Conference | Motion and Emotion in the French Enlightenment
From the conference program:
Body Narratives: Motion and Emotion in the French Enlightenment
Department of Art History, The University of Chicago, 10 April 2015
Organized by Susanna Caviglia
8:30 Welcome, Christine Merhing, University of Chicago
8:40 Introduction, Susanna Caviglia, University of Chicago
9:00 Body Language: Narrative and Metaphor
Chair: Anne Leonard, Smart Museum of Art
• Anti-Pygmalion: Jean-Bernard Restout’s Diogenes Asking for Alms (1767) and the Question of Body Movement, Étienne Jollet, Université Paris 1 Panthéon-Sorbonne/Columbia University
• The Body Speaks: Anatomical Narratives in French Enlightenment Sculpture, Dorothy Johnson, University of Iowa
10:30 Coffee
11:00 The Mobile Body: Social Identity and Visual Dynamics
Chair: Nina Dubin, University of Illinois at Chicago
• Engaging Tapestries at the Hôtel de Soubise: Attention, Mobility, Intercorporeality, Mimi Hellman, Skidmore College
• Watching Her Step: Women and the Art of Walking after Marie-Antoinette, Melissa Hyde, University of Florida
12:30 Lunch
2:00 Body Temporality: Aesthetics of Walking
Chair: Robert Morrissey, University of Chicago
• Movement and Stasis: Mapping Cythera, Mary D. Sheriff, University of North Carolina at Chapel Hill
• Strolling Time, Ewa Lajer-Burcharth, Harvard University
3:30 Coffee
4:00 Roundtable
Chair: Rebecca Zorach, University of Chicago
• Basile Baudez, Université Paris-Sorbonne, Paris IV
• Richard Neer, University of Chicago
• Larry Norman, University of Chicago
• Andrei Pop, University of Chicago
5:30 Conclusions
6:00 Reception
Poster Image: Pierre Subleyras, Charon Ferrying the Shades (Paris: Louvre).
Exhibition | El Retrato en las Colecciones Reales
◊ ◊ ◊ ◊ ◊
Now in its final weeks, this portrait exhibition contains over 100 objects spanning the past five hundred years. Rocío Martínez provides an extremely useful review (in English) for the Royal Studies Journal Blog. The exhibition website provides one of the finest virtual experiences I’ve ever encountered in terms of documenting an exhibition visually. Finally, thanks to Jennifer Germann for pointing all of this out to me (my apologies that it didn’t appear back in December!). –CH
El Retrato en las Colecciones Reales: De Juan de Flandes a Antonio López
The Portrait in the Royal Collections: from Juan de Flandes to Antonio López
Royal Palace, Madrid, 4 December 2014 — 19 April 2015
Curated by Carmen García-Frías Checa and Javier Jordán de Urríes
La exposición El Retrato en las Colecciones Reales. De Juan de Flandes a Antonio López ofrece una visión general del retrato de corte en España, tanto en tiempos de la Casa de Austria como de la Casa de Borbón, desde el siglo XV al XXI, trazando un recorrido por la evolución de la imagen de los monarcas en ese largo medio milenio. Un itinerario jalonado por obras maestras de la pintura y del género del retrato, con los mejores ejemplos conservados en las colecciones de Patrimonio Nacional, que se exponen en doce salas de la planta baja del Palacio Real de Madrid, con el acompañamiento de algunas esculturas, pequeños bronces, varios dibujos y grabados, y un par de tapices-retrato. La exposición se estructura en dos grandes secciones, Casa de Austria y Casa de Borbón, con diferentes apartados que siguen un orden cronológico por reinados.
Giuseppe Bonito, Carlos Antonio de Borbón as the Child Hercules, 1748, oil on canvas, 128.5 x 102.5 cm (Madrid: Royal Palace)
La primera sección abre con los inicios de la dinastía habsbúrgica en España, mostrando como antecedentes retratos fundamentales de sus antepasados, el Retrato del duque de Felipe el Bueno del taller de Rogier Van der Weyden (de la Casa de Borgoña) y la imagen más fidedigna de la reina Isabel la Católica de Juan de Flandes (de la Casa de los Trastámara). A los grandes retratos oficiales de Carlos V de Jakob Seisenegger y de Felipe II en versión pictórica de Antonio Moro y escultórica de Pompeo Leoni, se une una importantísima muestra de retratos familiares por los pintores más famosos de la corte española de los siglos XVI y principios del siglo XVII, como Alonso Sánchez Coello, Joris Van der Straeten, Juan Pantoja de la Cruz, Bartolomé González o Rodrigo de Villandrando, así como de otras cortes europeas, como Frans Pourbus el Joven o Marcin Kover. Ya en pleno siglo XVII, la magnífica miniatura del conde-duque de Olivares de Diego Velázquez, o el grandioso retrato ecuestre de Juan José de Ribera, sin olvidar a los dos grandes retratistas del reinado de Carlos II, con varios ejemplares de Juan Carreño de
Miranda y Claudio Coello.
En la segunda sección dedicada a la Casa de Borbón desde el siglo XVIII hasta el presente, se exponen los mejores ejemplos del retrato borbónico en Patrimonio Nacional, como el monumental retrato ecuestre de Felipe V, por Louis-Michel van Loo; el de Carlos III con el hábito de su Orden, por Mariano Salvador Maella, también retratos de Giuseppe Bonito y Anton Raphael Mengs; una de las parejas de Carlos IV y María Luisa de Parma, por Francisco de Goya, la espléndida del rey de cazador y la reina con mantilla; destacados ejemplos del retrato decimonónico, con obras de Vicente López, Federico de Madrazo o Franz Xaver Winterhalter, y, finalmente, retratos de Alfonso XIII por Ramón Casas y Joaquín Sorolla para llegar al reinado de Juan Carlos I con El Príncipe de ensueño de Salvador Dalí y el retrato de La familia de Juan Carlos I pintado por Antonio López, que se presenta al público con motivo de esta exposición.
Junto a esas obras maestras de la pintura se exhiben, como complemento, algunos pequeños bronces, un par de tapices-retrato y destacadas esculturas, desde un Felipe II por Pompeo Leoni hasta el retrato doble de los reyes Alfonso XIII y Victoria Eugenia, por Mariano Benlliure. Esas piezas entran así en relación con la pretensión de tridimensionalidad de la pintura.
◊ ◊ ◊ ◊ ◊
The catalogue is available from ArtBooks.com:
Carmen García-Frías Checa and Javier Jordán de Urríes, eds., El Retrato en las Colecciones Reales: De Juan de Flandes a Antonio López (Madrid: Patrimonio Nacional, 2014), 536 pages, ISBN: 978-8471204981, $85.
Fundación Banco Santander colabora con Patrimonio Nacional en la preparación de esta muestra títulada El retrato en las Colecciones Reales. De Juan de Flandes a Antonio López. La importancia del género retratístico en las Colecciones Reales se comprende fácilmente, teniendo en cuenta que los mejores artistas de cada momento, han sido grandes retratistas de la Monarquía Española, por lo que las grandes obras de estos excelentes pintores forman parte de los fondos de Patrimonio Nacional. En este exposición contaremos con artistas de la talla de Juan de Flandes, Sánchez Coello, Rubens, Velázquez, Goya, Sorolla, Dalí o Antonio López.
Conference | Origins and the Legitimacy of Architecture in Europe
From the research program’s website (it includes lots of interesting materials in addition to details of the upcoming conference). . .
Origins and the Legitimacy of Architecture in Europe, 1750–1850
Leiden University and the Rijksmuseum van Oudheden, Leiden, 1–2 May 2015
Organised by Maarten Delbeke, Sigrid de Jong, and Linda Bleijenberg
From Thursday 30 April to Saturday 2 May 2015 we will host an international conference at the Rijksmuseum van Oudheden in Leiden, to conclude our research program at the Leiden University Centre for the Arts in Society (LUCAS). Supported with generous funding from NWO, the project aimed at understanding how, between 1750 and 1850, changing views about the origins of civilization and the arts have affected the theory and practice of architecture in Europe. More in particular, the project aimed to understand how these views of origins, and especially the primitivism they often imply, have been adopted in architectural discourse to buttress the legitimacy of architecture in society.
The questions the conference wishes to address include: how do architectural origins relate to questions of architecture’s legitimacy as an artistic and cultural practice in the period under consideration? Why are origins deemed relevant to address these questions? To which particular architectural problems does the question of origins pertain? With which intellectual contexts and debates do architectural theory and practice enter in dialogue through the matter of origins? How do architectural origins relate to the primitivism that is manifest across a wide range of intellectual and artistic practices of the period? How do notions about origins sustained in historiography writ large affect architectural history and ideas about the historicity of buildings?
◊ ◊ ◊ ◊ ◊
F R I D A Y , 1 M A Y 2 0 1 5
9.30 Registration and coffee
10.00 Welcome by Maarten Delbeke
10.15 Session I. Myths
• Eric Moormann, ‘Mehr Modell und Puppenschrank als Gebäude’: How Pompeii Did Not Enhance Architectural Studies in the Eighteenth Century
• Hendrik Ziegler, Goethe and the Classical Canon in Architecture
• Sigrid de Jong, Myths of Origins: Stonehenge in the Royal Academy’s Architectural Histories
12.30 Lunch break
14.00 Session II. Histories
• Erika Naginski, On the Colonial Origins of Architecture: Building the ‘Maison Rustique’ in Cayenne, French Guiana
• Matteo Burioni, Imaginary Geographies and Imagined Beginnings: Pietro della Valle, Fischer von Erlach, Jean-Nicolas-Louis Durand
• Petra Brouwer, Origins of Architecture in the First Architectural History Survey Texts of James Fergusson, Franz Kugler, and Wilhelm Lübke
17.00 Book presentations, Sigrid de Jong and Caroline van Eck
18.00 Keynote Lecture
• Mari Hvattum, Heteronomic Historicism
19.00 Reception
S A T U R D A Y , 2 M A Y 2 0 1 5
9.30 Registration and coffee
10.00 Session III: Objects and Language
• Christopher Drew Armstrong, Theorizing the Orient: The Discourse on Origins, Language and Identity in the Paris Académie des Inscriptions
• Maarten Delbeke, Complexity and Contradiction in Architecture around 1820
• Ralph Ghoche, ‘La pensée simple que présente un cône’: Unity and Simultaneity in Simon-Claude Constant-Dufeux’s Tomb of Dumont d’Urville
12.15 Lunch break
13.45 Session IV: Religions and Rituals
• Tomas Macsotay, The Distracted Believer and the Return to the First Basilicae: Marqués de Ureña’s Reflexiones sobre la arquitectura, ornato, y música del templo (1785)
• Caroline van Eck, Quatremère de Quincy on the Origins of Architecture, Sculpture and Society: The Debate about Primitivism among Enlightenment Critics of Religion
• Richard Wittman, The Purity of Origins: Architecture in Rome after Napoleon
British Museum Director, Neil MacGregor, to Retire
From The British Museum:
Neil MacGregor, Director of the British Museum. Copyright Jason Bell.
Neil MacGregor announced to his colleagues at the British Museum this morning [8 April 2015] that he has decided to step down as Director at the end of December 2015.
MacGregor said, “It’s a very difficult thing to leave the British Museum. Working with this collection and above all with the colleagues here has been the greatest privilege of my professional life. But I’ve decided that now is the time to retire from full-time employment and the end of this year seems a good time to go. The new building has been completed, so we at last have proper exhibition space, new conservation and scientific facilities, and first class accommodation for our growing research activities. We have built strong partnerships with fellow museums across the UK, and are rapidly expanding our programme of loans and training around the world.
The Museum is now ready to embark on a new phase—deploying the collection to present different histories of the world. It is an exhilarating prospect, and it will start with the new Islamic Galleries and with plans for the future of the Old Reading Room.
The Museum is in a strong position to respond to these energising challenges. It has a distinguished international Board under a new Chairman Sir Richard Lambert. To everything it does the BM brings the highest levels of professionalism. Around the world it is a valued partner and the Board has clearly defined the British Museum’s role as a worldwide resource for the understanding of humanity, to be made available as widely and as freely as possible.”
MacGregor added, “Although I shall no longer be working full-time I shall be involved in a number of projects. I shall be working with the BBC and the BM on a new Radio 4 series on Faith and Society. I shall be chairing an Advisory Board to make recommendations to the German Minister of Culture, Monika Grütters, on how the Humboldt-Forum, drawing on the outstanding resources of the Berlin collections, can become a place where different narratives of world cultures can be explored and debated. In Mumbai, I look forward to working on the presentation of world cultures with the CSMVS Museum and its Director Mr Sabyasachi Mukherjee under whose tenure it has emerged as one of the finest and most active museums in South/South East Asia.”
The full press release is available here»
Enfilade 
leave a comment