Katie Scott – författare

This original and relevant book investigates the relationship between intellectual property and the visual arts in France from the 16th century to the French Revolution. It charts the early history of privilege legislation (today’s copyright and patent) for books and inventions, and the translation of its legal terms by and for the image. Those terms are explored in their force of law and in relation to artistic discourse and creative practice in the early modern period. The consequences of commercially motivated law for art and its definitions, specifically its eventual separation from industry, are important aspects of the story. The artists who were caught up in disputes about intellectual property ranged from the officers of the Academy down to the lowest hacks of Grub Street. Lessons from this book may still apply in the 21st century; with the advent of inexpensive methods of reproduction, multiplication, and dissemination via digital channels, questions of intellectual property and the visual arts become important once more.

Intermittently in and out of fashion, the persistence of the Rococo from the eighteenth century to the twenty-first is clear. From painting, print and photography, to furniture, fashion and film, the Rococo’s diverse manifestations appear to defy temporal and geographic definition.In Rococo echo, a team of international contributors adopts a wide lens to explore the relationship of the Rococo with time. Through chapters organised around broad temporal moments – the French Revolution, the First World War and the turn of the twenty-first century – contributors show that the Rococo has been viewed variously as modern, late, ruined, revived, preserved and anticipated. Taking into account the temporality of the Rococo as form, some contributors consider its function as both a visual language and a cultural marker engaged in different ways with the politics of nationalism, gender and race. The Rococo is examined, too, as a mode of expression that encompassed and assimilated styles, and which functioned as a surprisingly effective means of resisting both authority – whether political, religious or artistic – and cultural norms of gender and class. Contributors also show how the Rococo, from its birth in France, reverberated through England, Germany, Italy, Portugal and the South American colonies to become a pan-European, even global movement.The Rococo emerges from these contributions as a discourse defined but not confined by its original historical moment, and whose adaptability to the styles and preoccupations of later periods gives it a value and significance that take it beyond the vagaries of fashion.

This collection brings together studies on the French decorative arts in the eighteenth century, extending from bookbinding, typography and engraving to those related specifically to the domestic interior: porcelain, upholstery and furniture. A collection of studies on the French decorative arts in the eighteenth century.Covers an extensive range of subjects from bookbinding, typography and engraving to porcelain, upholstery and furniture.Demonstrates how the advancement of knowledge in porcelain and loom technology resulted in new luxury goods to the glory of Absolutism.Looks at how Revolution demanded that political change be reflected in the details of everyday life, such as dress and furniture.

Artists are makers of things. Yet it is a measure of the disembodied manner in which we generally think about artists that we rarely consider the everyday items they own. This innovative book looks at objects that once belonged to artists, revealing not only the fabric of the eighteenth-century art world in France but also unfamiliar-and sometimes unexpected-insights into the individuals who populated it, including Jean-Antoine Watteau, Francois Boucher, Jean-Baptiste Greuze, and Elisabeth Vigee-LeBrun.From the curious to the mundane, from the useful to the symbolic, these items have one thing in common: they have all been eclipsed from historical view. Some of the objects still exist, like Jean-Honore Fragonard's color box and Jacques-Louis David's table. Others survive only in paintings, such as Jean-Simeon Chardin's cistern in his Copper Drinking Fountain, or in documents, like Francois Lemoyne's sword, the instrument of his suicide. Several were literally lost, including pastelist Jean-Baptiste Perronneau's pencil case. In this fascinating book, the authors engage with fundamental historical debates about production, consumption, and sociability through the lens of material goods owned by artists

This book accompanies an exhibition at Waddesdon that will unite Chardin’s four paintings of a boy with a house of cards for the first time (loans come from the Musée du Louvre, Paris; National Gallery, London; National Gallery of Art, Washington DC), allowing us to examine Chardin’s treatment of the subject in the context of his fascination with themes of play, childhood and adolescence.

The Story So Far is the first comprehensive overview of Helen Britton’s work published to celebrate the Australian Design Centre’s Living Treasure: Masters of Australian Craft award. The book covers over 40 years of Britton’s multidisciplinary practice and presents her extraordinary, often colourful and playful works. They evoke childhood memories while also addressing darker aspects of life, leaving the viewer to ultimately find their own meaning within them.Alongside large-format images of her works and the photographic essay “My Godmother’s House” are contributions by Lisa Cahill, Julie Ewington, Barbara Paris Gifford, Katie Scott, and Toni Greenbaum, the artist’s own texts, and excerpts from the collected writings of Ted Snell and Robert Cook.