Professor Edward Chaney -
Senior Lecturer in Visual Arts
(Chair of History of Collecting Research Centre)
The Evolution of English Collecting: Receptions of Italian Art in the Tudor and Stuart Periods
Edited book and introduction published for: The Paul Mellon Centre for Studies in British Art, Yale University Press, 2003
This fully illustrated volume consists of twelve essays, based on papers read at a conference I organised at Southampton Solent University. It was inspired by the direction that my own research had taken since publishing The Grand Tour and the Great Rebellion and The Evolution of the Grand Tour (which I had revised for the second, paperback edition in 2000), and by a growing awareness that there was no adequate publication available for students studying our 'Travel, Taste and Collecting' unit. The Evolution of English Collecting contains chapters by a range of international scholars, including Charles Avery, Christopher Baker, Karen Hearn, Jane Roberts and Richard Williams. The book is prefaced by my 124 page introduction, designed to provide a broader context of the origins of European collecting, along with a new account of the evolution of early-modern British fascination with Italian art and a comprehensive bibliography of primary and secondary sources. The book was favourably reviewed in the Burlington Magazine, The Art Newspaper, Renaissance Quarterly, Print Quarterly and the Journal of the History of Collections. Blackwell Publishing subsequently asked me to write a 30 page introduction and revised bibliography for a new edition of John Hale's England and the Italian Renaissance (Oxford, 2005).
Richard Eurich (1903-1992): Visionary Artist
Paul Holberton publishing, London 2003
This monograph is based on the catalogue of an exhibition I curated in collaboration with Christine Clearkin, whose MA dissertation on Eurich I supervised. It was first shown at the Millais Gallery, Southampton Solent University, and subsequently at the Russell-Cotes Art Gallery and Museum, Bournemouth, and the Fine Art Society, London, in 2003, in the centenary of the artist's birth. It included contributions by Peyton Skipwith, Alan Powers, James Hyman and David McCann and Eurich's daughters. Paintings and drawings were borrowed from Tony and Cherie Blair, Lord Chancellor, Richard Dorment, Peyton Skipwith, James Hyman, and other anonymous lenders. The exhibition and catalogue sought to promote both the work of an underestimated artist and the similarly underestimated genre of twentieth-century British figurative art. My own essay: 'Richard Eurich: The Complexity of Influence' highlighted both these themes and was reprinted in the London Magazine in 2003. I used Eurich's still unpublished autobiography (now on deposit in the Tate Gallery archives) in order to shed light on the development of this artist, his relation to modernism and the evolution of twentieth-century painting. By investigating the influence of Wyndham Lewis on the young Eurich I examined the latter's work and reputation in relation to the work and criticism of the former, as the modernist turned anti-modernist who eventually wrote The Demon of Progress in the Arts. Both exhibition and book were very widely and well reviewed; viz Richard Dorment in the Daily Telegraph; Laura Gascoine in the Spectator; Julia Freeman in the British Art Journal ('excellent show'), Sunday Times (26.6.03); Guardian (24.3.03); Independent on Sunday (29.6.03); Financial Times (30.7.03); significant number of his paintings were sold from both the Southampton and London venues.
Inigo Jones’s ‘Roman Sketchbook’ 2 volumes
Volume I authored, Volume 2 edited 2006
ISBN: 0 901953 12 1 and 978 0901953 12 4
This two-volume work is the definitive account of Jones's most important surviving illustrated manuscript, the so-called 'Roman Sketchbook' at Chatsworth. The first volume consists of a new account of Jones's early life, patronage and subsequent reputation, an introduction to the manuscript, a complete transcript of the text, a commentary on the sketches, footnotes, comparative figures and a full bibliography. Volume two consists of a complete facsimile of the manuscript. By careful analysis and dating of Jones's text and drawings I argue that although the notebook was indeed acquired in Rome in 1614 when Jones was acting as cicerone to the Earl and Countess of Arundel, he only used it briefly before abandoning it for some two decades; taking it up once again when he was consulted as a connoisseur of painting by Charles I and others. This edition also suggests that Jones may have had posterity in mind when he filled in the gaps in what is in fact more of a commonplace book than a true sketchbook. He may even have intended us to believe that his drawings were produced earlier and in some cases dal vivo in Rome, whereas it can be shown that they were in fact produced after prints in London. Sunday Telegraph 'Book of the Year' 2007. It has also been very enthusiastically reviewed in the May 2007 issue of Apollo by John Harris, in the 17 May 2007 issue of the Time Literary Supplement by Kerry Downes, and in the Print Quarterly of June 2007 by Antony Griffiths. Similarly enthusiastic reviews have appeared in the Burlington Magazine (John Bold) and The Court Historian (Gordon Higgott)
‘Egypt in England and America: The Cultural Memorials of Religion, Royalty and Revolution’
in Sites of Exchange: European Crossroads and Faultlines
eds M Ascari and A Corrado, Rodopi, Amsterdam 2006
My interest in the cultural memory of ancient Egypt evolved from my work on the Grand Tour. Most British travellers first encountered ancient Egypt in Rome, where in particular the obelisks and their hieroglyphs inspired curiosity concerning the civilization that had produced them. Egypt was already familiar from ancient literature and the Bible. Henry VIII passed an 'Egyptian Act', banning gypsies from England and conversely Shakespeare's Cleopatra was the 'Gypsy' whore. In parallel with its Roman image as decadent ran the Old Testament legacy of Egypt's 'ancient wisdom' associated with the name of Hermes Trismegistus. The latter was discredited in the seventeenth century but following decipherment of hieroglyphs, Victorian travellers were stunned by their encounter with pre-classical visual culture of such superb quality and longevity. Freud argued that Moses was an Egyptian who derived his idea of monotheism from the sun-worshipping Pharaoh Akhenaten. His grandson, the painter, Lucian Freud, was influenced by the cultural memory of Moses and Monotheism. I developed this material in a review of a book on Freud and Antiquity (in Psychoanalysis and History); a paper introducing the British School at Rome's Mellon-funded Roma Britannica conference and further for my lecture on 'Lord Arundel and the Obelisk of Domitian' at Arundel Castle and finalized it for the November 2006 conference on 'Mediterranean Paths, Images, Places and Civilizations' at the Universita della Svizzera Italiana. (forthcoming in the proceedings to be published by the British School at Rome). I am delivering a version of this at the London School of Economics in their conference on 'Facts and Artefacts: What Travels in Material Objects?' (funded by the Leverhulme Trust and ESRC:17 December 2007).