Enfilade

The Huntington to Open New Education and Visitor Center

Posted in museums by Editor on March 31, 2015

Press release (5 March 2015) from The Huntington:

The new Steven S. Koblik Education and Visitor Center will open to the public on April 4, 2015, offering the 600,000 annual visitors to The Huntington Library, Art Collections, and Botanical Gardens a dramatically improved experience, replete with six and a half acres of gardens interspersed with beautiful facilities for dining, shopping, meeting, seeing a lecture or performance, or attending a class.

The Rose Hills Foundation Garden Court in the new Steven S. Koblik Education and Visitor Center at The Huntington Library, Art Collections, and Botanical Gardens. Photo: Tim Street-Porter

The Rose Hills Foundation Garden Court in the new Steven S. Koblik Education and Visitor Center at The Huntington Library, Art Collections, and Botanical Gardens. Photo: Tim Street-Porter

The front, northernmost section of the complex opened to the public in January, making available to visitors a new and substantially larger Huntington Store, a new specialty coffee shop, and a new full-service admissions and membership area. The rest of the visitor center, opening on April 4, features a 400-seat auditorium, a large café with indoor/outdoor seating and garden views, four multi-use classrooms, meeting and event spaces, and an orientation gallery—all arranged amid new, beautifully landscaped, drought-tolerant gardens.

The $68 million project broke ground in April 2013. An additional $10 million has been raised to endow the new facilities’ operations. Designed by Architectural Resources Group, the Education and Visitor Center consists of 52,000 square feet of educational facilities and visitor amenities. The design of the complex of buildings and gardens harmonizes with the original early 20th-century Beaux-Arts architecture on the property (once the estate of Gilded Age railroad magnate, real estate developer, and collector Henry E. Huntington). The landscape, designed in concert with the architecture by the Office of Cheryl Barton, reflects the local Mediterranean climate as well as both the agricultural and elegant estate history of the 207-acre Huntington grounds. Much of the new construction replaces existing facilities built in 1980 that no longer accommodated the needs of Huntington visitors, scholars, or staff. The project also includes the addition of 42,000 square feet of underground space to house The Huntington’s growing collections of original historical research materials as well as provide institutional storage.

The Steven S. Koblik Education and Visitor Center was funded entirely with private contributions, with a lead gift from Charles T. Munger.

Exhibition | Diana Thater: Life is a Time-Based Medium

Posted in exhibitions by Editor on March 30, 2015

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Galtaji Temple, near Jaipur, India, from the video installation Diana Thater: Life is a Time-Based Medium, 2015, 3-channel projection, 3 lenses, 1 media player, and watchout system.

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Press release from Hauser & Wirth:

Diana Thater | Life is a Time-Based Medium
Hauser & Wirth, London, 26 March — 16 May 2015

Hauser & Wirth is pleased to present a new video installation by Diana Thater. The work comprises footage from the Hindu pilgrimage site, the Galtaji Temple, near Jaipur in India. Thater projects images of the 18th-century pavilions and pillars onto the walls and floor of the gallery to create an immersive environment depicting the many monkeys that inhabit the temple in their architectural habitat. The installation will be included in Thater’s mid-career retrospective, opening at LACMA in Autumn 2015. This year, Thater will also present exhibitions at the Aspen Art Museum in Colorado and at San Jose Museum of Art in California.

CBGjeidWYAAfKjKThater’s experiential video installations investigate the space between documentation and abstraction, sculpture and architecture, by presenting a mediated reality. In this new work, Thater choreographs an architectural reconstruction of the Galtaji Temple. Built by Diwan Rao Kriparam in the 18th century, in pink sandstone, amidst low hills, the temple is structured to look more like a palace or ‘haveli’ than a traditional place of worship. The buildings are positioned around a natural fresh water spring and seven holy ‘kunds’—or water tanks—and waterfalls that create two tiered pools. Within the gallery, projections of the lower pool onto the floor foreground the architectural structure and evoke a tranquil setting. Appearing blurred and faded as they are diffused from the wall, the pools of water occupy a liminal state between reality and imagination. Thater works with the existing architecture of the gallery, dividing the space into two halves and employing projections to suggest the physical structure of the temple’s domed ceilings, carved pillars and painted walls. In the second space, Thater recreates an area of the temple that is inaccessible to humans, using close-up video footage to bring the viewer into greater proximity with the monkeys. As in previous works, Thater herself features in the footage in order to make manifest an encounter between humans and animals.

The ancient Galtaji Temple is still an important pilgrimage site. Thater examines the reverence with which humans approach the location, in direct contrast to the informal, rampant activity of the monkeys. Thater explores both the tame and wild aspects of the monkeys’ lives and the co- existence of animals and humans. The work is inspired by the Hindu god Hanuman, who often takes the form of a monkey and is worshipped as a symbol of physical strength, perseverance and devotion. Through Hanuman, Thater layers historical, natural and religious references to explore the potentially spiritual relationship between humans and animals.

Thater is one of the most significant contemporary artists working in new media. Drawing on issues of conservation, natural and manmade ecosystems, and socially-engineered environments, she explores tensions between mankind and the animal kingdom. Her formal interest straddles both the spatial and temporal aspects of video. She presents non-linear footage that explores animal behaviour with what she describes as a ‘neo-narrative’ approach. The exhibition’s title, Life is a Time-Based Medium, draws attention to the parallels between reality and the construction of reality that Thater’s videos present.

Diana Thater was born in 1962 in San Francisco. She studied at New York University and Art Center College of Design, Pasadena, and lives and works in Los Angeles. Thater’s work has featured in numerous significant international exhibitions. Solo shows at major institutions include: Diana Thater: Delphine, Église Saint-Philibert Church, Dijon, France (2014); Peonies, Wexner Center for the Arts, Columbus, Ohio (2011); Diana Thater: Chernobyl, Institute of Modern Art, Brisbane, Australia (2011); Diana Thater: Between Science and Magic, Santa Monica Museum of Art, Santa Monica, California (2010); gorillagorillagorilla, Kunsthaus Graz, Austria (2009); Keep the Faith: A Survey Exhibition, Museum für Gegenwartskunst Siegen, Siegen, Germany and Kunsthalle Bremen, Bremen, Germany (2004); Knots + Surfaces, DIA Center for the Arts, New York (2001); Projects 64: Diana Thater: The best animals are the flat animals, Museum of Modern Art, New York (1998); Diana Thater: Orchids in the Land of Technology at Walker Art Center, Minneapolis (1997); and China, The Renaissance Society at the University of Chicago (1995). Thater has been the recipient of a number of awards. In 2014, she was awarded a California Community Foundation Fellowship for Visual Artists. She received the Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles in 2011 and a John Simon Guggenheim Memorial Foundation Fellowship in 2005.

Symposium | The Romantic Eye, 1760–1860 and Beyond

Posted in conferences (to attend) by Editor on March 30, 2015

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From the YCBA:

The Romantic Eye, 1760–1860 and Beyond
Yale University, New Haven, 17–18 April 2015

This two-day international symposium examines Romanticism as a shape-shifting cultural phenomenon that resists categorization. The symposium coincides with a major collaborative exhibition organized by the Yale Center for British Art and the Yale University Art Gallery, The Critique of Reason: Romantic Art, 1760–1860. Comprising more than three hundred works in a range of media, the exhibition features iconic artists including William Blake, John Constable, Honoré Daumier, Eugène Delacroix, Henry Fuseli, Théodore Géricault, Francisco de Goya, John Martin, and J. M. W. Turner.

The symposium is free and open to the public. Register online in advance (recommended) by April 15, or on-site at the event. For further information, contact ycba.research@yale.edu.

Cosponsored by the Yale Center for British Art, the Yale University Art Gallery, the Department of the History of Art at Yale University, and the Yale Student Colloquia Fund.

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9:00  Registration and coffee

9:30  Welcome and curatorial remarks

10:00  Panel I: British Romanticism
Chair: Tim Barringer (Yale University)
• Paul Fry (Yale University), Peele Castle, Hadleigh Castle: Romantic Poetry and Painting
• Esther Chadwick (Yale University), “Copper in the Manner of Wood”: An Experimental Vignette by Thomas Bewick
• Terry Robinson (University of Toronto), Sarah Siddons and the Mediation of Spectatorship

12:00  Lunch break

1:30  Breakout Sessions
• A. Cassandra Albinson (Yale Center for British Art), The Child, the Portrait, and the Artist in the Romantic Period
• Nina Amstutz (Yale Center for British Art), Nature between Spectacle and Specimen: Robert John Thornton’s Temple of Flora and James Ward’s Two Extraordinary Oxen
• Gillian Forrester (Yale Center for British Art): “The origin of my fame”: The Visualizing “I”
in John Constable’s English Landscape Scenery and J. M. W. Turner’s Liber Studiorum Print Series c
• Scott Wilcox (Yale Center for British Art), The Rise of Watercolor Painting in Romantic Britain

2:30  Break

3:00  Panel 2: French Romanticism
Chair: A. Cassandra Albinson (Yale Center for British Art)
• Valérie Bajou (Versailles), Insolence and Insurrection in Romantic French Painting
• Mikolaj Getka-Kenig (University of Warsaw), The Fall of Napoleon and the Romantic Crisis of Heroic Representation
• Tamar Mayer (University of Chicago), Romanticizing the Neoclassical: Loss of Gravity in Jacques-Louis David’s Late Drawings and Artistic Procedures

5:00  Break

6:00  Andrew Carnduff Ritchie Keynote Lecture
• T. J. Clark (University of California, Berkeley), “Attempting Impossibles”: Hazlitt on Turner and Blake

7:00  Reception

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10:00  Panel 3: Romantic Pictorial Innovations
Chair: Nina Amstutz (Yale Center for British Art)
•Richard Maxwell and Katie Trumpener (Yale University), Romantic Panoramas: Robert Barker, Marquand Wocher, Eduard Gaertner
• Allan Doyle (Princeton University), Théodore Géricault and the Lithographic Picturesque
• Izabel Gass (Yale University), Portrait of the Artist as a Young Narcissist

12:00  Lunch break

2:00  Panel 4: Baudelaire and Romanticism
Chair: Colin Foss (Yale University)
• Tobias Kämpf (Ruhr University Bochum), Poetry as Art Criticism: Baudelaire’s Romantic Quest
• Carol Armstrong (Yale University), Baudelaire: Looking Back from 1863

3:30  Break

4:00  Panel 5: Afterlives—Modern Art and the Romantic Tradition
Chair: Harry Adams (Yale University)
• AnnMarie Perl (Princeton University), Mysticism, Striptease, Iconoclasm: Yves Klein’s Debut Performance of the Anthropometries in 1960
• Daniel Spaulding (Yale University), Death Keeps Me Awake: Joseph Beuys and the Conclusion of Romanticism

 

The Burlington Magazine, March 2015

Posted in books, exhibitions, journal articles, reviews by Editor on March 29, 2015

The eighteenth century in The Burlington:

The Burlington Magazine 157 (March 2015)

1344-201503A R T I C L E S

• Veronica Maria White, “Guercino’s Beggar Holding a Broken Jug: A Drawing from the Gennari Inventory of 1719,” pp. 169–71.

• Andrew Hopkins, “Palladio and Scamozzi Drawings in England and Their Talman Marks,” pp. 172–80.

• Andrea Tomezzoli, “From Venice to Newport: A Painting by Giambettino ­Cignaroli Lost and Found,” pp. 181–85.

R E V I E W S

• Simon Watney, Review of Stacy Boldrick, Leslie Brubaker, and Richard Clay, eds., Striking Images: Iconoclasms Past and Present (Ashgate Publishing, 2013), pp. 186–89. Available at The Burlington website for free.

• David Scrase, Review of Laura Giles, Lia Markey, and Claire Van Cleave, eds., Italian Master Drawings from the Princeton University Art Museum (Yale University Press, 2014), pp. 197–98.

• Frances Parton, Review of the exhibition Gold (London: Queen’s Gallery, 2014–15), p. 202.

• David Scrase, Review of the exhibition William Blake: Apprentice and Master (Oxford, Ashmolean, 2014–15), pp. 206–07.

 

 

Lecture | Pannill Camp on Masonic Ritual as Philosophy

Posted in lectures (to attend) by Editor on March 29, 2015

From The Newberry:

Pannill Camp, Masonic Ritual as Philosophy in Early Eighteenth-Century France
The Newberry Library, Chicago, 25 April 2015

The story of Freemasonry’s introduction into France in the early decades of the eighteenth century is also in part the story of Enlightenment philosophy’s reliance on performance activity. Radical philosophy and freethinking did not subsist only in the circulation of printed texts. Natural philosophy was demonstrated in proliferating spaces of experimental proof, and esoteric thinkers devised ceremonies meant to serve as the basis of a new moral and intellectual reality. Figures credited with promoting French interest in Freemasonry, including J. T. Desaguliers, were also intimately involved in disseminating new knowledge about the natural world.

As part of a project that examines multiple categories of performance behavior that Freemasonry instituted and inspired in France, Professor Camp will propose that Masonic ritual activity represents a broader category of philosophical performance, encompassing works like John Toland’s 1720 Pantheisticon, which Margaret C. Jacob has provocatively called a Masonic ritual text. Examining this text alongside artifacts of proper Masonic rituals, Professor Camp will also argue that treating eighteenth-century French Freemasonry as an embodied philosophical pursuit may allow us to reconcile two disjointed themes that have so far characterized historians’ approaches to the topic. In other words, the ideals that motivated early Masonic activity, when viewed through the lens of performance, may also be seen as integral to the synthetic emotional bonds and sensitive masculine solidarity cultivated in lodge activity.

Eighteenth-Century Seminar, Saturday, April 25, 2015, 2pm.
Please register by 10am Friday, April 24.

Pannill Camp is Assistant Professor of Drama at Washington University, St Louis. His research examines points of intersection between theater history and the history of philosophy, especially in eighteenth-century France. He is the author of The First Frame: Theatre Space in Enlightenment France, (Cambridge University Press, 2015).

Mellon Lectures | Thomas Crow on Restoration as Event and Idea

Posted in lectures (to attend) by Editor on March 28, 2015

Press release (20 February 2015) from NGA in Washington (after the fact, audio and video recordings are available here) . . .

Thomas Crow, Restoration as Event and Idea: Art in Europe, 1814–1820
64th Annual A. W. Mellon Lectures in the Fine Arts
National Gallery of Art, Washington, D.C., 15 March — 26 April 2015

1424369085684Thomas Crow, Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University, will give the 64th annual A. W. Mellon Lectures in the Fine Arts in a series entitled Restoration as Event and Idea: Art in Europe, 1814–1820. Crow will consider the period 1814–1820, following the fall of Napoleon. During this time, artists throughout Europe were left uncertain and adrift, with old certainties and boundaries dissolved. How did they then set new courses for themselves? Crow’s lectures will answer that question by offering both a wide view of art centers across the continent—Rome, Paris, London, Madrid, Brussels—and a close-up focus on individual actors—Francisco Goya (1746–1828), Jacques-Louis David (1748–1825), Antonio Canova (1757–1822), Sir Thomas Lawrence (1769–1830), Jean-Auguste-Dominique Ingres (1780–1867), and Théodore Géricault (1791–1824). Whether directly or indirectly, these artists were linked in a new international network with changed artistic priorities and new creative possibilities emerging from the wreckage of the old.

March 15: Moscow Burns/The Pope Comes Home, 1812–1814: David, Gros, and Ingres Test Empire’s Facade

March 22: At the Service of Kings, Madrid and Paris, 1814: Aging Goya and Upstart Géricault Face Their Restorations

March 29: Cut Loose, 1815–1817: Napoleon Returns, David Crosses Borders, and Géricault Wanders Outcast Rome

April 12: The Religion of Ancient Art from London to Paris to Rome, 1815–1819: Canova and Lawrence Replenish Papal Splendor

April 19: The Laboratory of Brussels, 1816–1819: The Apprentice Navez and the Master David Redraw the Language of Art

April 26: Redemption in Rome and Paris, 1818–1820: Ingres Revives the Chivalric while Géricault Recovers the Dispossessed

All lectures will take place on Sunday afternoons at 2:00pm and are free and open to the public. Because of the East Building renovation, the lectures will be presented in the West Building Lecture Hall, which has limited capacity. Entry passes (one per person) will be required for admission and will be distributed starting at 1:00pm on a first-come, first-served basis on the day of each lecture in the East Building Concourse. The lectures will be streamed live. At the Gallery, the live stream will be shown in the West Building Project Room and the East Building Reception Room. The live stream will also be available at the NGA website. On the Wednesday following each lecture, a video screening will be shown in the West Building Lecture Hall at noon. Audio recordings will be available each Tuesday, and video recordings with closed captioning will be available each Friday following the lecture here.

Thomas Crow is the Rosalie Solow Professor of Modern Art at the Institute of Fine Arts, New York University. He holds an MA and a PhD in art history from the University of California, Los Angeles, and a BA from Pomona College. His interests center on the entwined aesthetic and social dynamics in the production of art and the role of art in modern society.

Crow’s most recent book, The Long March of Pop: Art, Design, and Music, 1930–1995, was published by Yale University Press in January 2015. He is also the author of Emulation: Making Artists for Revolutionary France (1995, 2006); The Rise of the Sixties: American and European Art in the Era of Dissent (1996, 2005); The Intelligence of Art (1999); Modern Art in the Common Culture (1996); Painters and Public Life in Eighteenth-Century Paris (1985); and articles including “The Practice of Art History in America,” Daedalus 135 (Spring 2006) and “Marx to Sharks: The Art-Historical ’80s,” Artforum 41 (2003). He is a contributing editor of Artforum.

Crow has received numerous honors throughout his career, including the Eric Mitchell Prize for the best first book in the history of art (1986), the Charles Rufus Morey Prize of the College Art Association (1987), and a National Endowment for the Humanities Fellowship (1988–1989). He is a member of the American Academy of Arts and Sciences. He is currently the recipient of a John Simon Guggenheim Memorial Foundation fellowship (2014–2015) and spent the fall of 2014 as a Michael Holly Fellow at the Sterling and Francine Clark Art Institute.

Before his appointment at the Institute of Fine Arts, Crow was director of the Getty Research Institute, professor of art history at the University of Southern California, the Robert Lehman Professor of the History of Art at Yale University, and professor and chair in the history of art at the University of Sussex.

Call for Session Proposals | ASECS 2016, Pittsburgh

Posted in Calls for Papers by Editor on March 27, 2015

2016 American Society for Eighteenth-Century Studies Conference
Pittsburgh, 31 March — 3 April 2016

Session Proposals due by 1 June 2015

Proposals for panels at the at the 47th annual meeting of the American Society for Eighteenth-Century Studies, to take place in Pittsburgh, are now being accepted. Please complete the form (available as a Word document) and email it to asecs@wfu.edu.

ASECS Awards, 2014–15

Posted in books, fellowships, journal articles by Editor on March 27, 2015

A selection of this year’s ASECS awards that particularly relate to landscapes, images, objects, and material culture:

2014–15 Louis Gottschalk Prize
9780300197792
Vittoria Di Palma, Wasteland: A History (New Haven: Yale University Press, 2014).
The American Society for Eighteenth-Century Studies awards annually the Louis Gottschalk prize to the best scholarly book on an eighteenth-century subject. The 2015 Gottschalk prize has been awarded to Vittoria Di Palma for Wasteland: A History (Yale University Press, 2014), an elegant, probing, and timely account of how the emerging discourse of modern aesthetics in Britain was inseparably intertwined with interest in certain ‘unimproved’ types of land. Di Palma’s work, which conjoins the resources of art history, landscape and garden studies, the history of science, and more disciplines still, is a scholarly tour-de-force that synthesizes disparate studies of subjects ranging from land enclosure to the sublime in order to shed new light on the prehistory of our current ecological challenges.

2014–15 James L. Clifford Prize
Paola Bertucci, “Enlightened Secrets: Silk Intelligent Travel, and Industrial Espionage in Eighteenth-Century France” published in Technology and Culture 54 (October 2013): 820–52.
Bertucci offers a critical examination of the relationship between the openness of academic knowledge and the secrecy of state affairs in the age of Enlightenment. Using the silk manufacturing industry of France and Piedmont as an example, she explores the ways in which technical intelligence was gathered under the guise of academic exchange and demonstrates that the seeming openness of academic culture was one of the resources that intelligent travelers mobilized to serve the state in secret.

2014–15 Women’s Caucus Editing and Translation Fellowship
There were five very fine submissions this year for the Women’s Caucus Editing and Translation Prize. The selection committee—which consisted of Katherine Binhammer, Katharine Kittredge, and Mary Trouille (Chair)—was especially impressed by the proposals submitted by Aileen Douglas and Catherine Sama. Since no prize was given last year, the Women’s Caucus kindly agreed to allow our committee to award a $1,000 prize to both Professors Douglas and Sama. Catherine Sama is Professor of Italian at the University of Rhode Island in Providence. She has published widely on eighteenth-century Italian women writers and artists. The title of her project is “Rosalba Carriera (1673–1757): Correspondence of a Venetian Artist.”

2014–15 Innovative Course Design Competition
Michael Gavin, “Modeling Literary History: Quantitative Approaches to the Enlightenment”
Estelle Joubert, “Music in the Global Eighteenth Century: A New Course Proposal”
Sean Silver, “The Novel and the Museum”

Symposium | The 2015 Newport Symposium

Posted in conferences (to attend) by Editor on March 27, 2015

From The Preservation Society of Newport County:

North and South: Crosscurrents in American Material Culture
23rd Annual Newport Symposium, Newport, Rhode Island, 26–29 April 2015

Despite the sometimes irreconcilable differences that culminated in the Civil War (1861–65), Newport and other Northern cities maintained close social, economic, cultural, and artistic ties with the South from the Colonial period through the Gilded Age. The 2015 Newport Symposium, North and South: Crosscurrents in American Material Culture, invites a fresh look at regional differences in American furnishings, silver, textiles, painting, architecture, and interiors to reveal the complex exchange of ideas and enduring influences.

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4:00  Opening Lecture

“Historic House Museums, North and South: Preserving Our Past, Enhancing Our Future,” George McDaniel (Executive Director, Drayton Hall, Charleston, SC)
In both the North and South, historic house museums are too often seen as staid institutions, stuck on giving only boring ‘velvet ropes’ tours and suffering from declining revenues and morale. While such examples do exist, there are also many house museums that are using their collections, their site, and their staff in innovative and strategic ways to reach out and make a difference in their communities and beyond, and to thereby play significant roles in preserving our past and enhancing our future.

5:00  Opening Reception at Rosecliff (1902)

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8:00  Registration and coffee

9:00  Welcome, Donald O. Ross (Chairman of the Board, The Preservation Society of Newport County)

9:30  “Pride & Prejudice: Understanding North and South,” Tom Savage (Director of Museum Affairs, Winterthur Museum)
At the first Williamsburg Antiques Forum in 1949, Joseph Downs, then curator of the American Wing at the Metropolitan Museum of Art, announced that “little furniture of artistic merit was ever produced south of Baltimore.” A southern matron asked politely but pointedly if Mr. Downs had spoken “out of prejudice or ignorance?” The battle cry that went out from that conference spawned the landmark 1952 exhibition Furniture of the Old South, 1640–1820 at the Virginia Museum and a special issue of The Magazine Antiques dedicated to southern furniture. In 1965, The Museum of Early Southern Decorative Arts (MESDA) opened in Winston-Salem, North Carolina. This lecture will examine the historiography of southern decorative arts research and the mythological perceptions that have pervaded our understanding of American material culture, both North and South.

10:30  Break

11:00  “He Went to War a Virginian But Came Home an American: General  Washington’s Revolutionary Transformation of Mount Vernon,” Susan Schoelwer (Robert H. Smith Senior Curator, George Washington’s Mount Vernon)
George Washington’s wartime travels took him to countless communities in New England and the Middle States, giving him rich opportunities to compare country estates and city houses in these regions with more familiar examples in Virginia and Maryland. After the Revolution, he drew on these experiences to purposefully redesign Mount Vernon, his beloved home and estate on the Potomac River, to suit what he called his ‘Republican stile of living’. The resulting innovations—most notably the picturesque landscape surrounding the Mansion and the grand neoclassical interior that Washington called his ‘New Room’—vividly expressed his prescient vision for the future of the new American nation.

12:00  Lunch

1:30  Concurrent lectures and tours

“Beyond the Summer Colony: Exchange Between Charleston and Newport,” Brandy Culp (Curator Historic Charleston Foundation)
Because of its favorable climate and intellectual charm, Newport was a fashionable summer destination for many Charlestonians in the eighteenth and nineteenth centuries. In addition to being what some have called “the Bath of America,” Newport was an important partner in the coastal trade, and the two cities were economically linked. We will discuss the exchange of goods between Newport and Charleston facilitated by merchants such as Rhode Island native Nathaniel Russell, as well as the cultural connections that gave rise to Newport’s popularity among the southern colony.

“Elegant Boston Interiors 1789–1830,” Jane Nylander (President Emerita) and Richard Nylander, (Curator Emeritus, Historic New England, Boston, MA)
In two consecutive afternoon sessions, the Nylanders will discuss furnishings and interiors in the homes of Boston’s elite during the New Republic. Early nineteenth-century Boston witnessed changing styles of architecture and furniture, new technologies, increasing prosperity, and an expanded circle of world trade. Interiors featured both locally made and imported goods such as textiles and wallpaper, ceramics and glass, window curtains and carpets as well as paintings and sculpture, reflecting an increased interest in the fine arts.

3:00  Concurrent lectures and tours

“Finding the Sacred in the Secular: Eighteenth-Century Synagogue Architecture in Newport and Charleston,” Daniel Kurt Ackermann (Associate Curator, Museum of Early Southern Decorative Arts, Winston-Salem, NC)
Touro Synagogue in Newport, which opened in 1763, has long been held up as a symbol of religious tolerance in America. Indeed, both Touro and KKBE’s Synagogue in Charleston, South Carolina, were important buildings in their cityscapes. These two sacred buildings constructed in secular styles reflected the status and acceptance that Jews found in early America. They also reflected the webs of kinship, commerce, and faith that linked the Jews of Newport and Charleston to each other and to the rest of the Jewish Atlantic world.

“Elegant Boston Interiors 1789–1830,” Jane Nylander (President Emerita) and Richard Nylander, (Curator Emeritus, Historic New England)
In two consecutive afternoon sessions, the Nylanders will discuss furnishings and interiors in the homes of Boston’s elite during the New Republic. Early nineteenth-century Boston witnessed changing styles of architecture and furniture, new technologies, increasing prosperity, and an expanded circle of world trade. Interiors featured both locally made and imported goods such as textiles and wallpaper, ceramics and glass, window curtains and carpets as well as paintings and sculpture, reflecting an increased interest in the fine arts.

4:00  “Elegant Taking and Talking Tea: Gentility, Patriotism and Shared Conversations in Early America,” Martha Willoughby (Senior Specialist, Christie’s, London)
This lecture will look at the American tea party and its central role in social and cultural discourse during the eighteenth century. Throughout the colonies, the ritual of tea drinking and its symbolism of British tyranny during the Revolution provided a means for establishing and affirming bonds with neighbors, visitors and compatriots. A close look at the tea party’s guest of honor—the tilt-top tea table—will illustrate the lively and fruitful conversation of ideas between North and South.

5:00  Tea and refreshments

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8:00  Registration and coffee

9:00  “North and South: Town & Country,” Trudy Coxe (CEO & Executive Director) and Laurie Ossman (Director of Museum Affairs, The Preservation Society of Newport County)

9:30  “‘Send None but the Finest Quality’: Art and Patronage in Early Maryland–The Edward Lloyd Family and Beyond,” Alexandra Kirtley (The Montgomery-Garvan Associate Curator of American Decorative Arts, Philadelphia Museum of Art)
Edward Lloyd settled on Maryland’s Eastern Shore in 1659. There he established a dynasty of gentleman farmers, whose lands eventually stretched the entire length of the Delmarva peninsula. The Lloyds patronized artists of the first order, from the finest silversmiths and furniture makers to British marine painter Dominic Serres and American portraitist Charles Willson Peale. The family crafted an extraordinary landscape and built exceptional manor houses to reflect the most current architectural styles of the day. The story of the Lloyd family art patronage typifies the social experience in Early Maryland and the Upper South.

10:30  Break

11:00  “Five Desks for Virginia: New England Furniture in the South and the Caribbean during the Eighteenth Century,” Brock Jobe (Professor of American Decorative Arts, Winterthur Museum)
Throughout the 1700s, many New England woodworkers built furniture for export to distant ports in the South, the Caribbean, and beyond. Craftsmen often entered into contracts with ship captains, who carried the furniture from port to port in search of a market; when the pieces were finally sold, the proceeds were used to purchase timber, coffee, and molasses. The first provided the raw material for the furniture-making; the latter two offered a source of cash for craftsmen. We will trace the furniture export trade in four New England communities: Portsmouth, Salem, Boston, and Newport.

12:00  Lunch

1:30  Concurrent lectures and tours

“The Cosmopolitan Middletons: A Family’s History as Told Through Their Collections,” George McNeely (Vice President for Strategic and International Affairs, World Monuments Fund, New York)
The Middleton family established themselves in South Carolina in the early 18th century and have been prominent in politics, international affairs, commerce and culture ever since. Their remarkably grand Jacobean-style seat was completed in 1741 and the unusual ‘butterfly’ lakes and extensive gardens in the following decades. Trace the family through triumphs and despair, from Charleston to Philadelphia to Newport to London and back, through a wonderful selection of paintings, furniture and decorative arts in the family collections.

“In Search of Respite: Natchezians at the Northern Resorts,” Jeff Mansell, Historian, Natchez National Historical Park
In an attempt to escape the blistering Southern summers, wealthy Natchez, Mississippi planters sought refuge at popular watering holes and fashionable Northern resorts. From June to October, in a seemingly steady progression, Natchezians moved from Niagara Falls and Seneca Lake to Saratoga and Cape May. In August, they descended on Newport and by 1860, one planter’s wife observed, “it seems to me all of Natchez is here.” While most Natchezians spent only a few weeks of the season in Newport, others built cottages and became fixtures in the social and cultural life of the town.

3:00  Concurrent lectures and tours

“Victoria Mansion: The 1860 Maine Summer Home of a New Orleans Hotelier,” Arlene Palmer Schwind (Curator, Victoria Mansion, Portland, ME)
Maine native Ruggles Sylvester Morse began his hotel career in Boston and New York, but by 1843 he settled in New Orleans where he quickly made a sizable fortune. Between 1858 and 1860 he constructed a magnificent summer home in Portland, Maine. This Italian villa style mansion is largely intact, with interiors that are exceptional for their brilliant wall and ceiling paintings, marble fireplaces, and stained glass. Over ninety percent of the original furnishings remain from 1860, including an important collection of furniture by Gustave Herter, who also supervised the design of the mansion’s sumptuous interiors. Learn how Morse’s background as a hotelier and a New Orleans resident influenced the design and furnishing of this unique example of pre-Civil War grandeur, a National Historic Landmark that has been a historic house museum since 1941.

“The North in the South: Furnishings in Antebellum Natchez,” Caryne Eskridge (Project Manager and Research Curator, The Classical Institute of the South, New Orleans)
In the mid-nineteenth century, the elite ‘Natchez Nabobs’ possessed the wealth, taste, and connections that allowed them to order the most fashionable furnishings from Philadelphia, New York, and Massachusetts. As a result, many of the parlors, dining rooms, and bedrooms in Natchez resembled what was found in elite households in the Mid-Atlantic and New England. These objects challenge the distinction of ‘northern’ versus ‘southern’ and reveal significant paths within the dynamic movement of goods and people. The presentation will highlight objects that remain extant in Natchez, in some cases in a nearly complete context.

7:00  Dinner at The Breakers (1895)

W E D N E S D A Y ,  2 9  A P R I L  2 0 1 5

8:30  Registration and coffee

9:30  “‘The Largest Assortment Constantly on Hand’: Furniture in New Orleans, 1840–1900,” Stephen Harrison (Curator of Decorative Art and Design, The Cleveland Museum of Art)
Recent research suggests that the story of household furnishings in the South’s most prosperous port city is far richer in its associations with Europe and the American style centers of the North both before and after the Civil War than ever imagined before. This fully illustrated lecture will discuss the many furniture emporiums that lined Royal Street and the bounty they displayed. Familiar purveyors such as Barjon, Mallard, and Siebrecht will come to life again along with the storied plantations and fashionable city residences they furnished and adorned with furniture of ‘fancy and fashion’ they kept ‘constantly on hand’.

10:30  Break

11:00  “Painting in the American South, 1730–1790,” Carolyn Weekley (Juli Grainger Curator Emerita, Colonial Williamsburg)
Portraiture dominated the activity of painters who worked in the early South. Most artists were trained in trades techniques such as signboard and coach painting. Both resident and traveling painters were the chief providers of portraits, although Southerners occasionally commissioned pictures from artists elsewhere in America and abroad, chiefly in London. Most of the painters engaged by Southerners had contact with others in the trade. Some were directly trained by fellow painters while others imitated the idiosyncratic styles of other artists.

12:00  Lunch

1:00  Optional independent touring
Symposium attendees will be admitted free of charge by presenting their symposium badges at the following properties: Redwood Library and Athenaeum (1748), Newport Art Museum, J.N.A. Griswold House (1864),  The International Tennis Hall of Fame, Newport Casino (1881), The Museum of Newport History at Brick Market. Preservation Society Properties: Chateau-sur-Mer (1852), Marble House (1892), The Breakers (1895), The Elms (1901), Rosecliff (1902)

Georeferencing the British Library’s Map Collection

Posted in opportunities, resources by Editor on March 26, 2015

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A recent posting at at the British Library’s Maps and Views blog (25 March 2015) describes the latest phase of the project to georeference the BL’s map collection. As a crowdsourcing project, it’s fascinating. And even if you’re not interested in contributing your time, there are lots of resources already available (to search for maps previously georeferenced, use the map portal Old Maps Online, which searches across numerous online map collections, including the British Library). The video below provides an effective introduction to the basic concept of georeferencing. CH

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From the BL’s Georeference Home:

Help! British Library needs 50,000+ maps georeferenced

6a00d8341c464853ef01b7c76ad044970bYou can join the latest phase of our project, which features over 50,000 more maps from the British Library collections. Help us identify accurate locations for these historic maps! Bear in mind that some places have changed significantly or disappeared completely, creating a puzzle that reveals an exciting contrast.

Your name will be credited, and your efforts will significantly improve public access to these collections. Contributors can see the results of their work, as well as the progress of the pilot and other participants, and the top contributor will be publicly announced.