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.

Making Ideas Visible in the Eighteenth Century

Milam Jennifer Parsons Nicola

Innbundet / 2022 / Engelsk

Milam Jennifer Parsons Nicola

Innbundet / 2022 / Engelsk

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"<i>Making Ideas Visible</i> is an important collection that will appeal to scholars from a variety of disciplines. Those teaching early-modern literature and history will find useful representations of ideas that are often less accessible in printed texts. Many of the book’s images will find a home in my instructional materials, and the authors’ insightful interpretations will inform our class discussions. Milam and Parsons should be congratulated for selecting such keen essays, each of which is handsomely produced and carefully documented."

- Christopher D. Johnson, Francis Marion University, The Eighteenth-Century Intelligencer

This volume considers how ideas were made visible through the making of art and visual experience occasioned by reception during the long eighteenth century. The event that gave rise to the collection was the 15th David Nichol Smith Seminar in Eighteenth-Century Studies, which launched a new Australian and New Zealand Society of Eighteenth-Century Studies. Two strands of interest are explored by the individual authors. The first four essays work with ideas about material objects and identity formation, suggesting how the artist's physical environment contributes to the sense of self, as a practicing artist or artisan, as an individual patron or collector, or as a woman or religious outsider. The last four essays address the intellectual work that can be expressed through or performed by objects. 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.

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Considers how ideas were made visible through the making of art and the 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.

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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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