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"Pullins, David"
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Juan de Pareja : Afro-Hispanic painter in the age of Velázquez
\"This exhibition offers an unprecedented look at the life and artistic achievements of seventeenth-century Afro-Hispanic painter Juan de Pareja (ca. 1608-1670). Largely known today as the subject of The Met's iconic portrait by Diego Velázquez, Pareja was enslaved in Velázquez's studio for over two decades before becoming an artist in his own right. This presentation is the first to tell his story and examine the role of enslaved artisanal labor and a multiracial society in the art and material culture of Spain's so-called \"Golden Age.\" Representations of Spain's Black and Morisco populations in works by Francisco de Zurbarán, Bartolomé Esteban Murillo, and Velázquez join works that chart the ubiquity of enslaved labor across media, from sculpture to silver. The Met's portrait, executed by Velázquez in Rome in 1650, is contextualized by his other portraits from this period and the original document whereby Pareja was freed upon return to Madrid. The exhibition culminates in the first gathering of Pareja's rarely seen paintings, some of enormous scale, which engage with the canons of Western art while reverberating throughout the African diaspora. Harlem Renaissance collector and scholar Arturo Schomburg was vital to the recovery of Pareja's work and serves as a thread connecting seventeenth-century Spain with twentieth-century New York, providing a lens through which to view the multiple histories that have been written about Pareja.\"-- Metropolitan Museum of Art https://www.metmuseum.org/exhibitions/listings/2023/juan-de-pareja
Book
The individual's triumph: the eighteenth-century consolidation of authorship and art historiography
The eighteenth-century consolidation of authorship - apparent in Salon livrets, art criticism, sales catalogues, inventories, the theoretical development of maniera, signing and hanging practices - was crucial to subsequent, nineteenth-century Romantic notions of what constituted individual authorship and to the kinds of eighteenth-century painting that were eventually written into or out of art history. But these developments did not take place unilaterally or overnight. Some of the period's leading painters partook in practices directly contrary to them, most notably through the practice of multiple hands on a single canvas, typically divided according to genre specialization in a longstanding and practical distribution of labour associated with workshop production. The eighteenth-century saw a shift in this longstanding type of painting, however, towards 'collaborations' not between contemporaries in the same city, but between contrasting schools or periods that played on an appreciation of pastiche. Paradoxically, this relied on an understanding of the consolidated author and the connoisseur's ability to differentiate between distinct hands. This article sets out what the shifting terrain of authorship in eighteenth-century France might tell us about much more recent developments in academic discourse around the figure of the author.
Journal Article
Discovering the evolution of Jacques-Louis David’s portrait of Antoine-Laurent and Marie-Anne Pierrette Paulze Lavoisier
Jacques-Louis David’s (1748–1825) iconic portrait of Antoine Laurent Lavoisier (1743–1794) and Marie-Anne Lavoisier (Marie-Anne Pierrette Paulze, 1758–1836) has come to epitomize a modern couple born of the Enlightenment. An analytical approach that combined macro-X-ray fluorescence with the examination and microanalysis of samples by Raman spectroscopy and scanning electron microscopy-energy dispersive X-ray spectrometry to investigate imprecise indications of changes to the composition observed by microscopy and infrared refectography allowed the visualization of a hidden composition with a high level of detail. The results revealed that the first version depicted not the progressive, scientific-minded couple that we see today, but their other identity, that of wealthy tax collectors and fashionable luxury consumers. The first version and the changes to the composition are placed in the context of David’s mastery of the oil painting technique by examining how he concealed colorful features in the first composition by using paint mixtures that allowed for maximum coverage with thin paint layers. The limitations of the analytical techniques used are also discussed. To our knowledge, this is the first in-depth technical study of a painting by J.-L. David.
Journal Article
Posing Modernity: The Black Model from Manet and Matisse to Today/ The Black Model from Géricault to Matisse
Pullins reviews the exhibitions Posing Modernity: The Black Model from Manet and Matisse to Today at the Wallach Art Gallery in New York City NY and The Black Model from Gericault to Matisse at the Musee d'Orsay in Paris France.
Journal Article
Henry Fuseli
Pullins reviews the exhibition, Shockingly Mad: Henry Fuseli and the Art of Drawing, at the Art Institute of Chicago in Illinois.
Journal Article
\Robert Adam's Neoclassical Chinoiserie\
Between 1766 and 1772, the architect Robert Adam received three commissions for a seemingly antithetical kind of decoration: neoclassical chinoiserie. This article brings together for the first time all archival and material evidence detailing the history and appearance of these little-known works, only one of which survives today. Through a close formal analysis of the designs and presentation of Adam's possible sources, an interpretation is offered that places these designs as a means of ornamental transition between the public and private spaces of the houses for which they were intended and positions them as a surprising solution to combining European and East Asian influences, the classical and the exotic, the canonical and the novel.
Journal Article
Oudry's oil sketches for Samuel Jacques Bernard
In 1739, upon his father's death, Samuel Jacques Bernard, comte de Coubert (1686-1753) inherited some 33 million \"livres,\" making him the wealthiest private individual in France. He abandoned his family's home and embarked on a massive rebuilding project for a hotel in the rue de Bac. Completed between 1740 and 1742, the residence was less an architectural model than a decorative one, housing paintings by some of the greatest French artists of the day, including Jean-Baptiste Oudry. Two previously unknown oil sketches on canvas, here attributed to Oudry, provide new insights into how he worked out his compositions for Bernard and into the role of oil sketches in his practice. [Revised Publication Abstract]
Journal Article
The limits of connoisseurship : the individual's triumph : the eighteenth-century consolidation of authorship and art historiography
The 18th-century consolidation of authorship--apparent in \"Salon livrets,\" art criticism, sales catalogues, inventories, the theoretical development of \"maniera,\" signing, and hanging practices--was crucial to subsequent, 19th-century Romantic notions of what constituted individual authorship and to the kinds of 18th-century painting that were eventually written into or out of art history. But these developments did not take place unilaterally or overnight. Some of the period's leading painters partook in practices directly contrary to them, most notably through the practice of multiple hands on a single canvas, typically divided according to genre specialization in a longstanding and practical distribution of labor associated with workshop production. The 18th century saw a shift in this longstanding type of painting, however, towards \"collaborations\" not between contemporaries in the same city, but between contrasting schools or periods that played on an appreciation of \"pastiche.\" Paradoxically, this relied on an understanding of the consolidated author and the connoisseur's ability to differentiate between distinct hands. This article sets out what the shifting terrain of authorship in 18th-century France might tell us about much more recent developments in academic discourse around the figure of the author. [Publication Abstract]
Journal Article
\Quelques misérables places à remplir\ Locating Shaped Painting in Eighteenth-Century France
This article addresses in depth for the first time the irregularly shaped canvases known as tableaux chantournés (cut-out paintings) that were produced in vast numbers by leading academicians between the 1730s and 1750s and occupy a tenuous place between fine and applied or decorative arts. Through an examination of the term's first uses in regard to painting and eighteenth-century critics' responses to these works, tableaux chantournés are positioned as a means of rethinking the extraction of painting from a richer visual field and the relationship of this medium-specific agenda to the historiography of the rococo.
Journal Article
