Friday, 31 August 2012

M/M Quarterly Issue No. 3: September 2012




Manner of Man Magazine
Quarterly Issue No. 3: September 2012

Table of Contents

The Brand: Manner of Man

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Reflections of Country Life: Home Farm, Hartforth    
 an exclusive portrait of Sir Josslyn Gore-Booth and his new house including an interview with Home Farm, Hartforth architect Digby Harris and a critique by Dr John Martin Robinson

M/M The Brand: Manner of Man

Photo: Sam Scott Schiavo. All rights reserved.

M/M Interview with Sir Josslyn Henry Robert Gore-Booth, 9th Baronet

This exclusive interview with Sir Josslyn Henry Robert Gore-Booth, 9th Baronet was conducted by Nicola Linza and Cristoffer Neljesjö at Home Farm, Hartforth during July 2012 and is only available in print edition.

M/M Interview with Digby Harris

This exclusive interview with Home Farm, Hartforth architect Digby Harris of Francis Johnson & Partners was conducted by Nicola Linza and Cristoffer Neljesjö in Bridlington, UK during July 2012 and is only available in print edition.

M/M Home Farm, Hartforth, Yorkshire by John Martin Robinson


Reflections of Country Life: Home Farm, Hartforth
an exclusive portrait of SirJosslyn Gore-Booth and his new house including an interview with Home Farm, Hartforth architect Digby Harris and a critique by Dr John Martin Robinson are only available in print edition.

M/M Manner of Man Magazine and Pebble Beach Concours d'Elegance® 2012

Image courtesy of Pebble Beach Concours d'Elegance® 2012. All rights reserved.


M/M The Anglo-Florentine Renaissance Art for the Early Tudors

Image provided by Yale Univeristy Press. All rights reserved.

The Anglo-Florentine Renaissance
Art for the Early Tudors


Review by the Editors of Manner of Man Magazine
 
The Anglo-Florentine Renaissance is a unique period that has been examined scholarly but yet rarely exhaustively covered in both word and image as in this publication The Anglo-Florentine Renaissance, Art for the Early Tudors.

As part of the Paul Mellon Centre for Studies in British Art series, the editors Cinzia Maria Sicca and Louis A. Waldman have accomplished a major feat by bringing together an internationally stellar group of scholars to explore this particular history and subject matter.

There are few in-depth volumes such as this covering the Tudor court, while at the same time tracing what the court sought in terms of fine artworks. This publication is important and unique in that it fully explores from various highly respected points of view how cultured interests and curiosity, as well political power, influenced and subsequently resulted in the engaged employment of Florentine sculptors and painters to lend a deeply sophisticated Florentine air to their native private and official environments.

Well-written in a scholarly manner the book is also well illustrative with 110 colour and 20 black and white illustrations. The Anglo-Florentine Renaissance, Art for the Early Tudors is a library addition that we believe will prove to be a volume of great interest to any gentleman collector researching the period of both art and politics.

Highly recommended  
Edited by Cinzia Maria Sicca and Louis A. Waldman; With a foreword by Brian Allen and Joseph Connors

Under the rule of Henry VII (r. 1485-1509) England became a powerful nation. The Tudor court sought to express its worldliness and political clout through major artistic commissions, employing Florentine sculptors and painters to create lavish new interiors, suitable for entertaining foreign dignitaries, for its royal palaces. These were exemplified by Henry VIII's palace of Nonsuch, so named because no other palace could match its magnificence. Italian sculpture, painting, and tapestries of the day reflected an interest in portraiture and dynastic monuments, epitomized in England by the royal tomb projects created by Baccio Bandinelli, Benedetto da Rovezzano, and Pietro Torrigiani.

Generously illustrated throughout, The Anglo-Florentine Renaissance traces the artistic links between Medicean Florence and Tudor England through essays by an international team of scholars and explores how the language of Florentine art effectively expressed England's political aspirations and rose to prominence as a new international courtly style.

Cinzia Maria Sicca is professor and director of the art history doctoral program in the Department of Art History at the Università di Pisa, Italy. Louis Waldman is an associate professor of art history at The University of Texas at Austin.

Essays by Steven Gunn, Cinzia Sicca, Alan P. Darr, Louis Waldman, Benedetta Matucci, Francesco Caglioti, Giancarlo Gentilini and Tommaso Mozzati, Sheryl E. Reiss, Maurice Howard, Susan Foister, Martin Biddle

M/M Interview with Ian Lundin

Interview with Ian Lundin, Chairman of the Board of Lundin Petroleum was conducted by Nicola Linza and Cristoffer Neljesjo in Stockholm during July 2012 and is only available in print edition.


The Robert Lehman Collection at The Metropolitan Museum of Art: Volume XV: Decorative Arts

Image provided by Princeton University Press. All rights reserved.

Manner of Man Magazine Recommendation

This volume catalogs more than four hundred decorative objects in the Robert Lehman Collection at The Metropolitan Museum of Art, including painted enamels, snuffboxes, porcelain, pottery, ceramics, jewelry, furniture, cast metal, and textiles from throughout Europe and Asia, with the majority dating from the late seventh century to the twentieth century. Highlights include a a superb seventeenth-century oval-shaped watch decorated with enamels by the master Susanne de Court of Limoges; a dazzling domed cup supported by a carved alabaster figure of a bearded Turk, replete with jewels and precious stones, crafted in early eighteenth-century Germany; and a French secretaire from the 1780s set with painted enamels from the famed Sèvres Manufactory. Provenance information, exhibition histories, and references are provided, and selected comparative illustrations are incorporated. The volume also includes a bibliography and an index.

John Guy is curator, Asian Art, The Metropolitan Museum of Art, New York. Wolfram Koeppe is curator, European Sculpture and Decorative Arts, The Metropolitan Museum of Art, New York. Linda Komaroff is curator of Islamic Art and department head, Art of the Middle East, Los Angeles County Museum of Art. Clare Le Corbeiller was curator, European Sculpture and Decorative Arts, The Metropolitan Museum of Art, New York. Denise Patry Leidy is curator, Asian Art, The Metropolitan Museum of Art, New York. Martin Levy, FSA, is an antiques dealer and scholar based in London. William Rieder is former curator and administrator, European Sculpture and Decorative Arts, The Metropolitan Museum of Art, New York. Elizabeth Sullivan is research assistant, European Sculpture and Decorative Arts, The Metropolitan Museum of Art, New York. Zhixin Jason Sun is curator, Asian Art, The Metropolitan Museum of Art, New York. Christa C. Mayer Thurman is curator emerita, The Art Institute of Chicago. Charles Truman is an independent scholar, London. Suzanne G. Valenstein is research scholar, The Metropolitan Museum of Art, New York. Clare Vincent is associate curator, European Sculpture and Decorative Arts, The Metropolitan Museum of Art, New York. Daniel Walker is Pritzker Chair of Asian Art and Curator of Islamic Art Chair and Christa C. Mayer Thurman Curator of Textiles, The Art Institute of Chicago. Melinda Watt is associate curator, European Sculpture and Decorative Arts, and supervising curator, Antonio Ratti Textile Center, The Metropolitan Museum of Art, New York.

M/M David Somerset, 11th Duke of Beaufort

Image of David Somerset, 11th Duke of Beaufort provided to Manner of Man Magazine by Allan Warren for exclusive use. Photo copyright Allan Warren. All rights reserved.

Treasures, Princely Taste



Mario Tavella, Sotheby’s Deputy Chairman, Europe, comments: “Each of the masterpieces in this, our third offering of ‘Treasures, Princely Taste’, has its own compelling story to tell. In the case of the table designed by Jacques-Louis David, its history is recorded for posterity in a painting in the Louvre which communicates not just its sophisticated craftsmanship, but the extraordinary partnership between one of France’s greatest 18th Century ébénistes and one of the greatest painters of the day. The extraordinary Shah of Persia’s Elephant Automaton, was created specifically to redress the yawning trade balance between Britain and China. All the works we have selected reflect connoisseurs’ continued demand for the very finest pieces at the top-end of the market. Many of these spectacular and meticulously sourced works have aristocratic provenances, and represent the very pinnacle of the decorative arts of their era.”

James Wyatt, 1746-1813 Architect to George III

Image provided by Yale University Press. All rights reserved.

James Wyatt (1746–1813) is widely recognized as the most celebrated and prolific English architect of the 18th century. At the start of his lengthy career, Wyatt worked on designs for the Oxford Street Pantheon's neo-Classical interior as well as Dodington, the Graeco-Roman house that served as the model for the Regency country house. Wyatt was the first truly eclectic and historicist architect, employing several versions of Classical and Gothic styles with great facility while also experimenting in Egyptian, Tudor, Turkish, and Saxon modes. His pioneering Modern Gothic marked him as an innovator, and his unique neo-Classical designs were influenced by his links with the Midlands Industrial Revolution and his Grand Tour education.

This groundbreaking book sheds new light on modern architectural and design history by interweaving studies of Wyatt's most famous works with his fascinating life narrative. This masterly presentation covers the complex connections formed by his web of wealthy patrons and his influence on both his contemporaries and successors.

John Martin Robinson is an independent architectural historian. He is a partner in Historic Buildings Consultants, Librarian to the Duke of Norfolk, Maltravers Herald Extraordinary and Vice Chairman of the Georgian Group and the author of numerous books.

The Prince of Wales visited historic Northumberland Coast

Image provided by His Royal Highness The Prince of Wales. All rights reserved.

Highlighting small family businesses and community volunteering were the key themes of The Prince of Wales’s first ever visit to the historic Northumberland coast in July.

Staying as a guest of the Duke and Duchess of Northumberland at Alnwick Castle, The Prince spent Monday 23rd and Tuesday 24th July visiting a number of coastal locations including Warkworth, Amble, Lindisfarne, Bamburgh and Seahouses.

Over the course of his two day visit to the region, The Prince met charity and community volunteers, fishermen, artists, lifeboat crew and RAF personnel as well as visiting a number of family-run businesses including a homemade farmhouse pudding company, a coastal pub and micro-brewery, and a blacksmiths which has been in the same family since the 1920s.

The Prince’s visit began on Monday 23rd July at Alnmouth, where he arrived by Royal Train and was greeted by the Duchess of Northumberland, who is the Lord Lieutenant of the county.

At Warkworth, The Prince visited a care home for the elderly run by the charity Abbeyfield, of which he is Patron. In Amble, His Royal Highness met volunteers and local artists at the Pride of Northumbria Community Shop in Queen Street before going on to meet community groups, young performers and local fisherman in the town’s main square.

Next The Prince met Stephen Lunn, a third generation blacksmith who creates artwork fashioned from steel in the forge first set up by his grandfather in the 1920s. At RAF Boulmer, The Prince viewed a demonstration of the Olympic Games security air support plans which were run from the base.

Before returning to Alnwick Castle, His Royal Highness met Susan Green who set up the award winning “The Proof of the Pudding” company in her own farmhouse kitchen.

On Tuesday 24th July The Prince visited the Holy Island of Lindisfarne, where in 635 AD St. Aidan came from the Scottish island of Iona and founded a monastery. Today Holy Island is a centre of pilgrimage for Christians from all over the world as well as a place of tranquillity and scenic beauty. During his time on the island, The Prince met local residents and visitors and visited the parish church of St Mary’s, the ruins of Lindisfarne priory and the 16th Century castle run by the National Trust, of which The Prince is President.

In Bamburgh His Royal Highness visited the Grace Darling Museum before heading to the beach to meet members of the Marine Conservation Society, of which The Prince is President, and representatives of Bamburgh Castle, who have been conducting a beach litter survey. In the popular resort of Seahouses, The Prince met lifeboat crew, harbour businesses, local artists and other members of the community before visiting the town’s famous Swallowfish smokery and shop, where he met members of staff and local fishermen. At the small 18th Century fishing village of Low Newton by-the-Sea, The Prince met local residents, staff and community representatives during a visit to The Ship Inn and Microbrewery.

Back at Alnwick Castle that evening, The Prince, who is Patron of the Alnwick Castle Gardens Restoration Project and last visited in 2007, was taken on a tour of the grounds by the Duchess of Northumberland. Afterwards he met young people who have benefited from Prince’s Trust programmes and from the Cheryl Cole Foundation which helps young people in the North East. Finally The Prince opened the Castle’s latest innovation – a Jamie Oliver’s “Ministry of Food” centre which aims to educate and inspire people about food.

Chinese Gardens: Pavilions, Studios, Retreats

清 袁江 九成宮圖 屏

Yuan Jiang, active ca.1680–ca.1730 

The Palace of Nine Perfections China, 
Qing dynasty (1644–1911), dated 1691
Set of twelve hanging scrolls; ink and color on silk
Image: 81 1/2 x 18 ft. 5 3/4 in. (207 x 563.2 cm)
Overall with mounting: 94 1/4 x 19 ft. (239.4 x 579.1 cm) Purchase, The Dillon Fund Gift, 1982
1982.125a–l


Chinese Gardens: Pavilions, Studios, Retreats
August 18, 2012 – January 6, 2013

Location: Galleries for Chinese Painting and Calligraphy

An exhibition exploring the rich interactions between pictorial and garden arts in China across more than 1,000 years will be on view at The Metropolitan Museum of Art beginning August 18. Showcasing more than 70 works—paintings and contemporary photographs as well as ceramics, carved bamboo, lacquerware, metalwork, and textiles—Chinese Gardens: Pavilions, Studios, Retreats—will be displayed in eight galleries encircling The Astor Court, a Chinese garden that is modeled on a 17th-century scholars’ courtyard in the Garden of the Master of the Fishing Nets in Suzhou.

In conjunction with the exhibition, a variety of education programs will be offered, highlighted by a staging in the Astor Court of the contemporary composer Tan Dun’s interpretation of the Peony Pavilion (sold out).

In the densely populated urban centers of China, enclosed gardens have long been an integral part of residential and palace architecture, serving as extensions of living quarters. The preferred site for hosting literary gatherings, theatrical performances, and imaginary outings, gardens were often designed following the same compositional principles used in painting. And as idealized landscapes, gardens often drew inspiration from literary themes first envisioned by painters. Not only were painters often recruited to design gardens, but as gardens came to be identified with the tastes and personalities of their residents, artists were also called upon to create idealized paintings of gardens to serve as symbolic portraits intended to reflect the character of the owner.

Palaces
Organized thematically, the exhibition will illustrate how garden imagery has remained an abiding source of artistic inspiration and invention. It will open with a spectacular 18-foot-wide vision of The Palace of Nine Perfections (1691) by Yuan Jiang (active ca. 1680-ca. 1730), presenting an imaginary panorama of a seventh-century palace so grand that the emperor had to ride on horseback between pavilions. Meticulously rendered and sumptuously embellished with rich mineral colors, this screen-like set of scrolls must have been commissioned to adorn the grand reception hall of a wealthy merchant’s home in Yangzhou, the cosmopolitan city where Yuan Jiang worked. The imperial cavalcade approaching the central palace complex in the painting may even be a reference to the city fathers’ sumptuous hosting of the Kangxi Emperor (r. 1662-1722) and his entourage when he visited Yangzhou during his celebrated 1689 Southern Inspection Tour. Juxtaposed with Yuan Jiang’s fantasy are painted, woven, and carved red lacquer works, depicting auspicious or admonitory narratives set within palace gardens. In many of these works depictions of young boys at play reflect the perennial wish for male offspring to carry on the imperial line. In each case, an ornate balustrade, imposing garden rock or plant, or finely garbed figures synecdochically indicate the palace setting.

Pavilions and Paradises
Landscape in China has always had a human dimension. Consequently, architectural elements, particularly pavilions, are a quintessential feature of both Chinese landscape paintings and gardens. In gardens, pavilions identify prime vantage points from which to view the scenery; they also serve as focal points within landscape settings. In painting, the meticulous “ruled-line” renderings of pavilions celebrate historical or literary structures or indicate the fabled dwellings of the immortals—particularly when set within an archaic “blue-and-green” landscape meant to evoke an archaic “golden age.” Retreats in the Spring Hills, a 12th-century handscroll, and Yuan Jiang’s gemlike fan painting, Palaces of the Immortals of 1753, are two dazzling examples of the longevity of this theme. In Chinese lore, such paradises were imagined as the dwelling places of Daoist immortals. Mortals might stumble upon such magical habitations by losing their way, passing through a grotto or crossing a stream. In Liu Chen and Ruan Zhao Entering the Tiantai Mountains, for example, two men gathering herbs stumble upon a “lost horizon” where time stands still and the residents cease to age. When they seek to return home, they discover that seven generations have passed since their departure. In the garden, a moon gate or concealed passage might signal a similar entry point into an alternative universe.

Temples and Reclusive Dwellings
Buddhist and Daoist temples sometimes functioned as sanctuaries or resorts where harried city dwellers might find spiritual and physical sustenance, partaking of simple vegetarian meals, meditation regimes, lectures, and strolls in the landscape. In the exhibition, Summer Mountains (ca. 1050) by a court painter features several such monastic retreats set within an awesome landscape; the painting’s orderly natural hierarchy, culminating in a towering central peak, was intended as a metaphor for the emperor presiding over a well-governed state. At the opposite extreme of such state-sponsored idylls was the ideal of the hermitage or rustic retreat as an expression of the desire to escape the pressures of politics or commerce. Set in remote corners of the landscape with no view of other dwellings, these imaginary havens embodied yearnings for quietude that were usually satisfied by a stroll in one’s garden. But in times of political turmoil, images of rustic
dwellings conveyed the wish for a sanctuary. Serene enough to attract a wild deer or a crane, the childlike naiveté of such paintings as Wang Meng’s (ca. 1308-1385) Simple Retreat, which is featured in the exhibition, will reveal these visions to be unattainable fantasies.

Literary Gatherings
One of the primary social functions of gardens was to serve as settings for literary gatherings, where likeminded friends might celebrate the season, enjoy music, or view rare antiquities, and then compose poems to commemorate the event. The exhibition will include Elegant Gathering in the Apricot Garden, attributed to the court artist Xie Huan (act. mid-15th century), depicting nine of the most powerful officials in the realm who have gathered to enjoy painting, poetry, and other refined pursuits. Rather than being portrayed wielding emblems of political or military power, these men chose to emphasize their status as scholar-gentlemen, underscoring the fact that, in China, status derived from one’s command of cultural accomplishments. These same men were also responsible for calling a halt to Admiral Zheng He’s voyages of exploration—thus manifesting their belief that inward–oriented self-examination was more important than outward-looking exploration. Surrounded by oceans and deserts, and countries whose cultures they regarded as inferior, they saw China as a great walled garden, sufficient unto itself.

Literary Gardens and the Scholar's Studio
Gardens have a long history in China, and famous gardens of the past—commemorated in painting and poetry—often provided inspiration to later garden designers. The exhibition will include Fisherman’s Lodge at Mount Xisai (ca, 1170) by Li Jie (ca. 1124-after 1191), who combined literary and pictorial references to two Tang–dynasty garden estates in his imaginary depiction of his own retirement home. He adopted a blue-and-green palette and created a naïve evocation of historical precedents as a way of demonstrating his scholarly credentials and disdain for mere craftsmanship. This amateur approach to painting continued among later literati, who relied increasingly on spare monochromatic sketches of buildings to convey their ideals of unadorned simplicity. Wen Zhengming’s (1470-1559) illustrations of the Garden of the Inept Administrator (1551) provides another example of this in the exhibition—Wen’s austere depictions were less about the actual garden than about the rectitude and modesty of the owner.

Denizens of the Garden
One of the favorite themes of traditional Chinese painters was the careful description of the various fish, birds, and animals that typically inhabit imperial pleasure parks and private gardens. Rather than presenting these creatures in their natural habitats, Chinese artists favored celebrating the collecting of rare fish, fowl or pets within these manmade microcosms. These tame creatures were thus available for minute study and careful rendering by court painters who made a specialty of “feathers and fur.” On view will include The Pleasures of Fishes (1291) by Zhou Dongqing (active late 13th century) and Finches and Bamboo by Emperor Huizong (1082-1135; r. 1101-25).

A Floral Calendar of the Seasons

Paintings of landscape and flowers constitute two leading Chinese painting genres. In addition to serving as seasonal markers, many flowers have deep symbolic associations; for example, in 13th-century China, naturalistic depictions of lotus in different seasons evoked the ephemeral nature of physical beauty. In the exhibition, the Lotus and Waterbirds (ca. 1300) will be presented side by side with a contemporary photograph Wind in the Lotus at Yeast Courtyard (2004) by Lois Conner (b. 1951, U.S.A.), who chronicled seasonal changes creating horizontal or vertical compositions that recall Chinese pictorial precedents.

In conjunction with the exhibition, the Museum will offer various education programs, including gallery talks and a Sunday at the Met on September 23.

M/M Americans in Florence: Sargent and The Impressionsts of The New World

Image provided by Rizzoli. All rights reserved.


Review by the Editors of Manner of Man Magazine

Americans in Florence: Sargent and The Impressionsts of The New World is related to the exhibition held at Palazzo Strozzi, Florence, Italy, which ran from March 3rd to July 15th, 2012 titled Americans in Florence: Sargent and the American Impressionsts.
 

This publication is unique in the sense that it runs as both a fine volume documenting the period but also as a rich catalogue not often seen today.

The opening begins with history presented in a manner congruent with the best of scholarly volumes on the period. The main body of the presentation covers exhibited works beautifully. It is informative and by virtue of the large reproduced images lends visual grandeur to the context in which they are included and to the portion of the volume the reader is next to be reviewing.

The images of both artworks and vintage photographs are largely presented full page with outstanding reproduction, which makes one feel like they are in the period. The formal appendix works well after the visual grand tour of the main body as it takes the reader deeper into important information (as it should but after what one has experienced it deepens the sensitivity and appreciate for the works and the period in which they were created in a scholarly way that is not dry or boring.)

This stated the book is highly unique in terms of the period covered, but moreover for being beautifully and sensitively written, without ever being dramatic.

Those who have both seen the exhibition and those who did not have the opportunity to do so will find it a pure joy to have in hand for a long time to come. Americans in Florence: Sargent and The Impressionsts of The New World is a rare visual luxury to behold and one we highly recommend unconditionally for your library.

Highly recommended

About This Book

The discovery of Italy by American artists of the late nineteenth century. The relationship American impressionists had with Italy, and with Florence in particular, became very intense in the decades spanning the close of the nineteenth and dawn of the twentieth centuries. Florence, Venice and Rome had been at the heart of the Grand Tour for centuries and had become legendary for all those eager to study the art of the past. The book features the works by painters who, while not explicitly subscribing to the new style, were nevertheless crucial masters. Among them were Winslow Homer, William Morris Hunt, John La Farge, and Thomas Eakins. They were to be followed by great precursors such as John Singer Sargent, Mary Cassatt, and James Abbott McNeill Whistler, who could lay claim to considerable cosmopolitism. A place of honor is reserved for those artists who spent time in Florence and who deserve to be better known. Their number includes the American impressionist group known as the Ten American Painters. Besides them, Frank Duveneck also played an important role in fostering relations between American and local artists.

About the Author

Francesca Bardazzi is an art historian and an expert in the sculpture of the first half of the twentieth century. A scholar of Cézanne and of his collectors in Italy, she has studied the figure of Italo-American collector and painter Egisto Fabbri. Carlo Sisi was the director of the Galleria D’arte Moderna di Palazzo Pitti in Florence until 2006. From 1999 to 2002, he was also the director of the Galleria del Costume. He has been president of the Museo Marini in Florence and has taught contemporary art history at Siena University.

M/M Interview with Dr. Ian Bruce Wardropper

Image of Dr. Ian Bruce Wardropper, Director. Photo: Michael Bodycomb. All rights reserved.

 

Interview with Dr. Ian Bruce Wardropper, Director of The Frick Collection was conducted by Nicola Linza and Cristoffer Neljesjö in New York during July 2012


How would you best describe your new role and relationship to The Frick Collection?

Since coming to the Frick Collection eight months ago, I have been impressed time and again by how beloved the institution is. What appeals to so many people is what first drew me to it as a graduate student: masterpieces of art displayed as a personal collection in the relatively intimate spaces of a private house. This is an experience that is increasingly rare in the United States and in some ways unique. As a new director, I see my role as finding ways to deepen the direct connection between audience and art that the Frick affords and refreshing the programs that engage our public.


You curated a soon coming exhibition of the great Gian Lorenzo Bernini at the Metropolitan Museum of Art, New York titled Bernini, Sculpting in Clay. It is clearly a landmark undertaking and will surely be an astonishing exhibition on the 2012 museum calendar. What was the inspiration behind bringing together objects from so varied and renowned collections?


Bernini: Sculpting in Clay opens at The Metropolitan Museum of Art on October 3, 2012. The last project I undertook before leaving to come to the Frick, this exhibition marks the first occasion that nearly all of the great Baroque sculptor’s preliminary sketch and finished models with their related drawings have been assembled. Famous for his enormous marble sculptures scattered throughout Rome, Bernini began his thought processes for the finished works with small clay studies and rapid pen or chalk drawings. The works in this exhibition let the viewer peer over the sculptor’s shoulders as he fleshes out his first ideas for artistic commissions. Because so many sculptors worked in the artist’s huge workshops, these models need to be more fully assessed to determine which are from his own hand and which from his assistants. For several years I traveled with another curator and a conservator to examine the sixty or so models attributed to Bernini and select the works for this show. We hope the result will intrigue the public as well as be a contribution to scholarship.


The objects at The Frick Collection paintings, furniture and decorative arts are renowned for both selection and quality, how do you see the future of The Frick Collection as an institution evolving in terms of cultural presentations to the public?


The Frick has earned a reputation for mounting relatively small but well-focused exhibitions. Large institutions have the natural tendency to go big, to host ambitious and extensive shows, whereas smaller shows can often be more satisfying and make their points concisely. I hope to encourage the curators here to widen our range somewhat, to include decorative arts, for example, and continue to produce beautiful and intellectually challenging work.


Recently, The Frick Collection has been involved with a number of successful video and live-streaming initiatives? Do you plan to expand upon such programming options as it allows those unable to attend an opportunity to virtually attend?


The internet offers an institution with a relatively intimate space and with few labels (by design to preserve the atmosphere of a private house) the opportunity to reach a wider audience and provide deeper content. When I saw that we were turning people away from a popular lecture series about Renoir, I asked to videotape and stream-live those lectures. We are expanding the program next year as well as archiving them on our website. Another example of use of new media is an App developed for our current exhibition “Gold, Jasper, and Carnelian: Johann Christian Neuber at the Saxon Court”, which among other features identifies all the stones and their mine sources embedded in an extraordinary table in the show. The app can be consulted on our website or downloaded free. Beginning with the relaunch of our website this fall we will be creating more varied and innovative programs to connect to our collections.

 
Please explain the origin of your surname Wardropper.
 
Wardropper is a profession name. It traces to the sixteenth century in England, when a “wardrober” was a person who oversaw the furnishings and clothing of a house. Most of my recent ancestors were Scottish railroad or ship designers, but I seem to have returned to family roots in becoming a curator (and now director) of art and house furnishings.
 
You are going to have your portrait painting by any artist of your choice (either living or deceased) who is it? And where does the finished portrait hang?

I have to answer your question of which artist I would have to paint my portrait by saying that I would like a sculptor to make a bust. Alessandro Algardi, Bernini’s great rival in the seventeenth century, carved and modeled busts that were specific in detail but discreet in their overall balance. He had Baroque flair but classicizing restraint. I would trust him to find my essence. I imagine it on a pedestal in a long corridor lined with busts. If you insist on a painter, then Velasquez would do fine.


The above interview with Dr. Ian Wardropper 2012 © Manner of Man Magazine. All rights reserved. Reproduction is strictly prohibited without written permission from the publisher.

Bernini: Sculpting in Clay October 3, 2012–January 6, 2013

Exhibition Location: Robert Lehman Wing, court level

To visualize life-size or colossal marbles, the great Baroque sculptor Gian Lorenzo Bernini (1598–1680) began by rapidly modeling small clay sketches. Fired as terracotta, these studies are bold, expressive works in their own right. Together with related drawings, they preserve the first traces of Bernini’s fervid imagination and unique creative process that evolved into some of the most famous and spectacular statuary in Rome, including the fountains in the Piazza Navona and the angels on the Ponte Sant’ Angelo. Bernini: Sculpting in Clay will feature 50 of these terracotta sketch models, shown together for the first time, with 30 drawings. Due to unprecedented loans especially granted for this occasion, the exhibition will be the first to retrace Bernini’s unparalleled approach to sculptural design, and his use of vigorous clay studies and drawings in directing the largest workshop of his time. The exhibition will offer viewers a more profound insight into the artist’s dazzling creative mind, and his impact on the fabric of Baroque Rome.

The exhibition and catalogue are made possible by the Iris & B. Gerald Cantor Foundation.

The exhibition was organized by The Metropolitan Museum of Art, New York, and the Kimbell Art Museum, Fort Worth.

Gian Lorenzo Bernini was the most famous and important sculptor in 17th-century Europe, best known for his stunning works in marble that still decorate many of the churches and piazzas of Rome today. Bernini examined problems of construction and design by modeling damp clay with his fingers and tools with incredible dexterity. He used these studies and related drawings to decide carefully on the perspective of his majestic compositions. Bernini: Sculpting in Clay will present an overview of his exceptional career and showcase his full range as a modeler by assembling almost all of his surviving terracottas, including 15 from the Harvard Art Museums, the largest collection of Bernini terracottas in the world, on loan for the first time.

Bernini’s liveliest terracottas divulge an impassioned imagination and also raise the curtain on the practical side of sculpture-making. Unlike his contemporaries, Bernini often fashioned his clay figures in groups, and the two such groups that survive will be recreated in the exhibition. Occasionally, he also presented more finished models to his patrons to win commissions or to his assistants to use as guides in carving. The exhibition will also treat the role of drawing in Bernini’s design process and, where possible, the drawings and the models to which they relate will be displayed together. These juxtapositions will make clear the evolution of Bernini’s own works, as he shifted between media, and will allow visitors to follow the many steps of his creative process. Significant clay studies by his closest assistants will also be on display to illustrate the practice of sculpture production in his studio.

Bernini: Sculpting in Clay will include other outstanding loans from international museums such as the Musée du Louvre, Paris, the Vatican Museums, the Museo del Palazzo di Venezia, Rome, the Galleria degli Uffizi, Florence, the Victoria and Albert Museum, London, and the Royal Collection at Windsor Castle. Many of these loans have never been seen in the United States. Highlights will include a dynamic terracotta model for the lion (ca. 1649-50) destined for the base of the Four Rivers Fountain in the center of the Piazza Navona in Rome; the series of models for the Angel with Superscription (1668-69); the Moor (1653), Bernini’s largest surviving model; and drawings and clay sketches for the Kneeling Angels (1672) on the Altar of the Blessed Sacrament in Saint Peter’s Basilica.

Curators for the exhibition are: Ian Wardropper, Director of the Frick Collection (guest curator); Anthony Sigel, Conservator of Objects and Sculpture, Straus Center for Conservation and Technical Studies, Harvard Art Museums (guest curator); C.D. Dickerson, Curator of European Art, Kimbell Art Museum; with Paola D’Agostino, Senior Research Associate at The Metropolitan Museum of Art.

Bernini: Sculpting in Clay will be accompanied by a richly illustrated catalogue that will present the results of new research. The publication will feature essays by Ian Wardropper, C.D. Dickerson, Andrea Bacchi, Tomaso Montanari, Steven Ostrow, and detailed catalogue entries by C. D. Dickerson and Anthony Sigel. Sigel is also the author of an illustrated glossary that will be included in the catalogue.

An audio tour, part of the Museum’s Audio Guide program, is available for rental ($7, $6 for Members, $5 for children under 12).

The Audio Guide is sponsored by Bloomberg.

A variety of education programs will explore the techniques, ideas, and historical context that informed and shaped Bernini’s works. Highlights will include gallery talks, studio programs, films, and a Sunday at the Met program on December 9.

The exhibition will be featured on the Museum’s website at www.metmuseum.org.

After its presentation at the Metropolitan Museum, Bernini: Sculpting in Clay will be on view at the Kimbell Art Museum, Fort Worth, from February 3 through April 14, 2013.

M/M Interview with Francis Russell

Interview with Francis Russell, Deputy Chairman, Old Master & Early British Paintings, Christie's UK conducted by Nicola Linza and Cristoffer Neljesjo in London, England during August 2012 and is only available in print edition.
 

REDISCOVERED OLD MASTER & EARLY BRITISH DRAWINGS & WATERCOLOURS AT CHRISTIE’S WERE OFFERED IN JULY

Image of Lot 50 
 REMBRANDT HARMENSZ. VAN RIJN (LEIDEN 1606-1669 AMSTERDAM)
A blind beggar with a boy and a dog
with inscription ‘Rembrant’
black chalk, brown ink framing lines
5 1/8 x 3 3/8 in. (13 x 8.5 cm.)
Estimate: £50,000-80,000
provided by Christie's London. All rights reserved.

A recap of the Summer 2012 season includes the sale which took place on 3 July 2012, during London’s Master Drawings week an important group of drawings by Rembrandt and his school found hidden in the attic of a Scottish house were offered along with 15 sketches by Constable which have not been seen by the public in over 60 years

Christie’s, London is proud to announce the sale of Old Master & Early British Drawings and Watercolours which will take place on 3 July 2012, during London’s Master Drawings week. Featuring a selection of works by Old Masters that have been recently discovered, this auction offers the opportunity to acquire drawings and watercolours which have not been seen in public for up to 100 years. Comprising 168 lots, the sale is expected to realise in excess of £3 million. Headlining an important group of newly discovered drawings by Rembrandt (1606-1669) and his school is A blind beggar with a boy and a dog (estimate: £50,000 – 80,000 illustrated above.) This group of six previously unpublished drawings was discovered in the attic of a Scottish country house in 2012 and has not been seen for over 100 years.

OLD MASTER DRAWINGS

Benjamin Peronnet: International Head of Department, Old Master Drawings:
“It is always a thrill to discover and to have the opportunity to offer for sale previously unrecorded drawings. This group is particularly exciting as it includes a drawing by Rembrandt himself and six by his pupils. They offer a rare overview of his studio practices and how his pupils reinterpreted and developed his technique.”

The group also contains works after Willem Drost and by Samuel van Hoogstraten (1627-1678). An intricate drawing by Ferdinand Bol (1616-1680), Jacob and Rachel, bears all the trademarks of Bol’s style depicting figures in historic dress and also shows the strong influence Rembrandt’s work had on Bol (estimate: £20,000-30,000.) This exceptional group is expected to realise a combined total in the region of £100,000.

Further highlights include a rare survival: a cartoon by Michelangelo Anselmi (1491-1554) for his frescoes in the Cathedral of Parma. The frescoes have since been overpainted but this cartoon section of Putti dancing with hoops hints at the elaborate design that once filled the vaults of the Duomo and is the only surviving segment of the cartoons. It is expected to realise between £150,000 and £250,000. Also on offer is a previously unpublished drawing by Giovanni Battista Tiepolo (1696-1770) estimated at £100,000 - 150,000. This large-scale drawing includes preparatory studies for the figure of Mars and for a prostrate captive, both of whom appear in the fresco of Apollo and the Continents above the main staircase of the Residenz at Würzburg, considered to be Tiepolo’s greatest masterpiece. Between 1750 and 1753, Giovanni Battista Tiepolo and his sons Domenico and Lorenzo executed a monumental decorative scheme in this palace of the Prince-Bishops of Würzburg, which had been completed only a few years previously.

Coming to auction for the first time is an exquisite work on vellum by Jean-Etienne Liotard (1702-1789); Pensive Woman on a Sofa is based on a lost drawing of which only a counterproof is known, now in the Louvre. One of Liotard’s most compelling compositions executed on an intricate scale it is estimated at £400,000 – 600,000. The drawing was executed by the artist during his travels in the Greek islands and Turkey between 1738 and 1742. The subject sits in a pose which echoes Dürer’s Melencolia, with a crumpled letter discarded beside her, symbolizing the end of a relationship. Another pensive figure is seen in an imposing work by Caspar David Friedrich (1774-1840), A Seated Man with a Telescope on White Chalk Cliffs, in which a tiny figure of a man is shown in a vast landscape looking into the infinite distance (estimate: £200,000-300,000).

EARLY BRITISH DRAWINGS & WATERCOLOURS

Among the highlights of this strong selection of British drawings and watercolours are 15 sketches by John Constable (1776-1837); the works were rediscovered after being brought to Christie’s front counter for a routine valuation. These sketches had lain forgotten in a cupboard for sixty years and include rare working drawings which shed light on the artist’s method. Led by a moody view of Borrowdale dating from 1806 (estimate: £10,000-15,000,) the drawings span the artist’s career and include preparatory sketches for some famous works in Constable’s oeuvre. Elm Trees in Old Hall Park is an important study which was made using a sheet of glass and ink. It gives an insight into how the final work, which is now in the V&A, was created (estimate: £10,000-15,000). Another drawing, The Stour with Stratford St Mary Bridge, includes a letter on the verso written by the artist to an unknown correspondant (estimate: £1,800-2,500). The collection of drawings is expected to realise a combined total in excess £50,000.

Harriet Drummond, International Head, British Drawings and Watercolours:
“Such a rare and interesting group of unrecorded drawings by the Master of English Landscape, has not appeared on the market since 1988. The drawing of Elm Trees in Old Hall Park is important as it shows Constable’s very precise technique developed to accurately record scale when working direct from Nature.”

The Destruction of Pharaoh’s Host, a large and imposing watercolour by John Martin (1789-1854) is the epitome of the artist’s extravagant style and range of vision (estimate £300,000-500,000.) This work, which depicts the moment in Exodus when Jesus instructed Moses to stretch out his hand to let back the waters and drown the Egyptians pursuing the fleeing Israelites, has a depth and fullness of colour designed to rival the power of an oil painting: in this it represents the development of a movement begun by watercolourists disgruntled by their treatment by exhibiting societies such as the Royal Academy at the beginning of the 19th Century. In its bold and elaborate technique it demonstrates Martin's determination to succeed regardless of his lack of recognition by the Academy.

A charming watercolour by Thomas Gainsborough, R.A. (1727-1788), A Cottage with Trees reflected in a Woodland Pool, is thought to have been completed during the period when the artist lived and worked in Bath (estimate: £12,000-18,000.) It is one of the earliest of Gainsborough's depictions of a cottage in a wood, a theme that he was to develop in the 1770s and 80s in the form of his famous Cottage Door series of paintings. This drawing belonged to two important Gainsborough collectors: Dr Thomas Monro and William Esdaile. Monro was an enthusiastic amateur artist and collector and organised at his London house an evening `academy' at which the likes of Turner and Girtin learnt by copying from his large collection of drawings and prints. Drawings by Gainsborough were among those which the younger generation studied and copied. Esdaile was a banker and connoisseur who purchased much of his collection of Gainsborough drawings at a posthumous sale of Monro's estate at Christie’s.

Further examples of Early British Drawings and Watercolours will be on offer at Christie’s during Masters Week: the sale of Old Master Pictures (3 July 2012) includes a magnificent and sublime mountain landscape Mont Blanc from Fort Roch, Val D’Aosta (estimate £1,000,000 – 1,500,000) by Joseph Mallord William Turner, R.A. (1775 -1851)’s and Andrew Wyld: Connoisseur Dealer (10 & 18 July 2012) comprises 400 lots from the Mayfair gallery of one of the finest dealers in his field, highlights of which will be on view 31 June – 5 July.

M/M Interview with Martin Kemp

This exclusive interview with Professor Emeritus Oxford University, Martin was conducted by Nicola Linza and Cristoffer Neljesjö in Oxford, England during July 2012 and is only available in print edition.
 

Colonial Williamsburg Acquires Pair of Governor’s Council Chairs


Expensive Carved Back Stools Used By Elite Colonial Virginians in the Capitol

The Colonial Williamsburg Foundation has purchased two antique chairs used in the Governor’s Council Chamber of the Capitol prior to the American Revolution. Properly termed back stools in the 18th century, the chairs are probably from a set of 12 ordered from England about 1750.

The council consisted of 12 elite Virginians who met in the chamber to advise the governor on matters of concern to the entire colony. Befitting their position in society and government, the counselors were furnished expensive chairs made of highly carved tropical mahogany, upholstered in red silk and adorned with polished brass tacks. In addition to mahogany, the chairs’ construction includes oak, cherry, beech, ash and Scots pine.

The matching armchair for the royal governor has been in the Colonial Williamsburg collection since 1930.

Fiber evidence discovered on the chair frames suggests that the original upholstery was of red silk. The same upholstery and tacking pattern also were used on the royal governor’s armchair along with a silk fringe. Upholstery evidence on the three chairs, including brass tack patterns and nailing patterns for the webbing and textiles, indicates that they were originally upholstered by the same artisan. During conservation, the chair was upholstered non-intrusively in reproduction red silk velvet with brass tacks.

This expensive seating form was rarely seen in Virginia. Only two Virginia families — the Beverleys of Blandfield Plantation and the Byrds of Westover Plantation — are known to have owned sets of imported British back stools in the mid-18th century.

Conservation of one of the chairs is complete, and the chair is on view in the Masterworks Gallery of the DeWitt Wallace Decorative Arts Museum, 326 W. Francis St., Williamsburg. Admission to the museum is by Colonial Williamsburg admission ticket, Museums Pass or Good Neighbor Card.

Acquisition of the chairs was made possible by funds from the Friends of Colonial Williamsburg Collections and a gift from Robert Iverson of Hinsdale, Ill., through the TIF Foundation in memory of his late wife, Michelle A. Iverson.

The Art Museums of Colonial Williamsburg include the Abby Aldrich Rockefeller Folk Art Museum and the DeWitt Wallace Decorative Arts Museum. The Abby Aldrich Rockefeller Folk Art Museum is home to the nation’s premier collection of American folk art, with more than 5,000 folk art objects made during the 18th, 19th and 20th centuries. The DeWitt Wallace Decorative Arts Museum exhibits the best in British and American decorative arts from 1670–1830.

The Art Museums of Colonial Williamsburg are located at the intersection of Francis and South Henry Streets in Williamsburg, Va., and are entered through the Public Hospital of 1773. Museum hours are 10 a.m. to 7 p.m. daily.  For museum program information, telephone (757) 220-7724.

The Colonial Williamsburg Foundation is the not-for-profit educational and cultural organization that preserves and operates the restored 18th-century Revolutionary capital of Virginia as a town-sized living history museum, telling the inspirational stories of our nation’s founding men and women. Williamsburg is located in Virginia’s Tidewater region, 20 minutes from Newport News, within an hour’s drive of Richmond and Norfolk, and 150 miles south of Washington, D.C., off Interstate 64. For more information about Colonial Williamsburg, call 1-800-HISTORY or visit Colonial Williamsburg’s website at www.history.org.

Renaissance to Goya: Prints and drawings from Spain


Image Head of a monk, 1625-64, Francisco de Zurbarán (1598-1664). Drawing, 277 x 196 mm. © Trustees of the British Museum. All rights reserved.


20 September 2012 – 6 January 2013

This exhibition, drawn from the British Museum collection, brings together for the first time important prints and drawings by Spanish and other European artists who were working in Spain from the mid-sixteenth to the nineteenth century. Through exhibiting these works, many of which have never before been on display, the exhibition will provide new insights into the visual culture and history of Spain, a country renowned for its painting and architecture, but not so well known for its graphic arts in comparison to its European counterparts, Italy and France.

Outside of Spain, the British Museum has one of the best collections of Spanish drawings from the seventeenth century, a period often considered to be the ‘Golden Age’ of Spanish arts and literature. All of the most important artists are represented by key works in this display; Diego Velázquez and Alonso Cano in Madrid, Bartolomé Murillo and Francisco Zurbáran in Seville and Jusepe de Ribera in Spanish Naples. Francisco de Goya, who is universally regarded as one of the most important and compelling graphic artists of the period, is represented through the Museum’s remarkable collection of his prints and drawings.

The lack of study and appreciation of Spanish prints and drawings is partly due to the misapprehension that Spanish artists did not draw, an attitude that has since been revised through further research on the subject.   The reasons for these assumptions are complex, but can perhaps be rooted in the confiscation of Church possessions that took place in the nineteenth century, and subsequent dispersal of collections of Spanish art. The exhibition will consider the reasons behind this misapprehension and demonstrate the distinctive character of art in Spain during this period.

The exhibition begins exploring the mid-sixteenth century with the building of Philip II’s monastery of the Escorial near Madrid that drew a large number of foreign artists, mainly Italian. The internationalism of Spain in the sixteenth century is key to understanding the nature of the work made at this time. The first part of the exhibition will be devoted to the foreign artists who worked in Spain, such as the Italians Pellegrino Tibaldi and Federico Zuccaro. The engravings made by the Flemish printmaker Pedro Perret in Madrid depicting the Escorial are among the most remarkable architectural prints from the sixteenth century. However, whilst foreign influence may be unmistakable, artistic groups in Spain maintained their own traditions, and the process by which the Spanish absorbed the work of foreign artists is a complex one.

By the seventeeth century, each region of Spain was operating as an independent artistic ‘centre’, resulting in artistic practice being more segregated than the smaller countries of France or Italy. The exhibition is arranged into regions: Madrid and Granada; Seville and Córdoba; and Valencia/Naples, in order to highlight
the differences.

The last part of the exhibition will be devoted to Goya and his contemporaries, including the Tiepolo family who arrived in Madrid in the 1760s and whose etchings revolutionised printmaking in Madrid. The selection of Goya’s work that will feature will demonstrate the huge range of his graphic ability and the subjects that absorbed him. Much has been written of Goya’s ‘lone genius’ but this exhibition will explore how his art should be seen in the context of the unprecedented scientific, social and artistic developments that were taking place in Spain and the rest of Europe during the eighteenth and early nineteenth century. Examples of his Tauromaquin series can be seen in the exhibition, a collection of aquatint etchings of bullfighting subjects, which portrayed some of the most famous bullfighters of the day. In this series Goya has completely mastered the aquatint technique, achieving remarkable theatrical effects through the contrasting light and dark. Proofs from Goya’s  Disasters of War  print series will also be on display, demonstrating his reaction to Napoleon’s invasion of Spain and the horror
that followed.

It is through Goya and his contemporaries that we can see first-hand how the work they were producing helped to propel Spain to become an artistically dominant force, whilst changing the artistic landscape of Spain forever.

M/M Nikos in Parliament

Image of Manner of Man Magazine Advisory Board Member Nikos Salingaros taken inside the Italian Parliament by Stefano Serafini. All rights reserved.

TWENTY-SEVEN NEWLY-DISCOVERED LETTERS REVEAL DETAILS OF THE SEARCH FOR CAPTAIN SCOTT AND HIS COMPANIONS


Letters written by Apsley Cherry-Garrard to his mother expected to realise over £50,000 Polar section of Christie’s Travel, Science and Natural History auction commemorates the centenary of Captain Scott's death

Image of twenty-seven letters and Aspley Cherry-Garrard provided by Christie's London. All rights reserved.

A newly-discovered letter describing the discovery of the bodies of Captain Scott and his companions on their famous fatal polar journey 100 years ago is to be auctioned. Written by Apsley Cherry-Garrard, the youngest member of the Terra Nova expedition and one of the 12-man search party who found Scott, the letter will be offered for sale within the Polar section of Christie’s Travel, Science and Natural History auction to be held in South Kensington on Tuesday, 9 October 2012. Preserved by a family member, and hitherto unknown to scholars, the correspondence is part of a series of twenty-seven letters covering the whole span of the expedition from its departure in June 1910 to the sad return of the survivors to New Zealand in February 1913. The correspondence is a major new source by one of the most prominent expedition members and is estimated to fetch between £50,000 and £80,000 when sold as a complete collection.

Thomas Venning, Director and Senior Specialist, Christie’s commented: “With hindsight, it feels as if it was always a given that the death of Scott and his companions would be hailed as a paradigm of British heroism, but the letters show us the real fear amongst the expedition members that they would be received as failures, and be subject to hostile criticism, particularly in the Press.”

The letter dated 20 November 1912 illustrated right, written by expedition-member Apsley Cherry-Garrard from the Antarctic, reports 'we have found the bodies of Scott, Wilson & Bowers, and all their records … Their death was, I am quite sure, not a painful one – for men get callous after a period of great hardship – but the long fight before must have been most terrible'. Scott and the doomed polar party of Edward Wilson, Henry Bowers, Lawrence Oates and Edgar Evans had reached the pole on 17 January. After the loss of Evans and Oates on the return march, Scott, Wilson and Bowers, battling on against starvation and blizzards, eventually succumbed in their tent around the 29 March. Cherry-Garrard, who was one of the 12-man search party who found their bodies six months later on 12 November, comments in the letter to his mother 'Theirs is a fine story ... Wilson & Bowers had died very quietly, probably in their sleep'.

Aged just 24 when he volunteered to join Scott's Terra Nova Expedition, Apsley Cherry-Garrard was its youngest member. His memoir, The Worst Journey in the World, has become one of the classics of polar literature: it draws its title not from the polar journey but from the terrible sufferings he experienced six months earlier during an expedition with Wilson to visit the breeding grounds of the Emperor Penguin at Cape Crozier in the depths of the Antarctic winter – the plans for which he describes with fatal optimism to his mother: 'Old Bill … & I are going to Cape Crozier for some time in the winter if all goes well & that will be great fun I think, but of course very cold'.

Cherry-Garrard experienced a physical and mental breakdown in the months after the loss of Scott's polar party, a period he describes in the correspondence as 'about the worst time I have ever had … it has been an absolute hell'. The letters are also notable for his complaints about adverse press coverage of the expedition, which he describes as 'nothing less than a tissue of lies', and his fears of 'hostile criticism' on his return home. In the event, Scott and his companions were instantly elevated to the pantheon of British heroism, and it was to be more than 50 years before a critical reassessment of the expedition took place.

Art of the White Mountains at MFA Boston

Image Lancaster, New Hampshire, 1862
Robert S. Duncanson (American, 1821–1872)
Oil on canvas
The John Axelrod Collection—Frank B. Bemis Fund and Charles H. Bayley Fund
Photograph © Museum of Fine Arts, Boston
. All rights reserved.

Art of the White Mountains

MFA Museum of Fine Arts Boston
July 14, 2012 - July 7, 2013 

Beginning in the first decades of the 19th century, artists and writers were drawn to the pristine beauty of northern New Hampshire's natural wonders. The singular topography of the White Mountains inspired early landscapists including Thomas Doughty, Thomas Cole, and Benjamin Champney, later masters Winslow Homer and George Inness, and 20th-century modernists such as William Zorach. This exhibition will examine the allure of the White Mountains for artists for over a century and a half.


 
Image of The Artist In The Country (For Appleton's Journal of Literature, Science, and Art, June 19, 1869, p. 353), 1869
Winslow Homer (American, 1836–1910)
Wood engraving
Gift of W. G. Russell Allen
Photograph © Museum of Fine Arts, Boston

Works ranging from sketches of the region’s flora and geological formations to panoramic vistas of the expansive landscape will be featured in a selection of more than 30 oil paintings, drawings, prints, watercolors, sketchbooks, photographs, and rare books. Rarely seen gems by Alvan Fisher, Jasper Cropsey, and Robert S. Duncanson will be joined by more widely known views by George Inness and Sanford Gifford to underscore the importance of the White Mountains in the American landscape tradition.

Image of An October Afternoon, 1871
Sanford Robinson Gifford (American, 1823–1880)
Oil on canvas
Henry H. and Zoe Oliver Sherman Fund
Photograph © Museum of Fine Arts, Boston

Image of Randolph, New Hampshire, 1915
William Zorach (American (born in Lithuania), 1889–1966)
Oil on canvas
Tompkins Collection—Arthur Gordon Tompkins Fund
Courtesy Zabriskie Gallery, New York