Exhibition | First Sight: Recent Acquisitions of Prints and Drawings
Press release (13 June 2014) from the Scottish National Gallery:
First Sight: Recent Acquisitions of Prints and Drawings
Scottish National Gallery, Edinburgh, 14 June — 12 October 2014
A group of around 30 outstanding drawings, watercolours, and prints will go on display at the Scottish National Gallery this summer in an exhibition which highlights some of the superb recent additions to the permanent collection. The aptly named First Sight exhibition will provide the general public with the chance to see many of these fabulous acquisitions for the first time following careful conservation treatment. It also offers an incredibly diverse experience, with pieces ranging from large-scale exhibition watercolours to small working sketches, from Rembrandt in the 17th century to Paul Cézanne in the late 19th century.
Acquisitions on show for the first time include an evocative watercolour by James Skene of Rubislaw which was inspired by The Heart of Midlothian, the celebrated novel by his close friend Sir Walter Scott; a delicate watercolour of Glasgow Cathedral by painted by David Roberts in 1829; and a colourful Neapolitan costume study by Giovanni Battista Lusieri from the late 18th century. J. M. W. Turner’s spectacular watercolour of Rome from Monte Mario, 1820, will once again be on show after it was briefly included in the Turner in January exhibition in 2013, along with a delicate red chalk drawing from about 1710 by Jean-Antoine Watteau. Both these pieces were allocated to the Galleries by the Government’s Acceptance in Lieu scheme.
Giovanni Battista Lusieri, A Young Woman (Rosalina Scala) with her Daughter, in Traditional Neapolitan Dress, probably 1780s
(Scottish National Gallery)
There are also landscapes by artists new to the collection, such as the Italian watercolourist Carlo Labruzzi and British artists Thomas Miles Richardson Junior and Francis Nicholson, as well as prints from the magnificent bequest made by celebrated art collectors Henry and Sula Walton in 2012, which includes etchings by Goya, Jean-Franҫois Millet, and Edouard Manet.
The Scottish National Gallery’s collection of prints and drawings has been built up through purchase, donation and bequest over many years. The generosity of supporters, donors, funding bodies and organisations has together helped to make the continued growth of this much treasured collection possible.
Works of art on paper make up the largest area of the Gallery’s permanent collection, comprising around 30,000 prints, drawings, watercolours, sketchbooks, and antiquarian volumes. When not on display, this vast resource is made available to the general public in the Prints and Drawings Study Room at the Scottish National Gallery.
Pamela Long among the 2014 MacArthur Fellows
I take inordinate pleasure each fall in seeing who’s included among the year’s MacArthur Fellows. It is inevitably a stimulating assortment of individuals producing intriguing work across wide-ranging scholarly, artistic, and cultural fields. I was especially happy to find Pamela Long among the 2014 recipients. I know only her work (particularly Openness, Secrecy, Authorship), but it’s encouraging to see this kind of recognition and substantive financial support go to an independent scholar. To the extent that the MacArthur ‘Genius Awards’ receive mainstream press coverage, one might at least hope that it gives the public a glimpse of another model of what it means to be a scholar (including the challenges). While Long’s current project focuses on the infrastructure of Renaissance Rome, it will, I imagine, be of interest to scholars addressing the Eternal City in the eighteenth-century, too. –CH
From the MacArthur Foundation:
Pamela O. Long is an independent historian of science and technology who is rewriting the history of science, demonstrating how technologies and crafts are deeply enmeshed in the broader cultural fabric. Through meticulous analysis of textual, visual, antiquarian, and archival materials from across Europe, Long investigates how literacy, language, authorship, trade secrecy, and patronage regulated the interactions of scholars, artisans, architects, and engineers of the early modern period.
Her prize-winning book, Openness, Secrecy, Authorship: Technical Arts and the Culture of Knowledge from Antiquity to the Renaissance (2001), presents groundbreaking analysis of the co-evolution of artisans as writers and technological openness as an ideal in scientific inquiry. Long illustrates the complex relationship between authorship and the ownership of intellectual property; the act of authorship simultaneously makes information public—at least to those with access to the text—and asserts the author’s ownership of that information. Her second sole-authored book, Artisan/Practitioners and the Rise of the New Sciences, 1400–1600 (2011), revisits a central issue in the history of science: the influence of artisans, craftsmen, and engineers on the introduction of empirical methodologies into science. Long discards the historical framing of dichotomies—artist or scholar, practice or theory—by identifying arenas of communication and collaboration among individuals arrayed across a continuum from artisan to scholar.
Her work in progress is a cultural history of engineering in Rome between 1557 and 1590. Long connects the humanistic study of ancient texts and artifacts by sixteenth-century Romans to their development of innovative approaches to engineering problems like flood control—a linkage not commonly recognized among historians and philosophers. In works ranging from academic treatises to booklets for a general audience, Long has changed our understanding of the artisanal and intellectual heritage of modern science.
Pamela O. Long received a B.A. (1965), M.A. (1969), and Ph.D. (1979) from the University of Maryland, College Park, and an M.S.W. (1971) from Catholic University of America. She has held a series of fellowships and visiting positions at prestigious institutions, including Princeton University, the Getty Research Institute, the American Academy in Rome, the Folger Shakespeare Library in Washington, D.C., and the National Humanities Center.
Call for Papers | Heroes and Things
Heroes – Heroizations – Heroisms
Transformations and Conjunctures from Antiquity to the Modern Day
Freiburg, 19–20 Nov 2015
Proposals due by 15 November 2014
The discussion in history and the cultural sciences usually views heroic figures and their deeds as manifestations of human autonomy and agency. The planned conference confronts this viewpoint with the question of how the heroic is intertwined with material objects across various epochs and cultures. The goal is to gain a new perspective on assumptions concerning heroic agency and inquire into the relevance of current theoretical approaches (such as actor network theory, assemblage theory, new materialism) for discussions on the heroic as well as on the challenge the heroic presents for the material turn.
By virtue of their physicality, heroic figures themselves have a material dimension that influences their actions. But the capacity for heroic agency is also linked to the world of things and determined in a positive and a negative sense by artefacts and other objects, technologies, and media as well as their structures. The basic thesis of the conference is that the capacity for heroic agency manifests itself in charged assemblages of human and nonhuman protagonists, in the complex interactions between heroic figures and the influence of things they make use of, take action against, or even fuse with: from Hercules’ club to “machine heroes.” The conference invites papers focused on history, society, aesthetics, and the media that explore the following central aspects of this premise:
1) Things as conditions, extensions, and potentialisations of heroic agency: How dependent are heroic figures on their material attributes (weapons, armour, other implements)? Are things what make the hero into a hero in the first place? What material attributes are associated with the charisma of heroic figures? How and under what conditions do things and technologies serve to extend or augment the capacity for heroic agency? When and how do such extensions become catalysts for characterising the heroic? Is it possible to make out historical trends for such processes?
2) Things as resistance to and limitation of heroic agency: Under what circumstances are the possibilities of heroic agency limited by material circumstances? What natural objects or artefacts must heroes clash with to prove their exceptional abilities? What does it mean when heroes are confronted with the agency of artefacts or natural objects? How do technological and scientific innovations affect the possibilities of heroic agency (e.g., weapons of mass destruction or surveillance technologies that limit autonomous agency)? Which technologies tend to promote individual heroism and which collective heroism? Under what social or political conditions did or does this happen? Can heroism be paid for or rewarded by material means?
3) Things as modifications, optimisations, or substitutions of the hero’s body: How does the materiality of the hero’s own body limit his or her capacity for agency, and how is it possible to compensate for this limitation through modification of the hero’s body? How far do imagination and reality go in this respect? When and with what consequences for our understanding of the heroic does the body of the hero finally itself become a thing (machine heroes, cyborgisation) and at what point is the hero substituted entirely by things (drones instead of soldiers)?
4) Things as heroes: Can nonhuman agency be heroised or become the hero’s antagonist? Under what circumstances and with what intentions are things themselves heroised in reality or in the imagination?
The conference will be held in English and German (with translations).
Please send your abstract of up to 300 words by 15 November 2014 to info@sfb948.uni-freiburg.de.
Peabody Essex Museum Acquires 18th-Century Indian Export Textiles
Press release (10 September 2014) from PEM:
The Peabody Essex Museum (PEM) is pleased to announce the acquisition of a singular collection of rare early 18th-century Indian textiles made for export to the Netherlands. The collection of more than 100 pieces, including hand-painted chintz palampores (bed covers), an embroidered palampore, as well as extraordinary examples of Dutch costumes, was assembled in the Netherlands between the 1920s and 1960s by a private collector, A. Eecen-van Setten. Carefully stewarded by Eecen’s granddaughter, Lieke Veldman-Planten, the Veldman-Eecen Collection has been preserved in exceedingly fine condition for the better part of the last century. The acquisition, funded by anonymous donors, significantly enhances PEM’s world-renowned Asian Export Art collection, and offers insight into 18th-century textile production, design, and trade.
Between 1650 and 1750, cotton textiles were imported in large quantities from eastern India to the Netherlands by the VOC (Dutch East India Company). Decorated with sinuous floral and foliage patterns, Indian cotton was commonly referred to as ‘chintz’ after the north Indian word chitra meaning ‘spotted’ or ‘sprinkled’. Indian chintzes were prized globally for their vivid and durable colors-something that European textile manufacturers were unable to match until the mid-18th century. These vibrant textiles were particularly popular in the Netherlands, where they were used for nearly everything-clothing, upholstery, bed hangings and even wall coverings. The Veldman-Eecen Collection features nearly a dozen Indian cotton chintz bed covers (palampores), as well as unusual examples of men’s dressing gowns (banyans), and women’s and children’s chintz clothing.
Collected at a time when chintz textiles were not well studied, the Veldman-Eecen Collection would be virtually impossible to assemble today given the scarcity of such textiles in the contemporary market. The collection, which also includes a selection of related European-printed textiles from the late 18th to the early 20th centuries, is enhanced by a detailed journal, or Sits Boek (chintz book), in which A.Eecen-van Setten chronicled her acquisitions. Selections from the collection will be on view in Asia in Amsterdam, a forthcoming 2016 exhibition co-organized by PEM and the Rijksmuseum.
PEM’s Asian Export Collection
The Peabody Essex Museum’s Asian Export Art Collection is the world’s most comprehensive collection of decorative art made in Asia for export to the West. Consisting of over 25,000 objects made in China, Japan and India for the Western market between the 15th and 21st centuries, items include works in porcelain, lacquer, paintings, silver, textiles, and ivory among others. The collection reflects the complex and fascinating interaction between the artistic and cultural traditions of East and West.
The Peabody Essex Museum
The Peabody Essex Museum (PEM) is one of the oldest and fastest growing museums in North America. At its heart is a mission to transform people’s lives by broadening their perspectives, attitudes and knowledge of themselves and the wider world. PEM celebrates outstanding artistic and cultural creativity through exhibitions, programming and special events that emphasize cross-cultural connections and the vital importance of creative expression. Founded in 1799, the museum’s collection is among the finest of its kind boasting superlative works from around the globe and across time—including American art and architecture, Asian export art, photography, maritime art and history, as well as Native American, Oceanic and African art. PEM’s campus affords a varied and unique visitor experience with hands-on creativity zones, interactive opportunities, performance spaces and historic properties, including Yin Yu Tang: A Chinese House, a 200-year-old house that is the only example of Chinese domestic architecture on display in the United States.
Eve Kahn recently wrote about the acquisition for The New York Times (28 August 2014).
Exhibition | Goya’s Tapestry Cartoons in the Context of Court Painting
From the Prado:
Goya’s Tapestry Cartoons in the Context of Court Painting
Los Cartones de Tapices de Goya en el Contexto de la Pintura Cortesana
Museo Nacional del Prado, Madrid, 24 November 2014 — 3 May 2015
Francisco de Goya, The Pottery Vendor, 1778
(Madrid: Prado, P00780)
Opening in November and coinciding with the remodelling of the galleries on the second floor of the Museum’s south wing that house Goya’s cartoons and the collection of 18th-century Spanish paintings, the Museo del Prado will be presenting an exhibition on Goya’s tapestry cartoons, to be shown in its temporary exhibition galleries. The cartoons will be displayed alongside loans from other collections and paintings on deposit or not habitually on display in order to establish an innovative dialogue between Goya’s cartoons and the works of other artists of his own time or earlier. This dialogue will reveal the artist’s links with earlier tradition, the inspiration of the classical world, which was of such fundamental importance in the second half of the 18th century, and his range of contemporary sources.
In addition, the exhibition will reveal how the tapestry cartoons are essential for an understanding of the artist’s work and for an appreciation of his particular technique, unique and varied artistic resources and the particular nature of his models, with their characteristic appearances and distinctive gestures. Together these elements laid the way for Goya’s subsequent creations in his small-format paintings, drawings and print series.
New Book | The Country House: Material Culture and Consumption
From English Heritage:
Andrew Hann and Jon Stobart, eds., The Country House: Material Culture and Consumption (Swindon: English Heritage, 2014), 256 pages, ISBN: 978-1848022331, £70.
This book presents a series of conference papers exploring the material culture of the country house and its presentation to the public. There is an academic interest in the consumption practices of the elite as well as in the country house as a lived and living space that was consciously transformed according to fashion and personal taste. Importantly there is also a concern amongst curators to present a coherent narrative of historic properties and their contents to the modern visitor.
The proceeding address a number of current academic debates about elite consumption practices and the role of landed society as arbiters of taste. By looking at the country house as lived space, many of the papers throw up interesting questions about the accumulation and arrangement of objects, the way in which rooms were used and experienced by both owners and visitors, and how this sense of ‘living history’ can be presented meaningfully to the public.
Andrew Hann is Properties Historians’ Team Leader at English Heritage; Jon Stobart is Professor of History at the University of Northampton.
The Met Launches App for iPhone, iPad, and Touch
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Press release (2 September 2014) from The Met:
The Met App provides an easy way for the museum’s community—locally and globally—to stay current with what’s happening at the museum.
Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced that the Museum will launch today its flagship smartphone app—titled simply The Met—developed exclusively for iPhone, iPad, and iPod touch. This free digital resource is the easiest way to see what’s happening at the Met every day, wherever you are. . .
Mr. Campbell said: “With so much to see and do at the Met on a daily basis, we wanted to create a simple yet personalized way for our community to find the art, exhibitions, and events that matter most to them. The new app is a pocket-sized, customizable tool that puts the Met at users’ fingertips. It will be great for both New Yorkers and everyone in our global community who wants to stay connected with the Met—from anywhere in the world.”
Sree Sreenivasan, the Museum’s Chief Digital Officer, added: “In developing the app, we hope to provide our audiences with what’s most useful to them, and in the most engaging way. We want this app to offer an enjoyable starting point for many new relationships with the Museum, right now and in the future.”The Met app is supported by Bloomberg Philanthropies.“Bloomberg Philanthropies made an extraordinary and important investment in the Met’s digital initiatives, and this innovative new app is just one of the results,” Mr. Campbell continued. “The foundation is an amazing, forward-thinking partner whose generous support will expand the Met experience exponentially across the globe.”
“The Metropolitan Museum is one of the world’s most important cultural institutions, and the museum’s new app will help open peoples’ eyes to its extraordinary collection and programs like never before. The Met app makes a day at the museum even more rewarding; and by making it possible to experience the museum even when you’re not there, the app is a wonderful way to bring art into more lives, more often,” said Michael R. Bloomberg, founder of Bloomberg Philanthropies and three-term mayor of New York City.
The Met app helps users discover the galleries, works of art, media, events, facilities, information, and resources that best meet their interests—both in its main building along Fifth Avenue and at The Cloisters museum and gardens, the Metropolitan Museum’s branch for medieval art and architecture in Upper Manhattan.
The app provides information on current exhibitions and when they will close; must-see highlights of the collection; a way to purchase an admission; activities for families and children; syndication of the Met’s highly popular Twitter feed, which carries up-to-the-minute messages and announcements; and much more. Users can swipe both vertically and horizontally within the app, and its contents can be shared seamlessly through users’ social media accounts.
One of the highlights of the app is a set of themed lists of artworks that provide fresh, often playful, perspectives on the Met’s permanent collection. These include: “Grand Spaces and Hidden Nooks,” “Animals: See One, Be One,” “Hidden in Plain Sight,” “Medieval Love” (for The Cloisters), and “Met-Staches,” which shows works of art with mustachioed subjects. For the more avid users there is also a hidden feature to discover: the Museum’s popular “Artwork of the Day.”
“This is an entirely original type of museum app,” said Loic Tallon, the Met’s Senior Mobile Manager. “At the start of this project we took a step back and asked people what they wanted to see in a Met app. They told us three things: make it useful, make it simple, make it delightful. We know there’s a lot to do at the Met, and what we heard was that people wanted our app to answer easily their most essential questions about the Museum: ‘Where should I start? What’s happening today? What can my kids do there? Can you show me something fresh?’ These are the types of questions about the Museum for which our audience wants to turn to their phone, and our app, for answers. At the same time we had to make the app as beautiful as it was useful—a product worthy of the museum itself. We worked with Instrument, one of the world’s leading digital agencies, to design and build an app that would meet those goals, and I believe we have. The Met app balances beauty with utility.”
The Met app includes a special area designated for use by the Museum’s Members, a group more than 150,000 strong. It provides news and updates as well as information about special events organized for Members. Museum Memberships can also be purchased through the app.
The Met app was produced by the Metropolitan Museum’s Digital Media Department in collaboration with Instrument, an independent digital creative agency in Portland, Oregon, and with the assistance of staff from across the Museum, in departments including Information Systems & Technology, Education, and Design. The Museum is now developing a version of The Met app for Android users, and this will launch in 2015. . . .
Call for Papers | Women at the Court of France
From the Call for Papers:
Femmes à la cour de France. Statuts et fonctions (Moyen Âge – XIXe siècle)
Institut d’études avancées, Paris, 8–9 October 2015
Proposals due by 31 January 2015
Colloque international organisé par Cour de France.fr avec le soutien de l’Institut Émilie du Châtelet, l’Université américaine de Paris et l’Institut d’études avancées de Paris.
Ce colloque international, pluridisciplinaire et transchronologique a pour objet le statut et les fonctions des femmes de la cour de France : les dames des suites d’honneur, les épouses des grands officiers et ministres, les officiers féminins des maisons royales, les marchandes et autres femmes qui ont séjourné de manière régulière ou irrégulière à la cour. Ce sont ainsi des femmes au service de la famille royale, installées dans les différents degrés de la hiérarchie curiale, que nous proposons d’étudier. Car si les reines et princesses ont bénéficié d’une attention soutenue tout au long des siècles et ont fait l’objet de nombreuses études, la recherche au sujet des femmes qui séjournent avec elles à la cour présente encore de nombreuses lacunes.
Nous proposons d’étudier l’évolution de leur présence à la cour et les fonctions qu’elles y occupaient ainsi que l’impact de leur présence sur les structures et la vie quotidienne de l’entourage royal. Les engagements des femmes, leurs objectifs, leurs stratégies et leur marge de manœuvre, constituent un autre volet de la thématique, comme leur rôle dans la gestion des intérêts familiaux et des carrières curiales ainsi que leur mécénat architectural, artistique et culturel. Nous nous interrogeons aussi sur la représentation et l’imaginaire qui s’attache aux femmes de la cour dans la littérature et l’historiographie. Enfin, des études comparatives concernant d’autres cours européennes permettent d’élargir la perspective et de cerner la particularité de leur situation à la cour de France.
Les propositions de contribution peuvent s’inscrire dans quatre thématiques :
Structures, charges et fonctions
Des enquêtes sur l’évolution de la présence féminine à la cour et la forme que prit cette présence sont au cœur de ce premier volet. L’évolution des maisons féminines de la cour et des charges occupées par des femmes n’est connue que partiellement, comme les responsabilités et les privilèges attachés aux charges féminines. Des études à ces sujets permettront de mieux comprendre la structure curiale et la place des femmes dans celle-ci.
À côté des charges officielles ont existé des « fonctions officieuses » qui n’ont laissé que peu de traces dans les archives de l’administration royale. On trouve à la cour aussi des femmes qui ne sont pas intégrées dans les maisons royales, mais qui y séjournent fréquemment ou de manière quasi permanente (épouses d’officiers et de domestiques, marchandes, prostituées…). Leurs conditions de vie et la règlementation royale à leur sujet font partie des thématiques abordées dans ce premier volet.
Alliances, réseaux et cérémonial
L’intégration des femmes à la cour va souvent de pair avec un engagement en faveur de leur famille, leur clientèle, leur « parti » (qu’il soit religieux ou politique) et leur pays d’origine. On les trouve à toute époque aussi parmi les mécontents, les opposants à la politique royale, qui établissent parfois leur quartier général dans une des maisons féminines de la cour.
Notre intérêt porte prioritairement sur la manière dont les femmes profitèrent des opportunités offertes par la cour et les résistances ou obstacles auxquels elles pouvaient se heurter. Les mariages dont la cour était le théâtre font partie de ce volet ; il s’agit d’un terrain particulièrement fertile pour étudier l’exogamie de l’aristocratie et ses effets, des mariages internationaux qui dominent au plus haut niveau aux « mésalliances », qui ont laissé de nombreuses traces dans les écrits des contemporains.
Étroitement lié à la question des mariages est le sujet du rang des femmes dans la société curiale dont la définition varie d’une époque à l’autre et qui a un impact important sur l’étiquette et le cérémonial. Des études récentes ont renouvelé la recherche dans ce domaine et ont démontré que, loin d’être un détail pittoresque de la vie curiale, les rituels du quotidien servent à organiser et à faire fonctionner l’État monarchique. En suivant cette approche, nous souhaitons donner une place importante aux enquêtes qui concernent la place des femmes dans le cérémonial de cour et son évolution.
Art, religion et culture matérielle
La question du mécénat artistique et architectural des femmes de la cour constitue un autre volet des sujets abordés, comme la question des espaces occupés par elles et le décor qui les caractérise. Le mécénat des femmes a laissé de nombreuses traces dans les châteaux et palais, leur participation à l’organisation de festivités et de passe-temps divers (jeux, musique, chasse, danse, théâtre, académies …) une riche documentation. Des études à ce sujet font partie de ce volet, comme des enquêtes qui concernent l’engagement religieux des femmes, non seulement en ce qui concerne le mécénat, la charité et la fondation d’établissements religieux, mais aussi en ce qui concerne leur engagement au sein de courants spirituels plus ou moins contestataires. Ce volet peut concerner également le rôle de la religion dans l’éducation des jeunes femmes à la cour.
Les femmes de la cour interviennent aussi dans la culture matérielle du quotidien. En témoignent les marchandes et fournisseuses de la cour, dont certaines comme Rose Bertin ont suscité un vif intérêt. La cour en tant que moteur économique et centre de consommation et de production a également fait l’objet de recherches ; moins connue est la place que les femmes de l’entourage royal ont prise dans ce domaine.
Historiographie, représentation et mise en perspective
Dès le XVe siècle, des ambassadeurs et visiteurs étrangers soulignent qu’aucune cour européenne n’accorde autant de libertés aux femmes que celle de France : liberté de parole et de comportement. Mais est-ce que cette observation reflète la réalité ou s’agit-il d’une idée préconçue, inscrite dans le registre des stéréotypes nationaux ? Des études présentant la situation des femmes dans d’autres cours européennes peuvent apporter des éclairages à ce sujet, comme les caractéristiques de ce discours et le contexte social et culturel dans lequel il émerge et évolue.
Les femmes de la cour ont laissé de nombreux témoignages écrits sur la vie curiale. Cette production très hétéroclite comprend des lais, des romans, de la poésie, des mémoires et des correspondances, voire même des ouvrages critiques et des pamphlets. Leurs œuvres rejoignent le vaste corpus des écrits sur la cour émanant d’historiens et de contemporains qui, entre critique et vénération, ont dressé un portrait très contrasté des femmes de l’entourage royal. L’historiographie de la cour et la place des femmes dans celle-ci ainsi que la vision donnée par elles-mêmes présentent encore de nombreuses zones d’ombre qu’il est possible d’éclairer dans le cadre de ce colloque.
Les propositions de communications
Nous vous prions de nous faire parvenir un dossier de 2 à 3 pages qui présente la thématique de votre intervention (avec quelques informations sur les archives/sources utilisées) et une courte présentation de vous-même avant le 31 janvier 2015 à :
zumkolk@cour-de-france.fr
kathleen.wilson-chevalier@wanadoo.fr
Comité scientifique
Fanny Cosandey, maître de conférences en histoire moderne, EHESS, CRH-LaDéHiS
Jean-François Dubost, professeur d’histoire moderne, université Paris Est Créteil Val-de-Marne
Sheila ffolliott, professeur émérite en histoire de l’art, George Mason University, ancienne présidente de la Sixteenth Century Society, trustee du Medici Archive Project
Murielle Gaude-Ferragu, maître de conférences en histoire médiévale, Université Paris 13
Henriette Goldwyn, professeur de littérature, université de New York
Katrin Keller, enseignant-chercheur en histoire moderne, université de Vienne
Jacques Paviot, professeur d’histoire médiévale, université Paris Est Créteil-Val de Marne
Mary Sheriff, professeur d’histoire de l’art moderne, université de North Carolina
Organisateurs
Kathleen Wilson-Chevalier, professeur, The American University of Paris / Cour de France.fr
Caroline zum Kolk, chargée de mission, Institut d’études avancées de Paris / Cour de France.fr Pauline Ferrier, doctorante, université Paris-Sorbonne (Centre Roland Mousnier, UMR 8596) / Cour de France.fr
Flavie Leroux, doctorante, EHESS / Cour de France.fr
Fellowships | Getty Research Institute, 2015–16
Getty Research Institute, 2015–2016: Art and Materiality
Applications due by 3 November 2014
The Getty Research Institute invites proposals for the 2015–2016 academic year residential grants and fellowships. The Getty Research Institute theme, “Art and Materiality,” aims to explore how the art object and its materiality have enhanced the study of art history. Scholars, working with conservators and scientists, are gaining insight into the process of art making from raw material to finished object, as well as the strategic deployment of materials both for their aesthetic qualities and for their power to signify. The Getty Research Institute seeks proposals from scholars and fellows on these and other issues related to the materiality of art.
Detailed application guidelines are available online.
More information about the theme is available here.
Fellowships | Winterthur Research Fellowships, 2015–16
Winterthur Research Fellowship Program, 2015–16
Wilmington, Delaware; applications due by 15 January 2015
Winterthur, a public museum, library, and garden supporting the advanced study of American art, culture, and history, announces its Research Fellowship Program for 2015–16. Winterthur offers an extensive program of short- and long-term residential fellowships open to academic, independent, and museum scholars, including advanced graduate students, to support research in material culture, architecture, decorative arts, design, consumer culture, garden and landscape studies, Shaker studies, travel and tourism, the Atlantic World, childhood, literary culture, and many other areas of social and cultural history. Fellowships include 4–9 month NEH fellowships, 1–2 semester dissertation fellowships, and short-term fellowships, which are normally one month.
Fellows have full access to the library collections, including more than 87,000 volumes and one-half million manuscripts and images, searchable online. Resources for the 17th to the early 20th centuries include period trade catalogues, auction and exhibition catalogues, an extensive reference photograph collection of decorative arts, printed books, and ephemera. Fellows may conduct object-based research in the museum’s collections, which include 90,000 artifacts and works of art made or used in the British American colonies or United States to 1860, with a strong emphasis on domestic life. Winterthur also supports a program of scholarly publications, including Winterthur Portfolio: A Journal of American Material Culture.
Fellows may reside in a furnished stone farmhouse on the Winterthur grounds and participate in the lively scholarly community at Winterthur, the nearby Hagley Museum and Library, the University of Delaware, and other area museums. Fellowship applications are due January 15, 2015. For more details and to apply, visit winterthur.org/fellowship or e-mail Rosemary Krill at rkrill@winterthur.org.
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