Selections from the UK’s Government Art Collection as displayed in its current storage facility off Tottenham Court Road; photo from a blog posting (5 March 2014) at Please Don’t Touch The Dinosaurs, which noted the introduction of lunchtime tours of the GAC.
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As reported by The Art Newspaper (February 2017), p. 10.
The UK’s Government Art Collection (GAC) plans to set up its own gallery. This will open up a huge collection of 14,000 works, mainly by British artists, which is not easily accessible.
A spokeswoman for the Department for Culture, Media and Sport, which oversees the GAC, says that the collection’s offices and stores will be moved to new premises in London which should include a “display space that everyone will be able to enjoy.” Entry will presumably be free. The location and timing have not yet been announced.
At present, the collection is stored in Queen’s Yard, just off Tottenham Court Road, in central London. The stores are not environmentally controlled to museum standards, which is another reason for the move. . .
Of the 14,000 works, around one-third are in store, with most of the remainder hanging in 100 government offices in the UK and 270 offices abroad, where there is very limited public access. . .
The works are nearly all by British artists, although there are a few paintings made by foreigners of British subjects. They date from the 16th century to the present. . .
Press release (23 February 2017) from Gov.UK’s Department for Culture, Media & Sport:
A rare Georgian barometer is at risk of being exported from the UK unless a buyer can be found to match the asking price of £160,000. Culture Minister Matt Hancock has placed a temporary export bar on the George III mahogany wheel barometer to provide an opportunity to keep it in the country. The piece is one of a small number of its design known to have been made by the renowned Whitehurst family of clockmakers, from Derby. It is one of only nine of this type known to exist, none of which are known to be in a UK public collection.
During the reign of King George III natural philosophy had become increasingly popular, with scientific instruments finding their way into the homes of the elite classes. The ornate decoration of this instrument indicates that it was intended for this purpose. The possible association of the barometer with John Whitehurst makes this item of particular interest. As a clockmaker, instrument maker, and natural philosopher, he was a member of the Lunar Society, became Stamper of Money Weights at the Mint, was painted by Joseph Wright, and was elected a Fellow of the Royal Society.
Minister of State for Digital and Culture Matt Hancock said: “This beautiful barometer is more than just an instrument: it also gives us a glimpse into the 18th-century home and the increased interest in natural philosophy at the time. As a rare and important item associated with a significant regional workshop, this fine piece offers an intriguing possibility for further study. I very much hope that we can keep it in the UK for this purpose.”
The decision to defer the export licence follows a recommendation by the Reviewing Committee on the Export of Works of Art and Objects of Cultural Interest (RCEWA), administered by The Arts Council.
RCEWA member Christopher Rowell said: “The scientifically sophisticated design of this rare Whitehurst barometer is matched by the high quality of the carved mahogany case. No other Whitehurst barometer of this model is in a British public collection, and its retention in this country is therefore highly desirable.”
The RCEWA made its recommendation on the grounds of the barometer’s outstanding significance to the study of the Whitehurst family’s work. The decision on the export licence application for the barometer will be deferred until 22 April 2017. This may be extended until 22 July 2017 if a serious intention to raise funds to purchase it is made at the recommended price of £160,000 (plus VAT of £2,000). Organisations or individuals interested in purchasing the barometer should contact the RCEWA.
Released in October from Yale UP:
Max Page, Why Preservation Matters (New Haven: Yale University Press, 2016), 224 pages, ISBN: 978 03002 18589, $25.
Commemorating the fiftieth anniversary of the National Historic Preservation Act, a critique of the preservation movement—and a bold vision for its future
Every day, millions of people enter old buildings, pass monuments, and gaze at landscapes unaware that these acts are possible only thanks to the preservation movement. As we approach the October 2016 anniversary of the United States National Historic Preservation Act, historian Max Page offers a thoughtful assessment of the movement’s past and charts a path toward a more progressive future.
Page argues that if preservation is to play a central role in building more-just communities, it must transform itself to stand against gentrification, work more closely with the environmental sustainability movement, and challenge societies to confront their pasts. Touching on the history of the preservation movement in the United States and ranging the world, Page searches for inspiration on how to rejuvenate historic preservation for the next fifty years. This illuminating work will be widely read by urban planners, historians, and anyone with a stake in the past.
Max Page is a professor of architecture and history at the University of Massachusetts Amherst, author of The City’s End: Two Centuries of Fantasies, Fears, and Premonitions of New York’s Destruction, and winner of the Spiro Kostof Award from the Society of Architectural Historians, a Guggenheim Fellowship and the Rome Prize. He lives in Amherst, MA.
Now on view at the Scuderie del Quirinale:
The Universal Museum: From Napoleon’s Dream to Canova
Il Museo Universale: Dal sogno di Napoleone a Canova
Scuderie del Quirinale, Rome, 16 December 2016 — 12 March 2017
Curated by Valter Curzi, Carolina Brook, and Claudio Parisi Presicce
A major exhibition recounting the recovery of Italy’s masterpieces from France—from Raffaello to Titian, from the Carracci to Guido Reni, Tintoretto, and Canova.
It was in 1816 that the Papal States’ masterpieces of art and archaeology returned to Rome after the Napoleonic confiscations. This event was preceded and accompanied by other administrations of the peninsula recovering many of more than 500 paintings that had been confiscated throughout the Italian territories in the course of French military campaigns from 1796 to 1814 and packed off to Paris where they were selected for display in the embryonic Musée du Louvre.
As the works of art that had been taken to France began to return home, the whole of Italy was confronted with the problem of what to do with the thousands of paintings and sculptures that had been removed from churches and convents after the religious orders had been suppressed in the early 19th century. The fate of the Musée du Louvre as a universal museum, the loss of several masterpieces of art remained in France, and most of all the sheer mass of paintings now in state ownership and stored in improvised warehouses, fuelled a lively debate on the public value of art heritage and fostered the foundation of museums that still number among the country’s leading cultural institutions today, including the Pinacoteca di Brera in Milan, the Gallerie dell’Accademia in Venice, and the Pinacoteca in Bologna.
It was in these and other museums in Italy and abroad, which looked with interest to the Louvre’s experience, that a revisitation of art history began and eventually led to significant progress being made in the fields both of scholarship and of the public display of cultural heritage. Thus the aim of this exhibition is to retrace the salient phases in these historical events but also—indeed above all—to offer a critical interpretation capable of stimulating today’s audiences to appreciate the value that our national cultural heritage acquired in those years, when it was seen for the first time as a key tool for educating citizens and at the same time as playing a linchpin role in a common European identity. This interpretation remains absolutely relevant and topical, which is why the exhibition sets out also to trigger an occasion to reflect on the cultural heritage as a primary terrain for the definition of a common European language.
Valter Curzi, Carolina Brook, and Claudio Parisi Presicce, Il Museo Universale: Dal sogno di Napoleone a Canova (Milan: Skira, 2017), 312 pages, ISBN: 978 88572 34939, £40.
Available from Oakeley Books:
Alan Humphries, Henry Oakeley, and Victor Hoffbrand, English Delftware Apothecary Jars and Their Contents: The Victor Hoffbrand Collection (London: Oakley Books, 2017), ISBN: 978 0952 146131 (hardcover), £20 / ISBN: 978 0952 146148 (softcover), £12.
This collection of apothecary jars—used for storing medicines and their ingredients—comprises 183 items, dating from the 1640s to 1745. Collected by Professor Victor Hoffbrand, FRCP, it is the largest privately owned collection of English delftware apothecary jars in the United Kingdom. The fascination with English tin-glazed or delftware apothecary jars lies in their hand-painted designs and drug labels, in the composition and therapeutic uses of the drugs they contained, in the individual apothecaries who owned them, and in the potteries that manufactured them. The beauty of the jars’ designs may have helped to convince customers of the efficacy of their contents in treating and possibly curing diseases. For those interested in ceramics or the history of plant-based medicines, this sourcebook is complete with bibliographies, biographies, and glossaries of technical terms and materia medica.
Victor Hoffbrand is a professor of haematology. His collection of nearly 200 English delftware jars is now the second largest in the world and can be seen at the Royal College of Physicians in London.
Alan Humphries is a librarian at the Thackray Medical Museum in Leeds. He is responsible for the museum’s collections of over 10,000 books and 15,000 trade catalogues. To date he has located 2,419 English apothecary jars and has made their study his special interest.
Henry Oakeley is a garden fellow at the RCP. From contemporary pharmacopoeias, he has identified the 135 different medicines that the Hoffbrand apothecary jars contained and the plants (from Acorus to Zedoary), snakes, birds, and minerals that were used to manufacture those medicines.
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Book Launch: English Delftware Apothecary Jars
Royal College of Physicians, London, Thursday, 30 March 2017, 6:30–8:30
The evening begins with refreshments and a welcome by former RCP president Sir Richard Thompson. Short talks by Victor Hoffbrand, Alan Humphries, and Henry Oakeley will be followed by questions from the audience and a book signing. Copies of the book will be available to purchase (hardback £20, softback £12). Please RSVP to email@example.com by Friday, 24 March.
From UNM Press:
Kelly Donahue-Wallace, Jerónimo Antonio Gil and the Idea of the Spanish Enlightenment (Albuquerque: University of New Mexico Press, 2017), 392 pages, ISBN: 978 08263 57342, $65.
Examining the career of a largely unstudied eighteenth-century engraver, this book establishes Jerónimo Antonio Gil, a man immersed within the complicated culture and politics of the Spanish empire, as a major figure in the history of both Spanish and Mexican art. Donahue-Wallace examines Gil as an artist, tracing his education, entry into professional life, appointment to the Mexico City mint, and foundation of the Royal Academy of the Three Noble Arts of San Carlos. She analyzes the archival and visual materials he left behind; and, most importantly, she considers the ideas, philosophies, and principles of his era, those who espoused them, and how Gil responded to them. Although frustrated by resistance from the faculty and colleagues he brought to his academy, Gil would leave a lasting influence on the Mexican art scene as local artists continued to benefit from his legacy at the Mexican academy.
Kelly Donahue-Wallace is professor of art history at the University of North Texas. She is the author of Art and Architecture of Viceregal Latin America, 1521–1821 (UNM Press).
From Anthem Press:
Mary-Ann Constantine and Nigel Leask, eds., Enlightenment Travel and British Identities: Thomas Pennant’s Tours of Scotland and Wales (London: Anthem Press, 2017), 250 pages, ISBN: 978 17830 86535, £70 / $115.
Thomas Pennant of Downing, Flintshire (1726–1798), naturalist, antiquarian and self-styled ‘Curious Traveller’, published accounts of his pioneering travels in Scotland and Wales to wide acclaim between 1769 and 1784, directly inspiring Dr Johnson, James Boswell and hundreds of subsequent tourists. A keen observer and cataloguer of plants, birds, minerals and animals, Pennant corresponded with a trans-continental network of natural scientists (Linnaeus, Simon Pallas, Joseph Banks, Gilbert White) and was similarly well-connected with leading British antiquarians (William Borlase, Francis Grose, Richard Gough). Frequently cited as witness or authority across a wide range of disciplines, Pennant’s texts have seldom been themselves the focus of critical attention. There is as yet no biography of Pennant, nor any edition of his prolific correspondence with many of the leading minds of the European Enlightenment.
The ‘Tours’ were widely read and much imitated. As annotated copies reveal, readers were far from passive in their responses to the text, and ‘local knowledge’ would occasionally be summoned to challenge or correct them. But Pennant indisputably helped bring about a richer, more complex understanding of the multiple histories and cultures of Britain at a time when ‘Britishness’ was itself a fragile and developing concept. Because the ‘Tours’ drew on a vast network of informants (often incorporating material wholesale), they are, as texts, fascinatingly multi-voiced: many of the period’s political tensions run through them.
This volume of eleven essays seeks to address the comparative neglect of Pennant’s travel writing by bringing together researchers from literary criticism, art history, Celtic studies, archaeology and natural history. Attentive to the visual as well as textual aspects of his topographical enquiries, it demonstrates how much there is to be said about the cross-currents (some pulling in quite contrary directions) in Pennant’s work. In so doing they rehabilitate a neglected aspect of the Enlightenment in relation to questions of British identity, offering a new assessment of an important chapter in the development of domestic travel writing.
Mary-Ann Constantine is Senior Research Fellow at the University of Wales Centre for Advanced Welsh and Celtic Studies. She has written widely on the Romantic period in Wales and Brittany.
Nigel Leask is Regius Chair in English Language and Literature at the University of Glasgow. He divides his time between Glasgow, the West Highlands, and Mexico.
C O N T E N T S
List of Figures and Plates
List of Abbreviations
Introduction: Thomas Pennant, Curious Traveller — Mary-Ann Constantine and Nigel Leask
1 ‘A round jump from ornithology to antiquity’: The Development of Thomas Pennant’s Tours — R. Paul Evans
2 Thomas Pennant: Some Working Practices of an Archaeological Travel-Writer in Late Eighteenth-Century Britain — C. Stephen Briggs
3 Heart of Darkness: Thomas Pennant and Roman Britain — Mary-Ann Constantine
4 Constructing Identities in the Eighteenth Century: Thomas Pennant and the Early Medieval Sculpture of Scotland and England — Jane Hawkes
5 Shaping a Heroic Life: Thomas Pennant on Owen Glyndwr — Dafydd Johnston
6 ‘The First Antiquary of his Country’: Robert Riddell’s Extra-Illustrated and Annotated Volumes of Thomas Pennant’s Tours in Scotland — Ailsa Hutton and Nigel Leask
7 ‘A galaxy of the blended lights’: The Reception of Thomas Pennant — Elizabeth Edwards
8 ‘As if created by fusion of matter after some intense heat’: Pioneering Geological Observations in Thomas Pennant’s Tours of Scotland — Tom Furniss
9 Geological Landscape as Antiquarian Ruin: Banks, Pennant and the Isle of Staffa — Allison Ksiazkiewicz
10 Pennant, Hunter, Stubbs and the Pursuit of Nature — Helen McCormack
11 Pennant’s Legacy: The Popularization of Natural History through Botanical Touring and Observation in Nineteenth-Century Wales — Caroline R. Kerkham
Short Bibliography of Thomas Pennant’s Tours in Scotland and Wales
The Clark Art Institute in Williamstown, Massachusetts opened the Henry Morris and Elizabeth H. Burrows Gallery on Sunday, February 19. The American decorative arts gallery—housed in 3,275 square feet of newly renovated space in the Manton Research Center—contains the Clark’s important collection of early American paintings and furniture in addition to its exceptional Burrows collection of American silver. Designed by Selldorf Architects, the gallery includes new exhibition cases and an improved layout that enhance the experience of viewing the Clark’s important collection of colonial to early-nineteenth-century American art.
The gallery features more than 300 objects, many which have been off view since 2012 and some of which have never been exhibited. Highlights of the display include an iconic portrait of George Washington (1796–1803) by Gilbert Stuart (1755–1828); a beautifully scaled sugar bowl and cover (c. 1795) by Paul Revere, Jr. (1735–1818); and a graceful Sheraton-style secretary (c. 1800) attributed to Nehemiah Adams (1769–1840). The gallery also includes a study center containing additional displays of silver, a computer station, and a small library of books on American silver and furniture, allowing scholars and visitors to further their study of the works on view.
“The Clark’s collection of American decorative arts has been assembled largely through generous donations of important collections,” said Olivier Meslay, Felda and Dena Hardymon Director of the Clark. “We are so pleased to be able to honor the Burrowses, whose keen eyes and collecting acumen built an exemplary collection, and are indebted to them for their generosity in making such an important gift to the Clark. This new gallery, named in their honor, allows us to provide well-deserved prominence to this lesser-known facet of our collection.”
Very little of the Clark’s early American collections stems from the Institute’s founders. It has been developed over time through gifts, most significantly the 2003 Burrows bequest of more than 272 pieces of American silver. In 2001 thirty pieces of colonial and Federal furniture and small decorative arts assembled by distinguished collector George Cluett were received through a bequest from his daughter Florence Cluett Chambers. In 2010 and 2013, Phoebe Prime Swain donated twenty-eight pieces of Chinese export porcelain from the George Washington Memorial Service, each decorated with a memorial to the first president. While several museums own one or two pieces from this noted service, the Clark now has the largest holding of any public institution, featuring diverse forms such as platters, bowls, sauceboats, and custard cups.
“With the leadership of Selldorf Architects, we have converted our former temporary exhibition space into a suite of permanent collection galleries,” said Kathleen Morris, Sylvia and Leonard Marx Director of Exhibitions and Curator of Decorative Arts. “It is exciting to see these objects, many of which were formerly in storage due to lack of space, assembled in such a warm and welcoming environment.”
The reinstallation project included extensive object research conducted by Morris and Curatorial Research Associate Alexis Goodin. This research revealed important information about the collections. For example, a looking glass purchased by Cluett, thought to be a rare example from New York, was actually made in Bremen, Germany. Most likely made for the American market, the looking glass was the subject of an intensive research and conservation project in 2015.
The items housed in the Burrows Gallery reflect how early American artists and craftsman created a new artistic identity for the fledgling nation through the creation of beautiful, but functional, objects. Their designs demonstrate a knowledge and appreciation of luxury objects being made at the time in Europe, especially in England, but also show a tendency toward a greater simplicity in form and decoration. The Burrows collection provides a rich overview of silver production in the colonial and Federal periods. The collection is installed with three themes in mind: historic connections; the development of distinct styles in the major centers of silver production (Boston, New York, and Philadelphia); and social uses of silver for serving tea and coffee, drinking alcoholic beverages, dining, presentation, and personal use. Major silversmiths such as Paul Revere, Jr., Myer Myers (1723–1795), and the Richardson family of Philadelphia are well represented, as are many silversmiths working in smaller cities. The installation features nearly the entire Burrows collection.
The Cluett Chambers collection of furniture and decorative arts includes fine examples of case furniture, looking glasses, and clocks. Notable pieces include an imposing desk and bookcase (c. 1770) made in Massachusetts with exuberantly carved ‘hairy-paw’ feet and some fifty-two interior drawers and pigeonhole dividers. An elegant Sheraton-style secretary (1800–1810) attributed to Nehemiah Adams represents the most expensive type of furniture sold in Salem, Massachusetts furniture shops of the time, designed to emphasize the wealth, taste, and erudition of its owner. The Cluett Chambers collection also reveals that imported goods continued to have a place even as the furniture industry in America developed. The collection features, for example, looking glasses made for the American market in England and Germany, a gilded bronze clock made in Paris celebrating George Washington, and porcelain and silver imported from China.
The installation is enriched by loans from four private collections. Among these works is the portrait of Catherine Couenhoven Clark (1819–20) of Troy, New York by Ammi Phillips (1788–1865), which complements the Clark’s portrait of Harriet Campbell (c. 1815). The painting is on loan from Nathan Kernan (Couenhoven’s great-great-grandson) and Thomas Whitridge. Another loan object, an elegant pie-crust tea table, stands near a large display of silver made for serving tea and coffee. Additional loans include a mid-eighteenth-century Connecticut side chair; a high chest of drawers (c. 1780–85) attributed to Eliphalet Chapin (1741–1807) and also from Connecticut; another high chest of drawers from Philadelphia of the late 1750s with carving attributed to Nicholas Bernard (d. 1789); and a pair of c. 1789 portraits by Christian Gullager (1759–1826), depicting Major Benjamin Shaw and Mehitable Shaw.
The installation of the Henry Morris and Elizabeth H. Burrows Gallery is supported by a grant from the Henry Luce Foundation.
Constructed between 1848 and 1884—precisely when Mount Vernon was being preserved as a crucial part of America’s history—the obelisk at 555 feet high remains the tallest stone structure in the world. From Bloomsbury:
John Steele Gordon, Washington’s Monument and the Fascinating History of the Obelisk (New York: Bloomsbury, 2016), 224 pages, ISBN: 978 1620 406502, $27.
Conceived soon after the American Revolution ended, the great monument to George Washington was not finally completed until almost a century later; the great obelisk was finished in 1884, and remains the tallest stone structure in the world at 555 feet. The story behind its construction is a largely untold and intriguing piece of American history, which acclaimed historian John Steele Gordon relates with verve, connecting it to the colorful saga of the ancient obelisks of Egypt.
Nobody knows how many obelisks were crafted in ancient Egypt, or even exactly how they were created and erected since they are made out of hard granite and few known tools of the time were strong enough to work granite. Generally placed in pairs at the entrances to temples, they have in modern times been ingeniously transported around the world to Istanbul, Paris, London, New York, and many other locations. Their stories illuminate that of the Washington Monument, once again open to the public following earthquake damage, and offer a new appreciation for perhaps the most iconic memorial in the country.
John Steele Gordon is one of America’s leading historians, especially in the realm of business and financial history. He is the author of The Scarlet Woman of Wall Street, Hamilton’s Blessing, A Thread Across the Ocean, An Empire of Wealth, and The Great Game. He has written for Forbes, Worth, The New York Times, and The Washington Post, and his columns appear regularly in The Wall Street Journal. He lives in North Salem, New York.
Kaiserin Maria Theresia (1717–1780): Repräsentation und visuelle Kommunikation
Österreichische Akademie der Wissenschaften / Kunsthistorisches Museum, Vienna, 29–31 March 2017
Registration due by 28 March 2017
Am 13. Mai 2017 jährt sich die Geburt von Maria Theresia zum 300. Mal. Als “Österreichs starke Frau” prägen ihre Person und ihre Bildnisse das kulturelle und politische Erbe der Habsburgermonarchie bis heute. Die mit ihr in Verbindung stehenden Mythen sind nicht nur historische Nachwehen eines vermeintlichen “österreichischen Heldenzeitalters”, sondern auch Produkte einer erfolgreichen Inszenierung ihrer Herrschaft, deren Mechanismen und Strategien im laufenden FWF-Forschungsprojekt “Herrscherrepräsentation und Geschichtskultur unter Maria Theresia (1740–1780)” an der Österreichischen Akademie der Wissenschaften (ÖAW) entschlüsselt werden. Das Projekt, das gemeinsam vom Institut für kunst- und musikhistorische Forschungen der ÖAW (Abteilung Kunstgeschichte) und dem Münzkabinett des Kunsthistorischen Museums Wien durchgeführt wird, veranstaltet anlässlich dieses Jubiläumsjahres vom 29. bis zum 31. März 2017 eine internationale und interdisziplinäre Tagung, die sich der Selbst- und Fremdinszenierung Maria Theresias aus kunsthistorischer, numismatischer und historischer Perspektive nähert.
Im Fokus steht die Frage nach einer spezifischen Repräsentationspraxis Maria Theresias, die sich aufgrund ihres weiblichen Geschlechts und der dynastischen und politischen Notwendigkeiten sowie unter dem ideengeschichtlichen Einfluss der Aufklärung konstituierte. Dabei wird Herrschafts- und Herrscherrepräsentation als Kommunikationsprozess verstanden, in dem Sender und Empfänger in einem ständigen Dialog stehen. Die Repräsentation der Monarchin und der Dynastie erforderte Medien, Symbole und Narrative, um Herrschaft konstituieren und stabilisieren zu können. Inhaltliche Schwerpunkte werden die unterschiedlichen Kunstgattungen (wie etwa Gemälde, Medaillen und Kupferstiche), Rangfragen, Zeremoniell sowie die Ausprägungen symbolischer Politik bilden. Durch Einbeziehung internationaler Fallbeispiele (Russland, Preußen und Frankreich) soll eine Diskussion zur monarchischen Repräsentation im Europa der Aufklärung intensiviert werden.
Kontakt: Dr. Sandra Hertel, Sandra.Hertel@oeaw.ac.at
M I T T W O C H , 2 9 M Ä R Z 2 0 1 7
14.00 Begrüßung: Michael Alram – Direktor des Münzkabinetts (KHM) und Vizepräsident der Österreichischen Akademie der Wissenschaften Einführung: Werner Telesko – Direktor des Instituts für kunst- und musikhistorische Forschungen der ÖAW
14.30 Panel: Inszenierung von Herrschaft und rituelle Politik
• Thomas Lau (Fribourg), Schwieriges Erbe – der Herrschaftsantritt Maria Theresias
• Barbara Stollberg-Rilinger (Münster, Westfalen), ‘Zugänglich für den Geringsten der Untertanen’. Von der Logik des Mythos
• Katrin Keller (Wien), Kaiserin und Reich. Warum Maria Theresia 1745 nicht gekrönt wurde
• Marina Beck (Passau), Das Hofzeremoniell als Medium der Herrschaftsinszenierung Maria Theresias
• Wolfgang Schmale (Wien), Maria Theresia, das 18. Jahrhundert und Europa
D O N N E R S T A G , 3 0 M Ä R Z 2 0 1 7
9.00 Panel: ‘Die Erbin so vieler Länder und Reiche’ – Das Kaiserpaar und seine Herrschaften
• Sandra Hertel (Wien), Ein einzigartiges Erzhaus. Das Geschichtsbewusstsein Maria Theresias am
• Renate Zedinger (Wien), Kongeniale Partner? Maria Theresia und Franz Stephan von Lothringen im Spiegel zeitgenössischer Quellen
• Klaas Van Gelder (Gent), Die Herrscherin auf der städtischen Bühne. Städtisches Zeremoniell und die Repräsentation Maria Theresias in den Österreichischen Niederlanden
• Szabolcs Serfőző (Budapest), Bilder und Konzepte des ‘Regnum Hungaricum’ zur Regierungszeit Maria Theresias
14.00 Panel: ‘Je öfter Du dich zeigst, je mehr gewinnt dein Ruhm’. – Akteure und Adressaten der maria-theresianischen Repräsentation
• Michaela Völkel (Potsdam), ‘Sehen wollte und sollte man alles’. Kupferstiche als Form medialer repräsentativer Öffentlichkeit im Zeitalter Maria Theresias
• Marian Füssel (Göttingen), ‘Theresia fiel nieder und tanzt seitdem nicht wieder’. Die ‘Königin von Ungarn’ in der preußischen Propaganda während der Schlesischen Kriege
• Stefanie Linsboth (Wien), Herrscherin und Heilige? Religiöse Visualisierungen Maria Theresias im Spannungsfeld der Akteure
• Anna Fabiankowitsch (Wien), ‘zur sache immerwehrenden gedächtnus’. Direktiven zur Produktion von Medaillen unter Maria Theresia
F R E I T A G , 3 1 M Ä R Z 2 0 1 7
9:00 Panel: Herrschaft auf Augenhöhe? Repräsentation im europäischen Vergleich
• Michael Schippan (Wolfenbüttel), Maria Theresia und Katharina die Große. Die Herrscherrepräsentation zweier europäischer Regentinnen im Vergleich
• Michael Yonan (Columbia, Missouri), Picturing Empress Maria Theresa in Eighteenth-Century Denmark, Sweden, and Russia
• Heinz Winter (Wien), Die Medaillen Maria Theresias im europäischen Vergleich
• Christina Kuhli (Hamburg), ‘La gloire de Louis XIV et XV’. Medien und Inszenierungen von Herrschaft zwischen Absolutismus und Ancien Régime
• Werner Telesko (Wien), Die ‘aufgeführte’ Kaiserin. Maria Theresia und die habsburgische Herrscherrepräsentation
13.15 Abschluss und Ergebnissicherung