Lecture | Melissa Hyde, Painted Women
From the Sydney Intellectual History Network:
Melissa Hyde, Painted Women in the Age of Madame de Pompadour
Art Gallery of New South Wales, Sydney, 10 June 2014
Co-presented with the Art Gallery Society New South Wales
François Boucher A young lady holding a pug dog (presumed portrait of Madame Boucher) mid 1740s
Professor Melissa Hyde considers the role cosmetics played in the court politics and social identities of women at the court of Versailles. For artists like François-Hubert Drouais and Elisabeth Vigée-Lebrun, who portrayed Pompadour, Du Barry (and Marie-Antoinette after them), the problem of depicting an unpainted, natural face through inherently artificial painterly means presented something of a paradox. This lecture will also look at how artists grappled with that paradox and will demonstrate how the painterly performance of the natural was a perfect vehicle for portraying Du Barry’s own performance as a natural woman.
10.00am Coffee
10.30–11.30 Lecture
More information is available here»
Lecture | Richard Taws, The Dauphin and his Doubles
From the Sydney Intellectual History Network:
Richard Taws, The Dauphin and his Doubles:
Visualizing Royal Imposture after the French Revolution
The University of Sydney, 10 June 2014
Co-presented with the Sydney Intellectual History Network (SIHN)
Portrait of Jean-Marie Hervagault, from Le Faux Dauphin actuellement en France, ou histoire d’un imposteur, se disant le dernier fils de Louis XVI (Paris: Lerouge, 1803)
This lecture considers the authenticating agency attributed to images of the dauphin Louis-Charles, the son and heir of Louis XVI and Marie-Antoinette, as they circulated globally in the late eighteenth and nineteenth centuries. Louis-Charles died at the age of ten in the Temple prison in 1795; yet, rumours soon spread that he had been freed in a secret royalist escape plot and continued to live somewhere, most probably in the French colonies or North America. During the course of the nineteenth century the numerous images of Louis-Charles produced before, during and after the French Revolution were invoked regularly as the primary standard of proof against which to judge the many imposters who subsequently came forward from around the world, accompanied by lurid tales of adventure, to announce themselves the ‘lost’ dauphin.
The appropriation of eighteenth-century images of Louis-Charles by these pretenders, as well as the paintings, prints and photographs they had made of themselves, were, in a rapidly transforming media ecology, closely connected to competing claims about the utility of different media in the production of the French past.
Richard Taws teaches eighteenth- and nineteenth-century European art, with a particular interest in the visual culture of the French Revolution and its aftermath. He taught previously at McGill University, Canada, and has been a Getty Postdoctoral Fellow (2006–07) and a Member of the School of Historical Studies at the Institute for Advanced Study, Princeton (2010). He is a member of the editorial board of Art History and the current recipient of a Philip Leverhulme Prize (2013–15). Richard’s recent research focuses on everyday, ephemeral and obsolete forms of visual culture and related issues to do with time, materiality and value in the late eighteenth and early nineteenth centuries. His first book, The Politics of the Provisional: Art and Ephemera in Revolutionary France (2013), examines how provisional images and objects made in 1790s France mediated both the Revolution’s memory and its future, with important implications for how citizens became constructed as political subjects.
Wednesday, 10 June 2014, 6.00–7.30pm
Law School LT 106
Level 1, Sydney Law School Annex
Eastern Avenue
The University of Sydney
Registration information for this free event is available here»
Conference | Enlightenment Cosmopolitanisms and Sensibilities
Anicet Charles Gabriel Lemonnier, Salon de Madame Geoffrin,
1812 (Château de Malmaison)
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From the Sydney Intellectual History Network, with the workshop programme:
Enlightenment Cosmopolitanisms and Sensibilities
Sancta Sophia College, The University of Sydney, 11–12 June 2014
The character of practiced cosmopolitanism during the Enlightenment often appears to amount to little more than an extension of early modern courtly internationalism infused with a new language of ideas. Further investigation reveals the desire on the part of Enlightenment cosmopolites to open borders in the name of economic, political, intellectual and artistic progress. This workshop explores cosmopolitanism in practice during the long eighteenth century in Europe and, through circulation, beyond its borders. It seeks out lived experiences of cosmopolitanism in the evidence of visual, social and textual expressions, and then asks how to interrogate this evidence. What were the opportunities through which border crossings became fixed in the minds of participants and observers? How was Enlightenment cosmopolitanism in practice inflected with different forms of sensibility?
W E D N E S D A Y , 1 1 J U N E 2 0 1 4
9:30 Welcome
9:45 Session 1: Languages of Cosmopolitanism
• David Garrioch (History, Monash University), Cosmopolites and their Critics: the Eighteenth-Century Language of Cosmopolitanism
• Jennifer Milam (Art History, University of Sydney), Visual Cosmopolitanism
11:15 Morning Tea
11:30 Session 2: Rome and Cosmopolitan Aesthetics
• David Marshall (Art History, University of Melbourne), Cosmopolitanism and Non- Antiquarian Taste in Early Eighteenth-Century Rome
• Mark Ledbury (Art History, University of Sydney), Cosmopolitanism and Anti- Cosmopolitanism in Rome
1:00 Lunch
2:00 Session 3: Rousseau and Cosmopolitanism
• Anik Waldow (Philosophy, University of Sydney), Rousseau, Theatre and Civic Identity
• Ian Coller (History, LaTrobe University), Rousseau’s Turban
3:30 Afternoon Tea
3:45 Session 4: Cosmopolitan Circulations
• Alexandra Cook (Philosophy, University of Hong Kong), Eighteenth-Century Botanical Cosmopolitanism: Books, Seeds and Herbaria
• Peter McNeil (Design History, University of Technology, Sydney), ‘Beauty in Search of Knowledge’: Eighteenth-Century Fashion and the Uses of Print
• Melissa Hyde (Art History, University of Florida), Wertmüller, National Identity and the Cosmopolitan Circulation of the Artist
T H U R S D A Y , 1 2 J U N E 2 0 1 4
9:30 Session 5: Open Borders: Europe and Beyond
• Simon Burrows (History, University of Western Sydney), Books Crossing Borders: Material Traces and Enlightenment Cosmopolitanism
• Jennifer Ferng (Architecture, University of Sydney), Maritime Voyages: Siege and Sovereignty at Galle Fort, Ceylon, 1729–1796
11:00 Morning Tea
11:15 Session 6: Revolutionary Exchanges
• Peter McPhee (History, University of Melbourne), Cosmopolitanism, Robespierre and the French Revolution
• Richard Taws (Art History, University College London), Chains of Command: Telegraphing Liberty in Lemonnier’s Le Commerce
12:45 Lunch
Cosmopolitan Moments: Instances of Exchange
in the Long Eighteenth Century, Emerging Scholar Sessions
In these sessions, emerging scholars explore discrete instances of cultural interaction in the long eighteenth century (visual, textual, political, philosophical, social). How do we define the nature of the exchange? Is it cosmopolitan? Areas of analysis include roles of actors and agents, bi-lateral or unilateral action, acceptance, rejection and the medium of transmission.
1:45 Session 7
• Garritt Van Dyk (History, University of Sydney), Before the Parisian Café: Cosmopolitanism and the Franco-Ottoman Alliance
• Mark Shepheard (Art History, University of Melbourne), The Cosmopolitan Castrato: Farinelli and the Visual Arts
• Warren Andrews (Art History, University of Sydney), An Ambush in Print
3:15 Afternoon Tea
3:30 Session 8
• Emma Gleadhill (History, Monash University), Lady Holland’s House: ‘The House of all Europe’
• Katja Abramova (Art History, The University of Sydney), Botany as a Cosmopolitan Pursuit for Women: The Case of the Maria Feodorvna
• Laura Jocic (History, University of Melbourne), Anna King’s Dress: Trade and Consumption in the Early Years of Settlement in Australia
• Janet Healy (Music, Monash University), Mozart in a Revolutionary Context
Bill Griswold Named Director of the Cleveland Museum of Art
Press release from The Cleveland Museum of Art:
In May 2014, Dr. William M. Griswold became the 10th director of the Cleveland Museum of Art since its founding in 1916. Dr. Griswold enters the life of the museum at a dynamic moment—with a newly completed expansion project increasing its capacity and significance, and a centennial anniversary approaching. His ambition is to build the museum’s strong relevance throughout the region, the nation and the world, capitalize on its long-standing community engagement legacy and enhance the quality and breadth of its well-known collection.
Dr. Griswold’s tenure at the Cleveland Museum of Art follows his term as the fifth Director of The Morgan Library & Museum since the institution’s founding in 1924. During his seven years of leadership there, Dr. Griswold spearheaded the growth of the Morgan’s collections, exhibition program and curatorial departments, most recently adding Photography as a focus. He oversaw a number of important exhibitions and scholarly exchanges with leading international museums, including the Louvre, London’s Courtauld Institute, Munich’s Graphische Sammlung and Turin’s Biblioteca Reale.
In 2010, Dr. Griswold initiated the first interior restoration of the Morgan’s historic McKim building since its construction as Pierpont Morgan’s private study and library more than a century ago. He also oversaw a project to digitize the Morgan’s renowned collections, beginning with its holdings of drawings and music manuscripts, two of its most important. In 2011, he supervised the establishment of the innovative Morgan Drawing Institute to advance the study of drawings of all periods and schools. As a result of these initiatives, and many more, the Morgan over the last several years has seen some of the most robust donor support and attendance in its history.
Dr. Griswold had previously served as Director and President of the Minneapolis Institute of Arts, from 2005 to 2007; Acting Director and Chief Curator of the J. Paul Getty Museum, 2004 to 2005; and Associate Director for Collections at the Getty, beginning in 2001. Prior to joining the Getty, Dr. Griswold had been Charles W. Engelhard Curator and Head of the Department of Drawings and Prints at the Morgan Library since 1995. From 1988 to 1995, he was on the staff of the Metropolitan Museum of Art, first as Assistant and then as Associate Curator in the Department of Drawings and Prints.
Dr. Griswold was the co-author with Jacob Bean of 18th-Century Italian Drawings in the Metropolitan Museum of Art and has written extensively on Florentine drawings of the early Renaissance. He oversaw the design and creation of the Morgan’s Drawing Study Center, and in 1998 curated a historically significant exchange of exhibitions between the Morgan and The State Hermitage Museum, St. Petersburg, and the Pushkin State Museum of Fine Arts, Moscow. In 1999 he co-curated New York Collects, the Morgan’s first major exhibition devoted to twentieth-century art, and in 2002 he was co-author with Jennifer Tonkovich of Pierre Matisse and His Artists.
Formerly a member of the board of directors of The Courtauld Institute of Art, Dr. Griswold currently serves on the boards of the American Federation of Arts, American Friends of the Shanghai Museum, and American Trust for the British Library. He is a member of the Association of Art Museum Directors and President of Master Drawings Association, which publishes the scholarly journal Master Drawings. In 2008, he was awarded the insignia of Chevalier of the French Order of Arts and Letters.
Dr. Griswold earned his bachelor’s degree at Trinity College, Hartford, Connecticut, and his Ph.D. at The Courtauld Institute of Art, London.
Carol Vogel reports on Griswold’s appointment for The New York Times (20 May 2014), here»
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