Enfilade

Online Lecture | Boettger’s Invention of Red Jasper Porcelain

Posted in lectures (to attend), online learning by Editor on May 27, 2022

From The French Porcelain Society:

Angela Wallwitz | Ars Naturalis-Ars Artificialis: Boettger’s Invention of Red Jasper Porcelain in the Wake of the Early Enlightenment
FPS Living Room Lecture, Online, Sunday, 29 May 2022, 18.00 (BST)

Angela Wallwitz draws on her expertise in cataloguing ceramics as an art dealer, combined with her research skills as an independent scholar specialised in Meissen ware. In this lecture, she will delve into the subject of Plaue stoneware. We hope you can join us!

FPS members will receive an email invitation with instructions on how to join the online lecture. Please contact us for more details on FPSenquiries@gmail.com.

To achieve the artificial manufacture of gold, silver, and precious stone was the aim of man to re-create God’s creations since Renaissance times. The invention of Boettger stoneware, red jasper porcelain, and white porcelain played a significant historic role in this context. Ernst Zimmermann was the first to understand this after having spent years of research in the archives in Dresden and Meissen before they suffered losses and destruction during both world wars. However, his publication of 1908, Erfindung und Frühzeit des Meissner Porzellans, with 271 pages of small print and 721 invaluable footnotes, remains a hidden treasure for all non-German speakers. Researching a unique red jasper porcelain garniture of five apothecary vases, Angela Wallwitz discovered Ernst Zimmermann’s fascinating interpretations of the facts and the difference between stoneware made in Dresden from those manufactured in Meissen and the identity of a glassmaker, Boettger engraver and co-founder of the Prussian rival manufactory in Plaue. The garniture, published as an early diplomatic gift, was most probably Boettger’s gift to Augustus the Strong for his famous Royal apothecary in the Residenz of Dresden. This lecture, intends to serve as the guideline to illustrate the role of ceramics as ars naturalis and ars artificialis.

 

Study Trip | Bavaria: Grandeur in Southern Germany

Posted in graduate students, on site, opportunities by Editor on May 27, 2022

The trip is fully booked, but The Decorative Arts Trust is still accepting applications for one scholarship student:

Bavaria: Grandeur in Southern Germany Study Trip
The Decorative Arts Trust, 7–15 October 2022

Scholarship applications due by 30 June 2022

The Decorative Arts Trust is offering a Helen Scott Reed Study Trip Abroad Scholarship for an emerging professional or a graduate student to attend our Bavaria: Grandeur in Southern Germany Study Trip, 7–15 October 2022. Applicants are encouraged to send a letter of interest, a curriculum vitae (CV), and a reference letter to thetrust@decorativeartstrust.org by 30 June 2022. Preference will be given to applicants whose current research is related to the sites and objects we will experience in southern Germany. Preference will be given to those focusing on the decorative arts, but students, curators, and historians studying architecture, fine art, and landscape are also welcome to apply. See the trip itinerary here.

Conference | The Jesuits and the Arts

Posted in conferences (to attend), online learning by Editor on May 27, 2022

From UDIMA:

Los jesuitas y las artes: coadjutores, padres, artífices
Online and in-person, Universidad a distancia de Madrid, 2–3 June 2022

Coadjutores: artistas e ideas migrantes en la globalización ibérica estudia las redes de circulación de los artistas de la Compañía de Jesús durante la Edad Moderna, incluyendo tanto a los sacerdotes como a los miembros legos de la Orden o coadjutores. La obra de estos artistas (pintores, escultores y grabadores) y la recepción de las ideas que con ellos se extendieron a través de la docencia, la tratadística y la cultura visual, revela el alcance y complejidad de los movimientos migratorios que protagonizaron y va más allá de la mera difusión desde la Europa católica hasta los dominios hispano-portugueses a orillas del Atlántico, el Índico y el Pacífico. Frente al modelo centro-periferia, el proyecto analiza un amplio número de estudios de caso que permiten evidenciar cómo se llevaron a cabo los procesos de transculturación, negociación y mestizaje que dieron lugar a escuelas artísticas relevantes como las establecidas en Cuzco, Quito, Calera de Tango (Chile), Salvador de Bahía, Beijing, Macao o Nagasaki.

En esta primera actividad del proyecto CoMArtis, consistente en un Seminario Internacional titulado «Los jesuitas y las artes: coadjutores, padres, artífices» se presentan algunos de los rasgos característicos de la producción artística de la Compañía de Jesús. Exploraremos la identidad de los hermanos coadjutores y de los sacerdotes jesuitas dentro de la estructura de la Orden y su consideración, en tanto artífices, a la luz de la prosopografía; presentaremos una primera valoración de su labor como educadores de artistas y científicos y de su agencia en el sistema de las artes europeo y colonial; y avanzaremos su grado de intervención en las dinámicas de elaboración, difusión y consumo de cultura material. Este evento está dirigido a estudiantes universitarios, académicos y público culto interesado en la Compañía de Jesús y en el arte de la Edad Moderna.

J U E V E S ,  2  J U N I O  2 0 2 2

10.00  Presentación
JUAN LUIS GONZÁLEZ GARCÍA, UAM / SARA FUENTES LÁZARO, UDIMA

10.15  SESIÓN 1
Modera: SARA FUENTES LÁZARO, UDIMA
• Los “coadjutores temporales” de la misión de la Compañía de Jesús, WENCESLAO SOTO ARTUÑEDO, ARSI
• Prosopografía: la construcción del relato sobre los coadjutores dentro y fuera de la Compañía, SARA FUENTES LÁZARO, UDIMA
• I collegi dei Gesuiti e la formazione dei pittori di architettura, FAUZIA FARNETI, Università degli Studi di Firenze

12.15  Pausa

12.45  SESIÓN 2
Modera: ESCARDIEL GONZÁLEZ ESTÉVEZ, Universidad de Sevilla
• Los biombos namban: jesuitas, arte y educación en Japón, ESTHER JIMÉNEZ PABLO, Universidad Complutense de Madrid
Procuradores Generales de las Indias Orientales: Francisco Sarmento (1637–1706) y Francisco da Fonseca (1668–1738). Dos jesuitas al servicio del arte, MARIA JOÃO PEREIRA COUTINHO, Universidad de Nova de Lisboa

14.15  Pausa

16.00  SESIÓN 3
Modera: LUISA ELENA ALCALÁ, UAM
• Sacerdotes y hermanos coadjutores jesuitas en las fronteras ibéricas: agentes de circulación y consumo de productos en Macao y Paraguay (ss. XVII–XVIII), PEDRO OMAR SVRIZ WUCHERER, Universidad de Sevilla
• “Que sea pintor para hacer los retablos de las Iglesias”. Actividad artística de los coadjutores jesuitas en la provincia de Paraguay, CORINNA GRAMATKE, Investigadora Independiente, Düsseldorf

V I E R N E S ,  3  J U N I O  2 0 2 2

9:45  Desayuno de bienvenida para todos los asistentes

10:20  Apertura de la sesión de trabajo a cargo de la Decana de la Facultad de Ciencias Sociales y Humanidades ESTHER PASCUA ECHEGARAY, UDIMA

10.30  SESIÓN 4
Modera: JUAN LUIS GONZÁLEZ GARCÍA, UAM
• “La devoción en la mirada impulsa el fervor del corazón”: la pintura sagrada en la literatura artística de los jesuitas (ss. XVI–XVII), MACARENA MORALEJO ORTEGA, Universidad Complutense de Madrid
• El resplandor de san Ignacio de Loyola y el simbolismo de la luz en la Compañía de Jesús. De la génesis de su iconografía a los programas visuales en la Roma del siglo XVII, ENEKO ORTEGA MENTXAKA, Universidad del País Vasco / Euskal Herriko Unibertsitatea
• La identidad devocional de raíz italiana en la Compañía: imágenes desde Roma para la globalización ibérica, ESCARDIEL GONZÁLEZ ESTÉVEZ, Universidad de Sevilla

12.30  Presentación de la monografía Arte y localización de un culto global. La Virgen de Loreto en México (Madrid: Abada, 2022), LUISA ELENA ALCALÁ, UAM

13.00  Conclusiones y cierre, JUAN LUIS GONZÁLEZ GARCÍA, UAM

13.30  Almuerzo para todos los asistentes

Exhibition | Fashioning Masculinities: The Art of Menswear

Posted in books, catalogues, exhibitions by Editor on May 26, 2022

Press release for the exhibition now on view at the V&A:

Fashioning Masculinities: The Art of Menswear
Victoria & Albert Museum, London, 19 March — 6 November 2022

Curated by Claire Wilcox and Rosalind McKever

Fashioning Masculinities: The Art of Menswear is the first major V&A exhibition to celebrate the power, artistry, and diversity of masculine attire and appearance. The show traces how menswear has been fashioned and refashioned over the centuries, and how designers, tailors, and artists—together with their clients and sitters—have constructed and performed masculinity, and unpicked it at the seams.

Fashioning Masculinities will present around 100 looks and 100 artworks, displayed thematically across three galleries. Contemporary looks by legendary designers and rising stars will be displayed alongside historical treasures from the V&A’s collections and landmark loans: classical sculptures, Renaissance paintings, iconic photographs, and powerful film and performance. From looks by Harris Reed, Gucci, Grace Wales Bonner and Raf Simons, to paintings by Sofonisba Anguissola and Joshua Reynolds, contemporary artworks by Robert Longo and Omar Victor Diop, to an extract from an all-male dance performance by Matthew Bourne’s New Adventures, the exhibition will showcase the variety of possible masculinities across the centuries from the Renaissance to the global contemporary. Outfits worn by familiar faces will be interspersed throughout, from Harry Styles, Billy Porter and Sam Smith, to David Bowie and Marlene Dietrich. Innovative creations and diverse representations will highlight and celebrate the multiplicities of masculine sartorial self-expression, dressing beyond the binary.

Claire Wilcox and Rosalind McKever, co-curators of Fashioning Masculinities: The Art of Menswear, said: “Masculine fashion is enjoying a period of unprecedented creativity. It has long been a powerful mechanism for encouraging conformity or expressing individuality. Rather than a linear or definitive history, this is a journey across time and gender. The exhibition will bring together historical and contemporary looks with art that reveals how masculinity has been performed. This will be a celebration of the masculine wardrobe, and everyone is invited to join in.”

Fashioning Masculinities opens with a Craig Green SS2021 ensemble of a deconstructed suit, alluding to the construction and deconstruction of both the masculine body and conventions of masculinity, a central theme throughout the show. The three main galleries—’Undressed’, ‘Overdressed’, and ‘Redressed’—follow, with the exhibition design by JA Projects. ‘Undressed’ explores the male body and underwear in a utopian dreamscape, whilst ‘Overdressed’ takes visitors into the elite masculine wardrobe in a sumptuous, immersive space with courtly grandeur, featuring oversized silhouettes, abundant colour, and lavish materials. The third section, ‘Redressed’, explores the construction and dissolution of the suit, with the exhibition design conveying the idea of an urban reawakening.

‘Undressed’ explores the male body and underwear, looking at how classical European ideals of masculinity have been perpetuated and challenged over the centuries. Plaster casts of the Apollo Belvedere and the Farnese Hermes—which highlight a tradition of depicting idealised male bodies draped in textiles that reveal more than they conceal—are juxtaposed with modern and contemporary representations of the body, from prints and photography by David Hockney, Lionel Wendt, Zanele Muholi, and Isaac Julien, to a Calvin Klein advertisement.

Also on display is a film of Matthew Bourne’s Spitfire (1988) performed by New Adventures dancers, which takes place in the world of men’s underwear advertising and mail order catalogue photography, whilst contemporary ensembles highlight how designers are appropriating sheer fabrics to create ensembles, alluding to a new honesty about menswear. Fashion’s fascination with the body has seen it support changing masculine ideals from evoking classical drapery, to sculpting flesh—as seen in garments by Jean-Paul Gaultier and A- COLD-WALL*—to celebrating body diversity. This is exemplified in the exhibition by excerpts of Arrested Movement by Anthony Patrick Manieri, an inclusive portrait series and awareness initiative celebrating and promoting positive body image. ‘Undressed’ ends with Auguste Rodin’s Age of Bronze sculpture, and Tiresias, a performance by Cassils, in which the artist melts a neoclassical torso carved in ice with their body heat.


Installation view, V&A.

◊   ◊   ◊   ◊   ◊

The second gallery, ‘Overdressed’, explores the elite masculine wardrobe, epitomised by oversized silhouettes, lavish materials like silks and velvet in daring colours, and symbolic patterns to express status, wealth, and individuality. Drawing synergies across the centuries, the section will feature armoured breastplates to silky smoking suits, sweeping capes to ribbons and lace, including Grinling Gibbons’ wooden carving imitating a Venetian needlepoint lace cravat, displayed alongside real lace, and a Dolce & Gabbana cape juxtaposed with a Sofonisba Anguissola painting. The section also includes grooming, with makeup and shaving equipment.

Historically, menswear was full of pattern and colour, and a section on scarlet and pink highlights the return of this masculine colour to popularity. Aristocratic sitters in oil paintings by Joshua Reynolds and Jean-Baptiste Perronneau are displayed alongside pink ensembles by Harris Reed and Grace Wales Bonner among others. Nearby, a custom Randi Rahm ensemble—a suit and full-length embroidered cloak with a hot pink lining—worn by Billy Porter at the Golden Globes in 2019, complement the selection. Internationally traded textiles, imported silks, and floral patterns reflect their wearers relationship to the world. Through the lens of contemporary fashion, from Kim Jones for Fendi and Alessandro Michele for Gucci to Rahemur Rahman, Ahluwalia and Orange Culture, ‘Overdressed’ shows how historic ideas begin to shift, with a full rainbow of masculine outfits on display.

Left: Harris Reed Fluid Romanticism 001 (Courtesy Harris Reed; photo by Giovanni Corabi). Right: Joshua Reynolds, Portrait of Charles Coote, 1st Earl of Bellamont (1738–1800), in Robes of the Order of the Bath, 1773–74 (Dublin: National Gallery of Ireland).

◊   ◊   ◊   ◊   ◊

The third gallery, ‘Redressed’, pieces together the modern masculine uniform of the suit, from Beau Brummell to the contemporary runway. ‘Redressed’ opens with a reflection on English country tailoring and the origins of the suit—with historic garments from the V&A collection shown alongside contemporary reimaginings, including a kilt by Nicholas Daley—before exploring how military attire influenced civilian dress.

In the twentieth century an abundance of mass-produced suits bred creativity as Mods, Teddy Boys, and all manner of subcultures looked to define their styles through tailoring, explored in the exhibition through garments and photography. A section on leather shows how designers like Tom Ford for Gucci and Donatella Versace took their interest in leather to a new place, whilst a series of frock coats from the mid-nineteenth century to the present day include examples by Prada, Alexander McQueen, and Raf Simons. ‘Redressed’ also includes paintings as well as extensive photography showing changing styles and attitudes, from Oscar Wilde, Claude Cahun, and Cecil Beaton to The Beatles and Sam Smith.

Robert Longo’s 1981 drawing from the series Men in the Cities introduces the final part of the section about the dissolving of the suit. A new wave of fashion designers from Rick Owens to JW Anderson to Comme des Garçons to Lesiba Mabitsela are slashing away at conventions, both for menswear and masculinity.

Claire Wilcox and Rosalind McKever, eds., Fashioning Masculinities: The Art of Menswear (London: V&A Publishing, 2022), 272 pages, ISBN: ‎978-1838510114, $60.

Catalogue cover image: Jean-Baptiste Belley, by Omar Victor Diop, 2014, pigment inkjet print on Harman by Hahnemühle paper (Courtesy MAGNIN-A Gallery, Paris © Omar Victor Diop).

Call for Papers | Fashioning Masculinities: The Art of Menswear

Posted in Calls for Papers by Editor on May 26, 2022

From ArtHist.net:

Fashioning Masculinities: The Art of Menswear
Victoria and Albert Museum, London, 13–14 October 2022

Proposals due by 19 June 2022

The exhibition Fashioning Masculinities: The Art of Menswear (V&A, 19 March — 6 November 2022) serves as a catalyst for a two-day symposium exploring how masculinity has been fashioned and refashioned from Renaissance Europe to the global contemporary.

The symposium—organised by the V&A Research Institute in collaboration with the Centre for Fashion Curation and the Masculinities Research Hub at London College of Fashion, University of the Arts London— invites scholars, curators, and practitioners from the fields of fashion, art history, performance, material culture, and gender studies to propose papers that respond to the themes and key concepts addressed in the exhibition. We welcome proposals from researchers at all stages of their career and practitioners engaging with the themes expressed in the call. Proposals comprising a 250-word abstract and 150-word biography should be sent to m.franceschini@vam.ac.uk by 19th June 2022.

Online Conference | Periodization of the History of Art

Posted in conferences (to attend), online learning, resources by Editor on May 25, 2022

From ArtHist.net:

Le parole della periodizzazione della storia dell’arte: Epoche, stili, maniere nei testi di guidistica e storiografia del Seicento e del Settecento
Online / Palazzo Barberini, Roma, 25–27 May 2022

Le giornate di studio Le parole della periodizzazione della storia dell’arte: epoche, stili, maniere nei testi di guidistica e storiografia del Seicento e del Settecento si inseriscono all’interno delle attività di ricerca sulla storiografia artistica e sul lessico dell’arte che da molti anni sono condotte presso il Dipartimento di studi letterari, filosofici e di storia dell’arte dell’Università degli studi di Roma “Tor Vergata” sotto il coordinamento del prof. Carmelo Occhipinti. Questi incontri sono incentrati sull’esame di una o più parole, attestate negli scritti d’arte tra XVII e XVIII secolo, con particolare riguardo alla focalizzazione delle epoche della storia della pittura, scultura e architettura, ovvero alla percezione delle maniere e delle rispettive fasi di sviluppo, e alla caratterizzazione stilistica delle opere ad essa riferite.

Alle giornate di studio seguirà una tavola rotonda conclusiva e per l’occasione sarà presentato il progetto «Titi Online», edizione digitale delle guide romane di Filippo Titi (1639–1702) incluse nello scaffale elettronico di Horti Hesperidum, unitamente ad altri testi tra i quali si segnalano quelli di Francesco Scannelli, Luigi Scaramuccia, Giovan Battista Passeri e Lione Pascoli.

L’accesso è regolamentato nel rispetto delle norme di prevenzione del contagio disposte dalla legge. Per accedere è necessario indossare la mascherina. Per partecipare via TEAMS: https://bit.ly/3vKiQBe

2 5  M A G G I O  2 0 2 2

9.30  Carmelo Occhipinti (Università degli Studi di Roma Tor Vergata’), Saluti e introduzione alla giornata di studi

9.40  Damiano Delle Fave (Università degli Studi di Roma ‛Tor Vergata’), Presentazione

9.50  Carmelo Occhipinti (Università degli Studi di Roma Tor Vergata’), Periodizzazione e prospettive storiografiche tra Sei e Settecento

10.10  Session 1
Chair Maria Giulia Aurigemma
• Paolo Pastres (Storico dell’arte), Scuola pittorica: un concetto ambiguo
• Chiara Dominioni (Università degli studi di ‛Roma Tre’), Il lessico d’arte nel Discorso sopra la pittura (1776) di Giovanni Battista Giovio
• Daniela Caracciolo (Università degli Studi del Salento), «Le varie maniere de’ Pittori, o antichi, o moderni». Concetti di storia, origine e progresso nelle Vite di De Dominici
• Ilaria Serati (Fondazione 1563 per l’Arte e la Cultura della Compagnia di San Paolo), La periodizzazione storiografica delle Vite de’ pittori, scultori e architetti bergamaschi (1793) di Francesco Maria Tassi: cause metodologiche di un’assenza
• Francesca Daniele (Università degli Studi di Padova), Il concetto di “patina” pittorica nella letteratura artistica veneziana del Seicento

12.10  Pausa pranzo

13.10  Session 2
Chair Cristiano Giometti
• Mariaceleste Di Meo (Università degli Studi di Udine), Il concetto di “ordine” per Baldinucci: cronologia e storiografia nei primitivi delle Notizie
• Francesco Freddolini (Università degli Studi di Roma ‘La Sapienza’), Filippo Baldinucci, Gian Lorenzo Bernini e la “tenerezza” del marmo
• Chiara Carpentieri (Università degli Studi di Firenze), Il concetto di “pittoresque”: sfumature e usi nella letteratura artistica francese del XVIII secolo
• Violeta Kovalenko (Università degli Studi di Roma ‘La Sapienza’), “Vigor piccante da fissar lo sguardo”. Riflessioni sulla ricezione del rilievo in pittura nel Settecento

14.50  Coffee Break

15.10  Session 3
Chair Carmelo Occhipinti
• Eliana Monaca (Università degli Studi di Roma ‛Tor Vergata’), La nozione di “riforma” nella letteratura artistica di Sei e Settecento. Alcuni esempi a partire dal Microcosmo della pittura di Francesco Scannelli
• Maria Giulia Cervelli (Università degli Studi di Roma ‛Tor Vergata’), Un «mirabile giardino fiorito»: le epoche della storia dell’arte ne Le Finezze de’ pennelli italiani di Luigi Scaramuccia
• Marina Cafà (Università degli Studi di Roma ‛Tor Vergata’), La nozione del “ben inteso misto” nelle Vite di Lione Pascoli, con uno sguardo al passato
• Emanuela Marino (Università degli Studi di Roma ‛Tor Vergata’), Attestazioni e uso dei termini “barbaro” e “gotico” nella letteratura artistica di Sei e Settecento. Alcuni esempi
• Lucrezia Lucchetti (Università degli Studi di Roma ‛Tor Vergata’), Il “Gotico” nella storiografia inglese del Settecento tra Hogarth, Reynolds e Ramsay

2 6  M A G G I O  2 0 2 2

14.10  Session 4
Chair Francesco Grisolia
• Floriana Conte (Università degli Studi di Foggia), “Età”: la storia dell’arte in volgare coincide con la vita delle opere
• Marco Massoni (Scuola Normale Superiore di Pisa), Il lessico artistico nelle fonti giuridico-agiografiche: il caso delle Positiones dei Servi di Maria
• Nadia Raimo (Università degli Studi di Genova), L’evoluzione del linguaggio dell’arte nel patrimonio genovese: analisi delle guide e diari di viaggio
• Luca Pezzuto (Università degli Studi dell’Aquila), Stefania Ventra (Università ‘Ca’ Foscari’ di Venezia), Fachinademie e capoccioni «innalzati con non più intese iperboli alle stelle». La Roma di primo Settecento negli scritti polemici di Lodovico Antonio David pittore ticinese

15.50  Coffee Break

16.10  Session 5
Chair Claudio Castelletti
• Paolo Bertoncini Sabatini (Università degli Studi di Pisa), Il “carattere” dell’architettura secondo Quatremère de Quincy: il “più, il meno e il medio” dell’ordre nell’Encyclopédie Méthodique Architecture (1788)
• Elisa Bastianello (Bibliotheca Hertziana), «Della Basilica di Vicenza Opera moderna non inferiore all’antiche romane»: Vicenza romana e palladiana negli scritti di Ortensio Zago (1654–1737)
• Elena Granuzzo (Università ‘Ca’ Foscari’ di Venezia), “Gusto”, “manierismo” e “natura” nella periodizzazione della storia dell’architettura: Le Vite di Tommaso Temanza

2 7  M A G G I O  2 0 2 2

15.00  Tavola rotonda aperta al pubblico
Palazzo Barberini, Sala conferenze

Introduce
• Carmelo Occhipinti (Università degli Studi di Roma ‛Tor Vergata’)

Intervengono
• Damiano Delle Fave (Università degli Studi di Roma ‛Tor Vergata’)
• Eliana Monaca (Università degli Studi di Roma ‛Tor Vergata’)
• Maria Giulia Cervelli (Università degli Studi di Roma ‛Tor Vergata’)
• Stefano Pierguidi (Università degli Studi di Roma ‘La Sapienza’)
• Raffaella Morselli (Università degli Studi di Teramo)
• Maria Giulia Aurigemma (Università degli Studi ‛Gabriele d’Annunzio’ di Chieti-Pescara)
• Alessandro Zuccari (Università degli Studi di Roma ‘La Sapienza’)
• Marzia Faietti (Kunsthistorisches Institut in Florenz – Max-Planck-Institut)

Convegno promosso da
• Horti Hesperidum
• Università degli Studi di Roma ‛Tor Vergata’
• Gallerie Nazionali Barberini Corsini
• MANT (Nuove tecnologie per la comunicazione, il cultural management e la didattica della storia dell’arte: per una fruizione immersiva e multisensoriale dei Beni Culturali)

Curatela scientifica
• Damiano Delle Fave (Università degli Studi di Roma ‛Tor Vergata’)

Comitato scientifico
• Carmelo Occhipinti (Università degli Studi di Roma Tor Vergata’)
• Barbara Agosti (Università degli Studi di Roma Tor Vergata’)
• Eliana Carrara (Università degli Studi di Genova)
• Alessandro Zuccari (Università degli Studi di Roma ‘La Sapienza’)
• Marzia Faietti (Kunsthistorisches Institut in Florenz – Max-Planck-Institut)

Conference | Networks and Practices of Connoisseurship

Posted in conferences (to attend) by Editor on May 22, 2022

From ArtHist.net:

Networks and Practices of Connoisseurship in the Global 18th Century
Warburg-Haus, Hamburg, 2–4 June 2022

Organized by Valérie Kobi and Kristel Smentek

A collaboration between faculty from the Art History Department at Universität Hamburg and the History, Theory, and Criticism Program of the Department of Architecture at Massachusetts Institute of Technology, Cambridge, MA

T H U R S D A Y ,  2  J U N E  2 0 2 2

3.00  Welcome and Introduction
• Valérie Kobi and Kristel Smentek

3.30  Panel 1: Networks
• Maureen Cassidy-Geiger (Independent Scholar), ‘Tout Rome veut vendre’: Raymond LePlat, King August the Strong, and the Sale of the Gualtieri Collection in Rome, 1728–1729
• Émilie Roffidal (CNRS, Laboratoire FRAMESPA-UMR5136, Toulouse), The Connoisseurship Practices of the ‘Levantines’ of Marseille, or When Trade Meets Art
• Mrinalini Sil (Jawaharlal Nehru University), Jean Baptiste Gentil’s Album of Peintures Orientales: A Study in the Visual Nodes and Aesthetic Modes of Firangee Paintings in 18th-Century India

5.00  Coffee Break

5.30  Discussion

7.00  Keynote Lecture
• Charlotte Guichard (École Nationale Supérieure, Paris), Connoisseurship at Large: Art and Expertise in Global Cities in the Eighteenth Century

F R I D A Y ,  3  J U N E  2 0 2 2

10.00  Panel 2: Transmission
• Friederike Weis (Museum für Asiatische Kunst, Berlin), The Appropriation of Mughal Albums by European Collectors in India
• Caitlin E. Karyadi (Princeton University), A Collision of Signifiers: Chinese Painting, Criticism, and the Contours of Canonical Knowledge in Early Modern Japan
• Maria Gabriella Matarazzo (Scuola Normale Superiore, Pisa), Vicente Victoria and the Problem of the Origin of Printmaking between Europe and China

11.30  Coffee Break

12.00  Discussion

Lunch Break

2.00  Panel 3: Practices
• Gabriel Batalla (Université de Bourgogne), The Practice of Drawing as a Connoisseurship Tool in 18th-Century Europe
• Julia Kloss-Weber (Universität Hamburg), Fragonard’s Pendants for the Marquis de Véri: A Painted Narrative of Modern French Painting as Result of Transcultural Negotiations

3.00  Coffee Break

3.30  Discussion

S A T U R D A  Y ,  4  J U N E  2 0 2 2

10.00  Panel 4: Appropriation
• Domenico Pino (University College London), Breaking Grounds: Print Connoisseurship and Resurfacing Antiquities in Naples
• Kit Brooks (National Museum of Asian Art, Smithsonian Institution), Treasured Textures: Japanese Still Life Surimono as Artefacts of 18th-Century Treasure Gatherings
• Michele Matteini (New York University), Western Painting Inside Out: Pak Chiwon and the Connoisseurship of Western Painting in 18th-Century East Asia

11.30  Coffee Break

12.00  Discussion

Contact and Information
Valérie Kobi, valerie.kobi@uni-hamburg.de
Kristel Smentek, smentek@mit.edu

With thanks to our sponsors:
Universität Hamburg
Fritz Thyssen Stiftung
Hamburgische Wissenschaftliche Stiftung

Call for Papers | Early Modern Women on Politics and Ethics

Posted in Calls for Papers by Editor on May 21, 2022

From ArtHist.net:

Early Modern Women on Politics and Ethics
University of Gothenburg, Sweden, 5–7 October 2023

Proposal due by 1 February 2023

In Nicomachean Ethics and Politics, Aristotle conceived ethics and politics to be both interrelated and exclusively male endeavors. This notion continued to be influential in the early modern period (c. 1500–1800). Yet in recent decades, feminist scholarship has showed that throughout the early modern world numerous women nonetheless discussed, developed, and challenged politics and ethics in profound and often surprising ways.

The conference Early Modern Women on Politics and Ethics is organized by the Early Modern Seminar and the research network Philosophy in Other Words, at the University of Gothenburg, Sweden. It is dedicated to early modern women’s engagement with politics and ethics as philosophers, authors, critics, translators, editors, artists, patrons, salonnières, pamphleteers, political agents, letter writers, etcetera. Multidisciplinary in scope, the conference will bring together scholars working in various scientific fields. We especially welcome contributions that concern underexplored geographical contexts, languages, and traditions.

Suggested topics include, but are not limited to
• Marginalized voices in politics and ethics
• Genres of political and ethical writing
• Representations of political and moral authority
• Subversive political and ethical thought
• Global perspectives on politics and ethics
• Public and private agency
• Material aspects of politics and ethics
• Reception and circulation of political and ethical thought
• Ethics and politics of sexuality
• Politics and ethics in religious contexts

Confirmed Keynotes
• Unn Falkeid, University of Oslo
• Carin Franzén, Stockholm University
• Dena Goodman, University of Michigan
• Marie-Frédérique Pellegrin, Jean Moulin Lyon 3 University
• Melissa E. Sanchez, University of Pennsylvania

To submit, please send a 300-word proposal for a 20-minute paper and a brief biographical note to earlymodern@lir.gu.se by 1 February 2023. Notice of acceptance will be given by 1 March 2023.

Organizing Committee
Maria Johansen, Cecilia Rosengren, Matilda Amundsen Bergström, Alexandra Herlitz, Philip Lavender

Online Course | Furnishing the British Country House

Posted in online learning by Editor on May 20, 2022

From The Furniture History Society:

Furnishing the British Country House, 1700–1900
Online Course, BIFMO-FHS, 14–16 June 2022

Restored Drawing Room at Brodsworth Hall, Doncaster, South Yorkshire, 1860s (Photo: Historic England Archive).

British and Irish Furniture Makers Online (BIFMO) is delighted to partner with the Furniture History Society (FHS) to offer an online course that looks at the evolution of the British country house from 1700 to 1900.

For two hours on three consecutive days, curators and historians will consider the furniture and designs commissioned for the interiors of specific country houses. They will touch upon the relationships between the architects and the craftsmen as well as the networks of furniture makers and the impact of the changing clientele. Over the course of these two centuries, the industrial revolution and social reform recast British society, creating new groups of wealthy property owners. By the nineteenth century the British stately home was no longer exclusively the domain of the aristocracy but a haven for the successful businessman and his family. The course speakers will consider the fashions and styles used to furnish these properties set against the backdrop of the changing role of the British country house.

The three sessions on 14th, 15th and 16th June, will be held on Zoom between noon and 14.00 GMT (7.00–9.00 EDT). All three days will be introduced by Dr Megan Aldrich who will provide an historic and stylistic context for the case studies of houses presented by the curators. These sessions will be recorded and links to the recordings will be sent to ticketholders shortly after the event.

Each day BIFMO will also offer the opportunity to participate in an additional online session in the form of a seminar where a much smaller group will be able to discuss the points raised by the presentations. These seminars will follow the course each day and will be guided by experts, who will also give further short presentations on a theme. Ticketholders for the seminars will be able to turn on their microphones and videos to fully participate in the discussion. Tickets for these seminars are available on the course Eventbrite page but must be bought in addition to the main session. Places are extremely limited and are allocated on a first come first served basis. These seminars will not be recorded.

To purchase tickets for this course and additional seminars on Eventbrite, please click here.

◊   ◊   ◊   ◊   ◊

Day 1: Tuesday, 14 June — Early 18th-Century Country Houses

Course
12.00  Introduction — Megan Aldrich
12.45  James Pascall in London and Temple Newsam — Tessa Murdoch
13.15  The Early Furnishing at Holkham Hall — Katherine Hardwick
13.45  Panel Discussion and Q&A

Seminar
14.20  The Country Seat: Researching the Country House: History, Architecture, and Furniture — Jeremy Musson with Adriana Turpin

Day 2: Wednesday, 15 June — Historicism and Revival in the British Country House

Course
12.00  Introduction — Megan Aldrich
12.45  Increasingly Aspirational: 18th-Century Nostell, Robert Adam and the Winn Family — Kerry Bristol
13.15  A Mid-Victorian Vision of a Comfortable Country House: The Furnishings of Brodsworth Hall by Lapworths of Bond Street — Eleanor Matthews
13.45  Panel Discussion and Q&A

Seminar
14.20  Looking at Furniture in the Context of the Country House — Peter Holmes with Adriana Turpin

Day 3: Thursday, 16 June — Tradition and Innovation: Different Approaches to Late 19th-Century Interior Design

Course
12.00  Introduction — Megan Aldrich
12.45  Furnishing the Arts and Crafts Interior: Morris & Co at Standen — Caroline Ikin
13.15  Mackintosh and the Design of Hill House — Joseph Sharples
13.45  Panel Discussion and Q&A

Seminar
14.20  Researching the Furniture Trade — Clarissa Ward with Adriana Turpin

◊   ◊   ◊   ◊   ◊

Megan Aldrich will introduce all three days of the course, setting out an outline for the two-hour session while providing an historical context. Dr Aldrich is a part-time tutor in the Department of Continuing Education, University of Oxford, and Hon. Editorial Secretary of the Furniture History Society. She researches aspects of antiquarian design and historicism across the areas of architecture, interiors, decorative art and design, and garden history, and has published widely in these areas. She is a Fellow of the Society of Antiquaries and formerly Academic Director, Sotheby’s Institute of Art, London

Information about the other speakers is available here»

 

New Book | The Soho Manufactory, Mint, and Foundry

Posted in books by Editor on May 20, 2022

From Historic England and Liverpool UP:

George Demidowicz, The Soho Manufactory, Mint, and Foundry, West Midlands: Where Boulton, Watt, and Murdoch Made History (Liverpool: Liverpool University Press, 2022), 296 pages, ISBN: 978-1800349285 £40.

This volume provides a comprehensive analysis of the ground-breaking historic industrial complex created to the west of Birmingham in the eighteenth century and associated with Matthew Boulton, James Watt, and William Murdoch. The Soho Manufactory (1761–1863) and Soho Mint (1788–1850s) were both situated in the historic parish of Handsworth, now in the city of Birmingham, and the Soho Foundry (1795–1895) lay in the historic township of Smethwick, now within Sandwell Metropolitan Borough. Together they played a key role in the Industrial Revolution, achieving many world ‘firsts’: the first working Watt steam engine, the first steam-engine powered mint, and the first purpose-built steam engine manufactory (the Soho Foundry), to name but a few. Existing literature focuses largely on the biography of the people, primarily Boulton and Watt, or the products they manufactured. The place—the Soho complex—has attracted very little attention. This volume is the first to concentrate on the buildings themselves, analysing not only their physical origins, development, and eventual decline but also the water and steam power systems adopted. An interdisciplinary approach has been employed combining archival research in the magnificent Soho collection at the Library of Birmingham with the results of archaeological excavations. The volume is profusely illustrated with archival material, most published for the first time, and contains a large number of reconstruction plans and drawings by the author.

George Demidowicz, FSA, is an Honorary Research Fellow in the Department of History, University of Birmingham.

C O N T E N T S

List of Illustrations
List of Abbreviations

1  Introduction
2  A Short History of the Soho Manufactory and Mint
3  The Soho Mill
4  The Manufactory Engine Works
5  The Soho Mint
6  The Soho Manufactory and Mint Site After
7  The Soho Foundry
9  The Significance of the Three Sohos

Appendix 1  The Archaeological Excavations, 1994–1996
Appendix 2  The Soho Businesses
Appendix 3  Biographies

Acknowledgements
Bibliography
Index

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