My research into Van der Meulen’s work published in Print Quarterly (vol.28, no.2, 2011), uncovered a surprising chronology in relation to his prints and his cycle of paintings for the Château de Marly. The prints that had previously been thought to be reproductions of these paintings actually predate them. This alongside other compelling evidence led me to conclude that the composition of the paintings was taken from the prints, and that these engravings could be better understood as part of a longer graphic tradition of siege views.
Related publications:
“Chorography and siege views in the visual histories of Louis XIV,” in Pieter Martens (ed.) Siege Views. Picturing Cities at War in Europe, 1450-1700 (forthcoming, Amsterdam University Press).
“Nouvelles précisions sur les estampes dessinées par Van der Meulen et ses peintures à Marly, ” trans. Bruno Bentz, Marly Art et Patrimoine, revue de l’association des Amis du Musée-Promenade de Marly le Roi et Louveciennes, 8 (April, 2014).
“The cartographic origins or Adam-Franz van der Meulen’s Marly Cycle,” in Print Quarterly 28, 2 (June, 2011). r-wellington-cartographic-origins
Related conference presentations:
“An Eyewitness to Absolutism: ideology, history and memory in the work of Adam-Franz Van der Meulen,” 17th George Rudé Seminar in French History and Civilization, Sydney, July 2010.
“Mapping the King’s Victory: A Printed Image of Louis XIV’s Conquest of Lille,“ Art Association of Australia and New Zealand Annual conference, Canberra, November 2009.
Robert Wellington 