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"Taws, Richard"
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Art and technology in early modern Europe
\"Explores the relationship between artistic and technological advances from the Renaissance to the Industrial Revolution. Together the essays provide a broad definition of technology for this period and address the influence of technological shifts on the history of early modern art.\"--Publisher's description.
Book
The politics of the provisional : art and ephemera in revolutionary France
In revolutionary France the life of things could not be assured. War, shortage of materials, and frequent changes in political authority meant that few large-scale artworks or permanent monuments to the Revolution's memory were completed. On the contrary, visual practice in revolutionary France was characterized by the production and circulation of a range of transitional, provisional, ephemeral, and half-made images and objects, from printed paper money, passports, and almanacs to temporary festival installations and relics of the demolished Bastille. Addressing this mass of images conventionally ignored in art history, The Politics of the Provisional contends that they were at the heart of debates on the nature of political authenticity and historical memory during the French Revolution. Thinking about material durability, this book suggests, was one of the key ways in which revolutionaries conceptualized duration, and it was crucial to how they imagined the Revolution's transformative role in history.
The Politics of the Provisional is the first book in the Art History Publication Initiative (AHPI), a collaborative grant from the Andrew W. Mellon Foundation. Thanks to the AHPI grant, this book is available on a variety of popular e-book platforms.
eBook
The Politics of the Provisional
In revolutionary France the life of things could not be assured.
War, shortage of materials, and frequent changes in political
authority meant that few large-scale artworks or permanent
monuments to the Revolution's memory were completed. On the
contrary, visual practice in revolutionary France was characterized
by the production and circulation of a range of transitional,
provisional, ephemeral, and half-made images and objects, from
printed paper money, passports, and almanacs to temporary festival
installations and relics of the demolished Bastille. Addressing
this mass of images conventionally ignored in art history, The
Politics of the Provisional contends that they were at the
heart of debates on the nature of political authenticity and
historical memory during the French Revolution. Thinking about
material durability, this book suggests, was one of the key ways in
which revolutionaries conceptualized duration, and it was crucial
to how they imagined the Revolution's transformative role in
history.
The Politics of the Provisional is the first book in
the Art History Publication Initiative (AHPI), a collaborative
grant from the Andrew W. Mellon Foundation. Thanks to the AHPI
grant, this book is available on a variety of popular e-book
platforms.
eBook
Conté's Machines: Drawing, Atmosphere, Erasure
This article examines the graphic practice of Nicolas-Jacques Conté, an artist, chemist, engineer, and balloonist probably best known for his invention, in 1795, of the modern pencil, synthesising English 'lead' rendered unavailable by the naval blockade. Conté, a former pupil of Jean-Baptiste Greuze, subsequently became a key member of the Napoleonic expedition to Egypt. He participated in the production of its most extensive visual document, the monumental Description de l'Égypte, devising an 'engraving machine' that facilitated the production of uniform backgrounds for the Description's plates. With this machine, the cloudless Egyptian skies that populated the large sheets of the Description could be reproduced at speed with minimal opportunity for artistic error, reducing complex atmospheric effects to a simple mechanical process. Tracing the reemergence of Conté's numerous inventions in subsequent accounts of media change, particularly those that focused on photography, this article examines the ways in which Conté's work often pivoted on the question of drawing and suggests that his practice asks broader questions of the relationship between technology, vision, and imperialism in the nineteenth century.
Journal Article
The Dauphin and His Doubles: Visualizing Royal Imposture after the French Revolution
The dauphin Louis-Charles, son of Louis XVI and Marie-Antoinette, died aged ten in 1795, yet rumors soon spread that he had been freed in a royalist plot, and for the next century false dauphins appeared around the world. Images of the dauphin were used as evidence to assess the authenticity of pretenders claiming to be the prince. The practice of comparing paintings, prints, and photographs representing royal impostors to eighteenth-century images of the dauphin intersected with debates about the relative truthfulness of competing media in the nineteenth century, and with attempts to come to terms with France's revolutionary past.
Journal Article
Review : ruins and reputations
Reviews \"Future and ruins : eighteenth-century Paris and the art of Hubert Robert,\" by Nina L. Dubin (Getty Publications, 2010) and \"The perfect foil : François-André Vincent and the Revolution in French painting,\" by Elizabeth C. Mansfield (University of Minnesota Press, 2012).
Journal Article
Making the news in 18th-century France
The exhibition catalogue \"Making the news in 18th-century France,\" by Stéphane Roy is reviewed (Carleton University Art Gallery, 2012). It discusses prints and print culture.
Journal Article
Notes : Janinet
The book \"Les gravures historiques de Janinet : collections du musée Carnavalet,\" by Philippe de Carbonnières with Daniel Jouteux is reviewed (Paris-Musées, 2011). It studies the French Revolutionary image of 18th-century printmaker Jean-François Janinet.
Journal Article
Material Futures: Reproducing Revolution in P.-L. Debucourt's Almanach National
Philibert-Louis Debucourt's 1790 Almanach national, intended to serve as a frame for a pasted calendar for the subsequent year, is a unique combination of allegory and everyday scene. Dominated by a bas-relief representing the National Assembly, the image presents responses to the French Revolution organized in terms of race, age, and social class and features a singular representation of a female newspaper vendor at work. Debucourt's image effectively mobilizes print to conceptualize the reproduction of Revolution across temporal and national boundaries, providing a means of thinking about the relation between Revolutionary time and the materiality of the image.
Journal Article
REVOLUTIONARY MODELS/MODEL REVOLUTIONARIES
A painting by Jean-Jacques Hauer represents the Marquis de Lafayette standing beneath a pantheon of marble busts representing Franklin, Désilles, Mirabeau, and Rousseau, who glower down on an unusual interior scene (fig. 36).¹ At the table beside Lafayette, a woman, thought to be Madame Roland, is engaged in drawing an image of the 1791 Festival of the Federation, held to commemorate the anniversary of the storming of the Bastille and the reunification of regional militias as the National Guard. Lafayette had played a key role in the first Paris festival in July 1790, leading an oath to be faithful to
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