Conference | Histories of British Art, 1660-1735

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

From the University of York:

Histories of British Art, 1660-1735
King’s Manor, University of York, 20-22 September 2012

Organized by Claudine Van Hensbergen

Histories of British Art is the third and final conference organised as part of  Court, Country, City: British Art 1660-1735, a major research project run by the University of York and Tate Britain, and funded by the Arts and Humanities Research Council. Held at the King’s Manor in York, this three-day conference includes a drinks reception at York City Art Gallery and a visit to Beningbrough Hall (built 1716) for a private viewing of the National Portrait Gallery’s collection of over a hundred artworks from the period.

Keynote speakers: Malcolm Baker, Diana Dethloff, Charles Ford, and David Solkin

Conference spaces are limited and we therefore encourage early booking to avoid disappointment. For any other queries please email email clare.bond@york.ac.uk

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T H U R S D A Y ,  2 0  S E P T E M B E R

11.00  Registration and coffee

12.00  Lunch

12.30  Welcome — Penelope Curtis (Director, Tate Britain) and Mark Hallett  (University of York)

Malcolm Baker (University of California, Riverside) — ‘Masons, statuaries and sculptors: reconsidering the place of sculpture in British art and its histories 1660-1735’

2.30  Tea and coffee

3.00  SESSION 1

Panel 1: Netherlandish Influences on British Art  
• Sander Karst (Vereniging Rembrandt) — ‘The participation of Dutch migrant artists in the London art market at the end of the seventeenth century’
• Debra Pring (Hochschule Luzern Musik) — ‘Translating vanitas: Dutch artists and their vanitas paintings in Britain’
• Matt Fountain (University of Cambridge) — ‘Pieter van Roestraeten: The market for the Dutch still life painting in late 17th-century England’
• Karen Hearn (Tate Britain) — ‘Constructing physical perfection? Patches, squints and spots in late 17th-century British and Netherlandish portraits’

Panel 2: Aristocratic Patronage
• Susan E. Gordon (University of Leicester) — ‘The English garden, c. 1660-1735: breaking the mould at Castle Howard’
Lydia Hamlett (University of York/Tate Britain) — ‘Rupture through Realism: Louis Laguerre’s murals at Marlborough House’
• Lauren Dudley (University of Birmingham) — ‘Reconstructing the fragments of the past: British identity built on ruins?’
• Craig Ashley Hanson (Calvin College, Michigan) — ‘Looking to the lowlands: Anglo-Dutch relations and artistic continuities in the decades after 1688’

Panel 3: Art Writing in Britain
• Caroline Good (University of York/Tate Britain) — ‘Graham’s Short Account (1695) and Buckeridge’s Essay Towards an English School (1706)’
• Amy Todman (University of Glasgow) — ‘John Dunstall and The Art of Delineation, or Drawing
• Peter Forsaith (Oxford Brookes University) — ‘Protestantism, piety and portraiture: religion and painting in times of transition’

Panel 4: British Portraiture
• Sarah Moulden (University of East Anglia) — ‘Turning turk: Andrea Soldi’s portraits of Levant Company merchants, c.1730-36’
• David A. Brewer (Ohio State University) — ‘Authors and objecthood’
• Jacqueline Riding (University of York) — ‘Highmore’s portrait of The Lee Family (1736)’
• Kate Retford (Birkbeck College) — ‘Connoisseurial conversations: Gawen Hamilton’s Sir James Thornhill Showing his Poussin to his Friends

6.00  Drinks Reception at York City Art Gallery

F R I D A Y ,  2 1  S E P T E M B E R

Diana Dethloff and Charles Ford (University College London) — ‘Where spheres collide: the public, private and intimate business of Roger North’

10.30  Tea and coffee

11.00  SESSION 2

Panel 5: Art & Virtuosi
• Stephen Lloyd (Independent Art Historian) — ‘“…il celebre David Paton pittor di chiaroscuro…”: an Edinburgh limner at Ham House and the Medici court’
• Helen Pierce (University of Aberdeen) — ‘“This Ingenious young Gent and excellent artist”: William Lodge (1649-1689) and the York Virtuosi’
• Arlene Leis (University of York) — ‘“Ladys and Virtusae” in the portrait print collection of Samuel Pepys’

Panel 6: The Later Stuarts (I): Charles II and Court
• Erin Griffey (University of Auckland) — ‘The art of display at the court of Charles II’
• Helen Wyld (National Trust) — ‘Charles II and tapestry’
• Susan Jenkins (English Heritage) — ‘Collecting patterns: artists from the court of Charles II in the collection at Audley End House’

Panel 7: Prospects
• Simon Turner (Independent Art Historian) — ‘“Things resembling graves & solid rocks”: Wenceslaus Hollar and Tangier in 1669’
• Ailsa Hutton (University of Glasgow) — ‘John Slezer’s Theatrum Scotiae: prospects of seventeenth-century Scotland’
• Emily Mann (Courtauld Institute) — ‘Making plans, improving prospects: a printed view of Britain’s Atlantic empire’

Panel 8: Print, Copies and Communication
• Martin Myrone (Tate Britain) — ‘Engraving’s third dimension’
• Anne Puetz (Courtauld Institute) — ‘Useful, profitable and curious: the emergence of the design print in late seventeenth- and early eighteenth-century Britain’
• Peter Moore (University of York/Tate Britain) — ‘” Prostituted at so cheap a rate”: The mezzotint as mediator in circum-Atlantic visual Exchange’

1.00  Lunch

2.00  Meet at Memorial Gardens for transport to Beningbrough Hall

2.30  Visit to Beningbrough Hall (National Trust)

5.30  Depart Beningbrough for York

7.30  Conference dinner at the King’s Manor

S A T U R D A Y ,  2 2  S E P T E M B E R

David Solkin (Courtauld Institute) — ‘From The Escape of Charles II’ to The Life of Charles I: The first revolution in English history painting’

10.30  Tea and coffee

11.00  SESSION 3

Panel 9: Rebuilding Projects
• Anya Matthews (Courtauld Institute) — ‘“With honour yet frugality”: the rebuilding of the Livery Company Halls after the Great Fire of London’
• Eleonora Pistis (University of Oxford) — ‘Oxford 1708-1714: Nicholas Hawksmoor and the renovatio urbis
• Peter N. Lindfield-Ott (University of St Andrews) — ‘Early Gothic-Revivalism: the reconstruction and transformation of medieval architecture, and the formation of Gothic-Revival furniture’

Panel 10: The Later Stuarts (II): Image and Reception
• Claudine van Hensbergen (University of York/Tate Britain) — ‘Queen Anne by the seaside: Sir Jacob Bancks, Francis Bird and the Minehead commission (1715)’
• Tabitha Barber (Tate Britain) — ‘Queen Anne and her state image’
• Sebastian Edwards (Historic Royal Palaces) — ‘The empty bed: the reception of the monarch at the country house between the Restoration and the Hanoverian succession’

Panel 11: Other Painting Histories
• Nathan Flis (University of Oxford) — ‘Francis Barlow (c.1626-1704): a painter between city and country’
• Margaret Dalivalle (University of Oxford) — ‘“Surrogates, stand-ins and charming imposters”: the status of copies in seventeenth-century England’
• Darragh O’Donoghue (Trinity College, Dublin) — ‘Irish naïve painting in the first half of the 18th century’

Panel 12: Artists and Collecting
• Richard Stephens (University of York/Tate Britain) — ‘The Palace of Westminster as a centre of the art trade’
• Rudolf Dekker (Huizinga Institute, Amsterdam) — ‘Constantijn Huygens Jr.: art advisor to King William III’
• Richard Johns (National Maritime Museum) — ‘Death of the artist: the sale of James Thornhill’s collection’

1.00  Lunch

‘Court, Country City?: reflections on the present state of the field’ — Chaired by Martin Myrone (Tate Britain) and Nigel Llewellyn (Tate Britain)

3.15  CLOSING REMARKS — Mark Hallett (University of York)

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