Enfilade

Call for Essays | Academic Research and the Contemporary Museum

Posted in Calls for Papers by Editor on October 30, 2020

From the Call for Articles:

Academic Research and the Contemporary Museum (working title)
Collection of essays edited by Dr Nicola Pickering, to be published by Routledge

Proposals due by 30 November 2020

This publication intends to re-establish the importance of focused and supported academic object-based research in museum practice and encourage a more robust debate within the museums sector surrounding the requirement and benefits of this work. It aims to reveal how new and creative academic research can be of value to audience-focused outcomes and public engagement work in museums, something that has not received the attention it should have up to now.

In this publication ‘academic research’ will be considered as activity of a scholarly nature, involving in- depth study of museum objects, drawing heavily on the examination of primary and secondary sources, and undertaken by subject-specialists using methodologies drawn from academic disciplines. This book will offer a unique opportunity for readers to see how new academic research can successfully inform visitor-centred practices in museums, and public outcomes for non-specialists, rather than remain the preserve of elitist curators and be produced for limited and privileged audiences.

This book will contain case studies that highlight the value of skilfully and appropriately transferring and translating academic research into public-facing projects and outcomes in the museums sector. Sympathetically integrated into public interpretation and education projects, and astutely linked to contemporary issues, new object-focused and audience-focused academic research can assist in widening access and participation and contribute to museum work in areas such as wellbeing, accessibility, social justice and sustainable funding. Thus, it can complement and bolster visitor-centred approaches, rather than work in opposition to them. It is hoped that the case studies collected in this volume will show that primary research and object-based scholarship in curatorial practice, which focuses on the needs of audiences, as well as collaborations with academics and academic organisations, can enhance the public impact and wider appeal of museums.

Case studies that feature examples of object-focussed research drawing on alternative theories (for example post-colonial, feminist, critical race, post-human and environmental theories) will highlight how museums can reinterpret objects from multiple and new perspectives. This might then show how new, or a wider range of, audiences may then be engaged in the work of the museum through the curatorial, learning, engagement and community projects that draw on this fresh research. Such activity can assist in widening access and participation and contribute to museum work in areas such as wellbeing, accessibility, social justice and sustainable funding.

Case Studies Sought

Case studies—each approximately 5,000-6,000 words—of successful and innovative methodologies, practices and projects in which new and creative academic object-based research has been employed to enhance public-facing outcomes are sought for this publication.

This book aims to discuss the controversies and extend the current debate regarding curatorial approaches. Thus, case studies should discuss new ways of thinking about the role of content specialists or expertise and academic research in museums, and highlight new and creative uses of academic research in collections-based projects. Case studies might be examples of innovative and imaginative undertakings, methodologies and practices, those highlighting the value of transferring and translating academic research into public-facing projects and outcomes in the museums and heritage sector. The case studies will come together to show why this is so important, how to approach such activities, and the benefits of pursuing such projects.

The case studies should help to show how new, or a wider range of, audiences may then be engaged in the work of the museum through the curatorial, learning, engagement and community projects that draw on this fresh research. If possible, the benefits of primary research and content-focussed scholarship to successful measurable outcomes (increased visitor numbers, greater visitor engagement, raised income through commercial activities, sponsorship or grant awards, changes in diversity of audiences) should be highlighted in the case studies.

Case studies that contribute to the current debate surrounding curatorial practice, museum management and public engagement will be positively received.

The necessity of strong partnerships and interdisciplinary working might be highlighted: successful case studies in which academic staff have worked alongside museum staff to achieve innovative outcomes are sought. In doing so it is hoped this publication will assist in showing how scholarly research can be made accessible to the general public in an effective way, and help museum professionals, academics and students to see how this might be done well. Potential ways that external partnerships and internal expertise within museum and heritage organisations might be developed and maintained could be discussed in the case studies.

We are seeking case studies from any country, from a variety of types of museum (national, trust/charity, independent, local authority, university), and it is hoped they will feature a range of collection objects, subject matters, spaces, locations and budgets. Examples from museums outside of the UK and those that have an international dimension or show engagement with source communities from around the world are actively sought.

Your case study must fall into one of the following five categories:
o University museums and academic partnerships with museums.
o Public–privatepartnerships.
o Untold stories (e.g. gender and sexuality / under-represented, disenfranchised and marginalised groups / post-colonial interpretation).
o Retold stores and contemporary issues (e.g. community stories, lost and forgotten stories, audience interest reinvigorated).
o Difficult spaces and projects undertaken on small and restricted budgets (e.g. at local authority museums, independent museums).

The case study chapters will be presented thematically, examining specific research themes as outlined above. The case studies will combine to show the variety of primary, object-focused and academic research that is being undertaken in museums in projects that have visitor-focused outcomes.

Required
• Summary of your proposed contribution (no more than one side of A4).
• A list of any suggested illustrations, tables etc.
• Author CV (and list of previous published material if applicable).

MuseumResearchContributions@gmail.com

Deadline
Midday on Monday, 30th November 2020.

More information is available here.
.

Public Lecture Course | Ceramics in Britain

Posted in lectures (to attend), online learning by Editor on October 29, 2020

The series, originally scheduled for the spring, will now take place online; from the Mellon Centre:

Public Lecture Course, Ceramics in Britain, 1750 to Now
Online, Paul Mellon Centre for Studies in British Art, London, Thursdays, 5 November — 10 December 2020

Pre-recorded lectures to be released weekly at 3pm GMT on Thursdays and a live Q&A (Zoom) on 10 December 2020 at 6pm GMT

This course, delivered by experts in the field, will explore five key influential developments in the history of British ceramics since the mid-eighteenth century, examining the multiple ways in which innovators, entrepreneurs, and artists have reinvigorated the field. While the story of ceramics is a global one, Britain has played a leading role in the last three centuries, a period in which British invention has shaped developments and brought constant renewal to the industry.

By 1750, ceramics of different types were available to all levels of society. However, the uniquely British innovation of combining print culture and ceramics, transfer-printing political propaganda, and the graphic satire of London’s leading caricaturists onto earthenware, enabled these contemporary controversial messages to be understood by all classes. During the same period, scientific experimentation by Josiah Wedgwood led to the invention of new bodies and glazes, many copying the ceramics and glass of ancient Greece and Rome. His range and ambition, summed up by his aim to become ‘Vase Maker General to the Universe’, helped to change ceramic tastes to an unprecedented degree.

The production of an abundance of styles characterised the nineteenth century. However, blue and white—one of the most distinctive visual effects in ceramics—became, and remained, more popular than any other. Heavily influenced by porcelain exported from Asia, Britain became the leading ceramic producer of this style, driving international trade and retail opportunities. ‘Chinamania’ gripped the nation; debates about taste and authenticity drove collectors, consumers, and creators.

Ceramics was largely unaffected by the first wave of anti-industrialism in England. Neither William Morris nor the Arts and Crafts movement fully established a new type of pottery. However, an urge to turn away from the industrially-produced ceramics of the late nineteenth century, combined with a renewed interest in form, earlier Chinese ceramics, and abstract art, gave rise to a wave of pioneering British potters who insisted on the importance of the handmade and established the role of the ‘artist-potter’. This philosophy was widely popularised by the influential studio potter, Bernard Leach, who spent formative periods in China and Japan and wrote that ‘all my life I have been a courier between East and West’.

While studio ceramics continue to flourish today, global economics and advanced production technology have greatly impacted the ceramics industry in Staffordshire, the traditional heartland of British ceramics production. Artists have played a key role in documenting and commentating on these changes. The course will conclude with an artist’s examination of the decline of ceramic manufacturing and its associated artisanal skills, emphasising the importance of sustaining the intangible heritage of this longstanding and important industry.

No prior art historical knowledge is necessary.

Thursday, 5 November
Patricia Ferguson (Project Curator, British Museum), Pots with Attitude: British Satire on Ceramics, 1750–1820

Thursday, 12 November
Catrin Jones (Chief Curator, Wedgwood Museum), Josiah Wedgwood: Experimentation and Innovation

Thursday, 19 November
Rebecca Wallis (Curator, National Trust, London and South East), ‘Blue and White’ in Nineteenth-Century Britain and Beyond

Thursday, 26 November
Simon Olding (Director of the Crafts Study Centre, University for the Creative Arts, Farnham), ‘Beyond East and West’: The Founding of British Studio Ceramics

Thursday, 3 December
Neil Brownsword (Artist and Professor of Ceramics, Staffordshire University), Obsolescence and Renewal: Reimagining North Staffordshire’s Ceramic Heritage

Thursday, 10 December
Ceramics in Britain: Live Q&A

In Process | Catalogue Raisonné of Porcelain by Lücke

Posted in Uncategorized by Editor on October 28, 2020

Enfilade doesn’t include a lot of these sorts of notices. It’s nice, however to note who is working on what, and I’m glad to include more. This one comes from ArtHist.net:

In Process | Catalog Raisonné, Porcelain by Johann Christoph Ludwig Lücke (ca. 1703–1780)
Vanessa Sigalas

Dear Colleagues,

I am researching the porcelain oeuvre of Johann Christoph Ludwig Lücke (ca. 1703–1780). Lücke is mostly known as ivory carver with an incredibly diverse repertoire of thematic subject matters, spanning from classical antiquity, folk and genre depictions, and traditional portraits to medical curiosities. He worked as an itinerant artist for various aristocratic and bourgeois clients. Besides ivory, he also worked in stone, wood, wax, papier-mâché, terracotta, faience, and porcelain. While his ivories have gotten more attention in recent scholarship, his porcelain creations have not been further investigated after the early 1980s, when Christian Theuerkauff published two essays on the topic.

Lucke worked for several porcelain manufactories during his lifetime: Meissen (1728/29), Vienna (1750/51) and Höchst (1752). (He had also negotiated with the porcelain factories in Fürstenberg and Berlin). In the same year (1752), he went to Copenhagen to make porcelain himself (although not very successful). In 1754, he tried to found a porcelain factory in Schleswig. However, he was not successful in producing porcelain there either. Nevertheless, as a porcelain modeller, he produced a fascinating and versatile body of work. Although Lücke’s time at the Meissen factory lasted less than ten months—he began in April 1728 and was dismissed in January 1729—his models demonstrates the divergences and similarities between ivory and porcelain and the different methods of working with them. His work report for the Meissen manufactory, though incomplete, shows that Lücke’s tasks were diverse. He modelled figural handles and applications for vessels as well as dishes, pipe bowls, and even a cannon. At Höchst, for example, where he worked in 1752, he created a series of fifteen comedians, recalling several ivory commedia figures that he had created twenty years earlier while still in Dresden.

I am in the process of creating a catalog raisonné for his porcelains and would appreciate any notification of their whereabouts, either in private or museum collections.

Many thanks, and all best wishes,

Vanessa

Dr. phil. Vanessa Sigalas
Kunsthistorikerin / Art Historian
92 Meadowbrook Rd
West Hartford CT 06107
USA

The French Porcelain Society’s Online Symposium, 2020

Posted in conferences (to attend), online learning by Editor on October 27, 2020

The programme includes some eighteenth-century offerings; from The French Porcelain Society:

The French Porcelain Society’s Online Symposium
Celebrating John Mallet’s 90th Birthday
7–8 November 2020

J. V. G. Mallet’s achievements in the field of ceramics are many as proved by his copious bibliography. It is however, John’s ground-breaking work in the field of istoriato maiolica of the 16th century and particularly his focus on the most important Renaissance maiolica-painters of the period, which has to be acknowledged as a major factor behind the resurgence of interest in this fascinating type of painting on pottery.

Our international online symposium, over two afternoons, will focus on John’s main area of research, istoriato maiolica or ‘narrative ware’. This extraordinary pictorial language flourished in the lands of the Dukes of Urbino, whose humanist court inspired Baldassar Castiglione’s The Book of the Courtier and which was Raphael birthplace. The imagery created in Raphael’s workshop was such a powerful influence on istoriato, that it was once believed that Raphael and his pupils actually painted the wares, leading it to be called ‘Raphael ware’.

Most notable are John’s magisterial articles on Urbino istoriato. Applying the same method that art historians use for painting, he has been able to group stylistically many different istoriato painters, and give names to otherwise unknown important maiolica masters, including: The ‘In Castel Durante Painter’, ‘The Master of the Apollo Basin’, ‘The Milan Marsyas Painter’, and ‘The Painter of the Coal Mine Dishes’. John also has written extensively on the painters active in the workshop of Guido Durantino, around the art of the great Nicola da Urbino, on Francesco ‘Urbini’, on Maestro Giorgio of Gubbio, and on Xanto—one of the most intriguing personalities in the world of ceramics, on whom John organised a ground-breaking monographic exhibition at the Wallace Collection in 2007. His catalogue of the maiolica in the Hockemeyer Collection in Bremen is a landmark of scholarship.

The symposium will give particular emphasis to the relationship between istoriato and graphic sources originating in and around Raphael’s workshop, 500 years after the death of the Urbino master in 1520. Reflecting John’s wide-ranging knowledge and interests in many other fields of ceramics, the symposium will also feature lectures on European pottery and porcelain.

The event is free and open to all, but donations are always appreciated. For more information and registration details, please contact the organiser Dr Elisa Paola Sani at FPSenquiries@gmail.com.

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Maiolica in the Shadow of Raphael
Saturday, 7 November 2020, 16.00–19.00 UK GMT

Welcome: Dame Rosalind Savill, DBE (President, The French Porcelain Society, London)
Introduction: Timothy Wilson (Honorary Keeper, Ashmolean Museum of Art, Oxford)

• Claudio Paolinelli (Co-curator of Raphael Ware, Urbino), Virtual Tour of Raphael Ware, the Maiolica Show in Urbino Ducal Palace
• David Ekserdjian (University of Leicester), Xanto and Raphael
• Suzanne Higgott (Curator, The Wallace Collection), The Wallace Collection Bathing Nymphs
• Carmen Ravanelli Guidotti (former Keeper, M.I.C., Faenza), Raphaelesque Taste: An Istoriato from an Ancient Italian Collection
• Marino Marini (Keeper, Museo del Bargello, Florence), Un’iconografia raffaellesca su una coppa faentina al Bargello
• Karine Tsoumis (Curator, Gardiner Museum of Ceramic Art, Toronto), Portable Worlds: Maiolica in the Serenissima
• Justin Raccanello (Author and Lecturer, London), Raphaelism and Raffaelleschi
• Michael J. Brody (Jefferson University, Philadelphia), A Mythological Dish by Sforza di Marcantonio Dated 1548
• Elisa Paola Sani (Research Fellow, The Courtauld Gallery, London), In the Shadow of Nicola da Urbino

◊  ◊  ◊  ◊  ◊

A Celebration of John Mallet
Sunday, 8 November 2020, 16.00–19.00 UK GMT

Chair: Timothy Wilson (Honorary Keeper, Ashmolean Museum of Art, Oxford)

• Valentina Mazzotti (Keeper of M.I.C., Faenza), John Mallet, Fundamental Contributions in ‘Faenza’
• Errol Manners, FSA (Author and Lecturer, London), Antoine-Salomon Taunay and Louis, Duc d’Orleans, the Travels of a Chemist
• Francoise Barbe (Conservateur en chef, Département des Objets d’art, Louvre, Paris), French Lead Glazes at the Time of Palissy
• Camille Leprince (Author and Lecturer, Paris), Collecting and Reproducing Raphael Ware in 17th-Century France
• Cristina Maritano (Curator of ceramics, Palazzo Madama, Turin), Raphael on the Pharmacy Shelf: An 18th-Century Ligurian Set
• Roger Massey (Author and Lecturer, London), A Bristol Porcelain Figure in the Schreiber Collection at the V&A
• Raffaella Ausenda (Author and Lecturer, Urbino), Maiolica in the Bossi Collection at the Castello Sforzesco, Milan
• Sir Timothy Clifford (former Director, National Gallery of Scotland), Few Thoughts for John
• Giulio Busti (Honorary Curator, Museo delle Ceramiche, Deruta), Un saluto a John
• John Mallet (Former Keeper of the Ceramics Department, Victoria and Albert Museum, London), Collecting for the V&A

Call for Articles | Reframing Eighteenth-Century European Ceramics

Posted in Calls for Papers by Editor on October 27, 2020

Two Freemasons, modelled by Johann Joachim Kändler, Meissen, ca. 1744; hard-paste porcelain, enamels, and gold; 23 × 24 × 15 cm
(New York: The Metropolitan Museum of Art, Gift of Irwin Untermeyer, 1964. 64.101.112)

◊  ◊  ◊  ◊  ◊

From the Call for Papers:

Reframing Eighteenth-Century European Ceramics
The French Porcelain Society Journal 9 (2022)

Proposals due by 1 February 2021; completed articles due by 1 September 2021

The French Porcelain Society Journal is the leading academic, peer-reviewed English-language publication on European ceramics and their histories, illustrated in full colour. Over recent years we have broadened our mandate to encompass all European ceramics from 1450 to 1950. Our next issue, volume IX, to be published in 2022, will concentrate on the eighteenth-century, which saw the discovery of ‘white gold’ (porcelain manufactured in Europe), embraced a widespread interest in the Age of Enlightenment, coupled with rising political upheavals and a consumer revolution for the luxury goods market. Yet what role did ceramics play within this? Can we rethink the traditional roles of the patron, the consumer, and the collector? What impact did the social construction of gender, race, and class have on ceramic production, design, markets, and use? Beyond their technological developments, how did ceramics reflect and respond to the significant artistic, cultural, social, economic, spiritual, and political matters of their time? This forthcoming issue of FPS Journal will challenge us to rethink accepted definitions by presenting works that demonstrate the tremendous variety of subjects and purposes of European ceramics. We are seeking articles that reframe our traditional perceptions, paying attention to materials and environments that re-evaluate conventional approaches to ceramic history, and welcome proposals that introduce historically under-represented objects or subjects. Articles are not restricted to French porcelain but may also include Spanish, Italian, Portuguese, Dutch, English, Scandinavian, German, and Austrian porcelain and earthenware.

Topics for consideration may include but are not limited to the following:
• Displaying ceramics in eighteenth-century and later interiors, exhibiting practices and architectural spaces
• Ceramics in eighteenth-century literature
• Socio-economic factors influencing eighteenth-century ceramic design or production
• Intersections between ceramics and the history of dining and food culture
• Recycling and repurposing eighteenth-century ceramics
• Collaboration and competition between factories
• Ceramics, politics and nationalism
• Patronage
• Ceramics, science and enlightenment
• Originality and invention in manufacture and design
• Eighteenth-century ceramics and visual culture
• Ceramic encounters between cultures through colonization, migration, trade, and war
• Eighteenth-century ceramics and the museum, acquisition, and display
• Ceramics and the art market
• Collecting ceramics in the eighteenth century
• Collecting eighteenth-century ceramics after 1800

Submissions in the first instance should be a summary of no more than 500 words, with a brief description of the argument, a historiography and a note of the research tools and sources used. Articles must be original; we do not accept modified versions of articles published elsewhere electronically or in print. Please include a brief biography. The journal accepts articles in French as well as in English. The volume will comprise about 15 articles that will be peer reviewed by the editorial board and the FPS council of academic and museum specialists which includes: Dame Rosalind Savill, DBE, FBA, FSA (Curator Emeritus, The Wallace Collection, London); Oliver Fairclough, FSA; John Whitehead, FSA; Errol Manners, FSA; Patricia Ferguson; Dr. Diana Davis; and Dr. Caroline McCaffrey-Howarth (Visiting Research Fellow University of Leeds and Curator, Victoria & Albert Museum). Articles should be between 4,000 and 8,000 words in length excluding endnotes. Up to 15 high-resolution images per article will be accepted.

Please send abstracts as an e-mail attachment to Patricia Ferguson, patricia.f.ferguson@gmail.com; Caroline McCaffrey-Howarth c.mccaffrey-howarth@leeds.ac.uk; and Diana Davis diana_davis@hotmail.co.uk by 1 February 2021. If your abstract is accepted, articles and images will be due by 1 September 2021. Publication is provisional on satisfactory peer review. For further details, please see the FPS website.

Call for Papers | On Portraiture

Posted in Calls for Papers by Editor on October 26, 2020

From ArtHist.net:

On Portraiture: Theory, Practice, and Fiction — From Francisco de Holanda to Susan Sontag
University of Lisbon, 26–28 April 2021

Proposals due by 30 November 2020

Centro de investigação e de estudos em belas-artes (CIEBA) – Artistic Studies Research Centre, Faculty of Fine Arts, University of Lisbon

This colloquium intends to discuss the theory and practice of artistic, historical, anthropological, social, and political experience on the topic of portraiture, as well as the fictional dimension contained within it. Located at the intersection of several disciplinary fields, the discussion(s) and papers will address the portrait as a concept, theme, process, object (monument and document), and device, in its multiple developments and in its successive conceptual, technological, and contextual updates. More than defining a temporal framework, the subtitle—From Francisco de Holanda to Susan Sontag —underscores the dynamic porosity on the researched topic in the fields of art and literature, as well as, in its mutual reversibility.

Francisco de Holanda, humanist and 16th-century Portuguese artist, is the author of Do Tirar pelo Natural [On Portraiture], the first treatise dedicated to portraiture in early modern Europe, which he concluded in 1549, in the decade following his return from a trip to Italy undertaken in 1538 to 1540, as member of the embassy of Ambassador D. Pedro de Mascarenhas. One objective for Holanda was to meet Michelangelo Buonarroti, in addition to observing and drawing fortresses and the most outstanding works of art across Italy. Upon his return, Holanda undertook writing Da Pintura Antiga [On Ancient Painting], concluded on October 13 (St. Lucas Day) 1548, as it is written at the end of Book II, followed by his second treatise, Do Tirar polo Natural [On Portraiture]. These two works were prepared for publication and were even translated into Spanish in 1563, by his friend, the Portuguese painter Manuel Denis. These treatises, written almost simultaneously, would only see publication, in Portuguese and Spanish, only in the 19th century. At the end of the Do Tirar polo Natural, Holanda states that the text was completed on January 3rd, 1549, only a few months after the completion of the two Books of Da Pintura Antiga. In fulfilment of John B. Bury’s ground-breaking research, a bilingual edition of this portrait treatise, published by Paul Holberton Publishing in London, will be presented during this Congress.

Indeed, the two great pillars of Francisco de Holanda’s theory of art—the imitation of himself, nature, and antiquity on one hand, and idea, on the other—have, precisely, as a point of departure, the artist’s creative process which Holanda discusses in his first two treatises. The importance of Do Tirar polo Natural for the theory of art, which Holanda explains and abundantly illustrates in his two books in On Ancient Painting, as well as in his drawings and illuminated albums, especially in As Antigualhas [On the Antique], makes Holanda’s need to write a portrait treatise fully justified. As an autonomous work, Do Tirar polo Natural complements Da Pintura Antiga. This treatise’s structure, in the form of dialogues, follows the model used in Book II of Diálogos em Roma [Dialogues in Rome], but here, instead of many interlocutors, is reduced to conversations between two protagonists, Brás Pereira and Feramando, the disciple and master, as well as the alter ego of Holanda. The themes and issues defined in Do Tirar polo Natural extend, deepen, and, above all, specify in detail questions regarding portraiture, themes related to the representation of the human figure which Holanda took up in Chapters 38 to 41 in Book I of Da Pintura Antiga. These chapters lack the decisive contributions, which throughout the eleven, small dialogues of Do Tirar polo Natural, Holanda describes as precepts for a painter to ‘portray’ or ‘paint from life’ the ‘persona’ of a sitter. In Do Tirar, Holanda distinguishes the portrait as distinctive from other representations of the human figure.

In The Volcano Lover, Susan Sontag begins with documentation related to three historical figures from the 18th century, expanding them into a fictional extension where they appear as characters or doubles; emerging as figures stabilized in the credibility of portraits, thus questioning their presence throughout the history of art and the history of images. These figures are the diplomat, collector, and volcanologist William Hamilton; his wife Emma Hamilton, lover of Admiral Nelson and the muse of the painter George Romney; and Admiral Nelson. The portraits directly refer to those of William Hamilton, made by Joshua Reynolds, and those of Emma Hamilton, made by George Romney and Élisabeth Vigée-Lebrun. The questions asked regard the genesis of the sensitive body, in the example of the statue of Condillac, and the metamorphosis of the statue in the myth of Pygmalion; the metamorphosis of beings in the morphological accidents of the earth and in natural objects that retain their name and history; the ideal portrait; the impossibility of describing the beauty of a face or a body, delegated to the rhetorical artifice of metaphor; the portrait as a theme and as a model; the genre of statues: action and stillness, narcissism and modesty; effigies: symbolic death; cameos: miniaturization of the portrait, living picture: representation staged inside a box or in a place surrounded by the frames of the paintings; the body in pose: support and object of the representation of a representation; the body as the embodiment of the work; the ephemerality of the body and the perpetuity of the portrait; the figure, the portrait and the recognition that erases or illuminates the name. And the ruin of it all, because ruin is the inevitable destiny of human bodies and their representations, some and others relegated to the future of our time.

In conjunction with these topics the main thematic lines of the colloquium are defined as:
• The portrait as a place and the place of the portrait in the visual culture of all periods
• Time and trans-temporality in and of the portrait
• The portrait as theory and the theories of the portrait
• The portrait as fiction

In the transversality of these lines, the following sub-themes are proposed:
The body and the portrait; Portrait: presence and representation; Portrait, self-portrait and self-representation; The expanded portrait: media, intermediary and mediation; Portrait: iconism, symbolism and similarity; Metonymic portrait; Portrait galleries; The portrait as a connotative place; The double and the portrait; The portrait and the mask; Portrait and genre: the collector and the collection; Portrait and gender: the artist and the model; Portrait: celebration and power; Portrait: celebration of anonymity; Portrait: show and monstrosity; The statistical portrait; Avatar: copy without original; The Impossible Portrait; The composite portrait; Portrait: the desecration of the body.

Keynote speakers will be selected according to the sessions formed from the submitted proposals and the thematic lines of this congress. The official languages are Portuguese, English, French, Italian, and Spanish.

All those interested in participating must send an abstract of up to 400 words, including title, name, affiliation, and text, along with a brief curriculum summary of 50 words maximum by 30 November 2020. Proposals should be submitted in doc. file from Office Word, according to the template available HERE and sent to onportraiture.congress@belasartes.ulisboa.pt. The email’s subject and the attached file should be designated as follows: NAME_SURNAME_TITLE OF PAPER. Results will be released by 31 December 2020.

Authors from selected papers are invited to participate in an optional pitch session (5 min/5 slides), which will take place on 15 January 2021 between 14.00 and 19.00 (in Lisbon).

Exhibition | François Boucher: Rococo Artist

Posted in books, catalogues, exhibitions by Editor on October 25, 2020

François Boucher, Shepherd and Shepherdess, 1760, oil on canvas, 81 × 65 cm
(Staatliche Kunsthalle Karlsruhe)

◊  ◊  ◊  ◊  ◊

Opening next month at the Staatliche Kunsthalle:

François Boucher: Künstler des Rokoko / Artiste Rococo
Staatliche Kunsthalle Karlsruhe, 14 November 2020 — 7 February 2021

François Boucher (1703–1770) est encore considéré de nos jours comme l’artiste rococo français par excellence. À l’occasion du 250e anniversaire de sa mort, la Kunsthalle de Karlsruhe présente la première exposition en Allemagne qui lui soit exclusivement consacrée.

Bien que né dans un milieu modeste, Boucher s’est affirmé comme l’un des principaux artistes de son époque. Premier peintre du roi, il comptait parmi ses commanditaires la marquise de Pompadour ainsi que la margravine Caroline-Louise de Bade. Son style rayonna dans toute l’Europe et ses compositions furent reprises pour un grand nombre de tapisseries et de décors de théâtre, de meubles et de porcelaines.

La diversité des styles qu’il aborda et des sujets qu’il traita reste impressionnante jusqu’à l’heure actuelle. Ses élégantes scènes de genre ainsi que les représentations qu’il a données de paysages bucoliques et de sujets mythologiques se distinguent par leur inventivité, leur humour et l’ironie qui s’en dégage. Par leur exécution subtile et leur palette délicate, ses œuvres nous sensibilisent à la sensualité pouvant irradier d’une toile.

Ses dessins et ébauches à l’huile illustrent parfaitement sa manière de travailler. Tantôt puissantes et virtuoses, tantôt empreintes de retenue et témoins d’une introspection, ces esquisses s’affirment comme desœuvres d’art à part entière.

Artiste fascinant, Boucher, a ainsi développé un style très riche dont l’influence est perceptible jusque dans l’art moderne – Un style que l’exposition de la Kunsthalle permettra de redécouvrir.

L’exposition se complète par une installation sonore d’Elina Lukijanova qui reproduit des éléments stylistiques du Rococo à l’aide de bruits et de mots de notre époque.

Astrid Reuter, ed., François Boucher: Künstler des Rokoko (Cologne: Wienand, 2020), 336 pages, ISBN: 978-3868325812, 45€. With essays by Astrid Reuter, Barbara Bauer, Alexander Eiling, Peter Fuhring, Holger Jacob-Friesen, Melissa Hyde, Oliver Jehle, Françoise Joulie, Alastair Laing, Hans Plechinski, Aileen Ribeiro, Dorit Schäfer, Martin Schieder, Perrin Stein, Christoph Martin Vogtherr, and Kirsten Voigt.

New Book | Lectures on Art: Selected Conférences, 1667–1772

Posted in books by Editor on October 22, 2020

From Getty Publications:

Christian Michel and Jacqueline Lichtenstein, eds., Lectures on Art: Selected Conférences from the Académie Royale de Peinture et de Sculpture, 1667–1772, translated by Chris Miller (Los Angeles: Getty Publishing, 2020), 488 pages, ISBN 978-1606066461, $75.

Between 1667 and 1792, the artists and amateurs of the Académie Royale de Peinture et de Sculpture in Paris lectured on the Académie’s conférences, foundational documents in the theory and practice of art. These texts and the principles they embody guided artistic practice and art theory in France and throughout Europe for two centuries.

In the 1800s, the Académie’s influence waned, and few of the 388 Académie lectures were translated into English. Eminent scholars Christian Michel and Jacqueline Lichtenstein have selected and annotated forty-two of the most representative lectures, creating the first authoritative collection of the conférences for readers of English. Essential to understanding French art of the seventeenth and eighteenth centuries, these lectures reveal what leading French artists looked for in a painting or sculpture, the problems they sought to resolve in their works, and how they viewed their own and others’ artistic practice.

Christian Michel is a professor of art history at the Université de Lausanne, a leading scholar of artistic production in seventeenth- and eighteenth-century Europe, and the author of many essays, articles, and books. Jacqueline Lichtenstein was a philosopher and art historian specializing in the history and criticism of art and aesthetics. She taught at the University of Paris-IV-Sorbonne, the University of Paris- X Nanterre, the École du Louvre, and the University of California, Berkeley. Lichtenstein died in 2019. Chris Miller is a widely published critic and translator, co-founder of the Oxford Amnesty Lectures, and author of Forms of Transcendence: The Art of Roger Wagner (2009).

The Huntington Acquires Newly Discovered Copley Painting

Posted in museums by Editor on October 21, 2020

Press release (23 September 2020) from The Huntington:

The Huntington Library, Art Museum, and Botanical Gardens announced today that it has acquired a newly discovered painting by John Singleton Copley (1738–1815) depicting celebrated 18th-century British actress Mary Robinson, as well as works by British artists Alice Mary Chambers (ca. 1855–1920) and Madeline Green (1884–1947) and a set of screen prints by R.B. Kitaj (1932–2007), who, like Copley, was born in America and worked in England. The acquisitions were funded by The Huntington’s Art Collectors’ Council at its annual meeting last month. In addition, longtime council members Hannah and Russel Kully purchased as a promised gift for The Huntington a painting by the 19th-century British artist and designer Edward Burne-Jones (1833–1898). The painting, a portrait of the artist’s daughter, had been kept in the family since it was painted around 1888.

“This year we cover 200 years of British art history and bridge the Atlantic, celebrating the interconnected web of American and British art,” said Christina Nielsen, Hannah and Russel Kully Director of the Art Museum at The Huntington. “In this group are masterpieces, rarities, works by underrecognized female artists, and works that tie together different collection areas at The Huntington in intriguing ways. Together, they amplify our collection’s strengths and further its reach into the 20th century, all thanks to the generosity of our Art Collectors’ Council. To the Kullys—words fail to express the depth of our gratitude for their indefatigable commitment to The Huntington’s art collections. With this Burne-Jones portrait, we will be able to share with visitors a rare and arresting work that expands our great William Morris collection to reveal a very personal look at his artistic partner.”

John Singleton Copley, Mrs. Mary Robinson in the Character of a Nun, ca. 1780, oil on canvas (San Marino: The Huntington Library, Art Museum, and Botanical Gardens).

Mrs. Mary Robinson in the Character of a Nun (ca. 1780) is a cabinet portrait, perhaps commissioned by an admirer, of one of Britain’s most famous actresses of the late 18th century. Lost for generations until it was sold in 1999 at auction as a French painting of an unknown sitter, the newly identified work portrays Robinson in her role as Oriana in George Farquhar’s comedy The Inconstant; or The Way to Win Him, which she performed on the London stage in the spring of 1780. In the course of the play, Robinson’s character engages in a series of ruses—dressing as a nun, feigning madness, and finally disguising herself as a pageboy—to win the heart of her love interest. The portrait was painted just a few years after Copley, who had already established himself as a leading portraitist in colonial America, moved from Boston to London to test his skills at the Royal Academy, and at the height of Robinson’s career. Around the same time, she sat for four of Copley’s professional rivals—Sir Joshua Reynolds, Thomas Gainsborough, George Romney, and John Hoppner.

In the painting, Copley’s talent for rendering likeness and dress is on full view, with the darks of the nun’s habit set off by the painter’s incomparable use of gauzy whites. A beam of light through the window illuminates the fine features of the sitter’s face, highlighting her hands and the wooden cross lying across her lap.

Acclaimed by many to be one of the most beautiful actresses in England, Robinson was also a popular poet, novelist, playwright, feminist thinker, fashion trendsetter, and, most famously, mistress of the Prince of Wales, later George IV. The Huntington’s Library holds a renowned collection of materials related to the history of London theater and British literature that includes many of Robinson’s published and unpublished poems, novels, plays, and her posthumously published autobiography. The painting also serves as a complement to The Huntington’s American-made Copley, a portrait of Sarah Jackson (ca. 1765), and a later work from his British period, The Western Brothers (1783), both displayed in the Virginia Steele Scott Galleries of American Art. The Robinson portrait will go on view in the Huntington Art Gallery, among The Huntington’s rich collection of British portraiture.

Burne-Jones was among the most influential artists of his day. A friend and collaborator of William Morris, he was a designer of stained glass, decorated furniture, and textiles. Hundreds of working drawings relating to his design accomplishments are held at The Huntington, as well as one of the most popular installations in the Huntington Art Gallery, a two-story-high stained glass window, the David Healey Memorial Window, which he designed for the Unitarian Chapel, Heywood, Lancashire, around 1898.

Sir Edward Coley Burne-Jones, Portrait of Margaret Mackail, the Artist’s Daughter, ca. 1888, oil on canvas (San Marino: The Huntington Library, Art Museum, and Botanical Gardens).

Burne-Jones was also a painter, associated with both the Pre-Raphaelites and the Aesthetic Movement. His oil paintings often explore themes of faith, chivalry, and love through the lens of medieval or Renaissance art and are marked by a dreamy, otherworldly quality. With its restrained composition and harmonious palette, Portrait of Margaret Mackail, which depicts Burne-Jones’s beloved daughter, is typical of his style. Last owned by the sitter’s great-granddaughter, the painting has never been exhibited or published. It will go on view in the Huntington Art Gallery alongside other works from the British Design Reform period.

Though she was well connected among London’s Pre-Raphaelite and Arts and Crafts artists, and regularly exhibited her work at the Royal Academy, Alice Mary Chambers was a Victorian-era artist who only recently is emerging from obscurity thanks to the recent definitive identification of the monogram with which she signed her work and a 2018 scholarly article on her life and career.

Chambers was a friend of infamous art dealer Charles Howell, and correspondent of James McNeill Whistler; and her interest in the work of William Morris, Edward Burne-Jones, and Dante Gabriel Rossetti (co-founder of the Pre-Raphaelite Brotherhood) is evident in Portrait of a Young Woman. Worked in sumptuous strokes of red chalk, the delicate figure looks up from under heavily shaded brows in an expression that lends her a dreamy quality typical of Burne-Jones’s work. The leafy background of the portrait is reminiscent of Morris’s wallpaper designs, and Chambers consciously modeled her monogram in the lower left on that of Rossetti. The portrait adds a rare example of a female artist’s work to the collection of more than 12,000 British drawings at The Huntington.

Joseph Duveen, the famous art dealer who helped Henry and Arabella Huntington acquire the works that became the core of The Huntington’s art collections, championed Madeline Green, acquiring her painting The Future (1925) in 1927 and giving it to the Manchester Art Gallery that year. Green also won awards at the Royal Academy and exhibited at the Paris Salon and Venice Biennale. But her work is practically unknown today, and only recently reemerging through a new publication and recent exhibition at Gunnersbury Park and Museum in London.

With the self-portrait Miss Brown, Green playfully puns on her last name to present herself in the guise of another. Throughout her career, Green played with the concept of portraiture and self-portraiture, depicting herself as a mother, a wife, a dancer, an actress—alternately fierce, timid, provocative, but always appearing intelligent and with a pronounced independence. Miss Brown is dressed as a costermonger (fruit and vegetable seller) with apron and checkered scarf. (In other paintings, Green depicts herself dressed as a male costermonger.) Green’s technique involves rich layers on the canvas, with some areas so thinly painted as if to evoke watercolor, and others thick with impasto. Green explained how she accomplished the unique depth and texture of her painting, saying she worked “in body colour [opaque watercolor] underneath and glazed with pure colour and oil. I always paint in this way and although it takes rather a time, I don’t think the same effect can be obtained otherwise.”

Kitaj , an American, was one of the most prominent figures of the London art scene during the 1960s and ‘70s. As a young man, he took advantage of the G.I. Bill to study art in the U.K., and ended up staying there for nearly 30 years, only occasionally returning to the U.S. for short periods to teach.

Kitaj is credited with coining the phrase “School of London” to describe his circle of figurative painters that included famous names such as Francis Bacon, Lucian Freud, and David Hockney. In addition to painting, printmaking was a major part of Kitaj’s practice since 1962, when he was introduced to master screen printer Chris Prater at London’s Kelpra Studio. For Kitaj, printmaking, with its serial generation of imagery, had an immediacy that did not exist in oil painting. He called the practice “as close to spontaneity as I’ve ever managed to come.”

A portfolio of 50 prints, In Our Time: Covers for a Small Library After the Life for the Most Part, produced at Kelpra, reflects the interconnection of art and literature that is a major hallmark of his work. It reproduces the covers of books the artist had collected. As he recalled, “I combed bookshops and libraries, my own and those of friends, over a few years for memorable covers, for the look of them, their associations, variety, color, reverberations, titles, etc.” The acquisition includes an additional three prints representing book covers not part of the original edition.

In Our Time complements The Huntington’s growing holdings in the field of later 20th-century graphic and pop art, which include the work of Romare Bearden, Henry Moore, and Andy Warhol.

Online Conference | Palaces in Eighteenth-Century Madrid

Posted in conferences (to attend), online learning by Editor on October 20, 2020

From the conference programme:

Palaces for Rent: Real Estate in Madrid in the Eighteenth Century / Palacios en alquiler: Patrimonio inmobiliario en el Madrid del siglo XVIII
Online, Universidad Nacional de Educación a Distancia (UNED), Madrid, 12 November 2020

Lugar de celebración
Sala virtual de conferencias
https://zoom.us/j/97638995759?pwd=b1l3Qko3WkFpNzVkdjc1eExPQ20wZz09
Acceso libre hasta completar el aforo de sala. Las sesiones estarán posteriormente disponibles en el portal de Canal UNED.

Destinatarios
Estudiantes de Máster y Doctorado en las áreas de historia, historia del arte, historia de la arquitectura, estudios urbanos, estudios sobre la nobleza, historia de la vida cotidiana, estudios de cultura visual y material, etc.
Se facilitará certificado de asistencia a los estudiantes interesados previa petición por correo.

Más información
palacesforrent@gmail.com

Dirección científica
Dra. Pilar Diez del Corral Corredoira, UNED.
Dr. Álvaro Molina Martín, UNED.
Dra. Miriam Cera Brea, Universidad Autónoma de Madrid.

Comité científico
Dra. Natalia González Heras, Universidad Complutense de Madrid.
Dra. Giada Lepri, La Sapienza, Roma.
Dr. Carlos Sambricio, Universidad Politécnica de Madrid.
Dra. Mercedes Simal, Universidad de Jaén.
Dr. José Antonio Vigara Zafra, UNED.

P R O G R A M A

9:30  BIENVENIDA Y PRESENTACIÓN
Consuelo Gómez López (Directora del Departamento de Historia del Arte, UNED)
Pilar Diez del Corral Corredoira y Álvaro Molina Martín (UNED), Miriam Cera Brea (UAM)

10:00  RESIDIR Y ALOJARSE EN MADRID: MÁS ALLÁ DE LA VILLA Y CORTE
Modera: Álvaro Molina Martín
• Natalia González Heras (Universidad Complutense de Madrid), El alquiler yRegalía de Aposento: Tipologías de ocupación residencial en la Corte del siglo XVIII
• José Antonio Vigara Zafra (UNED), La problemática entre el centro y la periferia en las residencias palaciegas de las élites nobiliarias españolas del siglo XVIII
• Magdalena Merlos Romero (Archivo Municipal de Aranjuez), Palacios y alojamientos del siglo XVIII en un real sitio: previsión urbana de Aranjuez para días de primavera

12:00  DESCANSO

12:15  PENSAR Y DISEÑAR EL PALACIO: LA CONFORMACIÓN DE UNA CULTURA ARQUITECTÓNICA
Modera: Miriam Cera Brea
• Juan Luis Blanco Mozo (Universidad Autónoma de Madrid), La maqueta de Filippo Juvarra para el palacio real nuevo de Madrid. Historia en su contexto
• Adrián Fernández Almoguera (Sorbonne-Université – École française de Rome), Jorge Durán y el palacio del conde de Tepa: ¿un caso de “italomanía” en el Madrid de finales de la Ilustración?
• José Riello (Universidad Autónoma de Madrid), Cárceles doradas del arte: cultura de la ostentación en el Museo de Antonio Palomino

14:15  DESCANSO

16:00  VESTIR EL PALACIO: USOS, PRÁCTICAS Y SÍMBOLOS EN TORNO AL ADORNO DOMÉSTICO
Modera: Pilar Diez del Corral Corredoira
• Álvaro Molina (UNED), Hacia una cartografía del adorno en las residencias palaciegas de la corte de Carlos IV
• Milton Pacheco (Universidade Nova de Lisboa), Cenários de Himeneu: A residência madrilena do embaixador extraordinário português, o IIImarquês de Louriçal, por ocasião das festividades dos duplos matrimónios reais celebradas em 1785
• Mirella Romero Recio (Universidad Carlos III), Pompeya y la Antigüedad en las decoraciones pictóricas de los palacios de Godoy en Madrid
• Sandra Antúnez López (Universidad Autónoma de Madrid), El Real Guardarropa y las nuevas modas en la corte de Carlos IV y María Luisa de Parma (1789–1808)

18:30  CLAUSURA