Call for Papers: Centre and Periphery in the Enlightenment

Posted in Calls for Papers by Editor on June 28, 2011

From the society’s website:

Centre and Periphery in the Enlightenment: The Annual Conference of the Werkgroep 18e Eeuw
Groningen, The Netherlands, 20-21 January 2012

Proposals due by 30 June 2011

In recent years, Enlightenment studies have moved away from a traditional national, most often Francocentric or Anglocentric focus toward a new view of the Enlightenment as an international process. New conceptual categories have emerged, including that of an international, transnational or Atlantic Enlightenment, while older categories such as the Republic of Letters have been revived. Yet these categories do not fully do justice to the power relations also underlying much Enlightenment debate, in the Low Countries and beyond. As attractive as the notion of a transnational Enlightenment may be, it obscures the unequal access to power of different participants in Enlightenment debate, not only in terms of geography but also related social, institutional, and gender identifications.

This conference would therefore like to ask whether the older concept of centre and periphery might be useful in addressing power discrepancies between participants in Enlightenment debates. In doing so, it takes up the provocative question formulated by one of the conference’s key-note speakers, Jorge Cañizares-Esguerra: whose Enlightenment was it anyway? Who defined what the Enlightenment’s central discourse and players were, and who defined its periphery? Can centre-periphery relations be perceived not only horizontally, i.e. across national borders, but also vertically, i.e. within them? What was the relation between various forms of regionalist consciousness and Enlightenment discourse? Topics that may be considered include, but are not restricted to:

• colonial discourse on / and the Enlightenment
• regionalism and Enlightenment
• the participation of ‘small’ or peripheral countries and regions to Enlightenment debate
• gatekeepers controlling access to Enlightenment discourse
• key institutions / mediators within larger configurations of power structures
• authors’ positioning as insiders / outsiders

Prospective speakers are invited to submit a 300-word paper proposal, together with a short bio-bibliographical statement, by 3oth June 2011 to the conference organizers: M.M.Lok@uva.nl and A.C.Montoya@rug.nl. Accepted proposals will be printed as abstracts in the conference booklet, together with high-resolution illustrations where relevant. Speakers will be asked to limit their papers to 20 minutes. The conference language will be English.

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From the society’s website:

The Werkgroep 18e Eeuw / The Dutch-Belgian Society for Eighteenth-Century Studies

The ‘Werkgroep 18e Eeuw’ endorses research into all aspects of eighteenth-century history in the Low Countries (Belgium and the Netherlands). The society is open to anybody who is interested in eighteenth-century history; both interested laymen and professional researchers alike. The Werkgroep intermediates between members and is a meeting place for all those interested in eighteenth century history. The Werkgroep approaches its objectives primarily through the organisation of annual conferences and the publication of the periodical De Achttiende Eeuw. By means of an electronic news letter, the Werkgroep keeps its members informed about conferences, calls for papers, guest lectures by foreign experts, and other current developments. Each year, the Werkgroep awards a the author of the most outstanding MA thesis on a topic concerning eighteenth-century history. (more…)

Bernheimer-Colnaghi at Masterpiece London

Posted in Art Market by Editor on June 28, 2011

Press release from Colnaghi:

Masterpiece London
The Royal Hospital Chelsea, London, 30 June — 5 July 2011

Bernheimer-Colnaghi will show the unusual combination of Old Master paintings and contemporary photographs at the second staging of Masterpiece London, the luxury fair that was launched to great acclaim last summer and will take place in the South Grounds of The Royal Hospital Chelsea, London SW3, from 30 June to 5 July 2011. The stand will be divided into two parts, the large photographic masterpiece by Candida Höfer from her Louvre series forming a bridge between the two disciplines.

Amongst the Old Master paintings will be a selection of works inspired by artistic life in Rome in the 18th century. One of the highlights is the Architectural Capriccio with Figures Discoursing among Roman Ruins by Giovanni Paolo Panini (1691-1765), the leading 18th-century painter of vedute in Rome. He worked exclusively in the Eternal City, where his patrons included Pope Innocent XIII, and his capricci of the ruined monuments of ancient Rome appealed greatly to Grand Tourists. In this example, signed and dated 1730, the artist has invented a grand, monumental setting with architectural elements inspired by the Basilica of Constantine and the Temple of Castor and Pollux while the statues of Athena and the crouching lion may be based on real sculptures from the antique.

Giovanni Paolo Panini, "Architectural Capriccio with Figures Discoursing among Roman Ruins," 1730

Bernheimer-Colnaghi will also be exhibiting the only known portrait of Panini (apart from the small-scale depictions in some of his own paintings). This extremely rare portrait of the vedutista was painted by Louis-Gabriel Blanchet (1705-1772), one of the leading French painters in 18th-century Rome, and presents the sitter as a relaxed and elegant gentleman-painter amidst the tools of his trade, standing before his easel and leaning on a portfolio, brush in hand. That Panini would have been formally portrayed by a French artist should not be surprising as he was closely associated with the French community in Rome from the outset of his career and counted many important French collectors among his patrons.

The international aspect of the Roman art world in the 18th century is also shown by another fine portrait being exhibited by Bernheimer-Colnaghi. The picture depicts the Scottish architect, art dealer and antiquary James Byres (1733-1817) and was executed by the Austrian artist Anton Von Maron (1733-1808), who settled in Rome in 1755. It was probably painted around the time of Byres’ election to the Accademia di San Luca in 1768, where he had won 3rd prize for architectural design in 1762, and features one of his drawings prominently in the foreground.

Hubert Robert (1733-1808) was one of a number of French artists who visited Italy as a young man. His River Landscape with an Artist Sketching beneath a Ruined Temple, possibly the Temple of the Sibyl at Tivoli, probably painted in the late 1770s, draws upon that visit. The temple with its Corinthian columns is undoubtedly inspired by the famous Temple of the Sibyl at Tivoli outside Rome, although the artist has taken considerable liberties with the surrounding landscape which is depicted as much gentler and more low-lying than the actual rugged terrain. (more…)

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