Call for Papers | The Monkey in the 17th and 18th Centuries
The call for papers includes a bibliography. From Le Blog de L’ApAhAu:
Le singe aux XVIIe et XVIIIe siècles: Figure de l’art, personnage littéraire & curiosité scientifique
CLARE Université Bordeaux Montaigne, 28–29 May 2015
Proposals due by 15 June 2014
Colloque international, organisé par Florence BOULERIE, CEREC [Centre de Recherches sur l’Europe Classique (XVIIe et XVIIIe siècles)], EA 4593 CLARE, Université Bordeaux Montaigne, Bordeaux (France), et Katalin BARTHA-KOVÁCS, Université de Szeged (Hongrie)
Le singe figure dans les représentations littéraires et artistiques depuis l’Antiquité, en particulier autour du culte des singes dans l’Égypte ancienne ; on le rencontre fréquemment au Moyen âge, notamment dans la statuaire, illustrant la symbolique chrétienne de l’homme déchu, et il reste familier dans l’imaginaire burlesque de la Renaissance (voir à ce sujet la journée d’étude « Singes et singeries à la Renaissance », Chantilly, 15 mars 2014, organisée par l’Atelier XVIe siècle de l’université Paris-Sorbonne).
Au XVIIe siècle, l’intérêt pour cet animal connaît cependant un essor nouveau : les singes prolifèrent dans les fables et les représentations allégoriques, devenant figures du double trompeur et images satiriques de la vanité humaine. La mode des chinoiseries à la fin du XVIIesiècle vient renforcer la vogue des représentations picturales de singes, avant que le XVIIIe siècle ne s’enthousiasme pour les singeries… et les singes, animaux de compagnie fort prisés au milieu du siècle.
Allégorie de l’artiste (peintre, écrivain, acteur), le singe interroge aussi sur l’humain d’un point de vue religieux, moral et philosophique. Les naturalistes l’observent, le dessinent ; l’on découvre de nouvelles espèces au gré des explorations géographiques, de sorte que la limite entre l’homme et le singe est parfois bien près de chanceler.
Notre colloque entend éclairer les multiples aspects du singe dans la culture européenne des XVIIeet XVIIIe siècles : la mode picturale des « singeries », à son apogée vers 1740, doit être replacée dans un contexte artistique (l’héritage des peintres flamands), littéraire (la tradition de la fable concurrencée par les nouveaux visages du singe littéraire) et anthropologique (les interrogations sur l’homme et les espèces). (more…)
Call for Papers | Congress of German Art Historians: The Value of Art
From the Verband Deutscher Kunsthistoriker:
33rd Congress of German Art Historians | The Value of Art
Johannes Gutenberg University of Mainz, 24–28 March 2015
Proposals due by 14 May 2014
The social and political function of art is currently being interrogated, more intensively and thoroughly than we have seen in a long time. The explosive nature of the Cornelius Gurlitt case is thereby a daily topic of discussion, as are forgeries and the relevance of everything that, subsequent to the iconic turn, we might term the upward revaluation of the art work or of images per se. Not least in view of these many debates, the Verband Deutscher Kunsthistoriker e. V. (Association of German Art Historians) and the Institute of Art History at the Johannes Gutenberg University of Mainz, as joint organizers of the 2015 Congress of German Art Historians, have chosen “the value of art” as the central theme of its multi-day conference.
During the meeting, the spotlight will fall in particular on those research activities that reflect the current social and political status of the discipline of art history, and also that of its objects and institutions. The twelve sessions making up the programme each approach the conference’s theme from a different perspective and thereby clearly demonstrate how the enquiry into values and evaluations is reflected in a wealth of aspects and current academic discourses within art history’s various professional groups. The sessions that have been chosen correspondingly include those that take a completely fresh look at traditional art-historical forms and contexts, such as gold, the Church and court art. Other sessions go on to discuss the question of the value of art for our own present. In an epoch in which museums, and the role they play in cultural education and the preservation of the arts, no longer enjoy automatic social acceptance, the question of the value of art is being raised with increasingly urgency. The sessions will therefore ask, from the perspective of today, how the value of art, and more generally the medium of the image, restates itself in museums, churches and cultural landscapes, as well as in other disciplines such as the neurosciences.
Following the call for sessions in autumn 2013, interested colleagues are warmly invited to submit their proposals (1–2 pages) for individual papers to be delivered in the sessions outlined below. Each session can accommodate five 30-minute papers. The final selection will be made by the heads of each session and the members of the board at a joint meeting.
Please send your proposals to:
Verband Deutscher Kunsthistoriker e. V.
Haus der Kultur
Weberstraße 59a
53113 Bonn
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S E S S I O N S (more…)
English Collaborative Doctoral Award: At Home With Books
AHRC-funded English Collaborative Doctoral Award: At Home With Books
The University of Oxford Faculty of English Language & Literature and The Geffrye Museum of the Home are pleased to announce a new English Collaborative Doctoral Award (AHRC-funded): ‘At home with books: the role and history of reading in domestic contexts in the long eighteenth century.’
Applicants are sought for a three year, fully funded studentship to work towards a DPhil (PhD) in the Faculty of English, University of Oxford on the AHRC project ‘At home with books: the role and history of reading in domestic contexts in the long eighteenth century.’ This collaborative doctoral award (CDA) will be supervised jointly by Dr Abigail Williams, of the University of Oxford, Ms Hannah Fleming, Curatorial Department of the Geffrye Museum, and a member of the Learning and Engagement Department of the Geffrye Museum. The Geffrye Museum in East London is a leading centre for the study of home, with a focus on middle class urban homes over 400 years.
The studentship will commence in October 2014 and is open to UK nationals, or EU nationals who have resided in the UK for 3 years or more. The successful applicant will normally have achieved a Master’s degree with distinction (or equivalent) in literary studies or history, or will have done so by October 2014. It would be an advantage to have a solid grounding in the literature or history of the seventeenth and eighteenth century.
Applicants for this position should apply online by Friday 18 April 2014 at http://www.ox.ac.uk/admissions/postgraduate_courses/index.html and quote reference ENGL AHWB Studentship in the ‘Departmental Studentship Applications’ section of page 6 of the application form. Interviews for the studentship will be conducted in late April or May. Further information on the studentship and details on how to apply may be found here. If you would like to discuss this informally, please contact Dr Abigail Williams or Hannah Fleming.
More information (as a PDF file) is available here»
The Burlington Magazine, March 2014
The (long) eighteenth century in The Burlington:
The Burlington Magazine 156 (March 2014)
A R T I C L E S
• François Marandet, “The Pool of Bethesda by Louis Chéron: A Modello Discovered at the Wellcome Library, London,” pp. 162–63.
An oil-sketch by Louis Chéron in the Wellcome Library, London, is identified as a study for the large painting of the Pool of Bethesda (1683) in S. Pantaleone, Venice.
• Massimo Favilla and Ruggero Rugolo, “A Portrait of a Baby Girl by Lorenzo Tiepolo,” pp. 164–69.
An attribution to Lorenzo Tiepolo of a Portrait of a Baby Girl in a High Chair (c.1770–76).
R E V I E W S
• Jocelyn Anderson, Review of Geoffrey Tyack, ed., John Nash: Architect of the Picturesque (English Heritage, 2013), pp. 175–76.
• Uta Christina Koch, Review of the exhibition Fragonard: Poetry and Passion / Poesie und Leidenschaft, pp. 194–95.
• Francis Russell, Review of the exhibition Pietro Bellotti: Another Canaletto, pp. 198–99.
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