Enfilade

Valentine’s Day at the Museum of London

Posted in exhibitions by Editor on February 11, 2014

As reported by Nick Clark for The Independent (30 January 2014). . .

Amorous couple

Detail of one of eight eighteenth-century plaster tiles discovered in 1962. Click on the image for the full view of another tile (with usual warnings about sexually explicit images).

For one night only. . . amorous visitors to the Museum of London will have the chance to see the steamy side of the 18th century. A series of erotic tiles, detailing various sexual positions and even spanking, will go on display for the first time at a late-night Valentine’s Day event at the site in the heart of the City. The eight tiles were discovered in 1962 after a fire in an upper room of one of London’s most memorable old pubs and remain shrouded in mystery.

Jackie Keily, curator at the museum, said: “We can’t normally display them because they are so graphic. It is a fascinating glimpse into the sexual history of London; so few of these artefacts survive.”

They will be part of an evening event called Late London: City of Seduction which is open to over 18-year-olds only. The tiles were discovered in 1962 following a fire at Ye Old Cheshire Cheese pub on Fleet Street and were handed to the museum shortly after.

The full article, with additional photos, is available here»

Details of Late London: City of Seduction are available here»

« Livraisons d’histoire de l’architecture » 26 (2013)

Posted in journal articles by Editor on February 11, 2014

From the Centre André Chastel:

“Les Ministres et les arts,” numéro thématique des Livraisons d’histoire de l’architecture  26 (2013), €23.

ministres_arts_livraisonsBasile Baudez, “Le comte d’Angiviller, directeur de travaux : le cas de Rambouillet”

Alexandre Burtard, “Sur la piste des orientations artistiques de Nicolas Frochot, premier préfet de la seine sous le Consulat et l’Empire”

Rose-Marie Chapalain, “L’abbé Terray, seigneur de la Motte-Tilly”

Marie-Claude Chaudonneret, “Les ministres de l’intérieur et les arts sous le Directoire”

Hélène Drutinus, “Jean Naigeon, conservateur du Luxembourg sous le Consulat : les rapports d’un conservateur avec le Sénat et le ministre de l’intérieur”

Dominique Massounie, “Philibert Orry et l’embellissement du territoire autour de l’Instruction de 1748 : genèse d’un paysage routier et urbain”

Gabriele Quaranta, “Deux générations à côté du pouvoir : quelques remarques sur les arts chez les de Fourcy”

Aleth Tisseau des Escotais, “Finances et arts pendant la Révolution et le Premier Empire : l’exemple du Garde-Meuble”

Summaries for a selection of the articles are available as a PDF file here»

Call for Papers | Art as Cultural Diplomacy: Eastern and Western Europe

Posted in Calls for Papers by Editor on February 11, 2014

Art as Cultural Diplomacy: (Re)Constructing Notions of Eastern and Western Europe
Berlin, 28–29 March 2014

Proposals due by 25 February 2014

Panel Organizer: Cassandra Sciortino, University of California, Santa Barbara

As part of the Third Euroacademia International Conference Re-Inventing Eastern Europe to be held in Berlin, the panel Art as Cultural Diplomacy seeks papers that explore the function of art (in its broadest definition) as an instrument of cultural diplomacy by the state and, especially, by nongovernmental actors. The main theme of the session is the question of art and diplomacy in Europe before and after the fall of the Berlin Wall. Papers are welcome that explore issues related to the role of art, diplomacy and the politicization of the European Union and its candidate countries, as are those which consider how the arts have pursued or resisted East-West dichotomies and other narratives of alterity in Europe and worldwide. The panel seeks to combine a wide range of interdisciplinary perspectives to explore how art—its various practices, history, and theory—are an important area of inquiry in the expanding field of cultural diplomacy. Selected papers will be invited for publication in a book.

Some examples of topics include:
• How can art serve as a neutral platform for exchange to promote dialogue and understanding between states?
• How can art, including organized festivals (i.e. film, art, music), cultivate transnational identities that undermine dichotomies of East and West, and other narratives of alterity in Europe and beyond it?
• The implications for art as an instrument of diplomacy in a postmodern age where geopolitics and power are increasingly mobilized by image-based structures of persuasion
• How has/can art facilitate cohesion between European Union member states and candidate states that effectively responds to the EU’s efforts to create ‘unity in diversity’?
• The politics of mapping Europe: mental and cartographic
• Community-based art as a social practice to engage issues of European identity
• The difference between art as cultural diplomacy and propaganda
• The digital revolution and the emergence of social media as platforms for art to communicate across social, cultural, and national boundaries?
• Diplomacy in the history of art in Europe and Eastern Europe
• Artists as diplomats
• Art history as diplomacy—exhibitions, post-colonial criticism, global art history, and other revisions to the conventional boundaries of Europe and its history of art
• The international activity of cultural institutes

If interested in participating, please send an abstract (maximum of 300 words) together with the details of your affiliation until 25th of February 2014 to cassandra.sciortino@berkeley.edu and application@euroacademia.eu. More information is available here

Call for Papers | Family Patronage in Genoa, Rome, and Venice

Posted in Calls for Papers by Editor on February 11, 2014

Family Patronage in Early Modern Genoa, Rome, and Venice, 1500–1750
Bibliotheca Hertziana—Max-Planck-Institut für Kunstgeschichte, Rome, 8 September 2014

Proposals due by 15 April 2014

Among the increasingly monarchic arena of Early Modern Europe, the powerful Italian cities of Genoa, Rome, and Venice are exceptional. Genoa and Venice, the largest remaining republics in Italy, predominated the financial, mercantile, and military spheres of the Mediterranean. Rome’s religious authority and historical cachet, along with its sizable territory, were the foundations of its leading position. All three of these cities stand out for their oligarchic
power structures; while Genoa and Venice were led by governments elected from a restricted book of families, Rome fostered an aristocracy both parallel to and participating in the electoral principle of the Papal court. Therefore, in the absence of hereditary lords, power and prestige was shared among the ruling families. As a result, in all of these cities, the families could remain powerful even as the government changed.

Central challenges for these cities’ aristocratic families were how to figure their relationships to local power structures and balancing their own interests against those of the communal state. The particular social-political contexts nurtured different forms and strategies of representation than those deployed in monarchic and ducal societies. The oligarchic aristocracy had to submit to an abstract concept shaped by values and virtues such as equality and liberty rather than to a dynastic authority. Each of these societies experienced turning points when their political structures shifted and opened to new families—be they from outside the city or from non-noble stock—and their ruling classes sought new methods of representation and patronage to assert their role in the changed social scene. The reforms of 1576 to Genoa’s oligarchic government, the rising status of papal families in seventeenth-century Rome, and the opening of the Libro d’Oro in the context of Venice’s wars against the Ottoman Turks in the late seventeenth century were all moments from which such changes arose.

Against this background, this study day seeks to compare the demands and strategies of art and architectural patronage among these non-dynastic aristocratic groups. Although Genoa and Venice have often been mentioned in chorus, they have never been directly and critically compared. Because of their diverse political alliances and statuses, the differences in their governmental structures, as well as their differing territorial dispositions, two distinct types of an early modern republic developed. Furthermore, the exemplary role of Rome for the non-monarchic sphere—its permeable system of social ascension—still asks for a more differentiated view. While scholarship often focuses on the Papacy of Rome and likens it to a monarchy, we seek to understand the strategies of the ruling class while not in power.

We invite abstracts from scholars in all stages of their careers addressing key aspects and questions such as the following:
– How did individual families present themselves vis-a-vis rival families or  the state?
– How and when did these representations take place?
– What were the spaces used for representation and how were they marked?
– How did these strategies change or shift through time or across political changes?
– Can we identify instances of collective patronage or patterns of patronage?
– Are there collective representations or patterns of representation?
– Did strategies differ between sacred and secular contexts? If so, how?
– How do we conceive of the dialectic of public / private in these societies?

Proposals for 25-minute papers should include the title of the paper, a 250– to 300-word abstract, the author’s institutional affiliation, a one-page CV, and full contact information. Papers may be submitted in English, French, German, and Italian. Proposals should be sent to both: Benjamin Eldredge (Bibliotheca Hertziana) eldredge@biblhertz.it and Bettina Morlang-Schardon (Bibliotheca Hertziana), morlangschardon@biblhertz.it.

Summer Institute | Rebuilding the Portfolio: Digital Humanities

Posted in opportunities by Editor on February 11, 2014

This brings the number of summer institutes devoted to the digital humanities announced here at Enfilade up to three (with one in Los Angeles and one in Middlebury, Vermont). Try a keyword search (available to the right) for other opportunities.

Rebuilding the Portfolio: Digital Humanities for Art Historians Summer Institute
George Mason University, Fairfax, Virginia, 7–18 July 2014

Applications due by 15 March 2014

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Applications are now open for Rebuilding the Portfolio: Digital Humanities for Art Historians, a summer institute at the Roy Rosenzweig Center for History in New Media, George Mason University, supported by the Getty Foundation, July 7–18, 2014. The program is designed for 20 art historians, from different stages of their careers and from varied backgrounds, including faculty, curators, art librarians, and archivists who are eager to explore the digital turn in the humanities. We seek applications from individuals who have had very limited or no training in using digital methods and tools, or in computing. A tentative schedule is available here. We will accept applications until March 15, 2014.

Sheila Brennan and Sharon Leon
Co-Directors, Rebuilding the Portfolio: DH for Art Historians
Roy Rosenzweig Center for History and New Media, George Mason University