Mia Receives Funding for Empathy and Diversity Initiatives

Posted in museums by Editor on December 16, 2017

Installation view of Living Rooms: The Many Voices of Colonial America, on view in the Charleston Drawing Room at Mia from 22 April 2017 until 15 April 2018 (Minneapolis Institute of Art)

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Press release (13 December 2017) from Mia:

The Minneapolis Institute of Art (Mia) announced today that it has received two major grants: a $750,000 grant from the Andrew W. Mellon Foundation in support of the museum’s Center for Empathy and the Visual Arts and a $520,000 grant from the Ford Foundation and the Walton Family Foundation supporting Mia’s ongoing Inclusion, Diversity, Equity, and Accessibility (IDEA) initiative.

Center for Empathy and Visual Arts / Andrew W. Mellon Foundation

The Andrew W. Mellon Foundation funding will enable Mia to establish the first-ever Center for Empathy and the Visual Arts (CEVA) within an art museum. Mia is spearheading the project, collaborating with researchers, scholars, philosophers, content experts, artists, thought leaders, and colleagues at other museums to explore and research best practices to foster compassion and enhance related emotional skills. This ambitious initiative will span nearly five years, providing Mia and other art museums ample opportunities to purposefully build empathy into their learning practices as a strategy for impacting positive social change.

Kaywin Feldman, Nivin and Duncan MacMillan Director and President of Mia, said, “A visitor to our museum has the opportunity to experience works of art made over the course of some 5,000 years, from every corner of the globe. One of the most meaningful aspects of this encounter is the awareness it can awaken of a common humanity—an immediate sense of connection between the viewer and someone who may have lived in a very different time and place. Thanks to the Mellon Foundation, we’re proud to take the lead with partners across the country, in studying how to spark and nurture empathy through the visual arts, so that Mia and all art museums can contribute even more toward building a just and harmonious society.”

The first phase of this initiative kicked off in October, when Mia invited experts from fields as diverse as the social sciences, empathy research, virtual reality, and neuroscience fields, as well as museum curators and directors, artists, and educators, to discuss empathy and the art museum at the University of California, Berkeley—a partner in this research project. The ideas generated by the think tank will be developed and tested with the aim of fostering greater awareness and understanding, wonder, and/or global awareness among visitors.

“To be human is to express our emotions in art,” said Dacher Keltner, PhD, Professor of Psychology at University of California, Berkeley, Director of the Berkeley Social Interaction Lab and Co-Director of the Greater Good Science Center. “Aesthetic experiences—in viewing a painting, sculpture, photograph, or dance, or in music—are sources of awe and wonder. They enable us to solve a complex mystery—to understand what our fellow humans think and feel. For these reasons, the museum may be one of the great catalysts of human empathy and compassion. That possibility is the focus of Mia’s new scientific initiative with UC Berkeley and the Greater Good Science Center.”

During the initiative’s second phase, the Center will disseminate easy-to-use tools that guide museum educators and curators in using their collections to foster empathy among their own visitors. The initiative’s leaders at Mia hope that museums across the country and abroad will be inspired to build upon this work by incorporating the key learnings into their own practices, resulting in far-reaching impact inside the field and beyond.

Inclusion, Diversity, Equity, and Accessibility / Ford Foundation and Walton Family Foundation

The Ford Foundation and the Walton Family Foundation will provide resources for Mia’s Inclusion, Diversity, Equity, and Accessibility (IDEA) efforts, which strengthen the pipeline of art museum leadership positions for those who have been historically underrepresented: people of color and indigenous people. With the funding, the museum will hire a Diversity & Inclusion Manager, who will research, develop, and launch a robust fellowship program for college students of diverse cultural backgrounds. The IDEA program expands upon Mia’s current Native American Fellowship Program, which has been active for more than 10 years through financial support from the Shakopee Mdewakanton Sioux Community.

“At Mia, we believe that embracing diversity as a core value, not just as a program, will bring more voices, perspectives, and experiences to the field and its practice,” Feldman said. “Within the next decade, we hope to see a significant impact on young leadership in the museum field.”

Mia will collaborate with Twin Cities’ colleges and other organizations to develop networks to recruit candidates for fellowships, full-time openings, unpaid internships, and volunteer opportunities. To do so, it will work with other institutions’ H.R. and diversity inclusion departments, college career advisors, and campus student groups.

“We are delighted to partner with Mia on this important initiative,” said Patricia Pratt-Cook, Senior Vice President for Human Resources, Equity and Inclusion at St. Catherine University. “St. Kate’s, home to one of the nation’s largest colleges for women and a student population that is 37.7% diverse, serves diverse students with an innovative approach to learning and a faculty that has been recognized nationally for their commitment to teaching. We look forward to supporting Mia’s success through this grant by sharing our experiences with the museum and connecting our students to opportunities available through Mia’s IDEA project.”

Lecture | Claudia Johnson on the Rice Portrait of Jane Austen

Posted in lectures (to attend) by Editor on December 16, 2017

Happy Birthday, Jane Austen! (she was born on 16 December 1775). From The Lewis Walpole Library:

Claudia Johnson | Pride, Prejudice, and Portraits: The Rice Portrait of Jane Austen
Twenty-third Lewis Walpole Library Lecture
Yale Center for British Art, New Haven, 4 April 2018

Ozias Humphry, Rice Portrait of Jane Austen, 1788.

Examining the controversial reception of the Rice Portrait of Jane Austen, by Ozias Humphry, this illustrated talk ponders the stakes of legitimacy in general as well as the unusual acrimony this portrait in particular has often inspired. Wednesday, April 4, 2018, 5:30pm, Yale Center for British Art Lecture Hall.

Claudia L. Johnson joined the faculty at Princeton in 1994 and was Chair of the English Department from 2004 to 2012. She specializes in 18th- and early 19th-century literature, with a particular emphasis on the novel. In addition to 18th-century courses, she teaches courses on gothic fiction, sentimentality and melodrama, the history of prose style, film adaptations of novels into film, detective fiction, Samuel Johnson, and, of course, Jane Austen. She has strong research interests in 18th-century music, in voice, in letterpress printing, in Yiddish story, and in the American Songbook of the 1930s and 1940s.

Johnson’s most recent book, Jane Austen’s Cults and Cultures (Chicago, 2012) won the Christian Gauss Award in 2103. Her other books include The Blackwell Companion to Jane Austen, ed. with Clara Tuite (Blackwell, 2005); The Cambridge Companion to Mary Wollstonecraft (Cambridge, 2002); Equivocal Beings: Politics, Gender and Sentimentality in the 1790s (Chicago, 1995), which won an Honorable Mention for the MLA Lowell Prize; and Jane Austen: Women, Politics, and the Novel (Chicago, 1988). In addition, she is keenly interested in textual scholarship and has prepared editions of Jane Austen’s Mansfield Park, Sense and Sensibility, Northanger Abbey, and (with Susan Wolfson) Pride and Prejudice. Her research has been supported by major fellowships such as the NEH and the Guggenheim.

Johnson is working on several book-length projects: an edition of Austen’s The Beautifull Cassandra, with drawings by Leon Steinmetz, forthcoming from Princeton University Press, 2018; 30 Great Myths about Jane Austen, with Clara Tuite, forthcoming from Wiley-Blackwell in 2019; and Raising the Novel, which explores key phases the history of the history of the novel in which critics have attempted to elevate them to keystones of high culture.

Conference | Global Encounters and the Archives

Posted in conferences (to attend) by Editor on December 15, 2017

From The Lewis Walpole Library:

Global Encounters and the Archives: Britain’s Empire in the Long Eighteenth Century
The Graduate Club, New Haven, 9–10 February 2018

As part of the Lewis Walpole Library’s celebration of Horace Walpole’s tercentenary and the 100th anniversary of W.S. Lewis’s Yale class of 1918, the library is working with Steve Pincus, Bradford Durfee Professor of History, Yale University, to organize a two-day conference on Friday and Saturday, February 9 and 10, 2018, to consider how current multi-disciplinary methodologies invite creative research in archival and special collections at the Lewis Walpole Library and beyond. Planned thematic sessions include “What is Empire?,” “Conceptualizing Political Economy,” “Slavery,” “Indigenous Peoples,” “Diplomacy,” and “Material Culture.” This conference is organized in association with the exhibition, Global Encounters and the Archives: Britain’s Empire during the Age of Horace Walpole. The conference will be held at The Graduate Club, 155 Elm Street, New Haven Connecticut 06511.

F R I D A Y ,  9  F E B R U A R Y  2 0 1 8

9:45  Registration and Coffee

10:15  Opening Remarks

10:30  1 | What is Empire?
• Onur Ulas Ince , School of Social Sciences, Singapore Management University
• Douglas Fordham, Art History, University of Virginia
• James Vaughn, History, University of Texas, Austin

12:00  Lunch

1:00  2 | Conceptualizing Political Economy
• Ashley L. Cohen, English, Georgetown University
• David Stasavage, Silver Professor of Politics, New York University
• Abigail Swingen, Department of History, Texas Tech University

2:30  3 | Indigenous Peoples
• Brendan Kane, History, University of Connecticut
• Gregory E. Dowd, History, University of Michigan
• Maxine Berg, History, University of Warwick

S A T U R D A Y ,  1 0  F E B R U A R Y  2 0 1 8

9:45  Coffee

10:15  Welcome

10:30  4 | Slavery
• Marissa Fuentes, History and Women’s and Gender Studies, Rutgers University
• James Oakes, Distinguished Professor, American History, The Graduate Center, CUNY
• Julia Gaffield, History, Georgia State University

12:00  Lunch

1:00  5 | Material Culture
• Robbie Richardson, English, University of Kent
• Catherine A. Molineux, History, Vanderbilt
• Margaret M. Bruchac, Anthropology, University of Pennsylvania

2:30  6 | Alliance and Diplomacy
• Eric Hinderaker, History, University of Utah
• Sarah Rivett, English, Princeton University
• Holly Shaffer, Art History, Brown University
• Stephen Conway, History, University College London

Exhibition | Travesty in the 18th Century: William Hogarth

Posted in exhibitions by internjmb on December 14, 2017

William Hogarth, The Fiver Orders of Periwigs, detail, 1761
(Honolulu Museum of Art, Gift of Andrew Adams Collection)

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Now on view at the Honolulu Museum of Art 

Travesty in the 18th Century: William Hogarth’s Modern Moral Subjects
Honolulu Museum of Art, Honolulu, 14 September 2017 — 11 March 2018 

The Honolulu Museum of Art’s Works on Paper Gallery comes alive with the work of the hilarious William Hogarth (1697–1764). One of the eighteenth century’s most influential artists, Hogarth is best known for his complex, satirical, and uncannily prescient images, through which he exposed humanity’s foibles by lampooning the conventions, lifestyles, and scandals of contemporary England. Inspired by the popular and plot-driven literary forms of the day—the comic opera, the bourgeois tragedy, and the serialized novel—Hogarth approached his subjects in the spirit (as he put it) of a “dramatic writer,” inventing a new genre called the “modern moral subject,” in which humor and tragedy merged with the purpose of teaching a lesson.

The exhibition focuses on a selection of prints from the museum’s collection, including The Rake’s Progress, a serialized group of eight images that mock the pitfalls of decadence by tracing the fortunes of the fictitious gambler Tom Rakewell; Beer Street and Gin Lane, which warn against the consequences of alcoholism by mordantly blaming gin for the ruin of a working-class neighborhood; and The Five Orders of Periwigs, which chart the elaborate and often absurd semiotics of modish men’s hairstyles.

Ghislain d’Humieres To Oversee Core Operations at Williamsburg

Posted in interviews, museums by Editor on December 14, 2017

Press release (via Art Daily). . .

As part of a streamlining of its leadership team, the Colonial Williamsburg Foundation has named Ghislain d’Humières as its executive director and senior vice president, core operations, a newly created position that will report to President and CEO Mitchell B. Reiss. In this new role, d’Humières will carry out the vision of Reiss and the Foundation’s Board of Trustees to attract new audiences, engage and entertain guests and instill a lifelong love of Colonial Williamsburg and its enduring role in the American story. d’Humières will oversee the Collections, Conservation and Museums Division and Colonial Williamsburg’s Education, Research and Historical Interpretation Division, as well as its Strategic Communications and Development divisions. He will begin his new role on January 15, 2018.

“Colonial Williamsburg’s commitment to history education and the arts is strong,” said Reiss. “We believe that hiring a seasoned arts professional to lead the Foundation’s core experience will further enhance our ability to captivate visitors through even more engaging programming within the Historic Area and the Art Museums. Ghislain’s leadership of day-to-day operations will enable me to foster critical relationships with the community, supporters and other partners to elevate Colonial Williamsburg and its mission to share America’s enduring story.”

Most recently the director and CEO of the Speed Art Museum in Louisville, Kentucky, from 2013 to earlier this year, d’Humières oversaw an extensive $60 million renovation that transformed the state’s only fine arts museum and enabled it to further expand its audience’s diversity. Previously, he served as the director and chief curator of the Fred Jones, Jr. Museum of Art at the University of Oklahoma in Norman from 2007 to 2013; he has also held positions at Sotheby’s, Christies, and Heritage Auctions. d’Humières is a former member of the French armed forces and served as aide-de-camp to the grand chancelier of the Order de La Libération. He was also an assistant curator of Paris’ Ordre de La Libération Museum. He is a graduate of the Sorbonne and Paris Nanterre University.

“Colonial Williamsburg is a treasure that preserves the birthplace of American democracy and enshrines ideals that still guide the nation and world,” d’Humières said. “I am honored to join this institution, especially amid its re-imagination and commitment to engage new and wider audiences. I look forward to sharing the journey with the team, our community, and most of all, our guests.”

Among key areas of the Foundation that will now be included under d’Humières’s umbrella of responsibilities are major areas of investments in the Campaign for History and Citizenship, the $600 million capital campaign initiated to both reinforce and reimagine Colonial Williamsburg’s role in the 21st century as a leader in history education and historical preservation, which was publicly announced in 2014. One such area is the $41.7-million donor-funded expansion of the Art Museums of Colonial Williamsburg, home of the Abby Aldrich Rockefeller Folk Art Museum, the oldest continuously operating institution in the United States dedicated solely to the collection, exhibition and preservation of American folk art now celebrating its 60th anniversary. It is also home to the DeWitt Wallace Decorative Arts Museum, which marked its 30th anniversary in 2015 and features premier examples of British and American fine and decorative arts from 1670 to 1840. Combined, these diverse and extensive collections play critical roles in Colonial Williamsburg’s goal of engaging audiences with the dramatic story of America’s founding. Under the direction of Ronald L. Hurst, Carlisle H. Humelsine chief curator and vice president for collections, conservation and museums, both the Abby Aldrich and DeWitt Wallace museums will remain open through construction, which began on Oct. 1. It will add 60,000 square feet to the building for a 22-percent increase in gallery space, as well as significantly improve public access through a new visitor-friendly entrance and other enhancements. It is projected that by late summer 2018 the enlarged space will be completely enclosed and new climate control systems will be fully functioning. Construction is expected to be complete by late 2019.

Other vital areas of the Foundation’s mission that also are within d’Humières’s area of responsibility include:
• Continued re-imagination of Historic Area programming with diverse, new character interpretation and technology enhancements, including the Colonial Williamsburg Explorer mobile app; supervising 24 historic trades, modern entertainment and tours, signature events (such as Grand Illumination and Fourth of July), the Costume Design Center that crafts and maintains clothing worn by the Historic Area personnel, the Coach and Livestock department that operates the Rare Breeds Program, and the Colonial Williamsburg Fifes & Drums
• Development of compelling outreach programs that reach national and even global audiences, including teacher professional development programs and digital technology initiatives in order for Colonial Williamsburg to continue to support and supplement the teaching of American history and civics in home and school settings
• Directing historical research and training, along with the John D. Rockefeller Jr. Library and the Colonial Williamsburg corporate archives
• Oversight of the departments that conduct archaeological research and care for the more than 60 million archaeological items in the Foundation’s collections
• Leadership of the departments that preserve 88 original and roughly 500 reconstructed Historic Area structures, as well as daily care of Historic Area interiors and collection items on display throughout Colonial Williamsburg properties
• Management of Colonial Williamsburg’s state-of-the-art DeWitt Wallace Collections and Conservation Building, which includes eight discipline-specific labs—Archaeological Materials, Wooden Artifacts, Instruments and Mechanical Arts, Objects, Paintings, Paper, Textiles and Upholstery—as well as the Preventive Conservation group. There, analysis, examination, treatment, and documentation are performed in strict accordance with the Code of Ethics of the American Institute for Conservation of Historic & Artistic Works.

Call for Articles | Spring 2019 Issue of J18: Animal

Posted in Calls for Papers by Editor on December 13, 2017

From J18:

Journal18, Issue #7 (Spring 2019) — Animal
Edited by Katie Hornstein

Proposals due by 1 April 2018; finished articles will be due by 15 October 2018

Recently scholars across the humanities have been examining the role animals play in representations across media, cultures, and historical moments. While art historians have begun to turn their attention to animality, the most intensive efforts on the part of humanities scholars have been located in literary disciplines and have tended to embrace activist and theoretically-based approaches. Why has art history been slower than other humanities disciplines to contend with animality? Has art history’s traditional humanistic focus precluded critical and theoretical thinking about animals as more than just symbols and subject matter within visual representation, especially with regard to art made before the nineteenth century? In devising his theory of humanistic art history, for example, Erwin Panofsky enacted a series of exclusions and disavowals that celebrated the uniqueness of human object-making and ideation, with a sharp separation between nature and culture. In response to a history of art that has traditionally celebrated and elevated works of art as the highest of human achievements, animal studies presents a potentially destabilizing challenge: how do animals structure our understanding of what it is to be human?

The Spring 2019 issue for Journal18 seeks contributions from scholars who work at the intersections of art history, visual and material culture, and animal studies. Articles should use the historical frame of the long-eighteenth century (c. 1660–1830) to address the animal as an actor, agent, and formative presence within art’s histories. Contributions might address how the figure of the animal and ideas about animality contest the preeminence of human-based subjectivities that have traditionally (and perhaps necessarily) structured art historical approaches to visual representation. Authors might also ask questions that revolve around the circulation and exchange of animal-based products in the burgeoning global economy of the eighteenth century. Articles that address the unique signifying power of visual representations of animals across media and consider how images depict animals as responsive subjects are equally welcome. Submissions may take the form of an article (up to 6000 words) or a shorter vignette (no more than 2,500 words).

For authors who have their submissions selected, there will be a study day held in New York City in early September 2018, ahead of the due date of October 15, 2018 for completed texts. This will be an opportunity to present research, share ideas, and receive feedback before handing in your final articles. For any contributors unable to travel to New York, we aim to make remote participation possible via weblinks.

Proposals for #7 ANIMAL are now being accepted. Deadline for proposals: 1 April 2018. To submit a proposal, please specify whether you intend to write an article (6,000 words) or a shorter vignette (2,500 words). Send an abstract (200 words) and a brief CV to editor@journal18.org and katherine.s.hornstein@dartmouth.edu.

Issue editor
Katie Hornstein, Dartmouth College

Fellowships | Lewis Walpole Library, 2018–19

Posted in fellowships by Editor on December 12, 2017

From The Lewis Walpole Library:

Visiting Fellowships and Travel Grants
The Lewis Walpole Library, 2018–19

Applications due by 8 January 2018

The Lewis Walpole Library, a department of Yale University Library, funds four-week visiting fellowships and two-week travel grants to support research in the Library’s rich collections of eighteenth-century materials (mainly British). In addition, the Library administers two jointly funded residential fellowships: The LWL / ASECS Library Fellowship is awarded to an ASECS member in good standing for up to four weeks of research at the Lewis Walpole Library, and The LWL / Beinecke Rare Book and Manuscript Library Fellowship is awarded to support up to eight weeks of research in the collections of both libraries.

The Lewis Walpole Library is a research center for eighteenth-century studies and an essential resource for the study of Horace Walpole and Strawberry Hill. Its collections include important holdings of eighteenth-century British prints, drawings, manuscripts, rare books, paintings, and decorative arts. It is located in Farmington, Connecticut, in several eighteenth-century buildings on a fourteen-acre campus.

Scholars pursuing postdoctoral or advanced research, as well as doctoral candidates at work on a dissertation, are encouraged to apply. The fellowship year runs from July 1, 2018, through June 30, 2019, and all fellowships must be completed within the fellowship year. All fellowship recipients are expected to be in residence at the Library, to be free of other significant professional obligations during their stay, and to focus their research substantially on the Lewis Walpole Library’s collections. Fellows also have access to additional resources at Yale, including those in the Sterling Memorial Library, the Beinecke Rare Book and Manuscript Library, and the Yale Center for British Art.

Application materials must be submitted directly through the listing in the Yale Grants Database. Search for Visiting Fellowships Lewis Walpole. Please note you will need to login to access the application form. Decisions are based on a number of factors, including the merits of the project and fit with the collections. Applications for 2018–19 are due Monday, January 8, 2018.

Image: William Dent, French Flight, or, The Grand Monarque and the Rights of Kings Supported in a Sublime and Beautiful Manner, 26 June 1791 (The Lewis Walpole Library, Yale University, digcoll:2811126).

New Book | The Jewish Journey: 4000 Years in 22 Objects

Posted in books by Editor on December 12, 2017

Distributed by ACC Publishing:

Rebecca Abrams, The Jewish Journey: 4000 Years in 22 Objects from the Ashmolean Museum (Oxford: Ashmolean Museum, 2017), 232 pages, ISBN: 978 191080 7033, $20.

The 22 objects include pottery, coins, jewelry, household artifacts, sacred items, musical instruments and paintings. Together they bring to life the experiences of the real men and women who owned, made and used them, from kings, courtiers and scholars to guerrilla fighters, musicians and market stall holders. Individually and collectively, the objects vividly document dark periods of persecution and forced migration, whilst highlighting the astonishing resilience and diversity of Jewish life, revealing centuries of two-way interaction with many other cultures and religions. Through the histories of each of the objects, the reader is guided on a double journey, one leading through the galleries of the Ashmolean, the other accompanying the Jewish people across the centuries. The Jewish Journey brings to light for the first time the amazing Jewish treasures in the Ashmolean Museum, explaining their specifically Jewish significance in a direct, accessible style for the general reader.

The Jewish Journey is unique in three respects. First, it is a short, accessible, illustrated history of the Jewish people aimed at the general public. Secondly, the book is unique in highlighting Jewish objects drawn from the permanent collection of a world-renowned public museum. Jewish history is more normally confined to dedicated Jewish museums. This book breaks new ground by showing Jewish history in its wider historical, social and cultural context. In addition, it presents objects that reflect on daily life over the centuries, e.g. family, marriage, trade, travel, rather than the more common depictions of artifacts for sacred and religious use. Thirdly, the Jewish significance of these particular 22 objects has until now been overlooked. This book draws them together for the first time to highlight their specific relevance to Jewish history, revealing both distinctive features of Jewish experience and evidence of centuries of close interaction with other cultures and religions.

Rebecca Abrams is an award-winning author of both fiction and non-fiction. Her most recent book, Touching Distance, won the MJA Open Book Award and was shortlisted for the McKitterick Prize for Literature. A graduate of Newnham College, Cambridge, she is a longstanding tutor in Creative Writing at the University of Oxford, before which she was an Honorary Teaching Fellow on the Warwick University Writing Programme and 2014 Gladstone’s Library Writer-in-Residence. She has recently been appointed a Royal Literary Fund Writing Fellow. A regular literary critic for the Financial Times and a former columnist on The Daily Telegraph, she has written extensively for the UK national press and is the recipient of an Amnesty International Press Award.

Court Studies Seminars, 2018 Schedule

Posted in lectures (to attend) by Editor on December 11, 2017

From The Society for Court Studies:

Society for Court Studies Seminars, 2018
New York University, Bedford Square, London

An annual programme of seminars is run by the Society for Court Studies in which new work in the field is presented and discussed. These take place in London on Monday evenings, starting at 6:00pm, at New York University, 6 Bedford Square, London, WC1B 3RA, room 102. Refreshments, including wine, are served. The seminars are free (except the guest lecture) and open to everyone. For further details, please contact the Seminar Secretaries, Jo Tinworth (jtinworth@soane.org.uk) and Nicola Clark (Nicola.Clark.2008@kent.ac.uk). Historians interested in giving a seminar paper to the Society should contact the Seminar Secretaries as well. Members of the society do not need to book in advance. If you are not a member, please register your interest using the booking link next to the relevant seminar paper.

29 January
Katarzyna Kuras (Jagiellonian University, Cracow), Conflicts or Cooperation? The World of Courtiers of the Queen Maria Leszczyńska (1725–1768)

19 February
James Legard (University of Edinburgh), ‘Princely Glory’: The 1st Duke of Marlborough, Court Culture, and the Construction of Blenheim Palace

12 March
Valerie Schutte (independent scholar), Princess Elizabeth Tudor: Book Dedications and the New Year’s Gift Exchange

16 April
David Parrott (New College, Oxford), Anne of Austria, Mazarin, and the French Court in Crisis, 1650–54

4 June
Joint event with the Institute of Historical Research Tudor and Stuart seminar, location to be confirmed
Samantha Harper (Winchester University), Continuity and Change in the Household of Henry VII and Henry VIII

17 September
Alden Gregory (Historic Royal Palaces), The Tudor Court under Canvas: Royal Tents and Timber Lodgings, 1509–1603

15 October
Mandy Richardson (University of Chichester), Hunting, Hounds, and Hospitality: Gendered Aspects of the Late Medieval and Early Modern Royal Hunt

12 November
Peter Barber (King’s College London), George III as a Map Collector

3 December
Helen Watanabe O’Kelly (University of Oxford), Catholic Ruler, Protestant People: The Impact of the Reformation on Court and Civic Festivals in Early Modern Europe

Lecture | Wolf Burchard on Savonnerie Carpets: Stages of Power

Posted in lectures (to attend) by Editor on December 10, 2017

From the BGC:

Wolf Burchard | Savonnerie Carpets: Stages of Power
Françoise and Georges Selz Lectures on Eighteenth- and Nineteenth-Century French Decorative Arts and Culture
Bard Graduate Center, New York, 6 February 2018

The Salon Doré: President Macron’s office at the Elysée Palace with one of Louis XIV’s Savonnerie carpets.

Wolf Burchard will deliver a Françoise and Georges Selz Lecture on Eighteenth- and Nineteenth-Century French Decorative Arts and Culture on Tuesday, February 6, at 6pm. His talk is entitled “Savonnerie Carpets: Stages of Power.”

Since the Second World War, every President of France has had one of Louis XIV’s famed Savonnerie carpets in his office at the Elysée Palace. Sumptuous stages on which key events of French history have unfolded, these spectacular weavings initially formed part of an unprecedented commission from the Sun King for no less than 93 carpets to cover the entire Long Gallery of the Louvre, spanning more than 442 meters. However, as Louis gradually lost interest in the Louvre Palace, instead choosing Versailles as the headquarters of the Bourbon monarchy, these magnificent carpets, originally intended to be laid out side to side, were largely separated and used singly as focal points in the lavishly decorated salons of Louis XIV and his successors.

Wolf Burchard’s lecture will revisit the history of the Savonnerie manufactory from its beginnings under Louis XIII to the present day, focusing on its major commissions for the Louvre, Versailles, and Notre Dame. His talk will also examine the dispersal of many of these weavings after the French Revolution in 1789, both through sale and as diplomatic gifts, as well as the rising British and American taste for Savonnerie carpets beginning around 1900.

Wolf Burchard is the Furniture Research Curator at Britain’s National Trust and the author of The Sovereign Artist: Charles Le Brun and the Image of Louis XIV (Paul Holberton Publishing, 2016). From 2009 to 2014 he was Curatorial Assistant at the Royal Collection Trust, where he co-curated The First Georgians: Art & Monarchy, 1714–1760, an exhibition held at The Queen’s Gallery, Buckingham Palace, to commemorate the tercentenary of George I’s accession to the British throne. He studied the history of art and architecture at the universities of Tübingen and Vienna as well as the Courtauld Institute of Art in London, from which he holds an MA and PhD. Wolf Burchard regularly writes and lectures about the art and architectural patronage at the British, French, and German courts. He has worked extensively on the Savonnerie manufactory and in 2012 published an update of Pierre Verlet’s catalogue of Louis XIV’s carpets for the Louvre’s Long Gallery, adding newly discovered carpets, carpet fragments and designs. He serves on the Executive Board of the Georgian Group and the Council of the Furniture History Society and was a member of the Committee of the Society for Court Studies from 2011 to 2017.