Upcoming Conference in Paris: Used Things
Recycling, Waste and Luxury: The Afterlife of Used Things in the Long 18th Century
Université Paris Diderot, UFR Charles V – 10, rue Charles V 75004 Paris, 22-23 June 2010
Organized by Ariane Fennetaux, Amélie Junqua, and Sophie Vasset
Tuesday, 22 June
9:00 Registration and coffee
9:15 Ariane Fennetaux and Amélie Junqua, Introduction
9:45-11:15 Knowledge, Science and Recycling – Claire Gallien
- Simon Werrett (University of Washington), Remaking natural knowledge: recycling in the history of science and medicine
- Sophie Vasset (Université Paris-Diderot), Recycling cases in 18th-century medical treatises
11:30-13:00 Recycling 18th-Century Parisian Walls – Charlotte Guichard
- Allan Potofsky (Université Paris-Diderot), Revolutionary recycling and civic architecture: the conseil des bâtiments civils and the Use and Abuse of the Past in France, 1795-1815
- Noémie Etienne (Université de Genève), Du mur au musée: transformations matérielles et symboliques des peintures à Paris autour de 1775
14:30-16:00 Material Recycling (I) – Amélie Junqua
- Geoffrey Day (Winchester College), Recycling in the library
- David Humphrey (Royal College of Art, London), A portal to change and innovation: recycling and the 18th-century English jewelry trade
16:30-18:00 Material Recycling (II) – Ariane Fennetaux
- Sara Pennell (Roehampton University), ‘…for a crack or flaw despis’d’ : understanding ceramic ‘semi-durability’ in the first half of the long 18th century
- Fiona McDonald (University College London), Weaving and wool: materiality through woollen blankets in 18th-century Aotearoa/New Zealand
Wednesday, 23 June
9:15-10:45 Waste – Robert Mankin
- Tim Cooper (University of Exeter), Critical perspectives from Marxism on the uses of waste and recycling in the long 18th century
- Sabine Barles (Université St Denis Paris 8), La valorisation des excréta urbains en France à la fin du 18ème siècle
11:15-12:45 Royal Recyclings – Natacha Coquery
- Corinne Thépaut-Cabasset (Château de Versailles), Le grand livre des pierreries du roi: gestion, entretien et recyclage des bijoux pendant le règne de Louis XIV
- Olivia Fryman (Historic Royal Palaces and Kingston University), ‘Cleaning and new beautifying’: strategies of repair and reuse in the English Royal Wardrobe, 1689-1760
14:15-15:45 Commerce and Recycling (I) – Jon Stobart
- Arlene Leis (University of York), Repetition, recycling and imitation: images of high art in Sarah Sophia Banks’s collection of trade cards
- Natacha Coquery (Université de Nantes), La diffusion sociale des biens à Paris au 18ème siècle: la boutique, carrefour entre le luxe, le demi-luxe et l’occasion
16:15-18:30 Commerce and Recycling (II) – Sara Pennell
- Barbara Lasic (Victoria and Albert Museum), Recycling and re-fashioning the grand-siècle in Paris and London, 1789-1814
- Ilja Van Damme (University of Antwerp), The decline and the fall of the second hand guild in the Southern Netherlands: material culture, institutional change and the labour market, 1650-1850
- Jon Stobart (Northampton University), Luxury and country house sales in England, c.1750-1830
Goya as Modernist in Milan
From lifeinitaly.com:
Goya e il mondo moderno / Goya And The Modern World
Palazzo Reale, Milan, 17 March — 27 June 2010
A visitor looks at engravings by Spanish master Francisco de Goya on March 16, 2010 at Palazzo Reale museum in Milan. (Photo: DAMIEN MEYER/AFP/Getty Images)
Milan is paying tribute to the art of Spanish master Francisco Goya, with a wide-ranging exhibition of over 180 works exploring his impact on future generations. The event at Palazzo Reale brings together paintings, etchings and drawings from across Europe, mostly by Goya (1746-1828). But the show also looks at the Spaniard’s influence on key artists after his death, including works by Pablo Picasso, Joan Miro, Paul Klee, Jackson Pollock, Francis Bacon, Willem De Kooning, Oskar Kokoschka and Eugene Delacriox among others. Divided into six different sections, the exhibition explores three key themes in Goya’s output. . .
The rest of the exhibition summary can be found here»
Recent Articles from ‘Art History’: Art and Theatre
The eighteenth century in a special issue of Art History on “Theatricality in Early Modern Visual Art and Architecture,” edited by Caroline van Eck and Stijn Bussels:
Sigrid de Jong, “Staging Ruins: Paestum and Theatricality,” Art History 33.2 (April 2010): 334-51.
Abstract: This article looks at the connection between architecture and theatre. By focusing on how eighteenth-century travellers experienced the Greek temples in Italian Paestum, it highlights the analogies between architectural experience and theatricality. Travellers at the time found it difficult to comprehend Paestum because the architecture of the temples was different from the classical architecture they had seen in Rome and illustrated in publications. Travellers, by using strategies of representation related to the theatre, tried to present this strange architecture of Paestum in an accessible way to their eighteenth-century public. It also shows how the various roles assumed by spectators or traveller-observers defined the way they experienced the architecture.
Bram van Oostveldt, “Ut pictura hortus / ut theatrum hortus: Theatricality and French Picturesque Garden Theory (1771-95),” Art History 33.2 (April 2010): 364-77.
Abstract: The picturesque vogue in French garden theory and practice from the second half of the eighteenth century drew on more than painterly examples. Theatrical strategies were equally important in attempts to stage the garden as a painting. However, in French theory and practice references to the theatre were often considered to be problematic. It was theatricality that posed the problem. The French followed a more general discourse on theatricality that, from the mid-eighteenth century on, was predominant in the arts and was constructed around questions of spectatorship. As the disapproved other of the natural, the theatrical in the arts referred to situations in which the beholder is made aware of the danger that the act of beholding threatened to destroy the imaginative and illusionistic power of art.
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