We are proud to have helped bring text and image together through the loan of the Art History/Classics Library’s copy of Edward Dodwell’s A classical and topographical tour through Greece, during the years 1801, 1805, and 1806 to Gods in Color: Polychromy in the Ancient World, an exhibition at the Legion of Honor.
Volume one of Dodwell’s important book, which provides some of the earliest modern documentation of Greece’s archaeological remains, is displayed opened to page 322, which offers the author’s account of the removal of the Parthenon’s marbles by Lord Elgin in 1801. In Dodwell’s own words, “Some drawings which I made on the spot, before as well as after that event, shew the objects which have been taken away or destroyed, and the lamentable contrast between the present and the former appearance of those venerable and glorious monuments of antiquity.”
A watercolor by Dodwell and painter Simone Pomardi depicting the same event is presented beside the book, and the entirety of the room’s walls are dedicated to other illustrations by the traveling pair.
A classical and topographical tour through Greece may be read in its entirety at Internet Archive (vol. one, vol. two). Gods in Color: Polychromy in the Ancient World will remain on exhibition at the Legion of Honor through Jan. 7, 2018.
The Art History/Classics Library recently acquired an exhibition catalog from an exhibit currently up at the Berkeley Art Museum until October 1, 2017, Charles Howard: A Margin of Chaos.
The catalog features contributions from UC Berkeley History of Art Professor Lauren Kroiz, BAM Curator Apsara DiQuinzio, and Curatorial Assistant, Valerie Moon.
From the publisher website:
“Charles Howard: A Margin of Chaos accompanies the first museum exhibition dedicated to American artist Charles Houghton Howard (1899–1978) since 1956. Howard, part of a circle of artists that included Alexander Calder, Gordon Onslow Ford, Grant Wood and Ben Nicholson, had an active and distinguished career in midcentury America and England. His enigmatic, meticulous paintings, often intimate in scale, bridge figurative, Surrealist and abstract currents in modern art. Though his work evolved over his career, Howard said that all of his pictures “are closely related … They are in fact all portraits of the same general subject, of the same idea, carried as far as I am able at the time.” The first scholarly publication on Howard, this fully illustrated volume includes essays by Apsara DiQuinzio, Robert Gober and Lauren Kroiz, a reprint of one of Howard’s own essays from 1946, an illustrated chronology and exhibition history.”