universities, zoos, churches, pubs, private estates, museums, commercial architecture, parks, tchotchkes, brothels, and schools: the interior sky is the limit. The call for papers closed on 15th March. More information from koneillsims@comcast.net.

The Minneapolis Insitute of Arts has published the catalogue of its exhibition Expanding the Boundaries: Selected Drawings from the Yvonne and Gabriel P. Weisberg Collection. ISBN 9780980048407$29.95. Minneapolis collectors Gabe and Yvonne Weisberg have collected drawings for more than 30 years. This exhibition included nearly 50 drawings, watercolours, and pastels from their collection. The collection focused on realist and naturalist artists working in France and Belgium in the late 19th and early 20th centuries. Many of these artists are unknown to present-day museum visitors; thus, the exhibition introduced them to the excellent work of Adolphe Appian, François Bonvin, Edgar Chahine, Louis Weldon Hawkins, Auguste Lepère, Léon Lhermitte, Charles Milcendeau, and Thèodule Ribot. Softcover catalogue, 96 pages.

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VISION INTO FILM

In this section we will reproduce 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 recent 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).

A Dramatic Reading of Augustus Leopold Egg

This article explores the significance of the theatrical and literary references found in the triptych Past and Present (1858) by the British nineteenth-century painter Augustus Leopold Egg. On the surface the work appears to be a warning against the perils of adultery, but analysis of the three paintings’ theatrical and literary references suggests a possible alternative reading involving a condemnation of loveless marriages. The author, Annabel Rutherford, is Dance Editor of THE OSCHOLARS.

Arts and Crafts Tours

We have received this notice from Martin and Caroline Easton, Arts and Crafts Tours of Great Britain.

Please excuse this direct email but we believe you are, or were, enthusiasts of the Arts and Crafts movement so hope the following information on our Spring and Summer bespoke tours is of interest ?

We believe we are perhaps the leading and longest established private company in the U.K. specialising in showing overseas visitors (especially from USA) around the beautiful homes, museums and galleries of the leading craftsmen, architects, and painters of the Arts and Crafts period; including works by William Morris, Rossetti, De Morgan, Edward Burne-Jones, Webb, W.A.S. Benson and Burgess, to name but a few.

Our itinerary includes Standen, The Red House, Leighton House, Wightwick Manor, Kelmscott Manor, De Morgan Centre, William Morris Gallery, Blackwell House, etc, and we may also be able to include other places you wish to see, depending on time.

We arrange one day tours; if you are already staying in the UK and want a great day out of London; a four day tour if you wish to combine this with perhaps other arrangements; or our original and still the most popular, the 7 day tour. Fully escorted and for an all inclusive price.

Please email us with any questions you have regarding the above, and I will reply with prices and dates as soon as possible as we have a technical fault with our website at the moment.

orientalism

The site http://orientaliste.free.fr/ is the result of many years work bringing together images, biographical notices and hyperlinks to museums.

The Dahesh Museum, New York

This is perhaps one of the lesser known repositories of much fin-de-siècle art. ‘The Dahesh Museum of Art is the only institution in the United States devoted to collecting, exhibiting, and interpreting works by Europe's academically trained artists of the 19th and early 20th centuries. The Dahesh serves a diverse audience by placing these artists in the broader context of 19th-century visual culture, and by offering a fresh appraisal of the role academies played in reinvigorating the classical ideals of beauty, humanism, and skill. Every exhibition presented by the Museum sets out to explore, often for the first time, some important feature of academic art and the institutions that nourished it in 19th- and early 20th-century Europe. Utilizing loans from distinguished international collections, both private and public, previous exhibitions have examined—among other topics—the training of artists; the world of the Salon with its competitions and juries; the 19th-century fascination with the Orient, reciprocated from Cairo to Paris; the influence of photography, travel, and archæological discoveries of the classical past; and the reproduction of artworks for an international market.’ Click here for the website.

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