Enfilade

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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F R I D A Y ,  1 7  A P R I L  2 0 1 5

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

S A T U R D A Y ,  1 8  A P R I L  2 0 1 5

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

 

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