Call for Panels | CAA in New York, 2019

Posted in Calls for Papers by Editor on March 18, 2018

From CAA:

107th Annual Conference of the College Art Association
New York Hilton Midtown, 13–16 February 2019

Most Panel Proposals due by 27 April 2018

The CAA Annual Conference is the largest professional convening of art historians, artists, designers, curators, and others in the visual arts. Each year we offer sessions submitted by our members, committees, and affiliated societies offering a wide range of program content. The Annual Conference Committee members review over 800 submissions each year. They take into account subject areas and themes that arise from accepted proposals to present as a broad and diverse a program as possible. The Committee selects approximately 250 sessions for each conference, and it must, at times, make difficult decisions on submissions of high merit. This means that on occasion, quality submissions may not be selected.

General Proposal Submission Information
• Session and paper/project abstracts should be no more than 250 words in length.
• Please follow The Chicago Manual of Style for your submission.
• The accuracy of information in the submission is important as, if selected, it will be transferred to the conference program, abstracts booklet, website, etc., exactly as written.

P R O P O S A L  S U B M I S S I O N  T Y P E S

Complete Session
Proposals due by 27 April 2018
The organizer has complete information about the session including names and affiliations of all session participants, presentation titles, abstract texts, etc.

Session Soliciting Contributors
Proposals due by 27 April 2018
The organizer proposes a session title and abstract that will require a call for participation. Session organizers review and select papers and projects based on their own requirements. The 2019 Call for Participation (CFP) for accepted Sessions Soliciting Contributors will be posted on the CAA Annual Conference website on May 14, 2018. Submissions will be accepted for review through June 21, 2018. Submissions should be sent directly to the session chair(s)—if there is more than one session chair, send materials to both chairs. Proposals should include a proposal form (found at the end of the CFP), an abstract of your presentation, a cover letter to chair(s), a shortened CV, and work documentation (if necessary).

Individual Paper/Project
Proposals due by 27 April 2018
An individual CAA member may submit an abstract (with title), which, if accepted, will be included in the 2019 conference as part of a composed session with others accepted in this category based on subject area or compatible content.

Professional Development Workshops
Proposals due between 15 May and 15 August 2018
CAA welcomes current CAA members to share their expertise with colleagues in Professional Development Workshops. Workshops are ninety minutes in length and content ranges from business strategies and negotiation, finding grants and fellowships, marketing, audience engagement, education on new technologies, and more.

Exhibitor Session
Proposals due between 15 May and 14 September 2018
Registered exhibitors at the 2019 conference are welcome to propose full sessions or workshops (ninety minutes in length) for inclusion in the full-conference program. These sessions should convey practical information, professional expertise, or historical/scholarly content and may not be used for direct marketing, sales or promotion of products, publications, or services or programs.


New Book | François de Cuvilliés

Posted in books by Editor on March 18, 2018

From Allitera Verlag:

Albrecht Vorherr, ed., François de Cuvilliés: Rokokodesigner am Münchner Hof (Allitera Verlag, 2018), 280 pages, ISBN: 978-3962330224, 30€.

Zum 250 Todestag von Francois de Cuvilliés (1695–1768) am 14. April 2018 erscheint diese Anthologie mit pointierten Texten namhafter Wissenschaftler zum großen Architekten und Designer des Rokokos. Elf Beiträge widmen sich dem stilsicheren Genie und vergessen dabei nicht die bitteren Seiten seiner Vita. Vor dem Hintergrund aktueller Forschung wird Cuvilliés zum einen als Künstler und Mensch vorgestellt, zum anderen auch ein Schlaglicht auf die Epoche des Rokoko in München geworfen: Handwerker- und Hofleben, Verwaltung und Realisierung barocker Bauprojekte, luxuriöses Design öffentlicher Bauten, Palais und Schlösser, Theater- und Festkultur. Der Belgier François de Cuvillies hat wie kein anderer die Haupt- und Residenzstadt mit seiner Bau- und Ausstattungskunst geprägt und das kurfürstliche München auf dem Niveau von Paris, Dresden und Venedig zum Strahlen gebracht.

Mit Beiträgen von, Magdalena Bayreuther, Neven Denhauser, Gabriele Dischinger, Hanna Dornieden, Ernst Götz, Alexandra Loske, Stefan Nadler, Hermann Neumann, Max Tillmann, Christian Quaeitzsch, Albrecht Vorherr.

Albrecht Vorherr ist ­Kunstpädagoge und Autor. Sein besonderes Interesse gilt der Kunst- und Kulturgeschichte des 18. Jahrhunderts. Mit Doris Fuchsberger veröffentlichte er im Allitera Verlag Schloss Nymphenburg unterm Hakenkreuz (2014) und den Bildband Schloss Nymphenburg: Menschen – Bauwerke – Geschichte (2015).

Exhibition | Royal and Imperial Clocks

Posted in exhibitions by Editor on March 18, 2018

From the press release, via Art Daily, for the exhibition:

Royal and Imperial Clocks: Romantic and Scientific
The David Roche Collection, Adelaide, 27 February — 19 August 2018

Curated by Martyn Cook

Louis XVI Portico Mantel Clock, ca. 1787–93 (Adelaide: The David Roche Collection).

The David Roche Collection will stage a new exhibition of 34 exquisite French and English clocks, dating from the late 17th century to the early 20th century. Imperial & Royal Clocks: Romantic & Scientific is the first time these rare and opulent clocks have been on public display together.

David Roche (1930–2013)—who left his entire collection of more than 3,500 decorative arts to the people of Adelaide—had, during his long life, been immersed in the intricacies of clocks for their decorative appeal. No matter the horological significance of the movement within the clocks, Roche was only interested in the clock’s decorative façade. He was obsessed with time though struggled to be on time said Martyn Cook, Museum Director of The David Roche Collection and curator of the exhibition.

Roche focused his collection on the French Empire and the Regency period in England. When he acquired an item for his collection, he had in mind exactly where it should be placed in his home—it was no different with his clocks. Roche called Fermoy House—the house in which he spent most of his life—Australia’s ‘Bermuda Triangle’ for clocks because very few worked for more than two weeks, largely through movement in the ground, which made it unstable for the clocks. Though it annoyed him intensely, he learned to live with it, said Cook.

With loans of seven rare clocks from private collections, the exhibition showcases some of the world’s most opulent clocks. Included are the rare Automata Smoking African Clock from The Johnston Collection; a Henry Hindley Table clock c.1760–65, made for the 8th Duke of Norfolk; and a very rare John Shelton Floor-standing Regulator c.1760. Shelton made this type of astronomical clock for the Royal Society of London, and Captain James Cook used Shelton’s regulators to observe the 1769 transit of Venus in Tahiti.

Provenance was always of interest to Roche. He acquired a Laurent Ridel Trophies of War mantel clock c.1780, from the sale of Mrs. Robert Lehman in 2010, following the collapse of the Lehman Bank. His Robert Adam style Long case clock c.1780, belonged to Mildred Hilson, a New York grande dame, while his Balthazar Martinot Boulle mantle clock c.1690, came from Kym Bonython, Adelaide identity and motor racing driver. Although Roche loved all his clocks, two favourites were the jewel-like Joseph Coteau Mantel clock 1796 and the Louis Moinet Prince of Hanover urn clock c.1810, from the Hanover estate at Schloss Marienburg, in Germany. The exhibition is accompanied by a fully illustrated catalogue.

NMWA’s Wikipedia Edit-a-thon, 2018

Posted in museums by Editor on March 17, 2018

Today at the NMWA:

Wikipedia Edit-A-Thon 2018
National Museum of Women in the Arts, Washington, D.C., 17 March 2018

Celebrate Women’s History Month and help us improve Wikipedia articles about women artists.

In honor of Women’s History Month, NMWA will host its 5th annual Art+Feminism Edit-A-Thon focused on improving Wikipedia entries related to notable women artists and art world figures. This event is part of a global initiative to help improve Wikipedia’s gender imbalance. A 2010 Wikimedia survey found that less than 13% of its contributors are women. The lack of female participation has contributed to the absence of notable women on Wikipedia. In more than 480 events, over 7,100 people have created and improved more than 11,000 Wikipedia articles.

No experience necessary—just bring a laptop, motivation to combat gender bias, and a belief in equal access to quality information resources. People of all gender identities and expressions are invited to participate.

10:00–11:00  Welcome and editing tutorial
11:00–3:00  Research and editing
Lunch at noon

Use the hashtags #ArtAndFeminism and #NowEditingAF to share about the event on social media!

Reservations required—use the passcode ‘AF’. Please bring a laptop with power cord. Extension cords and power strips are highly recommended.

Summer Course | Women and Art

Posted in opportunities by Editor on March 17, 2018

From Sotheby’s Institute of Art:

Catherine McCormack | Women and Art
Sotheby’s Insitute of Art, London, 11–22 June 2018

This course explores both the depiction of women in art and the experience of female artists across a long period, from antiquity to the present day, through an introduction to the gender politics of visual culture. Using case studies and site visits in London’s world-class collections, the course addresses the historical constraints on women artists as well as the ways in which women challenged their exclusion from art academies and artistic patronage. Students will examine representations of women by both male and female artists and how these have changed over time. The course also investigates the ways in which international museums and collections are responding to the current interest in gender politics and its effect on culture at large. Students will gain a variety of critical skills through which to understand and critique current approaches to art, women and display.

Catherine McCormack is an art history lecturer and writer on historical and contemporary art. She completed her PhD at UCL where she was a Teaching Fellow in the art history department and she lectures for Sotheby’s Institute on art from the 15th to 19th centuries. Alongside her historical specialisms she also has an interest in feminist art theory and is the Course Leader for the Women and Art Summer school. Catherine has presented her historical research at numerous conferences internationally and has published her writing in both academic journals and in museum and gallery catalogues on contemporary art.

Additional offerings from Sotheby’s Institute in London this summer:

• Art and its Markets
• Contemporary Art in London
• Michelangelo to Matisse: European Art, 1500–1900
• Rituals, Royals and Revolutions: Asian Art from Ancient to Modern
• Photography, History and the Market
• Foundations in Decorative Arts and Design, Part I: From Baroque to Art Deco
• Foundations in Decorative Arts and Design, Part II: Architecture and Interiors
• Masterpiece London: The Art of Collecting
• Foundations in History of Art
• Foundations in Contemporary Art

Exhibition | High Society

Posted in books, catalogues, exhibitions by Editor on March 16, 2018

Press release (1 December 2017) from the Rijksmuseum:

High Society: Four Centuries of Glamour
Rijksmuseum, Amsterdam, 8 March — 3 June 2018

Sir Joshua Reynolds, Jane Fleming, later Countess of Harrington, ca. 1778–79 (San Marino, The Huntington Library, Art Collections and Botanical Gardens).

The Dutch national museum, the Rijksmuseum, is presenting High Society with over thirty-five life-size portraits of powerful princes, eccentric aristocrats, and fabulously wealthy citizens by the great masters of art history, including Cranach, Veronese, Velázquez, Reynolds, Gainsborough, Sargent, Munch, and Manet. The centrepiece are Rembrandt’s spectacular wedding portraits, Marten Soolmans and Oopjen Coppit, which will be shown for the first time following their restoration.

Never before has there been an exhibition dedicated to this most glamorous type of portrait: life-size, standing, and full length. Loans have come from museums and private collections from all over the world including Paris, London, Florence, Vienna, and Los Angeles. High Society also gives a glimpse into the informal life of the well-to-do. More than eighty prints and drawings from the Rijksmuseum’s own collection show what went on behind closed doors: parties, drinks, gambling, and amorous encounters.

International Masterpieces
The works vary from the early sixteenth to the start of the twentieth century. Masterpieces include the impressive portraits of Henry the Pious, Duke of Saxony and Catharina, Countess of Mecklenburg by Lucas Cranach the Elder (1514), the married couple Iseppo da Porto and Livia da Porto Thiene with Their Children by Veronese (1555), Don Pedro de Barberana y Aparregui by Velázquez (ca. 1631–33), Portrait Jane Fleming by Sir Joshua Reynolds (1778/79), The Artist by Edouard Manet (1875), and of course Marten Soolmans and Oopjen Coppit by Rembrandt (1634).

Four Centuries of Fashion
Most of the people portrayed are very lavishly dressed, giving the exhibition an overview of four centuries of fashion: from the tightly cut trousers and doublet from 1514 to the haute couture of the late nineteenth century. Some of the subjects portrayed, however, are wearing fancy garments in an antique style. Another is wearing a kilt, yet another is not wearing trousers and one is almost completely naked. Remarkably, those portrayed often have dogs with them. One man is accompanied by a lion. One couple have their children with them. The backgrounds can be richly decorated interiors, often with columns and/or curtains, or a summer or winter landscape. One man is standing in front of an imaginary landscape with palm trees, while another is adopting a flamboyant pose in front of the Colosseum in Rome.

Whereas the life-size portraits show the well-to-do in their Sunday best, three rooms in the exhibition are devoted to activities that take place for the most part behind closed doors: parties, drinks, gambling, amorous encounters, and brothel visits. Based on the vices of Gluttony, Greed, and Lust, more than eighty prints and drawings from the collection of the Rijksmuseum have been assembled, many showing humorous and satirical scenes, often with a strong moralizing message in the inscriptions.

Photo: Rijksmuseum/David van Dam.

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The catalogue by Jonathan Bikker (Curator of Research at the Rijksmuseum) will be available at the Rijksmuseum Shop from March 2018. An edition of the journal Kunstschrift entitled Ten Voeten Uit (Full Length) will also be published to accompany the exhibition.

Jonathan Bikker, High Society (Rotterdam: NAI Publishers, 2018), 136 pages, ISBN: 978-9462084261, 25€.

Cleveland Acquires Maratti Portrait

Posted in museums by Editor on March 16, 2018

Press release (14 March 2018) from The Cleveland Museum of Art:

Carlo Maratti, Portrait of Francesca Gommi Maratti, ca. 1701, oil on canvas, 98.5 × 74.5 cm (Cleveland Museum of Art).

Recent acquisitions by the Cleveland Museum of Art include a magnificent portrait in oil on canvas by Carlo Maratti, the leading painter in Rome at the end of the 17th century; two key works by American photographer Edward Weston that indicate his transition from pictorialism to modernism; and two large-scale contemporary African sculptures by South African artist Kendell Geers and Cameroonian artist Hervé Youmbi.

Carlo Maratti (1625–1715) is often regarded as the last major exponent of a classical tradition that began with Raphael nearly two centuries earlier. Maratti was the leading painter in Rome in the mid to late seventeenth century. Favored by wealthy patrons, Maratti’s primary achievement lay in his ability to synthesize the light and movement characteristic of the Roman Baroque with classical ideals of beauty.

This portrait was painted shortly after Maratti’s marriage to Francesca Gommi in late 1700 as an homage from the artist to his new wife. Gommi had been Maratti’s mistress and artist’s model since at least the 1670s. She is depicted enveloped in lavender-blue drapery, and her hair is elaborately dressed with ribbons and jewels. In her left hand she holds up a drawing to which she gestures with her right. Introducing an allegorical element into a portrait by means of a painting-within-a-painting was a device that Maratti had employed in portraits as early as the 1650s and was probably inspired by portraits of the High Renaissance. The drawing represents Venus in the workshop of Vulcan, forging the love-darts of her adolescent son Cupid.

Although drawings by Maratti are found in major collections throughout Europe and North America, there are relatively few paintings by the artist in public collections outside Italy. Portrait of Francesca Gommi Maratti, a late work by the artist, is particularly appealing for the identity of its sitter and the charming iconography inspired by the artist’s deep love for his subject. The Cleveland Museum of Art has strong holdings in Italian paintings of the 17th century with religious and historical themes. This work is the first Italian Baroque painted portrait to join the collection. Portrait of Francesca Gommi Maratti will go on view in the museum’s Julia and Larry Pollock Focus Gallery beginning March 17, 2018, as part of the museum’s exhibition Recent Acquisitions 2014–2017. . .

The full press release is available here.

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Maratti’s Portrait of Francesca Gommi Maratti, was part of Nicholas Hall’s exhibition Paintings by Carlo Maratti organized to coincide with TEFAF New York in October of 2017. Previously, in July 2016, it was included in Robilant Voena’s installation for Masterpiece London, and before that, in January 2014, it was shown in New York as part of Sotheby’s selling exhibition Painting Passion: The Baroque in Italy, curated by Scott Schaefer.

ASECS 2018, Orlando

Posted in conferences (to attend) by Editor on March 15, 2018

2018 American Society for Eighteenth-Century Studies Conference
Hilton Orlando Buena Vista Palace, 22–24 March 2018

The 49th annual meeting of the American Society for Eighteenth-Century Studies takes place at the Hilton Orlando Buena Vista Palace. HECAA will be represented by the Anne Schroder New Scholars’ Session, chaired by David Pullins and scheduled for Friday morning. Our annual luncheon and business meeting follows immediately after that panel. A selection of 26 additional panels is included below (of the 211 sessions scheduled, many others will, of course, interest HECAA members, including the return of the Women’s Caucus Masquerade Ball). For the full slate of offerings, see the program.


Anne Schroder New Scholars Session (HECAA)
Friday, 23 March, 11:30–1:00, Palm I
Chair: David PULLINS, The Frick Collection
1. Margot BERNSTEIN, Columbia University, “Playing Footsie with Carmontelle: Misbehavior and Missteps in a Selection of Eighteenth-Century Profile Pictures”
2. Lauren WALTER, University of Florida, “Doctor, I think they have a case of Anglomanie: Marie Antoinette and the Princesse de Lamballe”
3. Maura GLEESON, University of Florida, “Imag[in]ing the Queen as Muse: A Closer Look at Fleury François Richard’s Portrait of la Reine Hortense

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Historians of Eighteenth-Century Art and Architecture Luncheon
Friday, 23 March, 1:00–2:30, Tangerine 4

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O T H E R  S E S S I O N S  R E L A T E D  T O  T H E  V I S U A L  A R T S

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Women, Portraiture, and Place
Thursday, 22 March, 8:00–9:30, Palm D
Chairs: Heidi A. STROBEL, University of Evansville, and Christina LINDEMAN, University of South Alabama
1. Laura ENGEL, Duquesne University, “Women in White: The Countess of Blessington, Elizabeth Inchbald, and Embodied Memory”
2. Kaitlin GRIMES, University of Missouri-Columbia, “The Materiality of Textiles and the Feminization of ‘Things’ in the Gendered Spaces of Rosalba Carriera’s Pastel Portraits”
3. Catherine M. JAFFE, Texas State University, “Women, Fashion, and Self-Fashioning: Two Portraits of María Lorenza de los Ríos, Marquesa de Fuerte-Híjar”
4. Sandra Gómez TODÓ, University of Iowa, “Portraying the Female Masquerader: Fashionability, Public Legitimacy, and the Moralities of the Mask in Georgian Masquerade Portraits”

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Biblical Painting in Eighteenth-Century Britain
Thursday, 22 March, 8:00–9:30, Palm F
Chair: Naomi BILLINGSLEY, University of Manchester
1. Mary PEACE, Sheffield Hallam University, “Reversing the Harlot’s Progress? The Figuring and Refiguring of Magdalens at the London Magdalen Hospital in the Eighteenth Century”
2. Bénédicte MIYAMOTO, Université Sorbonne Nouvelle – Paris 3, “1768–1805 – Hanging Biblical Paintings at the Royal Academy”
3. William LEVINE, Middle Tennessee State University, “Retaining the Visual Aura of Biblical Violence in a Commercial Culture in Some Illustrations to Macklin’s English Bible”

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New Scholarship in Art History (SEASECS)
Thursday, 22 March, 8:00–9:30, Sago 1
Chair: Melissa HYDE, University of Florida
1. Jessica FRIPP, Texas Christian University, “From Salon to Salon: Cochin’s and La Tour’s Portraits at the Salon of 1753”
2. Susanna CAVIGLIA, Duke University, “The Aesthetics of Walking in Rome”
3. Franny BROCK, University of North Carolina at Chapel Hill, “Madame de Genlis’ New Method and Women Drawing Teachers in Eighteenth-Century France”
4. Hyejin LEE, University of North Carolina at Chapel Hill, “Ballooning Memorabilia and the Politics of Remembering Aerial Voyages at the End of the Ancien Régime”

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Currents of Empire: Toward a Global Material Culture
Thursday, 22 March, 9:45–11:15, Palm H
Chairs: Douglas FORDHAM, University of Virginia, and Emily CASEY, St. Mary’s College of Maryland
1. Romita RAY, Syracuse University, “Made in China? Tea in Colonial Calcutta”
2. Susan J. RAWLES, Virginia Museum of Fine Arts, “Academic Strategies and the Semiotics of Style: The Matter of Identity in British-Atlantic Portraiture”
3. Rachel ZIMMERMAN, Independent Scholar, “Banyans in Brazil: Elite Dress and Narratives of Interimperial Exchange”
4. Monica Anke HAHN, Temple University, “‘Harlequin Nabob’: Tilly Kettle in India”

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Inventing the Modern Stage in Eighteenth-Century France
Thursday, 22 March, 9:45–11:15, Palm K
Chair: Laurence MARIE, Columbia University
1. Aaron WILE, USC, “Coypel’s Theatricality: The Politics of Affect in the Regency”
2. Alexandra SCHAMEL, University of Munich, “Comedic Style and Anti-illusionism in Marivaux’s Arlequin poli par l’amour
3. Maria G. TRAUB, Neumann University, “The Woman Who Changed French Theater”
4. Kalin SMITH, McMaster University, “Backstage with the Whigs”

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Letting the Cat out of the Bag: The Cultural Work of Eighteenth-Century Pets
Thursday, 22 March, 9:45–11:15, Palm I
Chairs: Joanna M. GOHMANN, The Walters Art Museum, and Karissa E. BUSHMAN, University of Alabama in Huntsville
1. Bryan ALKEMEYER, The College of Wooster, “Drowned Cats in Eighteenth-Century English Literature”
2. Amanda STRASIK, Eastern Kentucky University, “Reconsidering Girls and Pets in Eighteenth-Century French Art”
3. Tara ZANARDI, Hunter College, CUNY, “Hounds at the Hunt: Charles III, Bourbon Legitimacy, and Empire”
4. Stephanie Alice HOWARD-SMITH, Queen Mary University of London, “Horace Walpole’s ‘Dogmanity’: Lapdogs and Male Sociability, 1738–1789”

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Mesmer Now
Thursday, 22 March, 11:30–1:00, Palm A
Chair: Michael YONAN, University of Missouri
1. Sara LULY, Kansas State University, “That Healing Feeling: Mesmerism and Materiality in Alissa Walser’s Am Anfang war die Nacht Musik (2011)”
2. Bruno BELHOSTE, Université de Paris, Sorbonne, “Mesmer’s Theory of Instinct and the Invention of Magnetic Somnambulism”
3. Oksana RYMARENKO, Russian State University for the Humanities, “The Long History of Mesmerism in Russia”

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Roundtable: How to Publish in an Eighteenth-Century Studies Journal
Thursday, 22 March, 4:15–5:45, Palm A
Chair: Matthew WYMAN-MCCARTHY, Eighteenth-Century Studies
1. Eve Trevor BANNET, Studies in Eighteenth-Century Culture
2. Tita CHICO, The Eighteenth Century: Theory and Interpretation
3. Robert MARKLEY, The Eighteenth Century: Theory and Interpretation
4. Sean MOORE, Eighteenth-Century Studies
5. Cedric D. REVERAND II, Eighteenth-Century Life

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Men of Parts and Parts of Men: Rethinking Eighteenth-Century Masculinity
Thursday, 22 March, 4:15–5:45, Palm K
Chair: Mary Beth HARRIS, Purdue University
1. Jeremy CHOW, University of California, Santa Barbara, “Part (of) Man?: The Exceptional Eunuch”
2. Sarah E. BERKOWITZ, University of Virginia, “Below Stares: Servants and the Anxiety of Domestic Masculinity”
3. Kelsey BROSNAN, Rutgers University, “Les Académiciennes and the Fragmented Male Nude”
4. Karen J. MANNA, University of Central Oklahoma, “Masculinity in Revolution: Comedy and Satire on the Late Eighteenth-Century Stage”

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The Eighteenth Century on Film (NEASECS)
Thursday, 22 March, 4:15–5:45, Sago 3
Chair: John H. O’NEILL, Hamilton College
1. Christopher C. NAGLE, Western Michigan University, “Austen’s Audio-Vision”
2. Kristin O’ROURKE, Dartmouth College, “Dressing and Undressing in the Rococo: Fantasies and Meanings of the Toilette on Screen”
3. Florian VAULEON, Purdue University, “The Eighteenth Century as Entertainment: The Changing Cinematic Representation of the French Revolution”
4. Nicole GARRET, Stony Brook University, “Where are the Jacobite Women in Outlander?”

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Street Scenes
Thursday, 22 March, 4:15–5:45, Sago 1
Chair: James WATT, University of York
1. Meredith GAMER, Columbia University, “Street Theater: ‘Vulgar’ Visualities from Tyburn Tree to the Newgate Drop”
2. Emily THAMES, Florida State University, “Views of Eighteenth-Century San Juan, Puerto Rico, in the Work of José Campeche (1751–1809)”
3. Alison O’BYRNE, University of York, “Picturing the Streets in Thomas Malton’s Picturesque Tour (1792)”
4. Ian NEWMAN, University of Notre Dame, “Porous Buildings”

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Members Reception
Thursday, 22 March, 6:00–7:30

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F R I D A Y , 2 3  M A R C H  2 0 1 8

Roundtable: Engaging with the Scholarship of Mary Sheriff (SEASECS)
Friday, 23 March, 8:00–9:30, Sago 4
Chair: Michael YONAN, University of Missouri
1. Katherine ARPEN, Auburn University
2. Meredith GAMER, Columbia University
3. Elizabeth C. MANSFIELD, Getty Foundation
4. Paula Rea RADISICH, Whittier College
5. Heidi A. STROBEL, University of Evansville

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The Imprint of Women: Printmakers, Printsellers, and Print Publishers
Friday, 23 March, 9:45–11:15, Palm L
Chairs: Cynthia ROMAN, The Lewis Walpole Library, Yale University, and Cristina S. MARTINEZ, University of Ottawa
1. Paris Amanda SPIES-GANS, Princeton University, “Maria Cosway’s ‘Genius’ for Print”
2. Heather MCPHERSON, University of Alabama at Birmingham, “Caroline Watson and the Theatre of Printmaking”
3. Kelsey D. MARTIN, University of North Carolina at Chapel Hill, “Divine Secrets of a Printmaking Sisterhood: The Professional and Familial Networks of the Hortemels and Hémery Sisters”
4. Amy TORBERT, Harvard Art Museums, “‘Hannah Humphrey, Widow Print Seller’: Women Publishing and Selling Prints in London, 1740–1800”

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Back to Black: Goya and Color (Ibero-American SECS)
Friday, 23 March, 9:45–11:15, Palm J
Chair: Frieda KOENINGER, Sam Houston State University
1. Eva SEBBAGH, Université Paris-Sorbonne (Paris-IV), “When Color Turns Into Setting: Ways and Means of the Use of Solid Colors in Goya’s Painting”
2. Elena DEANDA, Washington College, “Singing the Blues and Muddying the Waters: Goya, Cadalso, and the Color of Desire”
3. Guy TAL, Shenkar College of Engineering, Design, and Art, “The Pastel Colors of Goya’s Witches’ Sabbath

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Eighteenth-Century Sauce-Boxes
Friday, 23 March, 9:45–11:15, Palm F
Chair: Jade HIGA, University of Hawaii
1. Beth CSOMAY, Duquesne University, “Enchanting Elvira: Mary Robinson’s Radical in Vancenza: Or The Dangers of Credulity
2. Paula Rea RADISICH, Whittier College, “Saucy Face: Quentin de la Tour’s L’Auteur qui rit (The Artist Laughing) (1737)”
3. Sara TAVELA, Misericordia University, “Getting Saucy in Centlivre”

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Roundtable: Soft Materials, I
Friday, 23 March, 11:30–1:00, Palm J
Chair: Timothy CAMPBELL, University of Chicago
1. Daniel O’QUINN, University of Guelph, “Damask between Skin and Paper: The Soft Materials of Intimate Transculturation”
2. Douglas FORDHAM, University of Virginia, “Aquatint and ‘Soft’ Imperial Power”
3. Sarah T. WESTON, Yale University, “Transparent, Reflective, and Opaque Surfaces in Bernardin de Saint-Pierre’s Paul et Virginie
4. Annika MANN, Arizona State University, “The Fomite”
5. Alicia L. KERFOOT, SUNY College at Brockport, “Frances Burney’s Embroidered Mourning Piece: The Wanderer and the Materiality of Grief”

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Roundtable: Soft Materials, II
Friday, 23 March, 4:30–6:00, Palm J
Chair: Timothy CAMPBELL, University of Chicago
1. Sean SILVER, University of Michigan, “How Soft are Networks?”
2. Amelia RAUSER, Franklin and Marshall College, “Soft Neoclassicism: Looking Hard at Fashionable Dress”
3. Ashley HANNEBRINK, Harvard University, “Sculpting in Clay: The Softness of Neoclassical Terracotta Models”
4. Sara LANDRETH, University of Ottawa, “Cavendish’s 3D Printing: Soft Materials and Vanishing Figures”
5. David A. BREWER, The Ohio State University, “On Folding”

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Description d’une personne…ou de toutes sortes d’objets: Portraits in the Eighteenth Century (Society for Eighteenth-Century French Studies)
Friday, 23 March, 4:30–6:00, Palm F
Chair: Barbara ABRAMS, Suffolk University
1. Corinne STREICHER-ANGLADE, Université du Québec à Montréal, “Le Portrait (dé) voile” / “Portraiture (Un) Veiled”
2. Servanne WOODWARD, The University of Western Ontario, “Visagéités élusives” / “The Evasive Qualities of Facial Portraiture”
3. Mira MORGENSTERN, City College of New York, CUNY, “Seeing / through Portraits in La Nouvelle Héloise

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S A T U R D A Y ,  2 4  M A R C H  2 0 1 8

Material Culture in Eighteenth-Century Europe
Saturday, 24 March, 8:00–9:30, Palm K
Chair: Birgit TAUTZ, Bowdoin College
1. Monika NENON, University of Memphis, “Blue Hearts and Snuff Boxes: The Role of Objects in German Literary Circles of Sensibility”
2. Magelone BOLLEN, Independent Scholar, “Furnishing with Scissors: The Augsburger Klebealbum (ca. 1783)”
3. Lindsay DUNN, Texas Christian University, “Behind the Looking Glass: Marie-Louise, House of Habsburg-Lorraine, and Identity”
4. Sabine VOLK-BIRKE, Martin-Luther-University Halle-Wittenberg, “Sacred Pleasure / Idolatrous Vice: The Rosary”

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Goethe and the Visual Arts
Saturday, 24 March, 8:00–9:30, Palm F
Chair: Matt FEMINELLA, University of Alabama, Tuscaloosa
1. Andrea MEYERTHOLEN, University of Kansas, “Polarity, Empiricism, and Abstraction: Goethe and the Emergence of Abstract Art”
2. F. Corey ROBERTS, Calvin College, “From Aesthetic Experience to Artistic Inspiration: Visual Arts as the Impetus for Poetic Creation in Goethe’s Early Writings”
3. Peter ERICKSON, Colorado State University, “The ‘Primitive Hut’ in Eighteenth-Century Architecture Theory: Laugier, Goethe, Hegel”

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Non-Human Encounters
Saturday, 24 March, 8:00–9:30, Sunburst 2
Chair: Catherine CHIABAUT, Yale University
1. Nathan D. BROWN, Furman University, “Voltaire’s Lion: The Limits of Human(ism) in Voltaire’s Le Marseillais et le Lion
2. Pichaya DAMRONGPIWAT, Cornell University, “Birth and the Posthuman: Cats, Rabbits, and Frankenstein’s Monster”
3. Philippe S. ROBICHAUD, Université du Québec à Trois- Rivière/Paris-Sorbonne, “Un bruit d’une espèce nouvelle: Vitalist Materialism and the Human Voice”
4. Alexander WRAGGE-MORLEY, University College London, “The Connoisseur as Centaur: Humans, Animals, and Aesthetic Experience, 1700–1750”

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Freakery: The Limits of the Body
Saturday, 24 March, 9:45–11:15, Palm H
Chair: Stan BOOTH, University of Winchester
1. Erika MANDARINO, Tulane University, “M. de Listonai’s Moon Men, or, The Sixth Sense of Selenopolis”
2. Chris MOUNSEY, University of Winchester, “Sea-Green Incorruptible: Benjamin Martin and Other Prosthetic Eyes”
3. Charlotte ROBINSON, University of Winchester, “The Animate Extension: Jane Barker and her Amanuensis”
4. Karissa E. BUSHMAN, University of Alabama in Huntsville, “Disability and Damaged Bodies in Goya’s Works”

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The Visual Text and the Textual Visual
Saturday, 24 March, 9:45–11:15, Palm L
Chair: Leah ORR, University of Louisiana, Lafayette
1. Tili Boon CUILLÉ, Washington University in St. Louis, “Illustration as Mediation in Duclos’ Acajou et Zirphile
2. Elizabeth DEANS, George Washington University, “Dabbling in Design: Architectural Albums as Autodidactic Tools for Amateurs”
3. Teri DOERKSEN, Mansfield University, “Teasing the Text, or, Miss Tit-Ups Visits the Convent: Illustration Cards as Eighteenth-Century Fanfic”
4. Andreas MUELLER, University of Northern Colorado, “Visualizing Trauma and Transgenerational Memory in Defoe’s A Journal of the Plague Year

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Maker’s Knowledge
Saturday, 24 March, 9:45–11:15, Palm K
Chairs: Ruth MACK, SUNY Buffalo, and Sean SILVER, University of Michigan, Ann Arbor
1. Lynn FESTA, Rutgers University, “Bricoleur Realism (or Maker’s Knowledge as Reality Effect)”
2. Crystal LAKE, Wright State University, “Making Fictions: Early Readers and Their Crafts”
3. Maggie MCGOWAN, Yale University, “Cultivating Skill in William Cowper’s The Task”
4. Chloe Wigston SMITH, University of York, “Craft and Chemistry in the School of Arts”

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Art, Alchemy, and Royal Rivalry: The Eighteenth-Century Manufactory
Saturday, 24 March, 9:45–11:15, Palm F
Chair: Tara ZANARDI, Hunter College, CUNY
1. Elizabeth LIEBMAN, Independent Scholar, “Recreating Adam: Artificial Stone in Eighteenth-Century Britain”
2. Sarah GRANDIN, Harvard University, “‘De la plus grande estendue’: Savonnerie Carpets and the Manufacture of Grandeur under Louis XIV”
3. Agnieszka Anna FICEK, The Graduate Center, CUNY, “Courtly Figures: Collecting Meissen and the Creation of National Identity in the Court of Augustus II and Beyond”
4. Matthew MARTIN, National Gallery of Victoria, Melbourne, “Porcelain and Royal Power—The Royal Sèvres Manufactory”

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Sharing the World through Travel Writing and Painting (SEASECS)
Saturday, 24 March, 2:00–3:30, Sunburst 1
Chair: Denis GRÉLÉ, University of Memphis
1. Charles A. GRAIR, Texas Tech University, “Georg Forster, Johann Goethe, and the Development of Modern Travel Narratives in Germany”
2. Lauren DISALVO, Dixie State University, “The ‘Flying Figures’ of Roman Wall Painting and the Female Portrait in the Long Eighteenth Century”
3. Mandy PAIGE-LOVINGOOD, University of North Carolina at Chapel Hill, “Agency in Absence: Contextualizing Jean-Baptiste Debret’s Slave Images in the Long Eighteenth Century”

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Masquerade Ball
Saturday, 24 March, 9:00pm
To Benefit the ‘Now and Later Non-Tenure Track Fund’
Sponsored by the ASECS Executive Board and the Women’s Caucus; tickets and masks available for purchase at the door (cash or check)

Melinda Watt Appointed Curator of Textiles at AIC

Posted in museums by Editor on March 14, 2018

Press release (12 March 2018) from the AIC:

Melinda Watt, Chair and Christa C. Mayer Thurman Curator of Textiles at the Art Institute of Chicago (Photo courtesy of The Metropolitan Museum of Art).

James Rondeau, President and Eloise W. Martin Director of the Art Institute of Chicago, announced today the appointment of Melinda Watt as the new Chair and Christa C. Mayer Thurman Curator of Textiles. Watt most recently served as Curator in the Department of European Decorative Arts and Sculpture (2016–18) and supervising curator for the Antonio Ratti Textile Center (2009–18) at The Metropolitan Museum of Art, where she oversaw exhibitions, research, and collections management for over 16,000 Western European textiles and 500 fans and led one of the largest, most technically advanced facilities for the study and storage of textiles in any major art museum in the world. She helped define a comprehensive, inclusive strategy for the care and research of works from all of the world’s civilizations—archaeological fragments, tapestries, carpets, quilts, ecclesiastical vestments, silks, embroideries, laces, velvets, and more—from 3000 BC to the present.

Watt will now lead the Art Institute of Chicago’s internationally renowned Department of Textiles and oversee its extensive collection of more than 13,000 textiles and 66,000 sample swatches ranging from 300 BC to the present, with particular strengths in Pre-Columbian textiles, European vestments, tapestries, woven silks and velvets, printed fabrics, needlework, and lace. The department has also strong holdings in 16th- and 17th-century English needlework, printed and woven materials of the 18th and 19th centuries, American quilts and woven coverlets, Eastern textiles, and 20th-century fiber art.

In announcing this appointment, Rondeau said: “Melinda has an outstanding reputation as a talented curator, an expert researcher and respected scholar, and brilliant administrator and leader. I am thrilled for our museum and our visitors that she is joining us in this crucial position and will re-energize our ambitious efforts to grow and elevate the reputation of our renowned Textiles department and present innovative and dynamic exhibitions.”

Watt shared: “From the earliest days of my career, I have admired the supreme quality and breadth of the textile collection at the Art Institute, so it comes as a great honor to be asked to lead the Department of Textiles. This is truly a unique opportunity to augment the museum’s already stellar collection and to have an impact on the scholarly field at large.”

Watt began her tenure at The Met in 1994, in The Costume Institute as a Study Storage Assistant, and soon took on increasingly complex and leadership roles, culminating in her leadership of the Antonio Ratti Textile Center beginning in 2009 and a curatorial rise within the Department of European Sculpture and Decorative Arts to become a full Curator in 2016. Her exhibitions at The Met include: The Secret Life of Textiles: The Milton Sonday Archive (2017–18), American and European Embroidered Samplers, 1600–1900 (with Amelia Peck, 2015–16), Elaborate Embroidery: Fabrics for Menswear before 1815 (2015), William Morris: Textiles and Wallpapers (with Connie McPhee and Alison Hokanson, 2014), Interwoven Globe: The International Textile Trade, 1500–1800, (co-curator with Amelia Peck et al., 2013–14), An ‘Industrial Museum’: John Forbes Watson’s Indian Textile Collection (2013–14), Renaissance Velvet: Textiles for the Nobility of Florence and Milan (2011–12), and European Textiles from the Collection of Friedrich Fischbach (2010).

Earlier in her career, Watt lectured and instructed at the Bard Graduate Center for Studies in the Decorative Arts, at The Graduate Center at the City University of New York, at New York University, and at the Fashion Institute of Technology in New York, NY. She has also lectured and published widely, from New York to Chicago and Copenhagen to Beijing, on subjects as diverse as Renaissance and Baroque luxury textiles, Anglo-Indian hangings, flora and fauna in English embroidery, Isabella Stewart Gardner’s pearls, mid-century American fashion, nature in western art, and dressing for 17th-century portraiture.

Watt earned her BFA, with a concentration in Art History, at Wittenberg University in Springfield, Ohio. She holds an MA in Costume Studies from New York University.

New Book | Die Fresken von Joseph Mages

Posted in books by Editor on March 14, 2018

Published by Schnell & Steiner and now available from Artbooks.com:

Angelika Dreyer, Die Fresken von Joseph Mages (1728–1769): Zwischen barocker Frömmigkeit und katholischer Aufklärung (Regensburg: Schnell & Steiner, 2017), 312 pages, ISBN: 9783795432560, 76€ / $95.

Josef Mages (1729–1769) setzte sich in seinen Freskenausstattungen richtungsweisend mit den Reformbestrebungen der katholischen Aufklärung auseinander. Seinen vom künstlerischen Umfeld der Augsburger Kunstakademie geprägten Deckenmalereien wird hier erstmals eine umfassende Studie gewidmet, die zugleich eine wesentliche Lücke in der Erforschung des süddeutschen Barocks schließt.

Neben einer exemplarischen Künstlersozialgeschichte stehen insbesondere die jeweiligen Auftraggeber sowie ihre vorwiegend religionspolitischen Ansichten und Absichten bei der Auftragsvergabe im Vordergrund der Untersuchung. Dabei nahm die vor allem im Bistum Augsburg wesentlich an Bedeutung gewinnende Auseinandersetzung über eine aufgeklärte Erneuerung der nachtridentinischen Frömmigkeitspraxis entscheidenden Einfluss auf die ikonographischen Inhalte und formale Gestaltung der Freskomalereien von Josef Mages. Im Gegensatz zu dem maßgeblich von Lodovico Antonio Muratori (1672–1750) initiierten religiösen Wandel und seinen Auswirkungen auf die raumbestimmende Kirchenausstattung wurden die Deckengemälde in Altomünster bei Freising oder in Oberschönenfeld von den weit existenzielleren Sorgen der dortigen Konventualen geprägt. Diese können als frühe malerische Vorboten der vom katholischen Klerus mit sorgenvollem Blick verfolgten Entwicklung hin zur späteren Säkularisation gesehen werden.