This volume considers how ideas were made visible through the making of art and visual experience occasioned by reception during the long eighteenth century. Through a consideration of the material formation of concepts, this book explores questions that are implicated by the need to see ideas in painted, sculpted, illustrated, and designed forms. In doing so, it introduces new visual materials and novel conceptual models into traditional accounts of the intellectual history of the Enlightenment.
This volume considers how ideas were made visible through the making of art and visual experience occasioned by reception during the long eighteenth century. Through a consideration of the material formation of concepts, this book explores questions that are implicated by the need to see ideas in painted, sculpted, illustrated, and designed forms. In doing so, it introduces new visual materials and novel conceptual models into traditional accounts of the intellectual history of the Enlightenment.
JENNIFER MILAM is the Pro Vice Chancellor (Academic Excellence) at the University of Newcastle in Callaghan, Australia. Her books on rococo art include Historical Dictionary of Rococo Art, Fragonard’s Playful Paintings , and an edited collection Women, Art and the Politics of Identity in Eighteenth-Century Europe. NICOLA PARSONS is a senior lecturer in English at the University of Sydney in Australia. She is the author of Reading Gossip in Early Eighteenth-Century England.
Inhaltsangabe
List of Illustrations Acknowledgements Introduction: The Potential Visibility of Ideas in Enlightenment Art and Aesthetics Jennifer Milam (University of Newcastle) and Nicola Parsons (University of Sydney) Chapter 1: A Good Address: Living at the Louvre in the Eighteenth Century David Maskill (Victoria University of Wellington) Chapter 2: Inventing Artifice: François Boucher’s Collection at the Louvre Jessica Priebe (University of Sydney) Chapter 3: Continental Porcelain Made in England: The Case of the Chelsea Porcelain Factory Matthew Martin (University of Melbourne) Chapter 4: Planting Cosmopolitan Ideals: Thomas Jefferson’s Poplar Forest Jennifer Milam (University of Newcastle) Chapter 5: Growing Old in Public in Eighteenth-Century France: Marie-Thérese Geoffrin and Marie Leszczynska Jessica L. Fripp (Texas Christian University) Chapter 6: French Funeral Monuments of the Ancien Régime as Products of Individual Artistic Solutions Wiebke Windorf (University of Düsseldorf) Chapter 7: Meeting the Locals: Mythical Images of the Indigenous Other in the Eighteenth and Nineteenth Centuries Melanie Cooper (University of Adelaide) Chapter 8: Infernal Machines: Designing the Bomb Vessel as Transnational Technology Jennifer Ferng (University of Sydney) Notes on the Contributors Index
List of Illustrations Acknowledgements Introduction: The Potential Visibility of Ideas in Enlightenment Art and Aesthetics Jennifer Milam (University of Newcastle) and Nicola Parsons (University of Sydney) Chapter 1: A Good Address: Living at the Louvre in the Eighteenth Century David Maskill (Victoria University of Wellington) Chapter 2: Inventing Artifice: François Boucher’s Collection at the Louvre Jessica Priebe (University of Sydney) Chapter 3: Continental Porcelain Made in England: The Case of the Chelsea Porcelain Factory Matthew Martin (University of Melbourne) Chapter 4: Planting Cosmopolitan Ideals: Thomas Jefferson’s Poplar Forest Jennifer Milam (University of Newcastle) Chapter 5: Growing Old in Public in Eighteenth-Century France: Marie-Thérese Geoffrin and Marie Leszczynska Jessica L. Fripp (Texas Christian University) Chapter 6: French Funeral Monuments of the Ancien Régime as Products of Individual Artistic Solutions Wiebke Windorf (University of Düsseldorf) Chapter 7: Meeting the Locals: Mythical Images of the Indigenous Other in the Eighteenth and Nineteenth Centuries Melanie Cooper (University of Adelaide) Chapter 8: Infernal Machines: Designing the Bomb Vessel as Transnational Technology Jennifer Ferng (University of Sydney) Notes on the Contributors Index
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