Monographic Exhibitions and the History of Art

<p>This edited collection traces the impact of monographic exhibitions on the discipline of art history from the first examples in the late eighteenth century through the present. Roughly falling into three genres (retrospectives of living artists, retrospectives of recently deceased artists, and monographic exhibitions of Old Masters), specialists examine examples of each genre within their social, cultural, political, and economic contexts. Exhbitions covered include Nathaniel Hone’s 1775 exhibition, the Holbein Exhibition of 1871, the Courbet retrospective of 1882, Titian's exhibition in Venice, Poussin's Louvre retrospective of 1960, and El Greco's anniversaty exhibitions of 2014. </p> <p>Table of Contents</p><p>List of Illustrations and Illustration Credits</p><p>Preface</p><p>Introductory</p><p>Monographic Exhibitions and the History of Art</p><p>Maia Wellington Gahtan, Donatella Pegazzano</p><p>I. Living Artist Retrospectives </p><p>1. ‘<em>Nathaniel Hone’s 1775 Exhibition: The First Single-Artist Retrospective’</em></p><p><strong> <br><p>Konstantinos Stefanis</p></strong></p><p>2. <i>The Degas and Cassat 1915 Exhibition in Support of Women’s suffrage</i></p><p><strong> <br><p>Ruth E. Iskin</p></strong></p><p>3. <em>Braque, Gris and Léger: Cubism in Switzerland in 1933</em></p><p><strong> <p>Kate Kangaslahti</p></strong></p><p>4. <em>Bacon at Grand Palais: Echoes and Influences</em></p><p><strong> <br><p>Monika Keska</p></strong><em> <br> <br><b> </b><p>II. Posthumous Retrospectives</p></em></p><p>5. <i>The First Posthumous Retrospective in France: The Paul Delaroche Exhibition, a New Perception of the Artist’s Work</i></p><p><strong> <br><p>Marie-Claire Rodriguez</p></strong></p><p>6. <em>Max Jordan’s First Monographic Exhibitions at the Royal National Gallery in Berlin – Rewriting the Canon of Art History and Creating the Artist as a National Role Model at the Beginning of the German Empire</em></p><p><strong> <br><p>Saskia Pütz</p></strong></p><p>7. <em>The Courbet Retrospective of 1882. Harbinger of the Artist’s first Major Monograph and Catalogue Raisonné</em></p><p><strong> <br><p>Petra ten-Doesschate Chu</p></strong></p><p>8. <em>The Critical Reception of Marcello Tommasi’s Oeuvre and the Tommasi Family’s Artistic Legacy</em></p><p><strong> <br><p>Elisa Gradi</p></strong><b><em> <br> <br><p>III. Old Master Monographic Exhibitions from before World war II</p></em> </b></p><p>9. <em>The Holbein Exhibition of 1871 – An Iconic Turning Point for Art History</em></p><p><strong> <br><p>Lena Bader</p></strong></p><p>10. <i>‘</i><em>This is the answer to those who tell us that Reynolds was a snob</em><i>’</i><em>: The Grosvenor Gallery Exhibition of Works by Joshua Reynolds (1883 – 1884)</em></p><p><strong> <br><p>Camilla Murgia</p></strong></p><p>11. <i>The Master and </i><em>Siena: the 1912 Duccio exhibition</em></p><p><strong> <br><p>Elisa Camporeale</p></strong></p><p>12.<i>The Twelve Days of Bartolomeo della Gatta (Arezzo, October 1-12, 1930). A Regional Exhibition of an Old Master during the Era of Fascism</i></p><p><strong> <br><p>Luca Pezzuto</p></strong></p><p>13.<i>Titian’s 1935 Exhibition in Venice</i></p><p><strong> <br><p>Giuliana Tomasella</p></strong><em> <br> <br><b> </b><p>IV. Old Master Monographic Exhibitions after World War II</p></em></p><p>14. <em>Poussin in Perspective: The Louvre Retrospective 1960 Above and Beyond</em><br><strong>Henry Keazor</strong></p><p>15. <em>Rembrandt and the Polemical Monographic Exhibition: ‘Rembrandt, the Master and His Workshop’ in Amsterdam, Berlin and London in 1991-92</em><br><strong>Catherine B. Scallen</strong></p><p>16. <em>Exploring Michelangelo through Exhibitions. Closer to the Master, Closer to the scholar, Closer to the Public </em></p><p><strong> <br><p>Silvia Catitti</p></strong></p><p>17. ‘<em>Canaletti’ and the others. Recent Monographic Exhibitions of Venetian Veduta Painters: Art History and the Market</em></p><p><strong> <br><p>Heiner Krellig</p></strong></p><p>V. Monographic Exhibitions and the 21st century </p><p>18. <em>El Greco and the Dynamics of Retrospection in Monographic exhibitions for the Anniversary of his Death in 2014</em></p><p><strong> <br><p>Livia Stoenescu</p></strong></p><p>19. <em>Past Institution’s Future: Monographic Exhibitions and Tate Modern’s Make-up</em></p><p><strong> <br><p>Evi Baniotopoulou</p></strong></p><p>20. <em>The Rise of the Monographic Exhibition: The Political Economy of Contemporary Art</em></p><p><strong> <br><p>Ronit Milano</p></strong></p><p>Afterword </p><p>Afterword: Learning from the Artist’s Monograph: Anarchy, Quality, and the Ultimate Noumenon</p><p><strong> <br><p>Gabriele Guercio</p></strong></p><p>Epilogue</p><p><i>Epilogue: Some Curatorial Thoughts on the Monographic Exhibition</i></p><p>Joaneath Spicer</p><p>Bibliography</p><p>Biographical Notes on the Contributors</p><p>Index</p>