Enfilade

London’s National Gallery Acquires Portrait by Lawrence

Posted in museums by Editor on May 23, 2012

Press release from London’s National Gallery:

Sir Thomas Lawrence, “Portrait of the Hon. Emily Mary Lamb,” 1803 (London: National Gallery)

A portrait by Sir Thomas Lawrence that has never been on public display since it was painted over two hundred years ago is now available for visitors to enjoy at the National Gallery in Room 34. Portrait of the Hon. Emily Mary Lamb (1787–1869), 1803, has been allocated to the National Gallery by Arts Council England under the Acceptance in Lieu scheme, which allows donors to leave major works of art to the nation in lieu of inheritance tax. Sir Thomas Lawrence (1769–1830) is generally regarded as one of the finest European portraitists of the late 18th and early 19th centuries, portraying some of the most important personalities of his day. This work is an important addition to the National Gallery’s British collection. The Gallery currently holds examples of formal and full-length works by Lawrence – John Julius Angerstein, aged about 55, about 1790; John Julius Angerstein, aged over 80, 1824; and Queen Charlotte, 1789 – but this painting exemplifies Lawrence’s influential but more informal depiction of children and families. Its inclusion in the collection will enable Gallery visitors to appreciate the breadth of Lawrence’s repertoire.

The oval portrait depicts the 16-year-old sitter in motion, her head turned towards the viewer in a pose that has a long tradition in the history of portraiture. However, Lawrence brings a freshness to the work, reflected in the informality and economy of his brushwork. The Hon. Emily Lamb went on to become an influential, politically prominent society hostess. She first married Peter Leopold Clavering-Cowper, 5th Earl Cowper. After his death, in 1839 she married Henry John Temple, 3rd Viscount Palmerston, who served twice as Prime Minister between 1855 and 1858 and again from 1859 to 1865. Her brother, Viscount Melbourne, also served as Prime Minister. His wife, Lady Caroline Lamb, was notorious for her affair with Lord Byron.

The work was commissioned by the subject’s father, Peniston Lamb, 1st Earl Melbourne, whose image can also be seen in the Gallery represented in a work by Stubbs, The Milbanke and Melbourne Families, about 1769. Lawrence’s painting has been in the possession of the sitter’s descendants since its completion. Born in Bristol, Lawrence was largely self-taught and a child prodigy; he was already producing accomplished portraits in crayon aged 10. He went on to become a pupil at the Royal Academy at the age of 18 and exhibited his first portrait the following year. He had a distinguished career during which he became a member of the Academy, going on to become its president in 1820. He was appointed Painter-in-Ordinary to King George III and received a knighthood in 1815.

Forthcoming | ‘The Materiality of Color’

Posted in books by Editor on May 22, 2012

From Ashgate this fall:

Andrea Feeser, Maureen Daly Goggin, and Beth Fowkes Tobin, eds., The Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments, 1400-1800 (Aldershot: Ashgate, 2012), 350 pages, ISBN: 9781409429159, £65.

Although much has been written on the aesthetic value of color, there are other values that adhere to it with economic and social values among them. Through case studies of particular colors and colored objects, this volume demonstrates just how complex the history of color is by focusing onthe diverse social and cultural meanings of color; the trouble, pain, and suffering behind theproduction and application of these colors;the difficult technical processes for making and applying color; and the intricacy of commercial exchanges and knowledge transfers as commodities and techniques moved from one region toanother. By emphasizing color’s materiality, the way in which it was produced, exchanged, and used by artisans, artists, and craftspersons, contributors draw attention to the disjuncture between the beauty of color and the blood, sweat, and tears that went into its production, circulation, and application as well as to the complicated and varied social meanings attached to color within specific historical and social contexts.

This book captures color’s global history with chapters on indigo plantations in India and the American South, cochineal production in colonial Oaxaca, the taste for brightly colored Chinese objects in Europe, and the thriving trade in vermilion between Europeans and Native Americans. To underscore the complexity of the technical knowledge behind color production, there are chapters on the ‘discovery’ of Prussian blue, Brazilian feather techné, and wallpaper production. To sound the depths of color’s capacity for social and cultural meaning-making, there are chapters that explore the significance of black ink in Shakespeare’s sonnets, red threads in women’s needlework samplers, blues in Mayan sacred statuary, and greens and yellows in colored glass bracelets that were traded across the Arabian desert in the late Middle Ages.

The purpose of this book is to recover color’s complex–and sometimes morally troubling–past, and in doing so, to restore a sense of wonder and appreciation for our colorful world. With its nuanced and complex depiction of how color operated within local contexts and moved across the globe, this book will appeal to art historians, social and cultural historians, museum curators, literary scholars, rhetoric scholars, and historians of science and technology.

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C O N T E N T S

Andrea Feeser, Maureen Daly Goggin, and Beth Fowkes Tobin — Introduction: The Value of Color

Part I: Color’s Social and Cultural Meanings

Jason LaFountain — Colorizing New England’s Burying Grounds

Maureen Daly Goggin — The Extraordinary Powers of Red in 18- and 19th-Century English Needlework

Molly H. Basset and Jeanette Favrot Peterson — Coloring the Sacred in 16th-Century Central Mexico

Mitchell Harris — The Expense of Ink and Wastes of Shame: Poetic Generation, Black Ink, and Material Waste in Shakespeare’s Sonnets

Vanessa Alayrac-Fielding — ‘Luscious Colors and Glossy Paint’: The Taste for China and the Consumption of Colors in 18th-Century England

Part II: Producing and Exchanging Pigments and Dyes

Jeremy Baskes — Seeking Red: The Production and Trade of Cochineal Dye in Oaxaca, Mexico, 1750–1821

J.-F. Lozier — Red Ochre, Vermilion and the Transatlantic Cosmetic Encounter

Padmini Tolat Balaram — Indian Indigo

Andrea Feeser — The Exceptional and the Expected: Red, White, and Black Made Blue in Colonial South Carolina

Sarah Lowengard — Prussian Blue: Transfers and Trials

Part III: Making Colored Objects

Stéphanie Karine Boulogne — Glass Bracelets in the Medieval and Early Modern Middle East: Design and Color as Identity Markers

Éva Deák — The Colorful Court of Gabriel Bethlen and Catherine of Brandenburg

Richard Blunt — The Evolution of Blackface Cosmetics on the Early Modern Stage

Amy Buono — Crafts of Color: Tupi Tapirage in Early Colonial Brazil

Elaine Gibbs — Colors and Techniques of 18th-Century Chinese Wallpaper: Blair House as Case Study

Beth Fowkes Tobin — Butterflies, Spiders, and Shells: Coloring Natural History Illustrations in Late 18th-Century Britain

Bibliography and Index

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Editors: Andrea Feeser is Associate Professor of Modern and Contemporary Art, Theory, and Criticism at Clemson University. Maureen Daly Goggin is Associate Chair in the Department of English, Arizona State University. Beth Fowkes Tobin is Professor of English and Women’s Studies at the University of Georgia.

Trying to Think Seriously about Pinterest

Posted in resources by Editor on May 21, 2012

From the editor

Edward Collier, “A Trompe l’Oeil of Newspapers, Letters and Writing Implements on a Wooden Board,” ca. 1699 (London: Tate Collection)

Last year I planned to run a piece on Pinterest — just before everyone seemed to know about it. Well, I put it off for a few weeks, which turned into a few months, and then suddenly there was no need. Now, however, with Pinterest recently in the news for raising $100 million, bringing its start-up value to $1.5 billion, I decided to weigh in. For although a good portion of people now know about Pinterest (its users having soared from 1 million in 2011 to 20 million last month), I’m not sure anyone has a handle on how varied uses of the site will be, even in the near future.

A recent Wall Street Journal article (17 May 2012) describes it as a “scrapbooking site,” but from my experience (I starting ‘pinning’ a few months ago), the characterization is inaccurate and disregards the metaphor altogether: it’s a pinboard, after all, not a scrapbook (how interesting are all of these metaphors for how we interact with computers, going back to files and the desktop — hardly anything new with Pinterest in that regard).

So why raise the issue on a site dedicated to the art and architecture of the eighteenth century? For two reasons: 1) to extend an invitation to brainstorm and 2) to suggest a few preliminary ideas.

On the first front, I’m eager to hear of scholarly or at least ‘cultural’ uses for Pinterest. Are there examples of academics already using the site in such a manner? And if Pinterest isn’t going to help you write your next book, might there be any pedagogical function? By all means feel free to weigh in with examples or ideas.

As for my own suggestions, it seems to me that a genuinely engaging Pinterest presence could particularly serve the interests of museums. By way of comparison, I’ve been fascinated to see how House Beautiful uses the site (full disclosure: I’m afraid one of my Pinterest boards is given over to an upcoming bathroom renovation). Realizing, I imagine, that Pinterest users are inevitably going to ‘pin’ images from the magazine, House Beautiful ‘pins’ images itself. If you ‘follow’ the magazine, a photograph or two will appear on your Pinterest site each day, and with one click, you’re able to add it to your own board. The advantages? First, the magazine controls the text under the image (it’s easy enough to make changes, but most people don’t take the time). Second, it provides a steady stream of contact between magazine and its followers. Rather than getting an issue once a month in the mail, you get updates each day (no matter that it’s mostly the same content). Third, and this seems crucial, the magazine is able to tell precisely what photos resonate most fully with users (in terms of which ones are ‘liked’ and ‘repinned’). Presumably (for better or worse), this can be mapped onto all sorts of analytic data about individual users’ preferences more generally, with huge marketing and advertising potential (hence the $1.5 billion start-up value).

It seems that these advantages would apply equally well in the case of museums; and indeed, major institutions are already well represented. But surely the possibilities have only begun to be tapped.

For instance, at House Beautiful, I’m able to choose from 22 different ‘boards’ to follow — from ‘mixing patterns’ to ‘living rooms’ to ‘bookshelves’ (or I can ‘follow all’). At The Met, there are currently just nine boards, and they tend to be arranged by silly themes — treating letters or dogs, for instance — rather than the kind of information people presumably want from The Met, i.e. upcoming exhibitions, lectures and scholarly events, children’s programming, new acquisitions, &c. (by contrast, The Met has invested considerably energy in its Facebook presence). In some ways, The Art Institute of Chicago is better with its generally more sensible eight boards, addressing topics like ‘News & Views’, but again a lot is missing. Remarkably, what gets posted all too often does look more like a scrap for a book than than a poster for a pinboard. On the other hand, both institutions look like models of progress in comparison to MoMA, which has a profile and 660 followers but not a single pin posted. The British Museum’s experimental approach is interesting. There are just three boards so far — ‘pattern and texture’, ‘jewelry’, and ‘architecture’ — but it’s easy to see how both the groupings and the things the’ve pinned so far would find a keen audience. I’ve no idea about the going rates for advertising in The New York Times or The Times Literary Supplement, but it must be astronomical compared to the 2-minutes it takes to add that same image to Pinterest. Museum goers have long covered their walls with exhibition posters, why wouldn’t they do the same to their Pinterest boards?

Just as blogs were long derided as being frivolous — because so much of the content was only frivolous — it’s easy to mock Pinterest (there’s far too much truth in this piece from The New Yorker). I’m not sure, however, it’s the medium that’s at fault. Who knows? A year from now, the world may have already abandoned Pinterest, in pursuit of the next new thing. But I doubt it. -CH

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Note (added 24 May 2012) — Along with the interesting comments submitted below, readers might be interested in Emile de Bruijn’s posting at Treasure Hunt, the blog he writes for the UK’s National Trust.

Note (added 8 June 2012) — Treasure Hunt pursues the subject with more interesting examples and, from Emile de Bruijn, questions about the relationships between viewers and objects.

Call for Papers | Politeness & Prurience

Posted in Calls for Papers by Editor on May 20, 2012

From the conference website:

Politeness & Prurience: Situating Transgressive Sexualities in the Long Eighteenth Century
History of Art Department, the University of Edinburgh, 2-3 September 2013

Proposals due by 10 September 2012

Embedded within the narrative of John Cleland’s infamous novel Fanny Hill, or Memoirs of a Woman of Pleasure (1748), is a vignette which affronts the moral compass of even the tale’s sexually promiscuous protagonist. Having attended a ‘drag masquerade’, Fanny bears witness, through a convenient crack in a wall, to a sodomitical act, which she finds ‘not only universally odious but absurd’. Despite her apparent condemnation, Fanny pruriently watches on. In its dichotomous nature, Fanny’s reaction – suggestive of both outrage and intrigue – mirrors reactions to homosexuality in the eighteenth-century and its subsequent historiography, wherein it is treated at once as a site of fascination, but considered separately from the history of normative sexualities. Situated as it is, within this feast of heterosexual eroticism, Fanny Hill’s same-sex love scene may seem incongruous. Cleland’s text however, proffers a way to approach homosexuality as both explicitly aberrant and problematic, but still located within the general lexicon of eighteenth-century sexual congress. By the same token, Cleland offers a model for resituating the homosexual narrative within a wider historiography of sexuality, where its relationality to dominant modes, not its difference from them, might fruitfully be used as a way to re-evaluate transgressive sexualities during the period.

In his 2006 article ‘Queering Horace Walpole’ George Haggerty advocates an approach to the history of sexuality wherein the search for a ‘concrete account of same-sex sexual behaviour’ is rejected, forcing the historian ‘to look elsewhere in almost every case’. Accordingly, this conference will privilege the assessment of cultural evocations of the ‘other eighteenth century’; the transgressive will be identified as, and sought within, dominant modes of eighteenth-century culture and its discourses. In the realm of visual culture, transgressive and deviant sexualities have previously been interpreted as autonomous and distinct from these prevailing modes. Hogarth’s famous print-series A Harlot’s Progress (1732) and A Rake’s Progress (1735) have been interpreted simplistically – in accordance with their appellation – as ‘modern moral subjects’. As such they have routinely been presented as providing antitheses to a broadly defined exemplar of ideal polite culture. Such a prima facie interpretation however, boldly precludes the rich scopophilic potential provided by scenes of prostitution and illicit sexuality, locating it instead within the polite framework of moralising art. Like Fanny, the viewer of such images is at once repulsed and titillated. Yet Hogarth’s satirical oeuvre is not merely a visualisation of moral imperatives central to polite culture, but a vivid visualisation of a real section of contemporary society. In reintegrating these apparently oppositional forms of behaviour a clearer picture of eighteenth-century society and culture emerges. Hogarth’s images may therefore be viewed not as simply the commentary on the mores of an apparently ‘polite’ society via the representation of its very opposite, but, analogous to David Halperin’s definition of ‘queer’ in Saint Foucault: Towards a Gay Hagiography (1997), as ‘a positionality vis à vis the normative’.

In an attempt to highlight underwritten facets of contemporary sexuality, texts such as G. S. Rousseau and Roy Porter’s Sexual Underworlds of the Enlightenment (1987) which label themselves as examining the ‘other’ or ‘underworld’ have instead further problematised the role and import of such histories to wider eighteenth-century culture. The aim of this conference is therefore not to present illicit sexuality as an underbelly to a dominant polite culture, but to reconcile the ‘two eighteenth centuries’ that have for too long been presented as the subject of two discrete discourses – politeness and prurience. As well as dealing with the interface between politeness and prurience as it appears throughout eighteenth-century visual, material and literary culture more generally, specific topics for papers could include:
• Bodies – the venereal body, castrati, physicalities, sadomasochism
• Settings – home and abroad, urban centres, rural backwaters
• Spaces – the architectural exterior and the private interior, the bagnio, the brothel, the masquerade
• Gaze/Experience – viewing sexualities, the keyhole testimony, description and biography
• Material Evidence – the objects of sexuality, dress, sex aids, collections, erotica
• Masculinities and Femininities – gender roles, reversals and subversions
• Modes of the illicit – sodomitical, Sapphic, pathological, pederastic, extra-marital, rape
• Public & Private – reception/reaction, fear/celebration, homophobia, display, expression
• Language – parlance, designation, rumour, slander, code

We invite abstracts of no more than 500 words to Dr. Viccy Coltman, Head of History of Art, Jordan Mearns & Freya Gowrley at politeness.prurience@gmail.com by 10 Sept 2012. Website: http://www.politenessandprurience.com

Conference | ‘Contested Views’ at Tate Britain

Posted in conferences (to attend) by Editor on May 19, 2012

From Tate Britain (as noted at BARS) . . .

Contested Views: Visual Culture and the Revolutionary and Napoleonic Wars
Tate Britain, London, 19-20 July 2012

Joseph Mallord William Turner, “The Field of Waterloo,” exhibited 1818

In July 2012, in advance of commemoration of the bicentenary of the Battle of Waterloo, Tate Britain will be hosting a two-day conference exploring the impact of the Revolutionary and Napoleonic Wars on worldwide visual culture, from the outbreak of the pan-European conflict with France in 1792 to the present day. Centred on themed panels, plenary lectures and workshops, this cross-disciplinary conference will promote knowledge and understanding of the range of ways in which the ‘first total war’ has been mediated in visual cultures, not only in Britain and continental Europe but throughout the world. Confirmed plenary speakers: Mary Favret, Gillian
Russell, Susan Siegfried, Paul White.

The 2012 Issue of ‘The Walpole Society’

Posted in journal articles by Editor on May 18, 2012

The Walpole Society 74 (2012)

• Rodney Griffiths, “The Life and Works of Edward Haytley (1713-1762),” pp. 1-60.
• Jason M. Kelly, “Letters from a Young Painter Abroad: James Russel in Rome, 1747-53,” pp. 61-164.
• Andrew Graciano, “The Memoir of Benjamin Wilson FRS (1721-1788): Painter and Electrical Scientist,” 165-244.
• Hugh Brigstocke, “The Journals and Accounts of James Irvine in Italy (1802-1806): Art Dealing and Speculation for William Buchanan, Arthur Champernowne and Alexander Gordon,” 245-432.

General information about The Walpole Society is available here»

Exhibition | British Silver: The Wealth of a Nation

Posted in exhibitions by Editor on May 17, 2012

Thanks to Courtney Barnes of Style Court for this one. From The Met:

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British Silver: The Wealth of a Nation
The Metropolitan Museum of Art, New York, 15 May 2012 — 20 January 2013

The production of silver in Britain was understood to be the embodiment of the country’s prosperity—an outward expression of political stability, taste, and industriousness. This exhibition explores some of the ingredients that made the English silver trade such a vigorous success in the sixteenth, seventeenth, and eighteenth centuries. Drawn largely from the Museum’s collections, it also includes extraordinary loans from private collectors, including Paul de Lamerie’s great rococo coffeepot of 1738 and the justly famous Maynard Dish belonging to the Cahn Family Foundation.

Since sterling silver was the coinage of the realm, a silver dinner service was, most literally, worth its weight. But the display and use of silver meant more than riches. Silver was an expression of a patron’s taste and education, designed to celebrate his achievements and complement the architecture of his house.

In England, as in Continental Europe, a rich display of silver was essential to the expression of power. Government officials and emissaries dispatched to foreign courts were expected to entertain in a style that reflected the dignity of the English crown. To ensure that they could set an impressive table, an office holder or ambassador was issued a silver service from the Jewel Office, the division of the royal household responsible for precious metals and jewels. Several examples of silver made for ambassadorial use are included in the exhibition. Although the court was an important source of orders for silversmiths, it did not support workshops of its own, and makers broadened their market by serving the growing professional and merchant classes. (more…)

Conference | Activating Stilled Lives, Specimens on Display

Posted in conferences (to attend) by Editor on May 16, 2012

From UCL (as noted at BARS) . . .

Activating Stilled Lives: The Aesthetics and Politics of Specimens on Display
UCL History of Art Department, London, 17-18 May 2012

Conference of the AHRC Research Network, ‘The Culture of Preservation’

The past twenty years saw an explosion of exhibitions fathoming the relations between art and science as well as numerous refurbishments of natural history or former colonial museums. Many of these displays and gallery transformations mobilised specimens, be it taxidermied animals or preserved human body parts. Objects were put into new contexts opening up their meanings, others disappeared in storage or travelled back to the countries where they were once collected. The conference will address the challenges institutions face when dealing with formerly living entities and consider the aesthetics and politics of their display. The idea is to discuss the use of specimens in temporary exhibitions, museums or university collections and the role curators, art and artists have been playing in the transformation of these spaces. We would also like to consider how preserved specimens have changed through the altering contexts in which they have been displayed: One could name the initial transformation of organisms into objects, the more recent re-definition of pathological specimens as human remains, or the dramatic rearrangements that took place when natural history, anthropology or anatomy collections (many dating from the nineteenth century) were updated – coinciding with a shift in audiences, from specialists to a broader public. Historical displays were often significantly altered, or even destroyed and replaced by „techy“ but at times also by sentimental, „post-modern“ installations still awaiting a critical assessment.

Beyond that, the question of preservation shall be considered in a more expanded sense, as this subject area offers a unique opportunity to reflect more broadly on issues of conservation and their ethics and to raise a variety of questions such as: How and why do various cultures preserve elements of what is considered as nature? How does this relate to environmental notions of conservation and extinction? Should flawed specimens be disposed of? Can museums as a whole be considered cultural preserves? Should we preserve the preserves? And last but not least: Do we really need to embalm everything?

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T H U R S D A Y ,  1 7  M A Y  2 0 1 2

UCL, JZ Young Lecture Theatre, Anatomy Building, Gower Street

2.30 Mechthild Fend & Petra Lange-Berndt: Exhibiting Preserves

Session One: Reassembling

Chair: Sam Alberti (Director of Museums and Archives, The Royal College of Surgeons of England)

3.00 Hans-Jörg Rheinberger (Historian of Science, Berlin): Preparations Revisited

3.45 Rose Marie San Juan (Art Historian, London): Bones in Transit: the Re-Animation of Human Bone in Early Modern Cabinets of Display

4.30 John MacKenzie (Professor Emeritus of Imperial History, Lancaster): The Natural World and Imperial Legitimation: Hunting, Trophies, Taxidermy and Museums

5.15 Tea break

5.45 Robert Marbury (Artist / Minnesota Association of Rogue Taxidermy, Baltimore): Personal Computers as the New Wunderkammer and the Rise of Rogue Taxidermy

6.30 Reception at the Grant Museum of Zoology, University College of London (Rockefeller Building, University College London, 21 University Street, London WC1E 6DE)

F R I D A Y ,  1 8  M A Y  2 0 1 2

UCL, Gustave Tuck Lecture Theatre, Wilkins Building, South Wing, Gower Street (access via Gower Street / Main Quadrangle or Gordon Street)

Session Two: Handling

Chair: Mechthild Fend (Art Historian, London)

10.00 Petra Lange-Berndt (Art Historian, London): Subsculpture: Assembling a Museum of Attractions

10.45 Steve Baker (Artist and Art Historian, Norfolk): Dead, dead, dead, dead, dead

11.30 Tea Break

12.00 Angela Matyssek (Art Historian, Marburg / Maastricht): “Museumlives”: Mould, Decay and the History of the Object

12.45 Lunch break

Session Three: Displaying

Chair: Bergit Arends (Curator Contemporary Art, The Natural History Museum, London)

14.30 Panel discussion on “Curating Specimens” with Claude d’Anthenaise (Director, Musée de la chasse et de la nature, Paris), Christine Borland (Artist, Glasgow), Lisa O’Sullivan (Director, Center for the History of Medicine, New York Academy of Medicine), Johannes Vogel (Director, Museum für Naturkunde, Berlin)

16.00 Tea break

16.30 Anke te Heesen (Historian of Science, Berlin): Displaying the Infinite Amount

17.15 Nélia Dias (Anthropologist, Lisbon): The Fate of Human Remains from the Musée de l’homme to the Musée du Quai Branly

18.00 Final discussion

Film Shows

A series of related films will be shown during the breaks. Details and links are available at Preserves on Film

The event is open and free for all, but please register with pandora.syperek.09@ucl.ac.uk

Abstracts of papers for the conference

Call for Papers | Botany and the Visual Arts at UAAC-AAUC

Posted in Calls for Papers by Editor on May 15, 2012

From the conference website (which includes information on additional sessions). . .

Cross-pollinations: Botany and the Visual Arts, 1700 to the Present
Concordia University, Montreal, 1-3 November 2012

Proposals due 4 June 2012

Panel at the Universities Art Association of Canada (UAAC-AAUC) Annual Conference

This session explores intersections between botany and the visual arts since 1700. Plants have held iconographic significance since the Middle Ages, serving as traditional Christian allegories or as more abstract symbols in the Romantic period. Have the botanical sciences, such as phytognomy or Linnaean taxonomy, contributed to the symbolic charge of particular plants? Vegetation has similarly played an ongoing role in the decorative arts, inspiring motifs as diverse as arabesques to the wallpaper patterns of the Arts and Crafts Movement. How has vegetal ornament engaged with the expanding repertoire of botanical illustrations supplied by imperial expeditions? The eighteenth century also witnessed a major shift from a mechanistic to an organic paradigm of the creative mind. Did the study of plant growth and procreation provoke theories of vegetable genius? This session invites proposals across mediums and cultures that consider how botany has influenced the subjects of art, artistic practice, and concepts of artistic generation. Papers that investigate how the arts have shaped knowledge of the vegetable kingdom are also welcome.

Please email abstracts (250 words) and a short bio to Nina Amstutz, the session chair, at nina.amstutz@utoronto.ca. Membership to the UAAC-AAUC required for conference participation.

Call for Reviews from BSECS

Posted in Calls for Papers by Editor on May 14, 2012
The British Society for Eighteenth-Century Studies
Online Reviews of Events


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The British Society for Eighteenth-Century Studies has established a new online system for reviews of events which involve significant performances of eighteenth-century works, or the input of scholarship on the eighteenth century. The system is designed to cover theatre, music, media (in all forms), and fine art. The Society is keen to cover as many countries and exhibitions as possible.

The reviews are designed to be more discursive than the usual press reviews, and they remain online with a permanent URL, and are therefore citable. The system can be found at: http://www.bsecs.org.uk/Reviews/.

The Society is looking both for reviewers and for recommendations for fine art events to be covered. In particular we would be delighted to hear of smaller events which might otherwise not receive press attention. The reviews editor, Matthew McCormack, can be contacted through the BSECS website.

Michael Burden
President, British Society for Eighteenth-Century Studies