Exhibition | Before the Deluge: Apocalyptic Floodscapes

Posted in exhibitions by Editor on November 15, 2018

John Martin, The Deluge, 1834, oil on canvas, 66 × 102 inches
(New Haven: Yale Center for British Art, Paul Mellon Collection, B1978.43.11)

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Opening next month at the YCBA:

Before the Deluge: Apocalyptic Floodscapes from John Martin to John Goto, 1789 to Now
Yale Center for British Art, New Haven, 18 December 2018 — 24 March 2019

Curated by Eva Mebius, with Matthew Hargraves

This exhibition will explore how the idea of the Deluge has been represented and interpreted by British artists and writers from the end of the eighteenth century to the present day. It will consider the diverse ways they have responded to accounts of both biblical and mythological, and real and fictional, floods and the political ends to which this theme has been used in their respective historical contexts. Drawing on the Center’s collections of prints and drawings, photographs, and rare books and manuscripts, Before the Deluge will examine the connections between our own sense of antediluvianism and that of earlier times, charting the artistic representation of apocalyptic floods, and the scientific and political debates about the Deluge to which these writers and artists contributed. From John Martin’s Deluge, one of the most sensational images of the Romantic age, to the diluvian reimagining of the eighteenth-century English landscape by contemporary artist John Goto, we see the floodwaters rise and recede, only to seep back once again. However, Before the Deluge will also consider how proximity to water and its threat inspired human ingenuity through various objects, such as paper peepshows of the Thames tunnel, and blueprints for bridges and canals. The fragile relationship between human civilization and the water that sustains or destroys us has perhaps never been more apparent than at the present moment.

Exhibition | Empresses of China’s Forbidden City, 1644–1912

Posted in books, catalogues, exhibitions by Editor on November 14, 2018

PEM press release:

Empresses of China’s Forbidden City, 1644–1912
Peabody Essex Museum, Salem, Massachusetts, 18 August 2018 — 10 February 2019

Freer|Sackler, Smithsonian Institution, Washington, D.C., 3 March — 23 June 2019

Curated by Daisy Yiyou Wang and Jan Stuart

The Peabody Essex Museum (PEM) debuts Empresses of China’s Forbidden City, the first major international exhibition to explore the role of empresses in China’s last dynasty—the Qing dynasty, from 1644 to 1912. Nearly 200 spectacular works, including imperial portraits, jewelry, garments, Buddhist sculptures, and decorative art objects from the Palace Museum, Beijing (known as the Forbidden City), tell the little-known stories of how these empresses engaged with and influenced court politics, art and religion. On an exclusive U.S. tour, this exhibition is a once-in-a-lifetime opportunity to see rare treasures from the Forbidden City, including works that have never before been publicly displayed and many of which have never been on view in the United States. Coinciding with the 40th anniversary of the establishment of U.S.-China diplomatic relations, the exhibition is organized by the Peabody Essex Museum, Salem, Massachusetts; the Smithsonian’s Freer Gallery of Art and Arthur M. Sackler Gallery (Freer|Sackler), Washington, D.C.; and the Palace Museum, Beijing.

A leader in preserving and promoting Chinese art and architecture, PEM honors over 200 years of U.S.-Chinese commercial and cultural exchange through its renowned collection and exhibition program. Working closely with its partnering organizations, PEM presents this unprecedented exhibition in order to celebrate the vibrant legacy of cultural dialogue between these two countries.

With an international team of experts, exhibition co-curators Daisy Yiyou Wang, PEM’s Robert N. Shapiro Curator of Chinese and East Asian Art, and Jan Stuart, the Melvin R. Seiden Curator of Chinese Art at the Freer|Sackler, spent four years travelling to the Forbidden City to investigate the largely hidden world of the women inside. Delving into the vast imperial archives and collection, their fresh research unveils how these women influenced history as well as the spectacular art made for, by and about them. “This exhibition establishes a new model for future international research and museum collaborations,” says Dr. Shan Jixiang, director of the Palace Museum.

Revealing the Hidden World of the Empresses

Court painters in Beijing, possibly including Zhang Zhen or his son Zhang Weibang, Drinking Tea from Yinzhen’s Twelve Ladies, Kangxi period, 1709–23, hanging scroll, ink and color on silk (Beijing: Palace Museum, Gu6458-7/12).

China’s grand imperial era—the Qing dynasty—was a multiethnic and multicultural state founded in 1644 by a small northeast Asian group who came to call themselves ‘Manchus’. These conquering rulers adopted the Forbidden City in Beijing as the seat of the government. The Manchu ruling house differed from their populous Han Chinese subjects by language, history, and culture. In the Qing dynasty, Manchu customs prohibited foot-binding and encouraged women to learn to ride and hunt. In general, Manchu women enjoyed more freedom and rights than their Han Chinese counterparts.

While the Qing imperial court was strictly patriarchal and hierarchical, a few empresses stood out and helped shape the long history of the dynasty. The empress headed the imperial harem and could influence the emperor. She was regarded as the ‘mother of the state’ and a role model for all women. Presiding over the state ritual promoting silk production, empresses honored women’s vital role in the economic health of the state through textile production.

While the emperor-centric Qing imperial court recorded only skeletal outlines of the empresses’ lives, only recently have historians begun to fill in a more complete picture. Exhibition curators were able to reconstruct their rich and active lifestyles from the lavish art produced by the Qing court. Sumptuous objects showcased in this exhibition include the largest assemblage of imperial textiles and jewelry that have ever traveled to the U.S. from the Palace Museum. These works demonstrate how Qing dynasty empresses projected authority through what they wore, from stunningly embroidered socks to splendid dragon robes.

“We are very proud to reclaim the presence and influence of these empresses, about whom history has largely been silent,” says Daisy Wang, PEM’s curator for this exhibition. “The exquisite objects related to the empresses give us a better understanding of these intriguing women. Further evidence found in court archives and other historical sources help illuminate their hidden, but inspiring lives.”

Stories of Opulence and Influence

Out of two dozen Qing empresses, this exhibition focuses on three key figures: Empress Dowager Chongqing (1693–1777), Empress Xiaoxian (1712–1748) and Empress Dowager Cixi (1835–1908). Their life experiences revolve around six core themes: imperial weddings, power and status, family roles, lifestyle, religion, and political influence.

Imperial Workshop, Beijing, Stupa Containing Empress Dowager Chongqing’s Hair and Amitayus Buddha, Qianlong period, 1777, gold and silver alloy with coral, turquoise, lapis lazuli, and other semiprecious stones, and glass; pedestal: zitan wood (Beijing, Palace Museum, Gu11866).

Empress Dowager Chongqing came from humble beginnings, entering a princely household as a maidservant at age 11 and bearing her only child at age 18. Her son eventually became the Qianlong emperor, which made Chongqing the focus of his filial piety, a core Confucian virtue. He honored her as the Sage Mother of the state, a status vividly captured by two life-size portraits of her in the exhibition. After her death in 1777, she was commemorated by her son with a 237-pound gold shrine. Encrusted with gemstones, the shrine holds her hair to ensure her rebirth in the Buddhist paradise. As the largest of its kind in the Palace Museum’s collection, the shrine will be displayed at PEM and the Freer|Sackler for the first time outside of China.

Fifteen-year-old Xiaoxian married the future Qianlong emperor while he was a prince. She became the empress after her husband ascended the throne. As childhood soulmates and confidants, Xiaoxian closely attended to her husband as he endured a months-long illness. She was a caring daughter-in-law and a wise manager of imperial family affairs, qualities that garnered her widespread respect.

In 1748, at the age of 36, Xiaoxian fell ill and died while traveling with her husband. In response, the heartbroken emperor brushed a poem to mourn his beloved wife. Empresses of China’s Forbidden City is the first exhibition to ever reveal this soulful elegy to the public.

Though tradition declared that “women shall not rule,” there was room for ambitious Qing empresses.  Soon after giving birth to the Xianfeng emperor’s only heir, Cixi, a low-ranking consort, received a promotion. Facing a succession crisis after the death of her husband in 1861, Cixi, alongside the other empress dowager Ci’an (1837–1881), instigated a coup to gain political power and become co-regents to Cixi’s son, the child emperor. As the most powerful empress in Chinese history, Cixi ruled China for nearly half a century, bringing radical changes to the role of women in court politics and art patronage.

Hairpin with Figure and Vase, 18th or 19th century, pearls, sapphire, coral, turquoise, kingfisher feather, and silver with gilding (Beijing: Palace Museum, Gu10130).

The exhibition culminates with a commanding sixteen-foot oil portrait of Empress Cixi. It was her gift to President Theodore Roosevelt in 1905. Cixi directed the American artist Katharine Carl to create an image of a youthful and benevolent ruler to express her good will to people in America at a time when U.S. and China experienced challenging relations. A recent conservation project at the Smithsonian has restored the painting to its original splendor. Empresses of China’s Forbidden City marks its first public display in the U.S. since the 1960s.

“The study of women in history is exciting, timely and necessary,” says Jan Stuart, co-curator at the Freer|Sackler. “By focusing on the material and spiritual world of these women, we begin to fill in details absent from previous accounts of women in Chinese history. To the extent that the empresses’ experience of the expectations and constraints finds echo in our own world, we hope this exhibition will prompt broader reflection on the position of women in society and fosters a sense of commonality and connection across time and cultures.”

Surrounded by a dazzling array of imperial treasures, visitors will also discover engaging in-gallery interactive experiences, such as creating an empress’s robe. Other experiences include immersive videos and opera performance, as well as English and Chinese language label text and guided tours. In November 2018, halfway through the run of the six-month exhibition at PEM, an additional 30 artworks from the Palace Museum will be installed in the galleries, including magnificent paintings and imperial robes.

“This exciting exhibition fulfills our institutions’ shared commitment to expanding the appreciation of China’s rich culture, in this instance by recovering the preeminence of the Qing empresses through these stunning and rare objects,” notes Dan Monroe, the Rose-Marie and Eijk van Otterloo Director and CEO of Peabody Essex Museum, and Julian Raby, Director Emeritus, Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution.

The catalogue is distributed by Yale UP:

Daisy Yiyou Wang and Jan Stuart, eds., with essays and entries by Daisy Yiyou Wang, Jan Stuart, Lin Shu, Luk Yu-ping, Ying-chen Peng, Evelyn Rawski, and Ren Wanping, Empresses of China’s Forbidden City, 1644–1912 (New Haven: Yale University Press, 2018), 264 pages, ISBN: 978-0300237085, $60.

Empresses in the Qing dynasty (1644–1912) played an influential role in the imperial court and the cosmopolitan culture of their time. Offering compelling insights into the material culture, activities, and living spaces of Qing empresses, this lavishly illustrated book features over one hundred spectacular works of art from the Palace Museum in Beijing—including large-scale portraits, court robes, and richly decorated Buddhist sutras—that bring the splendor of the Qing court to life. A series of insightful essays examines the fascinating ways that key imperial women engaged with art, religion, and politics. This unprecedented exploration of the Qing court from the perspective of its royal women is an important new contribution to our understanding of Chinese art and history.

Daisy Yiyou Wang is the Robert N. Shapiro Curator of Chinese and East Asian Art at the Peabody Essex Museum. Jan Stuart is the Melvin R. Seiden Curator of Chinese Art at the Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution.

Thomas Chippendale: Silent ‘Biopic’, ca. 1925

Posted in films by Editor on November 13, 2018

During the 300th anniversary of Thomas Chippendale’s birth, we might also mark his 1779 death (he was buried in the grounds of St Martin’s in the Fields on 13 November) by attending to this film, recently discovered by Katie Hay (see below for a link with more information). CH

In 2017 a set of film canisters were rediscovered in the V&A stores, which turned out to contain 1920s silent ‘biopics’ of the furniture designers Thomas Chippendale and Thomas Sheraton. Both films are imaginative re-enactments of scenes from their lives. They were probably made for the British Empire Exhibition at Wembley in 1925. The Chippendale film is particularly ambitious, charting his rise to prominence and major commissions. A cast of character actors in 18th-century costumes perform on studio sets dressed with antique furniture, and out on location. It includes scenes from two moments in his career: the first in 1760, when he was elected as a member of the Royal Society of Arts, and the second in 1772, the date of his major commissions for the actor David Garrick at Adelphi Terrace and for Edwin Lascelles at Harewood House in Yorkshire. The films were transferred to the British Film Institute and are shown courtesy of the BFI National Archive.

Katie Hay, writing for the V&A Blog (7 August 2018) provides the full story of the discovery of the films with additional information about their 1920s’ context.

Gale Publishes Papers of the Exiled Stuart Kings

Posted in resources by Editor on November 13, 2018

A letter written in cipher, with the decoded translation beneath each line, detailing Swedish support for the planned Jacobite uprising of 1717
(Royal Archives / © Her Majesty Queen Elizabeth II 2018)

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Another compelling archived digitized, another reason scholars will need access to well-funded libraries; from the press release via Art Daily:

A major new digitisation programme will provide unparalleled insight into the social, military, and personal worlds of the exiled Stuart dynasty and their Jacobite followers, as they fought to regain the thrones of Scotland, England, and Ireland between the late 17th and early 19th centuries. The Stuart and Cumberland Papers project makes accessible online a total of 245,000 documents from the Royal Archives at Windsor Castle. The project has been undertaken in partnership with Gale, a Cengage Company, a leading provider of educational technology for libraries. Digitised over a period of 18 months, the papers are now available as part of Gale’s State Papers Online programme and can be acquired by academic institutions and libraries worldwide to offer researchers and students a unique window into this turbulent period of European history.

The Stuart claimants to the throne were the descendants of James II (James VII of Scotland), who was forced from the throne and replaced by his Protestant daughter Mary II and her husband William of Orange during the Glorious Revolution of 1688. From then until the death of the last Stuart heir in 1807, the Stuarts were exiles in Europe, at the head of a complex network of Jacobite supporters at home and abroad.

The Stuart Papers bring together the private and diplomatic correspondence of James II; his son, James Francis Edward Stuart, nicknamed the Old Pretender; and his grandson, Charles Edward Stuart, better known as Bonnie Prince Charlie; as well as telling the story of their wives and mistresses, loyal followers, courtiers, and spies. A significant proportion of the papers are wholly or partly in cipher, often with the translation written above each line.

In July 1745, Bonnie Prince Charlie sailed from France to Scotland with plans to raise a Jacobite army against the Hanoverians and regain the throne for his father. By April 1746, the two sides were preparing to meet at Culloden Moor. A memorandum in the Stuart Papers written by General Lord George Murray details the combat orders issued to the exhausted Jacobite troops: “It is required & expected that each indeviduall in the Armie as well officer as Souldier keeps their posts that shall be alotted to them, & if any man turn his back to Runaway the nixt behind such man is to shoot him. No body on Pain of Death to Strip the slain or Plunder till the Batle be over. The Highlanders all to be in Kilts, & no body to throw away their Guns; by HRH Command.”

The Jacobites suffered a catastrophic defeat at the Battle of Culloden, and Bonnie Prince Charlie fled to France. In a letter dated 28 April 1746, the Prince wrote to his Scottish Chiefs, justifying his reasons for leaving Scotland and asking them to conceal his departure for as long as possible. He wrote, “When I came into this Country, it was my only view to do all in my power for your good and safety, This I will allways do as long as life is in me, But alas! I see with grief, I can at present do little for you on this side the water, for the only thing that can now be done, is to defend your selves, ‘till the French assist you…”

Two months later, in one of the most personal letters to be found in the Stuart Papers, Charles’s father, James Francis Edward, wrote to him to discuss the failure of the 1745–46 rebellion. The Prince urged his son: “Do not for Gods sake drive things too far, but think of your own safety, on which so much depends; Tho’ your Enterprize should miscarry, the honor you have gaind by it will always stick by you, it will make you be respected & considerd abroad.” While the majority of the letter was dictated by the Prince to his Secretary, the last sentence was added in the Prince’s own handwriting: “Adieu my dearest Child I tenderly embrace you & am all yours once more God bless and protect you, James R.”

Digitised alongside the Stuart Papers are those of William Augustus, Duke of Cumberland, the second surviving son of George II, who was a key figure in the Hanoverian monarchy and Captain General of the British Army between 1745 and 1757. In 1746, he was also appointed Ranger of Windsor Great Park, a role he retained until his death in 1765. By making available these two distinct but historically related collections, The Stuart and Cumberland Papers project offers unique perspectives into both the Jacobite risings and the methods used by the ruling Hanoverian monarchy to suppress them.

An account by Lord Charles Cathcart, Aide-de-Camp to the Duke of Cumberland, describes the British victory at the Battle of Culloden, and includes sketches showing the order of the battle. He describes how the Hanoverian forces, “after leaving 1,000 dead” on the battlefield, pursued the fleeing Jacobites and “cut 1,000 to pieces,” as well as taking several hundreds of French prisoners.

Oliver Urquhart Irvine, The Librarian & Deputy Keeper of The Queen’s Archives, said, “The Stuart and Cumberland Papers project forms part of our ongoing commitment to make the historic treasures of the Royal Archives as widely accessible as possible through digital technology. We are grateful to our partners at Gale for enabling us to make this invaluable resource available online, giving students and scholars from around the world the opportunity to explore these compelling original documents first-hand.”

Seth Cayley, Vice President, Gale Primary Sources, said, “The history of the exiled Stuart Court, with all of its intrigues, larger-than-life personalities and thwarted ambition, is revealed in intricate detail through these documents and papers of court life and politics. The digital availability of the Stuart and Cumberland Papers in State Papers Online will enrich 18th-century studies research around the world. Gale would like to thank the Royal Archives for collaborating on this milestone project.”

Colonial Williamsburg Acquires Revolutionary War Portrait

Posted in museums by Editor on November 12, 2018

Press release (8 November 2018) from the Colonial Williamsburg Foundation, via Art Daily.

Unidentified artist, Portrait of Major Patrick Campbell, 1775–76, oil on canvas (Williamsburg: Colonial Williamsburg Collections, 2018-26).

Likenesses of British officers who served in the Revolutionary War are rare. Therefore, the Colonial Williamsburg Foundation’s recent acquisition of the first bust-length, British military portrait for its collection is significant especially given the connection of this oil on canvas to events that happened nearby. The subject, Major Patrick Campbell, was a Scottish officer who served in the British lines at the Siege of Yorktown. Until the last few decades, the portrait descended through the family of Major Campbell’s sister.

“To be able to accurately depict our nation’s enduring story, especially the individuals who participated in events that happened in such close proximity to Williamsburg, is essential to our mission,” said Mitchell Reiss, president and CEO of the Colonial Williamsburg Foundation. “The exceptional portraits in our collection, such as that of Major Campbell, enable us to fulfill this duty in an authentic way.”

The portrait of Major Campbell joins Colonial Williamsburg’s important collection of militaria pertaining to the Siege and Surrender of Yorktown, which took place approximately 13 miles away. The collection includes maps such as Joseph Frederick Wallet Des Barres’s A Plan of the Posts of York and Gloucester (1782) and Major General Marquis de Lafayette’s manuscript field map used during the Virginia Campaign. Among the paintings are James Peale’s group portrait of George Washington and his generals after the Surrender and two by French artist Louis-Nicholas Van Blarenberghe after drawings from eyewitnesses to the Siege and Surrender. The collection also features objects relating to other regions where the Revolutionary War occurred.

“Our goal is to tell the whole story of the Revolution in Virginia,” said Ronald Hurst, the Foundation’s Carlisle H. Humelsine chief curator and vice president for collections, conservation and museums. “Objects such as the portrait of Patrick Campbell allow us to put faces on the players and therefore humanize these events that changed the course of American history.”

The portrait of Major Campbell was painted in Scotland by an unidentified Scottish artist in late 1775 or early 1776 after Campbell was commissioned into the 71st Regiment to see action in the Revolutionary War. (He also sat for two portraits by John Singleton Copley.) The Major is shown in the uniform of the 71st Regiment prior to receiving command of the Grenadier Company of the 2nd Battalion, at which point a second silver epaulette was added to his uniform. His military career in America was vast: he served in the New York Campaign of 1776, the Philadelphia Campaign of 1777, and sailed to Savannah in late 1778 where he fought in the Campaign of 1779. In December of that year, he was captured aboard a sloop sailing to New York and taken as a prisoner of war to Newport, Rhode Island. He was exchanged back to the British for an American officer of the 2nd Virginia Regiment in 1780. On January 1, 1781, Campbell married Sarah Pearsall, a young woman from a prominent Loyalist Quaker family in New York City, with whom he fathered a son. Major Campbell survived in the British lines at Yorktown in October 1781, where he surrendered as part of the garrison of Redoubt #10, the earthwork fortification in the British defensive line protecting the town. He died in New York City in 1782 and was buried there.

The acquisition of Major Campbell’s portrait also exemplifies the collaborative efforts between two Colonial Williamsburg curators, who each brought forth their expertise in different media: Laura Pass Barry, Juli Granger curator of paintings, drawings and sculpture, and Erik Goldstein, senior curator of mechanical arts and numismatics. “It’s always a win-win situation for Colonial Williamsburg when two specialists can join forces on a project. I am fortunate to be able to rely on Erik for his expertise in military history, especially the people and events of the American Revolution,” said Barry. Added Goldstein, “And, I am appreciative for Laura’s insight into the context for which this portrait was made. Together, we’re able to better understand and therefore tell a more comprehensive story about objects like this in our collection.”

Generous donations by the Friends of Colonial Williamsburg Collections made this acquisition possible.

Exhibition | The Art of London Firearms

Posted in exhibitions by Editor on November 12, 2018

Opening next month at The Met:

The Art of London Firearms
The Met Fifth Avenue, New York, 29 January 2019 — 29 January 2020

Samuel Brunn, detail of one of a pair of flintlock pistols, with silver mountings attributed to Michael Barnett, ca. 1800 (New York: The Metropolitan Museum of Art, 1992.330.1,.2).

This exhibition will explore a fascinating and often overlooked chapter in the art of European gunmaking through a selection of important London-made firearms, dating from around 1760 through 1840, drawn exclusively from The Met collection. Many of the works have rarely, or never, been on public display. This will be the first focus exhibition in the United States in nearly fifty years to examine London firearms and will celebrate the in-depth recataloguing of this important section of the Museum’s collection.

Beginning around 1780, a small group of talented gunmakers set up workshops on the outskirts of the London city center. Their names—Durs and Joseph Egg, John and Joseph Manton, H. W. Mortimer, and Samuel Brunn, among others—are largely unknown to those outside the arms and armor field. But their contributions to the art of firearms are almost without parallel. In fierce competition with one another for lucrative commissions, fame, and prestige, they brought the flintlock gun to a level of refinement never before seen. They developed revolutionary new firearms technologies and, most importantly, a distinctly English style of firearm, wholly different from that of Continental Europe and immediately recognizable by its elegant proportions, restrained use of ornament, and precision workmanship. Indeed, they presided over what one writer of the period termed an ‘Augustine age’ of gunmaking.

Call for Essays | Terra Foundation for American Art Essay Prize

Posted in Calls for Papers, opportunities by Editor on November 12, 2018

Terra Foundation for American Art International Essay Prize
Submissions due by 15 January 2019

The Terra Foundation for American Art International Essay Prize recognizes excellent scholarship by a non-U.S. citizen working in the field of historical American art. Manuscripts should advance the understanding of American art by demonstrating new findings and original perspectives. The prize winner will be given the opportunity to work toward publication in American Art, the peer-reviewed journal copublished by the Smithsonian American Art Museum and the University of Chicago Press. The winner will receive a $1,000 cash award and a travel stipend of up to $3,500 to give a presentation in Washington, D.C., and meet with museum staff and research fellows.

Authors must be non-U.S. citizens who have achieved doctoral candidacy or completed a doctoral degree (or the equivalent), and have not previously had a manuscript accepted for publication in American Art. Essays may focus on any aspect of historical (pre-1980) American art and visual culture; however, architecture and film studies are not eligible. Essays may be submitted in any language; abstracts must be submitted in English.

Submissions for the 2019 prize must be sent to TerraEssayPrize@si.edu by January 15, 2019. For information on the prize, available in Chinese, English, French, German, Italian, and Spanish, please consult AmericanArt.si.edu/research/awards/terra.

Colloquium | Between Belief and Iconoclasm: Sacred Space in France

Posted in conferences (to attend) by Editor on November 11, 2018

From H-ArtHist:

Entre croyance aux miracles et iconoclasme: L’espace sacré en France au XVIIIe siècle
Deutsches Forum für Kunstgeschichte / Centre allemand d’histoire de l’art, Paris, 3–4 December 2018

Ce colloque se propose d’interroger les témoignages, les expériences religieuses et les transformations esthétiques de l’espace sacré au siècle des Lumières. Dans le contexte d’un débat caractérisé par la critique de l’Église et de l’absolutisme, l’athéisme et la démystification de la religion, mais aussi par la recherche d’une réactualisation crédible du spirituel, les conceptions (syn)esthétiques de l’espace sacré revêtent une pertinence toute particulière. L’art se révèle ici à la fois matrice, sismographe et instrument agissant. Dans quelle mesure l’église du XVIIIe siècle doit-elle être appréhendée non seulement comme un lieu sacré, mais aussi comme un endroit fréquenté par les croyants et les touristes, par les clercs et les artistes, par la noblesse et la bourgeoisie, par les hommes et les femmes, et vécu tout autant comme espace social qu’esthétique ou émotionnel ? Comment expliquer la sécularisation fondamentale, le décloisonnement puis la réactualisation du culte qui s’est opérée dans l’espace sacré entre la mort de Louis XIV et la Révolution française ? Ces questions, au cœur de cette rencontre, seront abordées dans une perspective intermédiale et transdisciplinaire.

L U N D I ,  3  D É C E M B R E  2 0 1 8

14.45  Begrüßung, Thomas Kirchner (Direktor des DFK Paris)

15.00  Introduction, Markus Castor (DFK Paris), Martin Schieder (Universität Leipzig), und Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf)

15.15  1. L’espace sacré comme lieu public
Moderation: Markus Castor (DFK Paris)
• Guillaume Kazerouni (Musée des Beaux-Arts de Rennes), Les aléas des dispersions révolutionnaires: Questions autour du décor de la salle du chapitre du prieuré Saint-Martin-des-Champs
• Martin Schieder (Universität Leipzig), «Un salon continuellement ouvert aux étrangers & aux curieux»: La mise en scène de la peinture religieuse au XVIIIe siècle
• Hannah Williams (Queen Mary University of London), Du salon à l’autel: Peindre les saints dans le Paris des Lumières
• Émilie Chedeville (Université Paris 1 Panthéon-Sorbonne), Partage de la Grâce et esthétique de la communion: Les embellissements de Saint-Jean-en-Grève, paroisse janséniste du XVIIIe siècle

M A R D I ,  4  D É C E M B R E  2 0 1 8

9.30  2. Sculpture et espace sacré
Moderation: Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf)
• Hans Körner (Heinrich-Heine-Universität Düsseldorf), Edme Bouchardons Silbermadonna für Saint-Sulpice: Materialwert, Kunstwert und religiöses Prestige
• Étienne Jollet (Université Paris 1 Panthéon-Sorbonne), Les limites du sacré: Des colosses dans et devant Notre-Dame de Paris au XVIIIe siècle
• Julie Laval (Heinrich-Heine-Universität Düsseldorf), Die Evidenz des Sakralen: Die Glorie als Vermittlungsmöglichkeit von Transzendenz im französischen 18. Jahrhundert
• Cécilie Champy-Vinas (Petit Palais, Paris), Perpétuer la mémoire d’un individu exemplaire: Le tombeau de Mignard et le monument au cardinal de Fleury par Jean-Baptiste Lemoyne

12.45  Pause déjeuner

14.15  3. Transformations de l’espace sacré
Moderation: Martin Schieder (Universität Leipzig)
• Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf), Zwischen Modernisierung und Reaktualisierung des Kultes im 18. Jahrhundert: Das Martyrium des Hl. Savinianus und der Kardinal de Luynes in Sens
• Markus Castor (DFK Paris), «Grand goût» pour le gothique – illuminer Saint-Germain-l’Auxerrois
• Emmanuel Lacam (École nationale des chartes; Université de Picardie-Jules Verne, Amiens), Les mutations d’un espace sacré en Révolution: l’église Saint-Eustache à Paris, 1789–1804
• Sébastien Bontemps (Université de Bourgogne, Dijon), Vers une révolution des espaces? De l’Église catholique au temple de la Raison
• Philipp Stenzig (Heinrich-Heine-Universität Düsseldorf), Le pèlerinage de Port-Royal – créer un espace sacré virtuel

18.00  Conclusion

Konzept und Organisation
Markus A. Castor (DFK Paris), mcastor@dfk-paris.org
Martin Schieder (Universität Leipzig), schieder@uni-leipzig.de
Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf), windorf@phil.hhu.de

Call for Papers | MAHS 2019, Cincinnati

Posted in Calls for Papers by Editor on November 11, 2018

Cincinnati Art Museum, with Pinocchio (Emotional) by Jim Dine.

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From the MAHS Fall 2018 Newsletter:

46th Annual Conference of the Midwest Art History Society
Cincinnati Art Museum and Taft Museum of Art, 21–23 March 2019

Proposals due by 14 December 2018

The Midwest Art History Society (MAHS) will hold its 46th Annual Conference in Cincinnati, Ohio 21–23 March 2019, with sessions hosted by the Cincinnati Art Museum (CAM) and Taft Museum of Art and with a reception hosted by the Contemporary Arts Center.

This year’s keynote lecture will be given by Dr. S. Hollis Clayson, Bergen Evans Professor in the Humanities at Northwestern University, in association with CAM’s exhibition Paris 1900: City of Entertainment. Special behind-the-scenes programs at partner museums will make this conference a particularly memorable experience, including tours of the newly renovated Union Terminal, an iconic Art Deco train station now home to the Cincinnati Museum Center.

The following is a selection of sessions potentially relevant for eighteenth-century studies; please see the newsletter for the full listing.

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Does Size Matter?
Chair: Marjorie Wieseman (Paul J. and Edith Ingalls Vignos Curator of European Paintings and Sculpture, 1500-1800, Cleveland Museum of Art), bwieseman@clevelandart.org
This session invites papers that consider issues of scale in a work of art. How does the relative size of a work of art impact our understanding of it and our response to it? What are the artist’s considerations in determining the scale of a particular work? Proposals from all eras, media and cultures will be considered.

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In a New Context: The Movement and Reinterpretation of South and Southeast Asian Art
Chair: Kimberly Masteller (Jeanne McCray Beals Curator of South and Southeast Asian Art, The Nelson-Atkins Museum of Art), kmasteller@nelson-atkins.org
This session examines shifting functions and meanings of works of art and architecture from South and Southeast Asia. Papers may address the re-contextualizing of works of art and architecture in many ways, such as explorations of works that have shifted collections or are now in museum settings, to studies of architectural structures that were repurposed to serve di erent communities and functions. Paper proposals from students as well as from junior and senior scholars and museum professionals are encouraged.

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It’s All Academic: Reassessing Academies and Their Place in the Ecology of Art
Chair: Cheryl Snay (Curator of European Art, Snite Museum, University of Notre Dame), csnay@nd.edu
This session invites papers that investigate historical, pedagogical or theoretical aspects of art academies from their inception in the Renaissance through today in an effort to further the discussion on their (continued?) relevance and role in forming artists and producing art.

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Revising Architectural History in the Age of Globalization
Chair: Edson Cabalfin (Associate Professor, University of Cincinnati), edson.cabalfin@uc.edu
This panel explores new approaches in the historiography of architecture particularly in the age of globalization and neoliberalization. The panel seeks papers that address challenges and issues brought about by recent discussions on the engagement of local and regional histories with global architecture histories especially within the context of transnational flows and exchanges. Some possible questions that can be addressed include: How are local and regional architectural histories positioned in relation to larger global stories? What are possible new approaches in addressing diversity in architectural histories? How do you incorporate interdisciplinary and transnational approaches in architecture histories? How do you teach local architecture histories in relation to larger global architectural history surveys?

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Black Visual Networks: African American and Diasporic Art
Chair: Theresa Leininger-Miller (Professor of Art History, University of Cincinnati), theresa.leininger@uc.edu
Linking to ‘Spaces of Exchange’, this session concerns art by people of African descent that expresses connectivity. Papers might examine collaboration between artists, patronage, or work inspired by specific sites, concepts, visual images, or people. In what ways are artists of the African diaspora connected to each other or places outside the spaces where they live? How does that art serve/speak to varied communities? Topics from all periods are welcome.

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Textiles and Trade
Chair: Erica Warren (Assistant Curator of Textiles, Art Institute of Chicago), ewarren2@artic.edu
This session invites papers from all areas and periods of art history and will consider textiles as objects of global trade. Presentations might examine textiles and their role in transmitting information about design and technology between cultures or the way in which imported textiles informed domestic production.

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Europe in the 17th and 18th Centuries
Chair: Emily Everhart (Assistant Professor of Art History, Art Academy of Cincinnati), eeverhart@artacademy.edu
This session seeks papers on any topic in the history of art, architecture, and visual culture in seventeenth- or eighteenth-century Europe. Papers addressing intersections and exchanges between European and global art also are welcome.

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Decorative Arts and Design
Chair: Amy Dehan (Curator of Decorative Arts and Design, Cincinnati Art Museum), amy.dehan@cincyart.org
This session invites papers on topics of American or European decorative arts and design ranging from the eighteenth century to the present.

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East Asian Art
Chair: Miki Hirayama (Associate Professor, University of Cincinnati), miki.hirayama@uc.edu
This session welcomes papers on East Asian art from any time period in any medium.

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Gender and Identity in Art and Art History
Chair: Cynthia Amneus (Chief Curator/Curator of Fashion Arts and Textiles,
Cincinnati Art Museum), cynthia.amneus@cincyart.org
Gender and identity issues are top-of-mind today but certainly relate to art of the past as well. This session invites new research that explores gender and identity in a historical context or as these concepts relate to present social discussions. Papers addressing LGBTQ concerns including dress, male/female equality, sexuality or related topics are welcome.

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New Research on Midwestern Collections
Chair: Tamera Lenz Muente (Associate Curator, Taft Museum of Art), tmuente@taftmuseum.org
This session will feature research that sheds new light on objects in Midwestern public or private collections. Papers may focus on specific works in a collection, examine a collection in its entirety, or explore the collecting habits or history of an institution or individual.

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Prints and Drawings
Chair: Kristin Spangenberg (Curator of Prints, Cincinnati Art Museum), kristin.spangenberg@cincyart.org
This session invites new research or perspectives on American and European prints and drawings from the fifteenth century to the present. A focus on Midwestern artists, collectors, or collections is welcome.

New Book | Early Modern Media and the News in Europe

Posted in books by Editor on November 10, 2018

From Brill:

Joop W. Koopmans, Early Modern Media and the News in Europe: Perspectives from the Dutch Angle (Leiden: Brill, 2018), 262 pages, ISBN: 978-9004379329, €140 / $169.

During the seventeenth and eighteenth centuries, the Dutch Republic was one of the main centers of media in Europe. These media included newspapers, pamphlets, news digests, and engravings. Early Modern Media and the News in Europe brings together fifteen articles dealing with this early news industry in relation to politics and society, written by Joop W. Koopmans in recent decades. They demonstrate the important Dutch position within early modern news networks in Europe. Moreover, they address a variety of related themes, such as the supply of news during wars and disasters, the speed of early modern news reports, the layout of early newspapers and the news value of their advertisements, and censorship of books and news media.

Joop W. Koopmans is Senior Lecturer of Early Modern History at the University of Groningen. He has published on early modern Dutch history in a European context, including the Historical Dictionary of the Netherlands.



Storehouses of News: The Meaning of Early Modern News Periodicals in Western Europe
Restricted Access: The Presentation of News in the Europische Mercurius, 1690–1756
The Glorification of Three Prussian Sovereigns in the Europische Mercurius, 1690–1756
Politics in Title Prints: Examples from the Dutch News Book Europische Mercurius, 1690–1756
Publishers, Editors, and Artists in the Marketing of News in the Dutch Republic, ca. 1700: The Case of Jan Goeree and the Europische Mercurius
Research in Digitized Early Modern Dutch Newspapers and the News Value of Advertisements
Anything but Marginal: The Politics of Paper Use and Layout in Early Modern Dutch Newspapers
A Sense of Europe: The Making of This Continent in Early Modern Dutch News Media
Supply and Speed of Foreign News to the Netherlands during the Eighteenth Century: A Comparison of Newspapers in Haarlem and Groningen
The Early 1730s Shipworm Disaster in Dutch News Media
The Varying Lives and Layers of Mid-Eighteenth-Century News Reports: The Example of the 1748 Peace of Aix-la-Chapelle in Dutch News Media
The 1755 Lisbon Earthquake and Tsunami in Dutch News Sources: The Functioning of Early Modern News Dissemination
Wars in Early Modern News: Dutch News Media and Military Conflicts
Dutch Censorship in Relation to Foreign Contacts, 1581–1795
Spanish Tyranny and Bloody Placards: Historical Commonplaces in the Struggle between Dutch Patriots and Orangists around 1780?