Reviewed by:

• Love: Art of Emotion 1400–1800 ed. by Angela Hesson, Charles Zika and Matthew Martin
• Andrea Bubenik

Is there any emotion more complex and nuanced than love? It is well known that the ancient Greeks had at least sixteen terms for love in all its forms: from love that is physical (eros) to altruistic (agape), to love of a friend (philia). The Swiss philosopher Denis de Rougement recognized these nuances in his classic book on the subject, Love in the Western World (1956), in which he attempted to survey the evolution of love from a literary perspective, with particular focus on the later emergence of romantic and passionate love. Rougement’s attempt to read [End Page 213] two thousand years of texts through evolving concepts of love is one of the most significant forays in the field of the history of emotions. Surprisingly, a similar history for visual culture remains to be written.

Therefore, the present publication is a very welcome one indeed. Love: Art of Emotion 1400–1800 graphic is an impressive and beautifully illustrated catalogue that accompanied the exhibition of the same title at the National Gallery of Victoria (NGV) in 2017. As the principal outcome of a collaboration between the NGV, The University of Melbourne, and the ARC Centre of Excellence for the History of Emotions 1100–1800 (CHE), the exhibition and now its catalogue are part of a burgeoning field of historical research in which the emotions are at the forefront rather than receded. The painstaking curation by Angela Hesson deserves to be singled out—it could not have been easy to bring cohesion to this diverse and complex array of objects—as much as her excellent and evocatively titled ‘Silver-sweet and Frantic-mad’ introduction to the catalogue. For those who could not attend the exhibition, this catalogue is a welcome surrogate; those who did will be drawn into happy reminiscence of a thoughtful and often sensual show that was further enriched by accompanying music.

The focus is very much on Western art, with the diversity of objects well suited to an emotion that continues to defy facile characterization. Love as embodied in family, friendship, religious devotion, patriotism, and nostalgia are represented not only in the expected paintings and prints but also earthenware bowls, porcelain sculptures, reliquaries, rings, fans, silks, and linens. A significant outcome is to highlight just how varied and rich the NGV collections are, with over two hundred objects chosen for inclusion. The shifts between the micro and the macro, the private and public—tiny painted snuff boxes to large scale canvases—are entirely fitting for the multifarious theme. Objects have lives, and they are very much palpable here.

As rich in thought as the objects themselves are the scholarly essays, which invoke the works of art featured in the exhibition and beyond. Anne Dunlop gives a rich discussion of the reception of Ovid, whose poetry was so central to early modern conceptions of love; Patricia Simons explores the spaces of love from gardens, to bathhouses, to taverns; and James Grantham Turner considers depictions of bodies in physical and amorous pursuits. Rituals of love are detailed by Matthew Martin, while Gary Schwartz explores the love of art itself. Some of the most surprising objects featured in the exhibition—such as pendants, rings, and fans—are discussed by curator Angela Hesson and Lisa Beaven, and their characterizations of ‘the erotic charge between collector and objects’ are amongst the most compelling passages in this catalogue. Indeed, it is the ‘the emotional life of objects’ that is perhaps the most striking thematic to emerge.

In effect, the choice of works and the timeframe predate the notion of romantic love. Perhaps a significant outcome here is to highlight how relatively recent such a notion really is (as anticipated by Rougement’s book cited above). As Anne [End Page 214] Dunlop points out, the essays and objects to hand ‘suggest just how historically contingent the idea of love always is...

审核人：

• 爱情：情感艺术1400–1800版。安吉拉·赫森（Angela Hesson），查尔斯·兹卡（Charles Zika）和马修·马丁（Matthew Martin）
• 安德里亚·布布尼克（Andrea Bubenik）

有没有比爱更复杂，更细微的情感？众所周知，古希腊人对爱的各种形式至少有十六个术语：从肉体上的爱（eros）到无私的爱（agape），再到朋友的爱（philia）。瑞士哲学家丹尼斯·德·鲁格（Denis de Rougement）在他的经典著作《西方世界的爱情》（1956）中承认了这些细微差别，在这本书中，他试图从文学的角度研究爱情的演变，尤其着重于后来浪漫主义的出现。和热情的爱。胭脂尝试读取[结束页213]通过不断发展的爱的概念，两千多年的文字是情感史上最重要的尝试之一。出人意料的是，关于视觉文化的类似历史仍有待撰写。

因此，本出版物确实是非常受欢迎的。爱情：情感艺术1400–1800图形是令人印象深刻且插图精美的目录，伴随着2017年在维多利亚国家美术馆（NGV）上的同名展览。作为NGV，墨尔本大学和ARC卓越中心之间合作的主要成果对于1100-1800年情感史（CHE），该展览及其现在的目录是新兴的历史研究领域的一部分，在该领域中，情感处于最前沿而不是消退。值得一提的是安吉拉·赫森（Angela Hesson）艰苦的策展活动-要使这种多样而复杂的物体具有凝聚力并非易事-正如她出色而引人注目的标题为“银色甜蜜和疯狂的疯狂”的介绍一样。目录。对于那些无法参加展览的人，此目录是一个可喜的替代品。

焦点非常集中在西方艺术上，其对象的多样性非常适合继续挑战轻描淡写的特征的情感。家庭，友谊，宗教奉献，爱国主义和怀旧所体现的爱不仅在预期的绘画作品中得到体现，而且在陶器碗，瓷雕，遗物，戒指，风扇，丝绸和亚麻制品中也得到体现。一个重要的结果是突出显示NGV集合的多样性和丰富性，并选择了200多个对象。微观和宏观之间，私人和公共之间的转变（从微小的画鼻烟盒到大型画布）完全适合于各种各样的主题。物体有生命，在这里很明显。

学术论文与对象本身一样思想丰富，它们引用了展览及以后的特色艺术品。安妮·邓洛普（Anne Dunlop）对接受奥维德（Ovid）进行了广泛的讨论，奥维德的诗歌对早期现代爱情观至关重要。帕特里夏·西蒙斯（Patricia Simons）探索着爱的空间，从花园到浴室，再到小酒馆。詹姆斯·格兰瑟姆·特纳（James Grantham Turner）则以身体和多情的追求来考虑对人体的描绘。马修·马丁（Matthew Martin）详细介绍了爱的仪式，而加里·施瓦茨（Gary Schwartz）探索了艺术本身的爱。策展人安吉拉·赫森（Angela Hesson）和丽莎·贝文（Lisa Beaven）讨论了展览中展出的一些最令人惊讶的物品，例如吊坠，戒指和风扇，它们对“收藏家与物品之间的色情电荷”的刻画是该展览中最引人注目的段落。此目录。的确，

实际上，作品的选择和时限早于浪漫爱情的观念。也许一个重要的结果是突出了这种概念的真正相对最新性（正如上面引用的Rougement的书所预期的那样）。正如安妮（Anne [End Page 214]）所指出的那样，论文和对象建议“爱的观念在历史上始终是多么历史性的……”