Enfilade

Call for Papers | Artists’ Homes before 1800

Posted in Calls for Papers by Editor on August 25, 2014

As noted at Le Blog de l’ApAhAu (24 August 2014) . . .

‘Visual Artists Must Live like Kings or Gods’
Artists’ Homes in the Middle Ages and the Early Modern Era

Nuremberg, 11–14 June 2015

Proposals due by 31 August 2014

“Plastic artists should dwell like kings and gods: how else are they to build for kings and gods?”(Goethe, Wilhelm Meister’s Journeyman Years II, 8). What pertained to Goethe in a figurative sense is our question from varying perspectives in respect to the real visual artist in Europe up to 1800. Exceptional artists such as Goethe but also Mantegna, Dürer, Michelangelo, Rubens, Rembrandt or the Asam Brothers sometimes lived almost princely. But does this apply in general to the European artist of the pre-modern era?

The conference will take a look at the artist’s home and initially examine his status from the perspective of social topography. What factors influenced this status? To be considered are, for example, the neighbourhood, the proximity to possible clients or to prestigious places for sales such as centrally located squares, prominent streets or significant churches. The conference will investigate architecture and furnishings, the iconography and iconology of an iconographical program of artists’ homes from the perspective of art history and cultural history. Finally, the conference will also examine an early nascent conservation of the artist’s home or the dwelling as a place of remembrance in the period before 1800 and thus explore questions of the history of discourse or perception.

But we also expressly request papers deviating from the idea of the artist’s home à la Goethe, rather talks considering those visual artists who rented or who frequently moved and therefore acquired no property, also talks on artists who found accommodations with their clients. What do we know about these artists’ flats or their homes? Where and in what cities did artists’ quarters, artists’ streets or blocks of flats evolve, places where artists lived over a longer period? Who lived with the artist? How were the studios situated? Were there sales rooms in the house, in the flat? Were they also used for art instruction, to hold ‘academies’ (Joachim von Sandrart)? Is there a difference between the artists bound to guilds and those who worked at court?

The conference will examine text and picture sources to determine the image of artistic self-portrayal at the time via the medium ‘artist’s house’. The latter is primarily to be viewed from the standpoint of the visual artist’s strategies to rise to a higher stratum in a hierarchical society where he was relegated to the status of craftsman. What was the role of the sometimes extensive art collections for which rooms were often exclusively built or reserved? Using case studies, overview representations and comparative examinations, the conference will approach the topic from the perspective of different disciplines, primarily, however, from the perspective of art history, cultural history, and social history.

Abstracts for as yet unpublished articles (a maximum of 2,000 characters, including spaces) with a brief CV and a possible selection of relevant publications may be submitted in German or English by 31 August 2014 to Danica Brenner M.A., brenner@uni-trier.de. Publication of the articles is planned for 2016 in the series Artifex: Sources and Studies on the Social History of the Artist [Artifex: Quellen und Studien zur Künstlersozialgeschichte] (Michael Imhof Verlag, Petersberg).

The conference is held in cooperation with the Albrecht-Dürer-Haus, curated by Dr. Thomas Schauerte (the Nuremberg Museums) and the Social History of the Artist Research Centre (SHARC), principally the EU project « artifex », directed by Dr. Andreas Tacke, Professor (University of Trier, Chair, Art History).

Le colloque international « Visual artists must live like kings or gods ». Artists’ homes in the Middle Ages and the Early Modern Era se tiendra à Nuremberg du  11 au 14 juin 2015 ; les communications seront dispensées en allemand ou en anglais.
Organisateurs : Dr. Thomas Schauerte, Dr. Andreas Tacke, University Professor.

Call for Papers | Le Paysage Spectacle: La Suisse et Tourisme

Posted in Calls for Papers by Editor on August 25, 2014

As noted at Le Blog de l’ApAhAu (18 August 2014) . . .

Le Paysage Spectacle: La Suisse au Regard du Tourisme, 1750–2015
Université de Lausanne, 23–25 April 2015

Proposals due by 15 September 2014

Le paysage construit le « pays », ce territoire naturel, urbain, rural et social. Ce dernier est le produit d’un processus d’artialisation, notamment par le truchement du regard que les artistes portent sur leur environnement biophysique et humain, et qui obéit à des codes esthétiques, culturels ou idéologiques. L’attrait du naturel et de l’artifice forge des visions utopiques ou des anticipations dystopiques. Le paysage est un lieu renvoyant le spectateur à son propre « lieu » géographique et culturel. Dans ce cadre, les points de vue des touristes ont joué un rôle primordial, du Grand Tour au voyage virtuel sur Google Maps. Le « regard touristique » opère ainsi une esthétisation de sites conventionnels ou inhabituels.

Depuis les écrits de Albrecht von Haller, la Confédération helvétique, et les Alpes en particulier, ont occupé une place centrale dans les pratiques et les théories paysagères. Ces dernières se développèrent notamment par le tourisme européen et ses projections. Les Alpes constituent à cette époque un lieu d’expérimentation que s’approprient les écrivains, artistes, philosophes, géographes, ingénieurs, biologistes, etc., construisant un ensemble de représentations historiques et culturelles. L’essor des moyens de transport et le développement de la production industrielle a favorisé de nouvelles pratiques artistiques et littéraires telles que la gravure coloriée, le panorama, l’affiche, le récit de voyage, la photographie de montagne et diverses formes de décor dans l’espace public (expositions nationales, « peintures de gares », etc.).

Ce colloque interroge les sources et les modèles qui ont contribué à l’image de la Suisse moderne et contemporaine, entre regards exogènes et indigènes. L’accent sera mis sur les approches du touriste spectateur, sur ses représentations et ses discours, sur son interaction avec les paysages et sur les approches des sciences, de l’histoire de l’art, de l’histoire, de la littérature, de la sociologie, de la philosophie, des sciences des cultures ou des sciences naturelles.

Nous nous réjouissons de recevoir des propositions de contribution (max. 300 mots) adressées à Valentine von Fellenberg : valentine.vonfellenberg@unil.ch avant le 15 septembre 2014.

Comité scientifique
Valentine von Fellenberg (UNIL)
Philippe Kaenel (UNLI)
Mathis Stock (IUKB)

Exhibition | Mind’s Eye: Masterworks on Paper from David to Cézanne

Posted in books, catalogues, exhibitions by Editor on August 24, 2014

From the DMA’s exhibition press release (26 June 2014). . .

Mind’s Eye: Masterworks on Paper from David to Cézanne
Dallas Museum of Art, 29 June — 26 October 2014

Curated by Olivier Meslay and William Jordan

8d82632c040780cbba42c2650bee4bb5

Hubert Robert, View of the Gardens at the Villa Mattei, 14 x 21 inches (34.93 x 52.39 cm), red chalk on paper, 1761 (Dallas Museum of Art, fractional gift of Charlene and Tom Marsh, 2006.17). The drawing sold in Paris at Christies (Lot 512, Sale 5075) in December 2003 for €17,625.

From quick sketches to watercolors and finished masterpieces, works by artists such as Eugène Delacroix, Jacques-Louis David, Edgar Degas, Edouard Manet, Paul Cézanne, Vincent van Gogh, Egon Schiele, Piet Mondrian and Pablo Picasso are brought together in Mind’s Eye: Masterworks on Paper from David to Cézanne. Organized by the Dallas Museum of Art, the exhibition features more than 120 works on paper—many of which have never been exhibited publicly—by 70 artists. Drawn in part from the DMA’s collection, but with significant loans from private collections in North Texas, Mind’s Eye, offers insights into the working methods of these artists, providing an intimate view of their approach to art making while also presenting the drawings and watercolors as finished works of art in their own right.

“One of the goals of the Dallas Museum of Art is to encourage collecting within the community. There is no better example of how to do this than to highlight the Museum’s graphic holdings together with those that have been assembled in private homes throughout our area,” said Maxwell L. Anderson, The Eugene McDermott Director of the DMA. “Mind’s Eye: Masterworks on Paper from David to Cézanne presents a rich and fascinating array of works in various media by artists from the Austro-Hungarian, Belgian, British, Dutch, French, German, Spanish and Swiss schools, spanning nearly 150 years—from the French Revolution to the dawn of modernism.”

The collecting and appreciation of drawings were for centuries activities associated with the privileged, the educated, or artists themselves, and the skills derived from these actions ultimately formed the basis of modern art history. Through museums, a wider audience has come to enjoy and value these most intimate of artists’ expressions. Collecting in this area has gone on throughout the DMA’s 111-year history, yet Mind’s Eye is the first exhibition to consider what has been achieved, while also serving as a tribute to the generations of collectors who have brought these drawings to Texas.

The works on view in Mind’s Eye focus on European art from the French Revolution in the late 18th century to the birth of modernism in the early 20th century. The Museum’s European works on paper collection, which has a strong holding of French art from the 19th and early 20th centuries, with an emphasis on impressionist and post-impressionist works, is complemented by loans from private collections that broaden the scope of the exhibition. Because of the different kinds of works on view, the varied roles that drawing plays for artists—as a learning exercise, as a form of note taking, as a tool for planning and development of larger works, and as an end in itself—are showcased, and the artistic process of the various artists revealed.

Mind’s Eye is about the pleasures of collecting, but it is also about the rich history and diversity found in drawings created by artists throughout art history,” said Olivier Meslay, Associate Director of Curatorial Affairs and The Barbara Thomas Lemmon Curator of European Art. “The exhibition highlights many recognizable names along with lesser-known artists, examining overlooked works and reexamining those produced by famous artists to reveal the full effect of their contributions from a fresh, modern perspective.” Meslay is co-curator of the exhibition with Dr. William B. Jordan, formerly Director of the Meadows Museum and Deputy Director of the Kimbell Art Museum. Both are lifelong students of drawings. “This works on paper exhibition brings to light a part of the collection that is not often highlighted, despite its quality,” added Jordan.

In the exhibition, visitors will be able to learn about the care and conservation of works on paper, and how to properly frame a drawing through a video demonstration, as well as view a display of various materials represented in the works on view with examples of the different kinds of lines produced by these tools. The educational displays were created by DMA Chief Conservator Mark Leonard. In the late summer, visitors will be able to explore the exhibition with a smartphone tour featuring commentary by the exhibition co-curators, Olivier Meslay and William B. Jordan. DMA Friends will be able to earn the Mind’s Eye Special Exhibition Badge while the show is on view. For more information on the DMA Friends program, visit DMA.org/friends.

The exhibition is accompanied by a 240-page full-color publication, edited by Olivier Meslay and William B. Jordan, with contributions by Esther Bell, Richard R. Brettell, Alessandra Comini, Dakin Hart, William B. Jordan, Felix Krämer, Laurence Lhinares, Heather MacDonald, Olivier Meslay, Jed Morse, Steven Nash, Sylvie Patry, Louis-Antoine Prat, Richard Rand, George T. M. Shackelford, Richard Shiff, Kevin W. Tucker and Charles Wylie. The catalogue is distributed by Yale University Press.

◊  ◊  ◊  ◊  ◊

Distributed by Yale UP:

Olivier Meslay and William B. Jordan, eds., Mind’s Eye: Masterworks on Paper from David to Cézanne (Dallas: Dallas Museum of Art, 2014), 240 pages, ISBN: 978-0300207217, $60.

9780300207217An overview of European art from the French Revolution to the First World War, Mind’s Eye encompasses 116 works on paper in various media by seventy artists. These works range from quick sketches and working drawings to cartoons for large murals and highly finished masterpieces. Among the featured artists are such recognizable names as Pierre Bonnard, Paul Cézanne, Jacques-Louis David, Edgar Degas, Eugène Delacroix, Théodore Géricault, Fernand Léger, Pablo Picasso, Pierre-Auguste Renoir, and Georges Seurat. Also included are never-before-published works by accomplished yet lesser-known artists, such as Albert Anker, Henri Gaudier-Brzeska, Adolf Hirémy-Hirschl, Fernand Khnopff, František Kupka, and Simeon Solomon. Noted international specialists in the field address the working methods of these artists and the aesthetic beauty of their drawings and watercolors, and offer focused studies on artists, regions, schools, and themes. By simultaneously drawing attention to overlooked works and reexamining those produced by famous artists, this catalogue examines the overall effect of their cumulative contributions from a fresh, modern perspective.

Olivier Meslay is associate director of curatorial affairs at the Dallas Museum of Art, and William B. Jordan is an art historian and a trustee at the Dallas Museum of Art.

Call for Papers | Posterity in France, 1650–1800

Posted in Calls for Papers by Editor on August 23, 2014

From the Voltaire Foundation’s Facebook page, via Early Modern Architecture:

Posterity in France, 1650–1800
University of Cambridge, 19 March 2015

Proposals due by 6 October 2014

Organised by Jessica Goodman (Cambridge) and Russell Goulbourne (King’s College London)

‘La postérité pour le philosophe, c’est l’autre monde de l’homme religieux’.

So writes Diderot to the sculptor Etienne Falconet in early 1766. Their long correspondence on the subject of posterity is just one response to a topic that pervades cultural production in eighteenth-century France: from the Encyclopédie’s aim to convey to the future not only human knowledge but also the names of its creators, through Rousseau’s desire to control his posthumous image in his Confessions, to the celebration of the first literary centenaries, which gave contemporary writers cause to think on their own legacies.

The desire to be remembered was nothing new in the period: as far back as Horace’s claim in 23BC that ‘I shall not wholly die’, writers and artists had been imagining the afterlife that would be available to them through their works. This one-day conference, though, sets out to investigate the specificity of the idea of future glory for French cultural producers in the period 1650–1800, when there seems to be a suggestive confluence of social and intellectual changes: the growth of the public sphere, a new concept of an exemplary ‘grand homme’ focusing on moral and intellectual achievement rather than high birth or military might, a context of declining patronage and de-institutionalisation, and an increasing secularism, with the attendant questions about the afterlife of the soul.

Topics to be addressed could include:
• The specific features of the concept of posterity developed in the period
• How a consciousness of posterity affects how and what people write—both as individuals and in terms of broader cultural trends
• How the lure of posterity relates to an individual’s social self-positioning in life
• Whether writers and artists hold a particularly privileged position in the quest to be remembered
• The extent to which new cultures of mourning and commemoration influence or are influenced by contemporary writings on posterity
• The relationship between posterity and the religious afterlife in the thought of the period

Papers may be given in English or French and should last 20 minutes. Abstracts of 200–300 words should be sent to earlymodernposterity@gmail.com by Monday 6 October 2014. Questions may also be addressed to the organisers at this address. Contributions from early-career scholars and postgraduates are particularly welcome.

Display | An Impossible Bouquet

Posted in exhibitions by Editor on August 22, 2014

Press release for the display at Dulwich:

An Impossible Bouquet: Four Masterpieces by Jan van Huysum
Dulwich Picture Gallery, London, 1 July — 28 September 2014

Curated by Henrietta Ward

Van_Huysum,_Jan_-_Vase_with_Flowers_-_Google_Art_Project

Jan van Huysum, Vase with Flowers, ca. 1715 (Dulwich Picture Gallery)

A special collection of works by the 18th-century Dutch artist Jan van Huysum will be on display at Dulwich Picture Gallery from 1 July until 28 September 2014. An Impossible Bouquet, Four Masterpieces by Jan van Huysum will bring together beautiful works from private collections alongside Dulwich’s own painting that together showcase the artist’s ingenuity and astonishing ability to paint flowers, fruit and insects with minute attention to detail.

Included within the display are two paintings that have remained together since they left Van Huysum’s studio around 1732: Flowers in a Vase with Crown Imperial and Fruit and Flowers in front of a Garden Vase. Their complementary compositions suggest he conceived them as pendants (painted as a pair)—a rarity amongst his oeuvre of 241 paintings. His impressive arrangements could depict over 35 different types of flowers, which, before modern cultivation techniques, would never have been seen together at the same time of year. To overcome this Van Huysum worked from sketches and painted some of his arrangements over two years, explaining why he signed his paintings with two dates.

huysum 2

Jan van Huysum, Flowers in a Vase with Crown Imperial and Apple Blossom at the Top and a Statue of Flora, 1731–32 (Private Collection)

Van Huysum is widely regarded as the greatest still-life painter of his time. His ambitious compositions demonstrate his ability to combine a huge variety of species into beautiful, coherent still lifes that made him popular with collectors both during and beyond his lifetime. The paintings included within this display were once owned by prominent 18th-century collectors, including the Gallery’s founders, Sir Francis Bourgeois and Noël Desenfans, as well as the Swiss painter and dealer Jean-Étienne Liotard.

An Impossible Bouquet, Four Masterpieces by Jan van Huysum has been curated by Dulwich’s Curatorial Fellow Henrietta Ward. The Gallery’s forthcoming Dutch and Flemish schools catalogue, to be published by 2016, will feature Vase with Flowers along with detailed entries for masterpieces by Rembrandt, Rubens, Van Dyck, and Teniers. The catalogue is part of the Gallery’s strategy for the Curatorial Centre of Excellence, a major long-term commitment towards scholarship, learning and training of future curators.

About the Artist

Jan van Huysum (1682–1749) was based in Amsterdam, where he painted flower and fruit still lifes, as well as landscapes. He was taught by his artist-father Justus and worked in his studio until around 1701 when he decided to set up as an independent painter. His depictions of luxuriant flowers in classical vases were soon admired by collectors, particularly the way flowers, fruit and insects were rendered with astonishing accuracy and detail. He achieved this precision with fine brushes—some might have only had a single hair—which were ideal for depicting the vein structure of a leaf, the delicate hairs on a raspberry or the translucency of a water droplet. His skills earned him great acclaim and in 1750 the Dutch writer Jan van Gool (1685–1763) wrote Van Huysum’s first biography which reaffirmed the painter’s unwavering popularity amongst the wealthiest European collectors of the day; his floral paintings could be found in the aristocratic estates of the Duke of Orleans in France, Sir Robert Walpole in England, Prince William of Hesse-Kassel and the King of Poland.

Around 1720, Van Huysum turned from painting on a dark to a light background, believing the flowers and fruit wouldbe seen to better effect. He then placed his vases in architectural gardens which hinted at a grand, classical landscape beyond. The splendour of his new approach substantially increased the demand for his work, so much so that they sold for unprecedented prices, a luxury he experienced during his lifetime. Fully aware of the value of his unique skills, Van Huysum disliked anyone entering his studio, and supposedly taught only one student, for fear they might learn the secrets of his meticulous—and highly lucrative—painting techniques.

Dulwich Picture Gallery

Dulwich Picture Gallery is England’s first purpose-built public art gallery, founded in 1811 and designed by Regency architect Sir John Soane. It houses one of the finest collections of Old Masters in the country, especially rich in French, Italian and Spanish Baroque paintings and in British portraits from the Tudor period to the 19th century. The Gallery’s permanent collection is complemented by its diverse and critically acclaimed year round temporary exhibitions.

Getty Thesaurus of Geographic Names Released as Linked Open Data

Posted in resources by Editor on August 22, 2014

Posted by James Cuno at Iris: The Online Magazine of the Getty (21 August 2014) . . .

lod_logoWe’re delighted to announce that the Getty Research Institute has released the Getty Thesaurus of Geographic Names (TGN)® as Linked Open Data. This represents an important step in the Getty’s ongoing work to make our knowledge resources freely available to all. Following the release of the Art & Architecture Thesaurus (AAT)® in February, TGN is now the second of the four Getty vocabularies to be made entirely free to download, share, and modify. Both data sets are available for download at vocab.getty.edu under an Open Data Commons Attribution License (ODC BY 1.0).

What Is TGN?

The Getty Thesaurus of Geographic Names is a resource of over 2,000,000 names of current and historical places, including cities, archaeological sites, nations, and physical features. It focuses mainly on places relevant to art, architecture, archaeology, art conservation, and related fields.

TGN is powerful for humanities research because of its linkages to the three other Getty vocabularies—the Union List of Artist Names, the Art & Architecture Thesaurus, and the Cultural Objects Name Authority. Together the vocabularies provide a suite of research resources covering a vast range of places, makers, objects, and artistic concepts. The work of three decades, the Getty vocabularies are living resources that continue to grow and improve.

Because they serve as standard references for cataloguing, the Getty vocabularies are also the conduits through which data published by museums, archives, libraries, and other cultural institutions can find and connect to each other. . . .

All four Getty vocabularies will be released as Linked Open Data by late 2015. To follow the progress of the project at the Getty Research Institute, see our Linked Open Data page.

The full announcement with lots of links is available here»

Call for Papers | Cities and Citizens, ca. 1580–1720

Posted in Calls for Papers by Editor on August 22, 2014

From the Call for Papers:

Cities and Citizens: Seventeenth-Century Studies Conference
Institute of Medieval and Early Modern Studies, Durham University, 13–15 July 2015

Proposals due by 1 November 2014

Durham’s Centre for Seventeenth-Century Studies—now part of the Institute of Medieval and Early Modern Studies—has, since its foundation in 1985, organized over a dozen high-profile international conferences. Next year’s conference will address the topic of ‘Cities and Citizens’ and will focus on the ways in which urban centres were perceived, experienced, understood and represented in the ‘long seventeenth century’ (c.1580–1720). The conference will be held within the UNESCO World Heritage Site on Palace Green in the heart of the medieval city of Durham.

The built environment of the city was represented in cartography, painting, printed images and in literary and dramatic works. What were the physical and sensory characteristics of the urban environment? How did the material form of the city change? Especially important here is architectural form—civic, ecclesiastical, official and vernacular. How did urban and rural people read the urban landscape? Here we hope to draw on the insights of archaeological theory as well as on recent findings in post-medieval urban archaeology.

The distinctiveness of the urban experience will be explored. What were the effects of inter-urban trade and of trade and migration between town and countryside? What were the economics of urbanization? In what ways did urban labour differ from that in rural communities and how was it regulated? How did urban people understand customary law and access to common resources? How did civic remembrance connect with popular memory? How did religious conflict change cities and in what ways were confessional identities inflected by the urban experience?
Special emphasis will be placed upon the idea and practice of citizenship. Who did this term include and who was left out? In what ways were ideas about citizenship inflected by nationality, ethnicity, belief, class, gender, property, skill, schooling and age? How far were early modern ideas about citizenship reflective of classical ideals, and how did they connect to those of the late medieval period? To what extent did citizenship guarantee inclusion within the urban polity, and what rights and obligations came with that inclusion? In what ways did those excluded from citizenship nonetheless participate in the urban polity?

We invite proposals either for single papers or for 3-paper panels. Papers should last for 20 minutes, with half an hour at the end of each panel for discussion. Panels may be specific to a particular town or city, or might be national or international in scope, including New World urban centres. Potential subjects might include (but are not restricted to):
• Defining towns, cities and urban communities
• The urban environment and the urban landscape
• Perceptions of space and time
• Gender, age, household and citizenship
• Social relations and social conflicts
• Crime, authority, resistance and the law
• Civic identities and vernacular urban cultures
• Urban customary rights and common resources
• Urban political cultures and public spheres
• Work and leisure
• Print, literacy and education
• Cities and international trade and exchange
• Fuelling and feeding the city
• Migration and social mobility
• Urban parish identities and patterns of belief
• Monastic houses, cathedrals and religious authority
• Occupations, social structures and demographics
• Disease, famine, medicine, and social policy
• Siege warfare
• Urban revolt
• Art, architecture and civic portraiture

Proposals for 20-minute papers and full panels should be submitted to early.modern@durham.ac.uk by 1 November 2014. Replies will be sent in early December 2014. Details concerning travel and accommodation for both speakers and delegates will be made available around the same time. It is hoped that the conference will give rise to an edited volume of selected essays.

New Book | Built to Brew: The History and Heritage of the Brewery

Posted in books by Editor on August 21, 2014

From English Heritage:

Lynn Pearson, Built to Brew: The History and Heritage of the Brewery (Swindon: English Heritage, 2014), 264 pages, ISBN: 978-1848022386, £25.

2557Beer has been brewed in England since Neolithic times, and this book combines a thoroughly enjoyable exploration of beer’s history and built heritage with new in-depth research into the nuts and bolts of its production. Based around England’s breweries, but occasionally ranging further afield, it tells the intriguing story of the growth of this significant industry. From Georgian brewing magnates who became household names—and their brewhouses notable tourist attractions—through magnificently ornate Victorian towers to the contemporary resurgence of microbreweries, the text throws new light on brewers and the distinctive architecture of their buildings.

Detailed chapters explain what makes a brewery work, revealing the functions of sometimes enormous brewing vessels, the astonishing skills of coppersmiths and engineers, the work of heroic mill horses and the innovative steam engines which replaced them. The wider context of the brewing industry is also investigated, bringing out the breadth of the ‘beerscape’, including those buildings put up with brewing profits such as the original Shakespeare Memorial Theatre in Stratford-upon-Avon.

Lynn Pearson is an independent architectural historian, writer and photographer specialising in the brewing industry, sporting architecture, postwar decorative arts and architectural ceramics. She has been based in Newcastle upon Tyne since 1984 and has published 20 books including pioneering works on seaside architecture, the architectural history of British breweries, and the architecture of cooperative living. More information is available at her website.

◊  ◊  ◊  ◊  ◊

C O N T E N T S

Preface
Acknowledgements
1. The Prologue: Beer
2. The Emergence of the Brewery
3. The Development of the Brewery
4. Designing and Planning the Brewery
5. Inside the Brewery
6. Powering the Brewery
7. Burton upon Trent – Beer Capital of Britain
8. Beyond the Brewery
9. The Buildings of the Brewing Industry Today
Notes
Bibliography
Glossary
Brewery Index
Geographical Index
General Index

New Book | Support for the Fleet

Posted in books by Editor on August 21, 2014

Gallery-image-12

The former home for injured seamen established
at Greenwich by Queen Mary

◊  ◊  ◊  ◊  ◊

From English Heritage:

Jonathan Coad, Support for the Fleet: Architecture and Engineering of the Royal Navy’s Bases, 1700–1914 (Swindon: English Heritage, 2013), 464 pages, ISBN: 978-1848020559, £100.

Joint winner of the Association for Industrial Archaeology’s Peter Neaverson Award for Outstanding Scholarship in Industrial Archaeology (2014)

L_51535This major new book traces for the first time the architectural and engineering works in the Royal Navy’s shore bases at home and overseas and the political imperatives and technologies that helped shape them up to the First World War. Based on detailed archival research, it concentrates on the remarkable legacy of surviving structures. The varied requirements of the sailing navy and its steam-driven successor are reflected in successive dockyard remodellings and expansions. The book reveals the close links that developed with a rapidly industrialising Britain at the end of the eighteenth century, showing contributions of figures such as Samuel Bentham, Thomas Telford, Henry Maudslay, the Rennies, the Jessops and James Watt.

The influence of the Royal Engineers is traced from early beginnings in the 1700s to their major role in the dockyard expansions from the late 1830s into the twentieth century. The architectural development of victualling and ordnance yards, naval hospitals, schools and coaling stations are all described, together with their key contributions to Great Britain’s long naval supremacy. Copiously illustrated with maps, plans and photographs, this important and lively work will appeal to naval historians, industrial archaeologists and students of British history.

Jonathan Coad is a former Inspector of Ancient Monuments. He is a Vice-President of the Society for Nautical Research and a former President of the Royal Archaeological Institute of Great Britain and Ireland.

◊  ◊  ◊  ◊  ◊

C O N T E N T S

1. The Royal Dockyards in Great Britain, 1700–1835
2. The Royal Dockyards in Great Britain, 1835–1914
3. Planning and Building the Royal Dockyards to 1795
4. Planning and Building the Royal Dockyards, 1795–1914
5. Engineering Works of the Sailing Navy, 1700–1835
6. Buildings of the Sailing Navy
7. Dockyard Housing, Offices and Chapels
8. Buildings and Engineering Works of the Steam Navy, 1835–1914
9. Growth of Empire: The Overseas Bases of the Sailing Navy, 1700–1835
10. Heyday of Empire: The Overseas Bases, 1835–1914
11. The Mediterranean Bases: Buildings and Engineering Works, 1700–1914
12. The West Indies and North American Bases: Buildings and Engineering Works, 1700–1914
13. South Atlantic and Australian Bases: Buildings and Engineering Works, 1700–1914
14. Feeding the Fleet: The Royal Victualling Yards
15. Naval Ordnance Yards
16. Care of the Sick and Wounded: Naval Hospitals
17. Barracks and Training Establishments

Call for Papers | The Travellers’ Tails Seminars: Exploration

Posted in Calls for Papers by Editor on August 20, 2014

8446570635_512c6bd374_h

George Stubbs, Portrait of the Kongouro (Kangaroo)
from New Holland, 1772 (National Maritime Museum)

◊  ◊  ◊  ◊  ◊

From the Call for Papers:

The Travellers’ Tails Seminars: Exploration
National Maritime Museum, Greenwich, Four Thursdays,  9 October 2014 — 29 January 2015

Proposals due by 5 September 2014

The Art Fund and Heritage Lottery Fund have generously funded a series of seminars at the National Maritime Museum and partner museums around the UK to investigate the histories, practices and interpretation of art, science and exploration from the Enlightenment to the present day. The seminars will bring together scholars, artists, scientists, explorers, members of the public and museum professionals to examine the changing nature, impact and legacies of European exploration since the mid-18th century. The seminars will focus on today’s audiences and discuss the display and interpretation of the material culture of exploration within gallery, heritage and museum environments. Seminars will interrogate the relevance of the subject and issues surrounding its presentation in a post-imperial world. George Stubbs’ iconic paintings of a kangaroo and dingo, recently acquired by the National Maritime Museum, will provide a starting point for wider-ranging papers and discussion within a multi-disciplinary environment.

Thursday, 9 October 2014: Lost in Translation
• How are the experiences and the material culture of exploration translated for those back at ‘home’?
• How have new places and frameworks of knowledge been introduced to Western societies?

Thursday, 20 November 2014: Finding Voices and Re-shaping History
• How might established narratives of exploration be accommodated within modern interpretations?
• To what extent and with what effect did indigenous peoples contribute to the making and dissemination of European knowledge?

Thursday, 4 December 2014: Empire and the Museum
• How and with what effects is Empire represented in museums?
• How can historical and contemporary exploration be documented and displayed to ensure other voices are included?

Thursday, 29 January 2015: Arts and Science: An Enlightened Approach
• How does bringing together the arts and sciences add to the interpretation of exploration?
• Where were the cross-overs between the arts and sciences historically, how are they viewed today and why?

Proposals of no longer than 250 words, for presentations of 20 minutes, should be sent to research@rmg.co.uk by no later than Friday, 5 September 2014. We welcome submissions for papers and less-formal presentations from academics, curators, artists and other specialists in the fields. Proposals from postgraduate students and early career scholars are encouraged.

%d bloggers like this: