Enfilade

Drawings at The Morgan Library to Be Digitized

Posted in museums by Editor on September 24, 2013

From the press release (20 September 2013) . . .

Antoine Watteau (1684–1721) Two Studies of the Head and Shoulders of a Little Girl, ca. 1717 Red, black, and white chalk on buff paper; drawn over black chalk sketch of legs

Antoine Watteau, Two Studies of the Head and Shoulders of a Little Girl, ca. 1717, Red, black, and white chalk on buff paper; drawn over black chalk sketch of legs (New York: The Morgan Library & Museum)

The Morgan Library & Museum announced today that it will begin the digitization of its collection of master drawings, considered to be one of the greatest in the world. The initiative will result in a digital library of more than 10,000 images, representing drawings spanning the fourteenth to twenty-first centuries, available free of charge on the Morgan’s website. The project will begin in October and is expected to be completed within one year, contributing significantly to the Morgan’s commitment to advancing drawings scholarship.

The images will be accessible in two formats: one for general identification and another for detailed study with enhanced resolution. Scholarly information about each drawing will be linked to a corresponding Morgan catalogue record. Importantly, the project includes approximately 2,000 images of versos (reverse sides) of drawings that contain rarely seen sketches or inscriptions by the artist. The digital library will be available on an open-access basis, and can be downloaded for non-commercial uses such as classroom presentations, dissertations, and educational websites devoted to the fine arts.

“The Morgan’s drawing collection is indisputably one of the finest in the world, however, images of only a small part of our holdings have been available in digital form,” said William M. Griswold, director of the museum. “This project will provide access to the full range of the collection and is critical to our institutional goal of promoting drawings scholarship and reaching out to an ever larger audience.”

Future plans for the project involve digitization of the department’s print collection, including its celebrated group of Rembrandt prints, as well as artists’ sketchbooks, and expanded scholarly catalogue records. For nearly a century the Morgan has played a leading role in the collecting, scholarship, and exhibition of master drawings. All the major European schools are represented in the collection, with particular strengths in the field of Italian drawings, including works by Raphael and Michelangelo, Annibale Carracci, and Giambattista and Domenico Tiepolo; French drawings, especially of the eighteenth and nineteenth centuries; British drawings, with an exceptional concentration of works by William Blake; and Dutch, Flemish, and German drawings, including numerous sheets by Dürer, Rubens, Rembrandt, and Friedrich, among many others. The collection also includes a growing number of modern and contemporary works on paper as well as drawings by American artists. The Morgan’s collection is thus unusual in that it represents, in increasing depth, continuity as well as innovation throughout the entire history of drawing.

Jennifer Tonkovich, Curator in the Department of Drawings and Prints, and Marilyn Palmeri, Imaging and Rights Manager, will lead the project team. This project is generously underwritten by the Joseph F. McCrindle Foundation and by the Samuel H. Kress Foundation.

Call for Proposals | ISECS Seminar for Early Career Scholars

Posted in Calls for Papers, opportunities by Editor on September 24, 2013

From the call for proposals (which includes the French text, too) . . .

2014 ISECS International Seminar for Early Career Eighteenth-Century Scholars
Arts of Communication: In Manuscript, in Print, in the Arts, and in Person
Manchester, 8-12 September 2014

Proposals due by 14 March 2014

The International Society for Eighteenth-Century Studies (ISECS) invites applications from scholars in all fields of eighteenth-century studies within the context of a one-week International Seminar for Early Career Eighteenth-Century Scholars.

This annual event now has an established reputation for promoting intellectual and social engagement between scholars from many countries. In 2014, the meeting will take place in Manchester, UK, and will be co-sponsored by the British Society for Eighteenth-Century Studies (BSECS) and the University of Manchester with its John Rylands Library, a Victorian masterpiece which will provide the Seminar venue. Other scholarly bodies in Manchester which may provide support include the People’s History Museum; the Museum of Science & Industry; Chetham’s Library; the Portico Library; and the Whitworth Art Gallery. The programme will include a reception, a dinner, a guided tour of Manchester and a visit to Quarry Bank Mill, ‘one of Britain’s greatest industrial heritage sites’.

The International Seminar will be held from Monday 8 September to Friday 12 September 2014 in Manchester, UK, directed by Prof. Jeremy Gregory (President BSECS: University of Manchester) and Prof. Penelope J. Corfield (Vice-President ISECS: Royal Holloway, University of London). This year, the theme of the International Seminar will be: C18 Arts of Communication: in manuscript, in print, in the arts, and in person.

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Dear Sir, If you think the word ‘Sir’ at present necessary, then I cannot object to it … – but it appears cold and & seems to place one at an uncomfortable distance. [letter to tradesman father from medical student son, Edinburgh, Sept. 1781]

It has long been known that the formal advice manuals and etiquette books published in such numbers in the eighteenth century were not taken literally by all readers. Instead, a dynamic and fluid art of inter-personal communication was evolving. Literacy levels were rising and access to all forms of media were spreading (just as today new social media are dramatically extending and changing forms of participation). The result was a simmering tension between formal/ informal styles; between public/ private modes; and, as a result, scope for innovation.

This International Seminar will address questions relating to the evolution of the art of communication, both following conventions and yet also breaking them. The focus falls especially upon contemporary awareness and innovations in the style and purpose of communication in different media – and the shared role of recipients, whether reading letters and books, viewing art, hearing music, or greeting/ talking in person. Was there a clear trend for change? If so, how should scholars characterise it? It is not enough to refer loosely to the advent of ‘Modernity’ (a slippery term with too many meanings). But if not that, then what?

1. Manuscript communication, including letters: Discussions here can draw upon recent studies of the spread of intimate letter-writing among all classes of society. In literature, there are also famous novels narrated via the medium of epistolary communication. Among European scientists/intellectuals, letters formed a key means of establishing informal networks, fostering a context favourable to scientific and technical innovation. In all these contexts, changing styles of greeting (as in the quotation above) offer one relevant theme to consider as well as other authorial choices in modes of communication.

2. Printed communication, in newspapers, broadsheets, books: In recent years, there has been a huge growth of scholarly interest in the history of book-publishing and book-selling. With that, there is scope for more focus upon new styles in print communication, such as specialisation for different markets (eg. the recently-studied children’s literature). Readers’ responses are relevant here, as shown in the history of reading newspapers; as are authorial appeals to implied readers, demonstrated in the history of literary erotica.

3. Communication by sound and sight in the arts: Tensions between traditional formulas and innovation, which often recur in the arts, merit fresh attention in the C18 context. In music, there was a gamut of evolving styles from formal compositions to popular songs (and the overlap between them). In the visual arts, there was a similar range from ‘high art’ to casual sketches and to illustrated manuscripts, as evidenced by William Blake.

4. Communication in person, including the arts of greeting: Alongside formal encounters, there was a negotiated intimacy, seen in this period by, for example, the rise of the egalitarian handshake. Themes of interpersonal communication have relevance for C21 film and TV representations of eighteenth-century social encounters – which tend to reproduce courtly manners, underestimating more casual semi-public/domestic styles.

Submission of proposals. The seminar is limited to 15 participants. The proposals (approx. 1.5 pages long, single-spaced) should be based on an original research project (e.g. a doctoral dissertation or post-doctoral project) that deals with one of the aspects mentioned above. The format of the seminar gives each participant a solo-session, with a 40-minute presentation followed by a further 20 minutes of questions/discussion directed at the paper.

Preference will be given to scholars who are at the beginning of their academic career (PhD or equivalent in or after 2009). The official languages are French and English.
Applications should include the following information:
* short curriculum vitae with date of PhD (or equivalent)
* list of principal publications and scholarly presentations
* brief description of the proposed paper (approx. 1.5 pages long, single-spaced)
* ONE letter of recommendation

Lodging and travel: Accommodation will be provided free on site, with free breakfast, lunch, and evening meals, including Conference dinner. Travel costs will also be met, if participants are unable to obtain travel funding from their home institutions. PLEASE NOTE: The organisers will book both travel tickets and accommodation.

Publication: The Seminar papers are usually published by Honoré Champion Éditeur (Paris) in the series ‘Lumières internationales’. In addition, any later studies based upon the John Rylands Library Special Collections can be considered for publication in Bulletin of the John Rylands Library: for full information see http://www.library.manchester.ac.uk/rylands/.

Deadlines: The deadline for submission of proposals is Friday 14 March 2014. Applications should be sent preferably by email, with details in file attachments, or by post (if email unavailable) to Prof. Jeremy Gregory, for consideration by himself and Prof. Corfield:
Prof. Jeremy GREGORY, Head of Arts, Languages & Cultures, University of Manchester, Manchester, M13 9PL. Tel: [44] 0161 306 1242. Email : jeremy.gregory@manchester.ac.uk.

Exhibition | Behind Closed Doors: Art in the Spanish American Home

Posted in books, catalogues, exhibitions by Editor on September 23, 2013

Now on view at the Brooklyn Museum:

Behind Closed Doors: Art in the Spanish American Home, 1492–1898
Brooklyn Museum, New York, 10 September 2013 — 12 January 2014
Albuquerque Museum of Art and History, New Mexico, 16 February — 18 May 2014
New Orleans Museum of Art, 20 June — 21 September 2014
The John and Mable Ringling Museum of Art, Sarasota, Florida, 17 October 2014 — 11 January 2015

Curated by Richard Aste

screen

Screen with the Siege of Belgrade (front) and Hunting Scene (reverse,
as shown above). Mexico, ca. 1697–1701. Oil on wood, inlaid
with mother-of-pearl, 90 x 108 inches (Brooklyn Museum)

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The first major exhibition in the United States to explore the private lives, power struggles, and collecting practices of Spain’s New World elite brings together approximately 160 exceptional works in a wide range of media that illuminate conspicuous consumption and domestic display in the colonial era. Behind Closed Doors: Art in the Spanish American Home, 1492–1898 debuted at the Brooklyn Museum, where it will be on view through January 12, 2014, before traveling to three additional venues.

Included are paintings, manuscripts, prints, sculpture, decorative-arts objects, and textiles. The material demonstrates how colonial Spanish America’s new moneyed classes—including Spaniards, Creoles (Spaniards born in the New World), individuals of mixed race, and indigenous people—secured their social status through the spectacular private display of luxury goods from all over the world. The exhibition invites the visitor into an elite Spanish colonial home, beginning with more public reception rooms, hung with elaborately costumed family portraits and filled with fine imported and locally produced luxury goods, and ending with more private rooms, displaying objects that also spoke to the racial and social identity of their owners.

2010.59_PS6

Agostino Brunias, Free Women of Color with Their Children
and Servants in a Landscape, ca. 1770–96. Oil on canvas,
20 x 26 inches (Brooklyn Museum)

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When the Spanish empire first expanded its borders into the Americas, the early conquistadors brought with them a rich artistic tradition, along with a monotheistic religion and an obsession with racial purity. Within a hundred years, fabulous fortunes had been amassed in the New World, thanks to the region’s abundant natural resources and robust market economy. Although Spanish America’s newly privileged class consisted of some of the wealthiest people in the world, the crown consistently favored those born in Spain for prominent local government and church positions, and political reforms in the eighteenth century further limited Creole power. In defiance, American-born elites responded by acquiring and ostentatiously displaying luxury goods from around the world in their dress and in their homes as pointed reminders of the crown’s reliance on New World resources. Their collections became more eclectic, including works by local artists and indigenous craftsmen as well as European masters.

Most of the objects in the exhibition are drawn from the Brooklyn Museum’s superb Spanish colonial holdings, supplemented by additional selections from the American, European, Asian, and Islamic collections as well as loans from public and private collections. For the first time in an exhibition in this country, Spanish colonial objects destined for the home will be paired with British American counterparts for purposes of comparison. The exhibition, which encompasses all of the New World under Spanish domination, calls attention to the Caribbean’s pivotal but, surprisingly, often overlooked role in Spanish American history.

 José Joaquín Bermejo (Peruvian, active circa 1760–92). Doña Mariana Belsunse y Salasar, circa 1780. Oil on canvas, 78⅛ x 50-1/16 in. (198.4 x 127.2 cm). Brooklyn Museum

José Joaquín Bermejo, Doña Mariana Belsunse y Salasar, ca. 1780 (Brooklyn Museum)

Among the exhibition highlights is a group of luxury objects from the viceroyalty of New Spain, which comprised present-day Mexico and Central America. One is a shell-inlaid and painted folding screen, or biombo enconchado, commissioned expressly for Mexico City’s viceregal palace about 1700 by Viceroy José Sarmiento de Valladares. This extremely rare, massive six-panel screen will be a focal point of the exhibition, along with a newly discovered late eighteenth-century neoclassical portrait by the mixed-race Puerto Rican painter José Campeche. Depicting twenty-one-year-old Doña Maria de los Dolores Gutiérrez del Mazo y Pérez, the painting commemorated her marriage to the future viceroy of New Granada.

Other objects in the exhibition include a pair of painted leather Peruvian chests from about 1690 decorated with allegories of the four elements, symbols of the zodiac, and a scene of a merry company dining outdoors; eighteenth-century Chinese export porcelain bearing the coat of arms of one of colonial Mexico’s leading families; an early sixteenth-century medallion Ushak carpet from Turkey of the type recorded in South American women’s sitting rooms; a late eighteenth-century polychromed wood portable tabernacle, adorned with the Virgin Mary and mirrors to reflect candlelight; Free Women of Color with Their Children and Servants in a Landscape, a portrait from about 1764–96 of members of the mixed-race elite in the British colony of Dominica by Italian painter Agostino Brunias; and Francisco de Goya’s monumental portrait of Peruvian-born Don Tadeo Bravo de Rivero, painted in Madrid in 1806.

The Brooklyn Museum began acquiring domestic Spanish colonial art in earnest in 1941 when Herbert J. Spinden, Curator of American Indian Art and Primitive Cultures, purchased approximately fourteen hundred art works from eight Latin American countries. The collection, which now ranks among the country’s finest, has been augmented with important recent acquisitions that are included in the exhibition.

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Programming at the Brooklyn Museum includes an afternoon roundtable:

Roundtable Discussion: Behind Closed Doors
Brooklyn Museum, Saturday, 16 November 2013, 11:30 a.m.–4 p.m.

Water Heater (Pava). Bolivia, 18th century. Silver, 14-9/16 x 13 x 5½ in. (37 x 33 x 14 cm). Colección Patricia Phelps de Cisneros, 1998.257

Water Heater (Pava). Bolivia, 18th century, silver (Brooklyn Museum)

Join us for a day-long, bilingual roundtable discussion about calculated collecting practices in the colonial Americas, in celebration of the exhibition Behind Closed Doors: Art in the Spanish American Home, 14921898. The program begins with a morning session, in Spanish, on collecting for the home, moderated by Jorge F. Rivas Pérez, Curator of Colonial Art at the Colección Patricia Phelps de Cisneros. The afternoon session, in English, explores adorning the colonial body and will be moderated by Richard Aste, Curator of European Art at the Brooklyn Museum.

Collecting and signaling status through dress also connect with our fall exhibition The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk.

Speakers include:

· Gustavo Curiel, Research Fellow, Instituto de Investigaciones Estéticas, Universidad Nacional Autónoma de México
· Maria Del Pilar Lopez Perez de Bejarano, Associate Professor, Instituto de Investigaciones Estéticas, Universidad Nacional de Colombia
· Barbara E. Mundy, Associate Professor of Art History, Fordham University
· Linda Rodríguez, Postdoctoral Fellow, Art History Department, New York University
· Caroline Weber, Associate Professor of French, Barnard College
· Luis Eduardo Wuffarden, independent Lima scholar and curator

This event is co-sponsored by the Brooklyn Museum and the Colección Patricia Phelps de Cisneros. Additional support provided by PAMAR’s eighth annual Latin American Cultural Week.

A box lunch will be available on the day of the event for $15. Museum Members receive free admission; call the Membership Hotline at (718) 501-6326 or email us for reservations.

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From Monacelli Press:

Richard Aste, ed., Behind Closed Doors: Art in the Spanish American Home, 1492–1898 (Monacelli Press, 2013), 224 pages, ISBN: 978-1580933650, $50.

coverA critical contribution to the burgeoning field of Spanish colonial art, Behind Closed Doors reveals how art and luxury goods together signaled the identity and status of Spanish Americans struggling to claim their place in a fluid New World hierarchy.

By the early sixteenth century, the Spanish practice of defining status through conspicuous consumption and domestic display was established in the Americas by Spaniards who had made the transatlantic crossing in search of their fortunes. Within a hundred years, Spanish Americans of all heritages had amassed great wealth and had acquired luxury goods from around the globe. Nevertheless, the Spanish crown denied the region’s new moneyed class the same political and economic opportunities as their European-born counterparts. New World elites responded by asserting their social status through the display of spectacular objects at home as pointed reminders of the empire’s
dependence on silver and other New World resources.

The private residences of elite Spaniards, Creoles (American-born white Spaniards), mestizos, and indigenous people rivaled churches as principal repositories for the fine and decorative arts. Drawing principally on the Brooklyn Museum’s renowned colonial holdings, among the country’s finest, this book presents magnificent domestic works in a broad New World (Spanish and British) context. In the essays within, the authors lead the reader through the elite Spanish American home, illuminating along the way a dazzling array of both imported and domestic household goods. There, visitors would encounter European-inspired portraiture, religious paintings used for private devotion and also as signifiers of status, and objects that spoke to the owner’s social and racial identity.

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Karen Rosenberg reviewed the exhibition for The New York Times (19 September 2013)

New Book | The Museum of French Monuments 1795–1816

Posted in books by Editor on September 22, 2013

From Ashgate:

Alexandra Stara, The Museum of French Monuments 1795–1816: ‘Killing art to make history’ (Aldershot: Ashgate, 2013), 198 pages, ISBN: 978-1409437994, $100.

9781409437994_p0_v1_s600The first volume in two centuries on Alexandre Lenoir’s Museum of French Monuments in Paris, this study presents a comprehensive picture of a seminal project of French Revolutionary cultural policy, one crucial to the development of the modern museum institution. The book offers a new critical perspective of the Museum’s importance and continuing relevance to the history of material culture and collecting, through juxtaposition with its main opponent, the respected connoisseur and theorist Quatremère de Quincy. This innovative approach highlights the cultural and intellectual context of the debate, situating it in the dilemmas of emerging modernity, the idea of nationhood, and changing attitudes to art and its histories.

Open only from 1795 to 1816, the Museum of French Monuments was at once popular and controversial. The salvaged sculptures and architectural fragments that formed its collection presented the first chronological panorama of French art, which drew the public; it also drew the ire of critics, who saw the Museum as an offense against the monuments’ artistic integrity. Underlying this localized conflict were emerging ideas about the nature of art and its relationship to history, which still define our understanding of notions of heritage, monument, and the museum.

Alexandra Stara is Reader in the History and Theory of Architecture at Kingston University, London.

Fellowships | The Society of the Cincinnati Fellowships for 2014

Posted in fellowships by Editor on September 22, 2013

The Society of the Cincinnati Research Fellowships for 2014
Applications due by 8 November 2013

Anderson HouseThe Society of the Cincinnati is offering four research fellowships for 2014: The Tyree-Lamb Fellowship, two Massachusetts Society of the Cincinnati Fellowships and, new this year, the Society of Colonial Wars in the State of Maryland Fellowship (the latter specifically for a scholar whose work is focused in the American colonial period, 1607–1775). Each fellowship provides $1,000 to support the cost of travel, housing, and per diem expenses for a scholar wishing to use the Society’s library for a period of at least five days. The fellowships are open to graduate students and other scholars who are conducting research that may benefit from the library’s holdings.

The Society of the Cincinnati library collections include contemporary books, manuscripts, maps, and works of art on paper which support the in-depth study of 18th-century naval and military history and the art of war in the age of the American Revolution. The library also houses books and archives related to the formation and history of the Society of the Cincinnati, as well as materials related to the life of Larz and Isabel Anderson, whose Gilded Age home now serves as a museum, and the headquarters of the Society.

Recipients will be required to fulfill their fellowship research in the library within a period of one year from the date of the award. Further, the recipient will be required to submit a two-to-three-page written report and summary of research findings, which may be published in the Society’s journal, Cincinnati Fourteen. In addition, the library requests a single copy of any subsequent publication (article, thesis, dissertation, or book) that may result.

The recipients of each of the three research fellowships will be chosen from a single round of applications. Applicants should submit the following:
• A curriculum vitae, including educational background, publications and professional experience
• A brief outline of the research proposed (not to exceed 2 pages)
• (For current graduate students only) Two confidential, sealed letters of recommendation from faculty or colleagues familiar with the applicant and his or her research project. Note: If letters are to be mailed independently, please include the names of recommenders when submitting the application.

Applications for the 2014 fellowships must be received by November 8, 2013. Applicants will be notified by January 15, 2014.

Applications should be mailed to:
Ellen McCallister Clark, Library Director
The Society of the Cincinnati
2118 Massachusetts Ave, N.W.
Washington, D.C. 20008

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The Society of the Cincinnati is the oldest patriotic organization in the United States, founded in 1783 by officers of the Continental Army and their French counterparts who served together in the American Revolution. Its mission is to promote knowledge and appreciation of the achievement of American independence and to foster fellowship among its members. Now a nonprofit educational organization devoted to the principles and ideals of its founders, the modern Society maintains its headquarters, library, and museum at Anderson House in Washington, D.C. Members of the Society are qualified male descendants of officers of the Continental Army and Navy and their French counterparts during the Revolutionary War.

Library Research Grants from the Getty

Posted in fellowships by Editor on September 21, 2013

Getty Research Institute Library Research Grants
Applications due by 15 October 2013

The Getty Research Institute invites applications for its Library Research Grants. Getty Library Research Grants provide partial, short-term support for costs relating to travel and living expenses to scholars whose research requires use of specific collections housed in the Getty Research Institute.

Eligibility
Library Research Grants are intended for scholars of all nationalities and at any level who demonstrate a compelling need to use materials housed in the Research Library, and whose place of residence is more than eighty miles from the Getty Center. Projects must relate to specific items in the library collection.

Terms
Library Research Grants are intended to provide partial support for costs relating to travel and living expenses. Grants range from $500 to $2,500, depending on the distance traveled. The research period may range from several days to a maximum of three months, but must take place between February 15, 2014, and January 15, 2015. These terms apply as of June 2012 and are subject to future changes.

Application Availability and Deadline
Complete application materials are now accepted through an online application process only. The next deadline for these grants is 6:00 p.m. PDT, October 15, 2013.

Further information and application forms are available here»

Conference | The Hurt(ful) Body before Diderot: Pain and Suffering

Posted in conferences (to attend) by Editor on September 21, 2013

From the conference website:

The Hurt(ful) Body before Diderot: Pain and Suffering
in Early Modern Performance and the Visual Arts, c. 1600–1790
Royal Flemish Academy of Belgium for Science and the Arts, Brusssels, 21–22 November 2013

On the occasion of Diderot’s three-hundredth birthday, the present conference invites papers by historians of both visual arts and performance arts, to address the hurt and hurt-causing body in early modern and eighteenth-century visual culture. The point is better to address spectacles of pain and suffering before Diderot, whereby before is to be understood both physically and chronologically, in terms of images he saw and those that belong to a wider Ancien Régime visual and performance culture.

Seventeenth- and eighteenth-century medicine, philosophy and works of fiction treated pain and suffering as contents of consciousness. Hurt and grief fixed the self in a state of disaffection and refusal, as opposed to the appetites or ‘sociable’ affects of love or admiration. During this time, the hurt body found itself at the apex of art theory (from Lomazzo to Le Brun), informing academic aesthetics, while the genre of tragedy, climaxing in the plays of Racine, was shaping the image of the actor’s craft. Images of saintly suffering were a fixture of post-Trentian Catholic life, but after 1600 they were incrementally visible in both civic theatre and popular imagery as well as aristocratic collecting. All of this culminates in the writings of Diderot, who was an assiduous admirer of spectacles of grief, pest scenes and other sujets de fracas. Such affinities, as present in his criticism as his commentaries on the tableau and the self-possessed actor, seem now more difficult to place, in part because so little is known of the rationale of the spectacle of hurt in the 150 years that preceded him, especially in relation to its socio-historical and performative context. Moreover, accounts of the period tend to segregate semiotic or iconographical developments (explaining continued interest for the Le Brun’s Traité de Passions and its plates) from historical clues that speak to the peculiar positionality of bodies in and of hurt. The disjunctive image of pain and suffering is today too often regarded as simply ‘emotive’, an expression like any other for artists and actors to master.

Through the impact of scholars like Jonathan Sawday, Erika Fischer-Lichte and Amelia Jones, present-day historians are familiar with problems of performativity and ephemerality, of body presence and the spectator’s participative witnessing and intervention. The hurt body can accommodate new diverse and perceptive approaches of the early modern body, as a body in withdrawal, a ‘communicative’ body in flux, or a body split in its desire to escape alterity and a corporeal ‘prison’. Time seems ripe for a self-standing history of the hurt(ful) body, illustrated through staging practices as well as material images (paintings, sculptures, prints), and addressing practices of making, acting and viewing; censorship and divulgation; collecting, directing and interpreting. The conference invites papers that revisit historical forms, practices and pressures of the hurt body, from the staging of blood and the representations of Hercules’ self-immolation to distressed audiences. Maintaining an interdisciplinary focus, speakers might address imaginaries of the hurt body recovered through stage praxis, visual representation and dramatic text. It welcomes papers exploring archival sources documenting (theatrical) communication between audiences and ‘hurt bodies’, or exploring public and elite spaces of performance, urban events and exhibition sites where Diderot and Ancien Régime audiences experienced such encounters.

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T H U R S D A Y ,  2 1  N O V E M B E R  2 0 1 3

9.30   Registration and coffee/tea

10:00  Welcome and introduction by Karel Vanhaesebrouck (Université Libre de Bruxelles, Vrije Universiteit Brussel), Tomas Macsotay (Universitat Autònoma de Barcelona) and Kornee van der Haven (Ghent University)

10:30 Keynote Lecture by Jonathan Sawday (Saint Louis University), Three forms of Renaissance Pain: Michel de Montaigne, John Donne, and Robert Burton

11:30  Coffee/tea break

12:00  Session 1: Discourses of Pain I
Jürgen Pieters (Ghent University), Hurtful Hamlet: The tragedy of consolation
Christel Stalpaert (Ghent University), We don’t even know what the hurt(ful) body is capable of: Some reflections on Spinoza and the corporeal turn

13:30  Lunch

14:30  Session 2: Discourses of Pain II
Frans-Willem Korsten (Leiden University), How Injustice Hurts: Physical Pain, Immaterial Grounds and the Cause of Justice
Inger Leemans (VU Amsterdam), Clashing Bodies: The physicality of the Amsterdam Stock Exchange, 1650–1750

16:00  Coffee/tea break

16:30  Session 3: Acting the Victim
Stijn Bussels (Leiden University), ‘No knife, no sting is sharper, than this feeling that cuts through the heart’: Performing Pathos in Vondel’s Brethren (1641)
Charlotte Bouteille-Meister (Paris X-Nanterre), “Flamme qui m’est un doux zéphire, / Parmi l’ardeur de mon martyre” (Céciliade, 1606): Does the martyr’s ambiguous suffering allow any pathetic response?
Bram Van Oostveldt (University of Amsterdam), Flying, diving and dying bodies: Corneille’s pièces à machines between the marvelous and the sublime

F R I D A Y ,  2 2  N O V E M B E R  2 0 1 3

10:00  Keynote Lecture by Christian Biet (Paris X-Nanterre), Bloody suffering, performed suffering and recited suffering in the French 17th and 18th centuries: Spectacle and text

11:00  Coffee/tea break

11:30  Session 4: The Visual Culture of Hurt
Koen Jonckheere (Ghent University), The meaning of the pose: Hurting the divine body in an age of Iconoclasm
Jetze Touber (Ghent University), Engineering empathy: Inventions of martyrology in the Confessional Age

13:00  Lunch

14:00  Roundtable Discussion: Early Modern Theatricality and the Hurt Body

15:00  Coffee/tea break

16:00  Session 5: Enlightenment Purifications
Aris Sarafianos (University of Ioannina), Unable to bear the light: Sore eyes, sensory deprivation, multi-media shows and extraordinary cures in late eighteenth-century Britain
Tomas Macsotay (Universitat Autònoma de Barcelona), A technology of audience response: Sightlessness, disorientation and corporeal Pathos in the Paris Academy, 1700–1760

17:30  Concluding remarks

Forthcoming Book | New Approaches to Naples, 1500–1800

Posted in books by Editor on September 20, 2013

Scheduled for November publication from Ashgate:

Melissa Calaresu and Helen Hills, eds., New Approaches to Naples c.1500–c.1800: The Power of Place (Aldershot: Ashgate, 2013), 264 pages, ISBN: 978-1409429432, $120.

9781409429432_p0_v1_s600Early modern Naples has been characterized as a marginal, wild and exotic place on the fringes of the European world, and as such an appropriate target of attempts, by Catholic missionaries and others, to ‘civilize’ the city. Historiographically bypassed in favour of Venice, Florence and Rome, Naples is frequently seen as emblematic of the cultural and political decline in the Italian peninsula and as epitomizing the problems of southern Italy. Yet, as this volume makes plain, such views blind us to some of its most extraordinary qualities, and limit our understanding, not only of one of the world’s great capital cities, but also of the wider social, cultural and political dynamics of early modern Europe.

As the centre of Spanish colonial power within Europe during the vicerealty, and with a population second only to Paris in early modern Europe, Naples is a city that deserves serious study. Further, as a Habsburg dominion, it offers vital points of comparison with non-European sites which were subject to European colonialism. While European colonization outside Europe has received intense scholarly attention, its cultural impact and representation within Europe remain under-explored. Too much has been taken for granted. Too few questions have been posed.

In the sphere of the visual arts, investigation reveals that Neapolitan urbanism, architecture, painting and sculpture were of the highest quality during this period, while differing significantly from those of other Italian cities. For long ignored or treated as the subaltern sister of Rome, this urban treasure house is only now receiving the attention from scholars that it has so long deserved.

This volume addresses the central paradoxes operating in early modern Italian scholarship. It seeks to illuminate both the historiographical pressures that have marginalized Naples and to showcase important new developments in Neapolitan cultural history and art history. Those developments showcased here include both theoretical or methodological innovation and new empirical approaches. Thus this volume illuminates new models of cultural history designed to ask new questions of Naples and tell new stories that have implications beyond the Kingdom of Naples for the study of early modern Italy and, indeed, early modern Europe.

Melissa Calaresu is Lecturer in History at Gonville and Caius College, Cambridge; Helen Hills is Professor of the History of Art at the University of York.

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C O N T E N T S

Introduction
• Melissa Calaresu and Helen Hills, Between Exoticism and Marginalization: New Approaches to Naples

I: Disaster and Decline
• John Marino, Myths of Modernity and the Myth of the City: When the Historiography of Pre-modern Italy Goes South
• Helen Hills, Through a Glass Darkly: Material Holiness and the Treasury Chapel of San Gennaro in Naples
• Rose Marie San Juan, Contaminating Bodies: Print and the 1656 Plague in Naples

II: Topographies
• Harald Hendrix, Topographies of Poetry: Mapping Early Modern Naples
• Dinko Fabris, The Collection and Dissemination of Neapolitan Music, c.1600–1790
• Helena Hammond, Landed Identity and the Bourbon Neapolitan State: Claude-Joseph Vernet and the Politics of the ‘siti reali’

III: Exceptionality
• Paola Bertucci, The Architecture of Knowledge: Science, Collecting, and Display in 18th-Century Naples
• Melissa Calaresu, Collecting Neapolitans: The Representation of Street Life in Late 18th-Century Naples
• Anna Maria Rao, ‘Missed Opportunities’ in the History of Naples

Bibliography
Index

Seminar | The Uses of Antiquity in European Art, 1300–1800

Posted in opportunities by Editor on September 20, 2013

The following announcement may be of interest for full-time faculty who regularly teach art history at institutions affiliated with the Council of Independent College (there are over 600 member schools). While addressing the eighteenth century, the seminar will focus on previous periods; I imagine it’s ideally suited for dix-huitièmistes who find themselves teaching late medieval and Renaissance courses. Up to 20 individuals will be selected. Details are available from the brochure. -CH

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The Uses of Antiquity: A Seminar on Teaching Pre-Modern European Art in Context
Smart Museum of Art, University of Chicago, 13–18 July 2014

Nominations due by 2 December 2013

Apollo & Daphne

Daphne Fleeing from Apollo, ca. 1500
(Chicago: Smart Museum of Art)

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This seminar will be led by Rebecca Zorach, professor of art history and the college at the University of Chicago, and will be held at the University of Chicago’s Smart Museum of Art. It will take as its starting point European objects spanning the years 1300–1800 at the Smart Museum and participants will have the chance to examine prints and rare printed books in the Regenstein Library’s Special Collections Research Center, principally the very large collection of the Speculum Romanae Magnificentiae and related prints after Roman monuments and antiquities, considering the role of prints, books, and other small objects in disseminating and popularizing classical styles and imagery. Moving beyond the European early modern period, the seminar also will visit other local sites—the Oriental Institute, campus and neighborhood murals, and buildings such as the nearby Museum of Science and Industry—to think about how participants can use their own local resources creatively to discuss with students ways in which artists, architects, patrons, and others have understood and reinterpreted the past. The seminar will examine recent and older scholarship on the uses of the past and draw on the expertise and teaching experience of participants. For many of our students, differences between an ancient Greek temple and a Renaissance church (or a 19th-century Beaux-Arts museum, for that matter) barely register. But the benefits of teasing out the nuances of
references and associations go beyond awareness of the chronology of style. Pedagogical discussions will address close looking, the relationship of texts to objects, and ways faculty members can help students think critically about the texture of history and the practices and decisions of artists.

seminarZorach teaches late medieval and Renaissance art, primarily French and Italian; gender studies and critical theory; print culture and technology; and contemporary activist art. Her books include The Passionate Triangle (2011) and Blood, Milk, Ink, Gold: Abundance and Excess in the French Renaissance (which received the Society for the Study of Early Modern Women 2005 Book Award), both published by the University of Chicago Press. In addition, she has created catalogues for several exhibitions, including The Virtual Tourist in Renaissance Rome: Printing and Collecting the Speculum Romanae Magnificentiae produced in conjunction with The Speculum Romanae Magnificentiae Digital Collection, and Paper Museums: The Reproductive Print in Europe 1500–1800, co-edited with Elizabeth Rodini.

New Book | Collecting Chinese and Japanese Porcelain in Paris

Posted in books by Editor on September 19, 2013

Scheduled to appear in November from Getty Publications:

Stéphane Castelluccio, Collecting Chinese and Japanese Porcelain in Pre-Revolutionary Paris (Los Angeles: Getty Publications, 2013), 224 pages, ISBN 978-1606061398, $60.

9781606061398_grandeThis beautifully illustrated volume traces the changing market for Chinese and Japanese porcelain in Paris from the early years of the reign of Louis XIV (1643–1715) through the eighteenth century. The increase in the quantity and variety of East Asian wares imported during this period spurred efforts to record and analyze them, resulting in a profusion of inventories, sales catalogues, and treatises. These contemporary sources—many never published before—provide a comprehensive picture of porcelains: when they were first available; what kinds were most admired during various periods; where and at what price they were sold; who owned them; and how they were displayed and used.

Over the course of these two centuries, a preference for blue-and-white Chinese works arranged in crowded, asymmetrical groupings gave way to symmetrical presentations of polychrome and monochrome Japanese pieces on brackets, tables, and mantelpieces, often mixed with bronzes, marble vases, and paintings. Some porcelains now received elaborate silver or gilt-bronze mounts. The illustrated pieces, which include pitchers, vases, lidded bowls, and writing sets, are drawn from the collections of the J. Paul Getty Museum, the Victoria and Albert Museum, and the Musée des Arts Décoratifs in Paris. Also included are exquisite porcelains from the Musée Guimet in Paris, many published here for the first time.

Stéphane Castelluccio is chargé de recherche at Le Centre National de la Recheche Scientifique (CNRS), Centre André Chastel, Paris. He is the author of Le Commerce du Luxe à Paris aux XVIIe et XVIIIe (Peter Lang, AG, 2009) and Les Fastes de la Galerie des Glaces (Payot, 2007).