This volume offers a thematic exploration of the migrant artist's experience in Europe and its colonies from the early modern period through to the Industrial Revolution. The influence of the transient artist, both on their adoptive country as well as their own oeuvre and native culture, is considered through a collection of essays arranged according to geographic location. The contributions here examine the impetuses behind artistic migrations and the status of the foreign artist at home and abroad through the patterns of patronage, contemporary responses to their work and the preservation of their artistic legacy in domestic and foreign settings. Objects and sites from across the visual arts are considered as evidence of the migrant artist's experience; talismans of cultural exchange that yielded hybrid artistic styles and disseminated foreign tastes and workshop practices across the globe.
| Acknowledgements |
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vii | |
| Foreword |
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viii | |
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Chapter One The Migrant Artist in Early Modern Times |
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2 | (19) |
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Chapter Two Migrations---Journeys into British Art: Reflections on an Exhibition |
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21 | (19) |
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Italy and Southern Europe |
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Chapter Three El Greco: The Migrant's Challenge of Centrality as a State of Mind |
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40 | (13) |
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Chapter Four From Stone to Wood: Claude Laprade (c. 1675--1738) and His Journey from Provence to Portugal |
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53 | (19) |
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Chapter Five French Book Illumination in Time of War: Migrating Artists between France, Normandy and England from 1420 to 1450 |
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72 | (19) |
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Chapter Six Flemish Immigrants in South-East England during the Sixteenth and Early Seventeenth Centuries: Their Roles as Trendsetters among the Culture of the Gentry |
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91 | (1) |
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Chapter Seven Re-evaluating the "Outsider": Ford Madox Brown and Cultural Dialogues in Mid-Nineteenth Century Europe |
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91 | (37) |
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The Empire and the New Americas |
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Chapter Eight The Real, Rejected and Virtual Travels of Marten de Vos |
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128 | (17) |
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Chapter Nine Johan Zoffany's Painting Practice in Calcutta and Lucknow: The Technical Exploration of an Ad Hoc Studio |
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145 | (18) |
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Chapter Ten William Shiels: American Lessons Learned; Shaping the New Scottish Academy from 1826 |
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163 | (20) |
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Fiona V. Salvesen Murrell |
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Chapter Eleven Migrating Objects: John Henry Foley and Empire |
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183 | (13) |
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| List of Illustrations |
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196 | (4) |
| Contributors |
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200 | (3) |
| Index |
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203 | |
Kathrin Wagner is Lecturer in Art History at Liverpool Hope University, UK, having received her BA, MA and PhD degrees from the Free University Berlin. Her research focuses on late medieval ecclesiastical art from Northern Europe and migration issues among early modern artists. In 2013, she organised the international conference Inter-Culture 14001850. Art, Artists and Migration at Liverpool Hope University.Jessica David received a BFA/MS in Theory, Criticism and History of Art, Design and Architecture from Pratt Institute, USA, in 2002. She trained as a painting conservator at the Hamilton Kerr Institute at the University of Cambridge, UK, from 2004 to 2007 and spent the following year at the Frans Hals Museum, Haarlem, The Netherlands, as a Samuel H. Kress fellow in painting conservation. She has worked at the Yale Center for British Art, New Haven, USA since 2009 and is currently the associate conservator of paintings there. Her recent research and publications have focused on the artistic practices, materials and influence of immigrant painters in Britain (including Johan Zoffany and Jacques Laurent Agasse).Matej Klemeni is Professor in Art History at the University of Ljubljana, Slovenia. He has published and lectured extensively on various aspects of Baroque art and architecture in Central Europe, Venice and the Veneto, with particular emphasis on sculptors of the 17th and 18th centuries. His current research is dedicated to artistic mobility between Venice and former Habsburg lands, as well as to the social status of sculptors in 18th century Venice.
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