Enfilade

Exhibition | Johann Baptist Lampi, the Elder and Younger

Posted in books, catalogues, exhibitions by Editor on May 16, 2026

From the press release for the exhibition:

Johann Baptist Lampi the Elder and the Younger: Overpainted and Uncovered

Lower Belvedere, Vienna, 13 May — 11 October 2026

Curated by Katharina Lovecky

What do a Neoclassical family portrait and a Biedermeier depiction of Venus have in common? Both the portrait of Caroline and Viktor von Tomatis by Johann Baptist Lampi the Elder (1751–1830) and Sleeping Venus with Cupid in front of a Mirror by his eponymous son (1775–1837) were overpainted. Based on the results of technical investigations and art-historical research, this exhibition from the IN-SIGHT series traces the consequences of these later interventions in the work of the two artists.

General Director Stella Rollig: “Based on two works in the Belvedere’s collection, this show offers fresh perspectives on the oeuvres of Johann Baptist the Elder and Johann Baptist the Younger. The eventful history of these overpainted works demonstrates how they have changed over time in terms of both their formal appearance and their content and messages. In addition, the exhibition highlights how our current views on the treatment of art—defined by the principles of conservation and the ideal of originality—have evolved through history and only started to become established in the mid-nineteenth century.”

Johann Baptist Lampi the Elder, Zoë and Adelaide von Tomatis, 1788/89 (Vienna: Belvedere; photo by Johannes Stoll).

During his time in Warsaw in 1788–89, Johann Baptist Lampi the Elder painted several portraits of the Tomatis family. Milanese dancer Catarina, née Filipazzi, had moved to Warsaw with entrepreneur Carlo Tomatis in 1765. One of the three portraits of the family by Lampi shows two of their children, Caroline and Viktor, standing either side of a bust. X-ray and infrared imaging from 2016 revealed this bust to be an overpainting: hidden beneath the layers of paint is a portrait of their mother, Catarina, embracing her children. Based on this work and further portraits in addition to archival material, this exhibition tells the story of the Tomatis family.

In 2022 Johann Baptist Lampi the Younger’s painting Venus Sleeping on a Day Bed—as it was then known—was also analyzed using X-ray and infrared imaging. In this case, the figure of Cupid emerged, concealed beneath a black surface. The erasure of the god of love made the mythological content less apparent. This explains why the painting was later interpreted as a portrait of Emilie Victoria Kraus, one of Napoleon’s lovers, in two twentieth-century novels set in Salzburg. It was precisely this misinterpretation that paved the way to the painting’s popularity, which even reached as far as Paraguay. Now, for the first time since the revealing of Cupid in 2024, the painting will be shown to the public under its original title.

The history of these two paintings shows how fascinating art-historical research can be. The original content was forgotten due to overpainting, which resulted in misinterpretations. For the first time in the German-speaking world, the history of the Tomatis family has been examined in the context of their portraits while enduring myths surrounding this depiction of Venus have been challenged and debunked. At the same time, the comparison of the two works—encompassing the context in which they were created and commissioned—reveals the profound changes of this era that was characterized by the transition from a feudal to a bourgeois society, said curator Katharina Lovecky.

This exhibition uncovers the layers of meaning contained within two works, which had been hidden by overpainting. It shows that the meaning of artworks can be significantly altered once they leave the artist’s studio: A family portrait expressing a mother’s love for her children was transformed into a memorial while an idealized Venus morphed into the portrait of a local Salzburg celebrity.

Katharina Lovecky, Roberto Pancheri, Stella Rollig, and Ana Stefaner, Johann Baptist Lampi der Ältere und der Jüngere: Übermalt und freigelegt (Wien: Belvedere, 2026), 112 pages, ISBN: 978-3903327757, €19.

Study Course | Drawings in Theory and Practice

Posted in graduate students, opportunities by Editor on May 15, 2026

From ArtHist.net:

Drawings in Theory and Practice: Connoisseurship – Collecting – Curatorial Practice

Albertina, Vienna, 28 July — 1 August 2025

Applications due by 6 June 2025

We are pleased to announce our 8th annual study course on drawings. The course is designed for doctoral students and early post-doc-researchers which are working in the field of drawings and prints, and are interested in exploring curatorial practices. The course offers the opportunity to discuss current research on the graphic arts and, at the same time, to gain insight into one of the most renowned collections of prints and drawings.

The course is organized jointly by the Institute of Art History at the University of Vienna and the Albertina and is generously supported by the Wolfgang Ratjen Foundation. Participants are expected to present aspects of their current research in a 30-minute paper. Together we will discuss relevant drawings in the Albertina and gain insight into different curatorial practices: conception and planning of exhibitions, publication of catalogues, conservation and marketing, collecting and provenance research. Accommodation in Vienna will be covered as well as documented travel costs (economy flight, 2nd class train ticket) up to 350 Euros. The general course language is English, while individual papers can be presented also in German, Italian, and French.

The course is directed by Univ.-Prof. Dr. Sebastian Schütze and Dr. Christof Metzger. Applications—including a CV, a short description of the drawing or print related research project, and a reference letter from a university professor—should be sent by 8 June 2026 to Dr. Silvia Tammaro at silvia.tammaro@univie.ac.at. Applicants will be notified by 15 June 2025.

Exhibition | WORN

Posted in exhibitions by Editor on May 14, 2026

From the press release for the exhibition:

WORN

Rijksmuseum, Amsterdam, 27 March 2026 — 21 March 2027

Curated by Vanessa Jones

WORN at the Rijksmuseum is an intimate display of fashion garments that have been worn, altered and reused—with a focus on wear, repair and craftsmanship. On view are 24 garments and accessories dating from 1640 to 1930. All of them have been cherished for centuries, from the 17th-century mules with richly embroidered patterns to an 18th-century dress worn by multiple generations of the Six family.

WORN presents garments and accessories from the collection of the Rijksmuseum that were repeatedly re-worn and adapted. The display invites visitors to truly look—up close, slowly and with careful attention. Take time to discover the repairs, the crisscross patterns of darned stitching, the slight signs of wear on the fabric, and even traces of sweat. Every detail tells how these pieces were cherished, worn and carefully preserved for generations.

A 19th-century blue taffeta dress with a woven pattern shows how garments were altered multiple times. The dress consists of a skirt with several bodices that were swapped depending on the occasion. One of the bodices was taken apart and reassembled several times, to ensure the dress lasted even longer. Another garment that gained a second life is the citrine-yellow floral dress owned by the Six family: beneath the 18th-century exterior lies a 19th-century interior structure. Members of later generations wore the dress in 1896 and again as late as 1925, after the interior was modified with a modern corset with steel boning.

Every 12 months, the Rijksmuseum presents a new display in the Special Collections galleries of objects from its large and varied costume collection. The display design for WORN is by the French architectural firm Wilmotte & Associés.

Call for Papers | Looking Queerly

Posted in Calls for Papers by Editor on May 13, 2026

From INHA: 

Looking Queerly / Regards Queer

Perspective : actualité en histoire de l’art, no. 2027 – 2

Guest edited by Ersy Contogouris and Nancy Thebaut

Proposals due by 15 June 2026; final drafts will be due by 1 December 2026

Pompeo Batoni, Peace and Justice, ca. 1745, oil on canvas, 120 × 90 cm (Montreal: Musée des Beaux-arts, 1979.21).

Over the last several decades, queer has emerged as one of the most generative, contested, and transformative terms in the humanities. Within art history, queer theory has challenged normative assumptions about identity, desire, authorship, temporality, and visual meaning, all the while exposing the discipline’s investments in heterosexuality, gender binaries, and teleological narratives of style and progress.

This issue seeks to highlight the diverse forms, aims, and methods of queer art histories today. How is ‘queer’ a useful mode of analysis for art historians, and how might it unsettle binaries, hierarchies, and disciplinary conventions, including the very ways that art history is written? We welcome contributions across historical periods and geographical contexts: what might it mean to queer ancient Egyptian paintings, a Mesoamerican codex, or eighteenth-century chinoiserie, for instance?

Queer can also be understood expansively and need not be limited to works explicitly addressing sexuality or gender. Indeed, we are especially interested in contributions that mobilize queer theory to rethink objects and archives not typically understood as queer. To read the history of art queerly, as this issue seeks to do, is not simply to trace the emergence of queer art since the late nineteenth century; it is to question the discipline at its core and to re-examine all images with renewed attention.

We also encourage submissions that address the tensions, limits, and exclusions within queer theory itself, including its intersections with race, colonialism, disability, class, and trans and nonbinary studies. Rather than treat ‘queer art history’ as singular and settled, we are interested in papers that actively grapple with the historiography of queer within our discipline as well as what it means to queer art history today.

Please send your proposals (a summary of 200–500 words / 2000–3000 characters, a working title, a short bibliography on the subject and a brief biography) to the editors (revue-perspective@inha.fr) by 15 June 2026. Proposals will be examined by the editorial board regardless of language (the translation of articles accepted for publication is handled by Perspective). The authors of the pre-selected projects will be informed of the editorial board’s decision in July 2026. The full articles must be received by 1 December 2026. The texts submitted (4000–7000 words / 25,000–45,000 characters, depending on the format chosen) will be accepted in final form after an anonymous peer-review process.

The full Call for Papers with a bibliography is available here»

Call for Papers | The Matter of Description

Posted in Calls for Papers by Editor on May 12, 2026

From the Call for Papers:

The Matter of Description

History, Theory, and Practice in Material Culture Studies

5th CMCS Triennial Conference in Material Culture

Center for Material Culture Studies, University of Delaware, 2–3 April 2027

Keynote Speaker: Susan Stewart (Princeton University)

Proposals due by 15 July 2026

Long considered a distinctive concern for literary specialists, description in fact informs all the arts and humanities and, no doubt, the natural sciences as well. Any object of inquiry—from texts to paintings to other modes of representation or from raw materials to consumer goods or from stars to dark matter—requires some level of description. While description has been and remains a mainstay of Western reflective thought, its valence has fluctuated over time, with some thinkers finding description to be paralyzing or pedantic, extraneous, misleading, even deceptive, and generally unwelcome. Others, reflecting on description specifically in relation to material culture studies, theorized description as a kind of second substance through which we make sense of objects, “reality reconstituted,” as T.H. Breen put it, whereas Jules Prown thought that textual description was, inescapably, the thing itself.

The symposium, The Matter of Description, welcomes submissions from all disciplines concerned with description and the way it interacts with material culture. Papers should offer new perspectives on questions regarding the powers and practices of description, including—perhaps especially—those times when we take descriptions for granted and let them stand unexamined. On the one hand, how does the description of an object inform and transform what can be grasped of it? On the other hand, is there a uniquely material culture approach to description, one that takes material agency seriously and presumes an iterative relationship between describer and described?

Topics may include (but are not limited to) to one or more of the following themes:

Histories of Description
Ekphrasis, Realism, Mimesis, Ut Pictura Poesis and the Imitation of Nature, Word and Image

Missions of Description
Expeditions, Experiments, First Descriptive Encounters, Taxonomies and Classification, Collecting and Archiving, Laws and other Codes, Memorialization, Education

Protocols of Description
The Camera Eye, Impressionistic Description, Thick Description, Processual Description, Translation, Rules, Textbooks, Witness and Meditation, Memory and Remembering

Media of Description
Oral Traditions, Personal Records, Print, Visual Media, Diagrams, Schematics and Maps, Photography and Film, Audio Media, Data Visualization

Ethics of Description
Observational Objectivity, Phenomenological and Hermeneutic Approaches, Colonial and Imperial Gaze, Reparative Description, Politics of Description

Please send abstracts of of no more than 300 words, with a brief CV of no more than two pages, to Martin Brückner (mcb@udel.edu) and Sandy Isenstadt (isnt@udel.edu) by 15 July 2026. The conference takes place 2–3 April 2027 at the University of Delaware and the Winterthur Museum, DE.

Study Days | Framing the Drawing – Drawing the Frame

Posted in conferences (to attend), online learning by Editor on May 11, 2026

This week at the Bibliotheca Hertziana:

Gernsheim Study Days: Framing the Drawing – Drawing the Frame

Online and in-person, Bibliotheca Hertziana – Max Planck Institute for Art History, Rome, 13–15 May 2026

Organized by Tatjana Bartsch, Ariella Minden, and Johannes Röll

The 2026 Gernsheim Study Days will explore the relationship between early modern drawings, frames, and framing. Papers will consider both how the symbolic connotations associated with the frame in the early modern period functioned as part of artists’ generative creative processes as a cultural technique as well as the role that the physical act of framing drawings played within histories of collecting and reception. With this focus on the medium of drawing, this conference seeks to uncover new ways to think about the myriad semiotic potentials of the frame in the making and study of early modern art. Please follow the event online at https://vimeo.com/event/5864584

w e d n e s d a y ,  1 3  m a y

14.00  Welcome and Opening Remarks
• Tatjana Bartsch (BHMPI) and Ariella Minden (University of St Andrews)

14.30  Section 1
Chair: Ariella Minden
• Reinier Baarsen (Rijksmuseum Amsterdam), Who Drew Frames?
• Furio Rinaldi (Fine Arts Museums of San Francisco), Leonardo’s Border Lines

15.50  Coffee Break

16.10  Section 2
Chair: Silvia Massa (Kunstmuseum Basel)
• Elizabeth Merrill (Ghent University), Copy, Snip, Cut, Collage: Drawing Practices in the Workshop of Lambert Lombard
• Ludovico Maria Durante (Roma, Sovrintendenza Capitolina), Abitare la soglia: La cariatide come cornice incarnata nei disegni di Cherubino Alberti e Federico Zuccari
• Helen Barr (Goethe-Universität Frankfurt am Main), Cornice / senza cornice / fuori cornice: Il libro de’ disegni di Francesco Morandini

t h u r s d a y ,  1 4  m a y

10.00  Section 3
Chair: Francesca Borgo (BHMPI)
• Laura Moretti (University of St Andrews), Framing the Disegno: Vincenzo Borghini’s Cultural Techniques and the Construction of the Vasarian Libro
• Vera Hendriks (The Hague, RKD — Netherlands Institute for Art History), Framing Authorship: Drawn Borders and Inscribed Frames in Eighteenth-Century Dutch Artists’ Portraits

11.20  Coffee Break

11.40  Section 4
Chair: Tatjana Bartsch
• Gudula Metze (Kupferstich-Kabinett – Staatliche Kunstsammlungen Dresden), Creative Collecting: A Group of Baroque Drawn Frames at the Dresden Kupferstich-Kabinett
• Elisabeth Oy-Marra (Johannes Gutenberg-Universität Mainz), Le scritture ai margini: Sebastiano Resta e la doppia incorniciatura dei disegni

13.00  Lunch Break

14.00  Section 5
Chair: Anna Magnago Lampugnani (BHMPI)
• Thomas Pöpper (Westsächsische Hochschule Zwickau, Angewandte Kunst Schneeberg), Passage, Access, Depth: Mounting as Framing–The Window Mount in Albrecht Dürer and Michelangelo
• Giovanni Santucci (Università di Pisa), Mounting, Borders, and Meaning in the Talman Collection

15.20  Coffee Break

15.40  Section 6
Chair: Giorgio Marini (Roma, Istituto Centrale per la Grafica)
• Christoph Orth (Klassik Stiftung Weimar), Framing the Face: On the Role of Drawings in Lavater’s Ideas on Physiognomy
• Kristel Smentek (Massachusetts Institute of Technology), A Persian Muraqqa and Pierre-Jean Mariette’s Mounted Drawings

f r i d a y ,  1 5  m a y
no streaming

10.00–13.00  Roundtable
Chair: Johannes Röll (BHMPI)

Exhibition | Fanmania

Posted in exhibitions by Editor on May 10, 2026

Fan Design with Republican Assignats (French revolutionary money), ca. 1795, etching, a small portion printed in red, sheet: 29 × 50 cm (New York: The Metropolitan Museum of Art, 38.91.56).

◊    ◊    ◊    ◊    ◊

While focused on the 19th-c, the exhibition includes a handful of 18th-c. examples:

Fanmania

The Metropolitan Museum of Art, New York, 11 December 2025 — 12 May 2026

Curated by Ashley Dunn and Jane Becker

The hand-held fan was an unexpected muse for some of the most innovative artists in 19th-century Europe. Fans became hugely popular across many levels of society during this period, serving as functional and fashionable objects of adornment and communication. Well-known French Impressioniscts such as Edgar Degas and Camille Pissarro not only featured this feminine accessory in their work but also adopted it as an experimental format for their art. Fanmania investigates why avant-garde artists incorporated fans into their work and sheds light on themes of gender, courtship, consumerism, and appropriation. Artists were attracted to the semicircular form for myriad reasons, including fascination with fans from Asia and Spain, commercial ambition, and their interest in formal and technical innovation. Displaying more than 75 artworks from across The Met collection, this multimedia exhibition features painted and printed fans from Europe and Asia as well as artworks that depict women wielding fans to explore the phenomenon of ‘fanmania’.

More information is available from the press release»

New Book | Africa’s Buildings

Posted in books by Editor on May 6, 2026

Another title now 50% off at the Princeton UP sale:

Itohan Osayimwese, Africa’s Buildings: Architecture and the Displacement of Cultural Heritage (Princeton: Princeton University Press, 2025), 296 pages, ISBN: 978-0691251431, £30 / $35.

A groundbreaking history of Africa’s looted architectural heritage—and a bold proposal for the repatriation of the continent’s stolen cultural artifacts

Between the nineteenth century and today, colonial officials, collectors, and anthropologists dismembered African buildings and dispersed their parts to museums in Europe and the United States. Most of these artifacts were cataloged as ornamental art objects, which erased their intended functions, and the removal of these objects often had catastrophic consequences for the original structures. Africa’s Buildings traces the history of the collection and distribution of African architectural fragments, documenting the brutality of the colonial regimes that looted Africa’s buildings and addressing the ethical questions surrounding the display of these objects.

Itohan Osayimwese ranges across the whole of Africa, from Egypt in the north to Zimbabwe in the south, and spanning the western, central, and eastern regions of the continent. She describes how collectors employed violent means to remove elements such as columns and door panels from buildings, and how these methods differentiated architectural collecting from conventional collecting. She shows how Western collectors mischaracterized building components as ornament, erasing their architectural character and concealing the evidence of their theft. Osayimwese discusses how the very act of displacing building parts like floor tiles and woven screen walls has resulted in a loss of knowledge about their original function and argues that because of these removals, scholars have yet to fully grasp the variety and character of African architecture.

Richly illustrated, Africa’s Buildings uncovers the vast scale of cultural displacement perpetrated by the West and proposes a new role for museums in this history, one in which they champion the repatriation of Africa’s architectural heritage and restitution for African communities.

Itohan I. Osayimwese is professor of the history of art and architecture and urban studies at Brown University, where she is an affiliate faculty in Africana studies and at the Center for Latin American and Caribbean Studies. She is the author of Colonialism and Modern Architecture in Germany and the editor of German Colonialism in Africa and Its Legacies.

New Book | Laws of the Land: Fengshui and the State

Posted in books by Editor on May 5, 2026

Recently released in paperback from Princeton UP, where many books are now 50% off with code SPRING50 (until June 9) . . .

Tristan Brown, Laws of the Land: Fengshui and the State in Qing Dynasty China (Princeton: Princeton University Press, 2023), 356 pages, ISBN: 978-0691246734 (hardback), £38 / $45 / ISBN: 978-0691247175 (paperback), £25 / $30.

Today the term fengshui, which literally means “wind and water,” is recognized around the world. Yet few know exactly what it means, let alone its fascinating history. In Laws of the Land, Tristan Brown tells the story of the important roles—especially legal ones—played by fengshui in Chinese society during China’s last imperial dynasty, the Manchu Qing (1644–1912).

Employing archives from Mainland China and Taiwan that have only recently become available, this is the first book to document fengshui’s invocations in Chinese law during the Qing dynasty. Facing a growing population, dwindling natural resources, and an overburdened rural government, judicial administrators across China grappled with disputes and petitions about fengshui in their efforts to sustain forestry, farming, mining, and city planning. Laws of the Land offers a radically new interpretation of these legal arrangements: they worked. An intelligent, considered, and sustained engagement with fengshui on the ground helped the imperial state keep the peace and maintain its legitimacy, especially during the increasingly turbulent decades of the nineteenth century. As the century came to an end, contentious debates over industrialization swept across the bureaucracy, with fengshui invoked by officials and scholars opposed to the establishment of railways, telegraphs, and foreign-owned mines. Demonstrating that the only way to understand those debates and their profound stakes is to grasp fengshui’s longstanding roles in Chinese public life, Laws of the Land rethinks key issues in the history of Chinese law, politics, science, religion, and economics.

Winner of the John K. Fairbank Prize, American Historical Association
A Choice Outstanding Academic Title of the Year
Winner of the Biannual Book Prize, International Society of Chinese Law and History

Tristan G. Brown is S.C. Fang Chinese Language and Culture Career Development Professor in History at the Massachusetts Institute of Technology.

New Book | The Emperor Incognito

Posted in books by Editor on May 4, 2026

From Haus Publishing, with distribution by The University of Chicago Press:

Monika Czernin, with an introduction by Dominic Lieven, The Emperor Incognito: Joseph II’s Journey through Enlightenment Europe, translated by Jamie Bulloch (London: Haus Publishing, 2026), 336 pages, ISBN: 978-1914979439, £22 / $30.

The first complete account of Emperor Joseph II’s undercover journey through his kingdom

Travelling incognito, and without the customary pomp and entourage, the young emperor Jospeh II travels through the Holy Roman Empire and his Hapsburg lands to see with his own eyes how his subjects live, suffer, and starve. As well as kings, queens, and the European political and social elite, Joseph engages with and observes ordinary people and their hospitals and factories, eagerly soaking up Enlightenment ideas of progress and liberty. Visiting his sister, Marie Antoinette, in Versailles in 1777, he senses the French Revolution looming and realises that reform is inevitable if he is to build a modern state. The Emperor Incognito tells the story of an extraordinary man, far ahead of his time and in an age of great upheaval, who spent a quarter of his twenty-five-year reign on the road. The result of his titanic efforts, despite his own admission (as inscribed on his tombstone) that he ‘failed everything he undertook’, was the foundation of a more modern Austrian monarchy, in a Europe in which progress was no longer determined solely by its rulers.

Monika Czernin is an internationally renowned author and filmmaker. Her research focuses on key figures and turning points of European History, and her book, Anna Sacher and Her Hotel, spent many weeks on the bestseller lists in Germany. Czernin was awarded the Friedrich Schiedel Literature Prize in 2023 and is a member of the European Academy of Sciences and Arts.
Dominic Lieven is a Fellow of the British Academy and Honorary and Emeritus Fellow, Trinity College, Cambridge University.
Jamie Bulloch is a historian and has worked as a professional translator from German.