Francis Eginton, The physician Erasistratus discovering the love of Antiochus for Stratonice (mechanical painting on two sheets laid paper, c.1778. ; 77.5×110.5cm [formerly inventoried as a sun picture by James Watt]; Science Museum, London) (Inventory number 1884-16 pt7) (Object No.: 1884-16 Pt1).
“Space, Time, and Chemistry: Making and Defacing Enlightenment Photography”
Understanding “Enlightenment photography” compels us to think oil paintings, combustion engines, and airplanes again.
Matthew C. Hunter is Associate Professor in the Department of Art History and Communication Studies at McGill University and 2016-17 NEH Fellow at the Huntington Library. An editor of Grey Room, he researches art and architecture of the long eighteenth century with special attention to their interactions with science and technology.
Francis Eginton, Venus and Adonis (mechanical painting, c.1778. 43.4x34cm laid to 45×35.4cm, in new mount and frame 61×49.6x3cm. After a painting by Benjamin West. Formerly inventoried as a sun picture by James Watt; please see information sheet for fuller details. Science Museum, London.
His publications include Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London (University of Chicago Press, 2013), The Clever Object (Wiley, 2013), co-edited with Francesco Lucchini, and Beyond Mimesis and Convention: Representation in Art and Science (Springer, 2010), co-edited with Roman Frigg.
Unknown engraver, “Breakfast-Table Scene: An Early Photograph by Thomas Wedgwood” as published in Eliza Meteyard, The Life of Josiah Wedgwood: From His Private Correspondence and Family Papers … with an Introductory Sketch of the Art of Pottery in England (London: Hurst and Blackett, 1865), Vol. II: 585.
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