Exhibition | La Fibre des héros, l’Histoire racontée par la Toile de Jouy
Now on view at the Musée Lambinet:
La Fibre des héros, l’Histoire racontée par la Toile de Jouy
Musée Lambinet, Versailles, 19 September — 20 December 2015
Dans le cadre des commémorations nationales du bicentenaire de la disparition de Christophe-Philippe Oberkampf (1738–1815), fondateur de la manufacture de Jouy, le musée Lambinet présente l’exposition La fibre des héros. Celle-ci propose de retrouver, grâce à la toile imprimée, le reflet des idéaux et des événements qui ont intéressé la société à la fin du XVIIIe siècle et dans la première moitié du XIXe siècle. Les toiles à personnages, fidèles aux canons néo-classiques en vogue à leur époque, représentent souvent des héros antiques. D’autres toiles mettent en scène des épisodes et héros du monde littéraire, militaire ou scientifique contemporain. Reflets de l’actualité, elles montrent aussi le vol des premiers aérostats ou encore des combats navals marquants. Ces décors ultra-narratifs ont été principalement produits par la manufacture de Jouy-en-Josas, mais aussi les manufactures de Rouen, de Nantes ou de Mulhouse. Empruntées majoritairement au musée de la toile de Jouy, à Jouy-en-Josas, les toiles exposées forment un complément de l’exposition Christophe-Philippe Oberkampf, 1738–1815: Les toiles de Jouy, une aventure humaine, industrielle et artistique, qui se tient à Jouy du 15 septembre au 27 décembre 2015.
Exhibition | Oberkampf: Les Toiles de Jouy
Now on view at the Musée de la Toile de Jouy:
Christophe Phillipe Oberkampf. Les toiles de Jouy: Une aventure humaine, industrielle et artistique
Musée de la Toile de Jouy, Jouy-en-Josas, 15 September — 27 December 2015
Pour tout savoir sur l’histoire de Christophe-Philippe Oberkampf et la façon dont il a fait de la Toile de Jouy un produit mondialement connu, le musée propose un parcours chronologique qui relate l’ascension de ce fils d’un teinturier allemand, né en 1738 et devenu un des pionniers de la révolution industrielle. Arrivé à Paris comme simple ouvrier, peu instruit (il le déplorera toute sa vie) mais visionnaire, Oberkampf fit de la manufacture qu’il fonda à Jouy-en-Josas la deuxième entreprise de France à la fin de l’Ancien Régime. Toujours à l’avant-garde des progrès techniques, il sut par ailleurs s’entourer de peintres talentueux, comme Horace Vernet ou Jean-Baptiste Huet, pour imaginer les motifs de ses toiles. L’exposition raconte cette histoire, ou comment les Toiles de Jouy ont supplanté les ‘palampores’, ces toiles indiennes importées des lointains comptoirs et comment elles ont conquis toutes les couches de la société, participant à une démocratisation de la mode et de la décoration, grâce à l’industrialisation des procédés inventée par Oberkampf.
Colloquium | Oberkampf et la toile imprimée XVIIIe–XIXe siècle
From the conference programme:
Oberkampf et la toile imprimée XVIIIe–XIXe siècle: Production, création, consommation
Musée de la toile de Jouy, Jouy-en-Josas, 8–10 October 2015
J E U D I , 8 O C T O B R E 2 0 1 5
14.00 Accueil des participants par le Maire et le Secrétaire général d’HEC
14.30 L’industrie du coton en Île-de-France
Modérateur Aziza Gril-Mariotte
• Introduction par Serge Chassagne, président du comité scientifique, « Les entreprises cotonnières d’Île-de-France»
• Martine Lefèvre, conservateur en chef, Bibliothèque de l’Arsenal, « La manufacture de Jacques Daniel Cottin à l’Arsenal»
• Anne de Thoisy et le Groupe de Recherches Historiques de Jouy-en-Josas, « Les domaines textiles de la famille Oberkampf illustrés par Julie Féray »
• Karine Berthier, Laboratoire d’Archéologie et d’Histoire médiévales de l’Université de Picardie, EA 4284 TRAME, « Le centre de production des installations essonniennes : évolution, organisation et production, XVIIIe–XIXe siècle»
• Xavier Petitcol et Michel Perrier, « Chronologie de la production de la manufacture Oberkampf à partir des chefs de pièces et numéros de dessin »
17h30 Échanges avec la salle
V E N D R E D I , 9 O C T O B R E 2 0 1 5
9.30 Accueil des participants
10.00 Innovations et transferts techniques dans l’industrie cotonnière
Modérateur Natacha Coquery
• Sophie Patte, Musée des arts décoratifs de l’Océan Indien, «Les Mascareignes, îles privées de la Compagnie des Indes, terres d’expérimentation dans la quête de la chimie de la couleur, au XVIIIe siècle »
• Marguerite Martin, « Une matière première : L’indigo, l’approvisionnement au XVIIIe siècle »
• Philip Sykas, Manchester University, « Entente cordiale: Anglo-French exchange among calico printers »
• Ezio Ritrovato, Università di Bari Aldo Moro, « L’impression et la teinture du coton dans les
études et dans la vie d’un chimiste italien du XIXe siècle »
12.00 Échanges avec la salle
14.30 Histoire industrielle
Modérateur Pascale Gorguet-Ballesteros
• Isabelle Bernier, FRAMESPA UMR 5136 Université Toulouse II Jean Jaurès, « L’indiennage, moteur de l’industrialisation à Mulhouse au début du XVIIIe siècle »
• Roberto Rossi, Dept of Economics and Statistics, University of Salerno, « The division of labor and salary skills in the Barcelona’s indianas manufactures in the second half of the XVIII Century »
• Aziza Gril-Mariotte, « Évolution de l’impression aux plaques de cuivre à Jouy »
• Vibe Maria Martens, Ph.D Researcher European University Institute, Florence, « Cotton printing at the European fringe: the case of Denmark »
16.20 Évolution artistique
Modérateur Pascale Gorguet-Ballesteros
• William DeGregorio, PhD Candidate, Bard Graduate Center, New York, « Two newly discovered Indian chintzes copied at the Oberkampf manufactory ca. 1774: Preliminary investigations into design, origins, and context »
• Ji Eun You, Ph.D candidate, University of North Carolina, « Toile-de-Jouy at the Garde Meuble de la Couronne during the French Revolution »
17h00 Échanges avec la salle
S A M E D I , 1 0 O C T O B R E 2 0 1 5
10.00 Accueil des participants
10.30 Histoire des collections
Modérateur Esclarmonde Monteil
• Danièle Veron-Denise, Conservateur honoraire du Patrimoine, « Destins croisés : les toiles imprimées de Jouy et de Mulhouse dans l’ameublement du château de Fontainebleau »
• Véronique de La Hougue, Conservateur en chef, Musée des Arts décoratifs, « Les toiles de Jouy dans la collection des Arts Décoratifs »
• Kirsten Toftegaard, textile curator, Designmuseum Danmark, « A study of West European printed textiles in the State Hermitage Museum’s collection focusing on the tradition of narrative prints »
• Jacqueline Jacqué, conservateur honoraire du patrimoine, «Des toiles de Jouy à Mulhouse, histoire croisée de deux collections»
Conclusion du colloque : S. Chassagne & E. Monteil
Après-midi : Visite de l’exposition Oberkampf au Musée de la Toile de Jouy
Exhibition | Simeon De Witt: Mapping the Revolution
From the exhibition press release (23 September 2015). . .
Simeon De Witt: Mapping the Revolution
Zimmerli Art Museum, Rutgers, New Brunswick, New Jersey, 1 September 2015 — 31 July 2016
Curated by Jenevieve DeLosSantos with Donna Gustafson
Ezra Ames, Portrait of Simeon De Witt, 1804 (Zimmerli Art Museum at Rutgers, photo by Jack Abraham)
When General George Washington led troops into colonial New Jersey during the early months of the Revolutionary War, he did not have access to an app—or even adequate drawings on paper—to guide him across the region. But in 1776, Simeon De Witt (1756–1834), the sole graduate that year from Rutgers (then known as Queen’s College), joined the Continental Army to fight the British. As a signature project of Rutgers 250, the year-long celebration of the university’s founding in 1766, the Zimmerli Art Museum presents Simeon De Witt: Mapping the Revolution, on view through July 31, 2016. The exhibition honors De Witt’s crucial role during the Revolutionary War and, throughout the rest of his life, documenting the geography of New York State (he was a native of Ulster County). It also explores the practice of 18th-century cartography through his original maps and tools.
“As we get ready to celebrate the 250th anniversary of Rutgers in 2016, this exhibition reminds us of the important role that New Jersey and its citizens played in the colonies’ efforts to win their independence and form a new democracy,” observed Jenevieve DeLosSantos, who organized the exhibition while working as a graduate curatorial assistant at the Zimmerli and recently received her PhD in Art History from Rutgers. By 1780, De Witt was named surveyor general and sketched maps of New Jersey’s uncharted land, working directly under George Washington. His topographic renderings were a valuable resource to the Commander-in-Chief as he navigated the terrain and evaded British forces.
After the successful conclusion of the war, De Witt built a career with accomplishments that aided new Americans who were instrumental in the early stages of westward expansion. In 1784, De Witt was appointed Surveyor General of the State of New York, a post he held for 50 years. In 1802, he drafted the first large-scale map of the state to be printed. It was the most detailed to date—depicting newly established cities, towns, and county lines—and distributed to salons and offices as an accurate reference of the Empire State’s geography. An 1804 version of this map is on view, on loan from Special Collections and University Archives at Rutgers University Libraries. The map is accompanied by several of De Witt’s original drafting tools, on loan from the Albany Institute of History and Art, and a field compass commonly used during the era, also from Special Collections. These historical objects provide insight into the resources available to De Witt at the time.
The Zimmerli’s 1804 three-quarter length portrait of De Witt in a stately interior captures him in the prime of his life. He thoughtfully gazes beyond the frame of the image, surrounded by the tools of his profession: a telescope, a globe. De Witt’s hand rests on a table, with the top portion of the aforementioned map of New York State visible. That it was painted by the prominent portrait artist Ezra Ames (1768–1836), who lived in Albany, New York, indicates De Witt’s status as an accomplished and respected member of society. More than 700 portraits have been attributed to Ames; among them, Founding Father Alexander Hamilton and the first governor of New York, George Clinton.
The selection includes other items that indicate the popularity of Revolution-era subjects in fine art and popular culture during the nation’s early decades. The Zimmerli’s recently cleaned and conserved portrait of George Washington was painted by Jane Stuart around 1840. The daughter of the renowned portraitist Gilbert Stuart, she opened her own studio after his death in 1828 and sold her work; especially popular were replicas of her father’s portrait of the country’s first president. Also on view are prints that depict important battles in New Jersey during America’s War for Independence, including a map by English engraver William Faden that depicts the positions of Washington’s troops in New Jersey and Pennsylvania at the beginning of the war.
Simeon De Witt: Mapping the Revolution is organized by Jenevieve DeLosSantos, PhD Art History, Rutgers University and Graduate Curatorial Assistant, 2013–2015, with the assistance of Donna Gustafson, Curator of American Art and Mellon Director for Academic Programs. The exhibition is a signature project of Rutgers 250, a yearlong celebration beginning November 10, 2015, to mark the university’s 250th anniversary. Complete information and a list of related events can be found at 250.rutgers.edu.
The Jane Voorhees Zimmerli Art Museum houses more than 60,000 works of art, ranging from ancient to contemporary art. The permanent collection features particularly rich holdings in 19th-century French art; Russian art from icons to the avant-garde; Soviet nonconformist art from the Dodge Collection; and American art with notable holdings of prints. In addition, small groups of antiquities, old master paintings, as well as art inspired by Japan and original illustrations for children’s books, provide representative examples of the museum’s research and teaching message at Rutgers. One of the largest and most distinguished university-based art museums in the nation, the Zimmerli is located on the New Brunswick campus of Rutgers, The State University of New Jersey. Established in 1766, Rutgers is America’s eighth oldest institution of higher learning and a premier public research university.
Study Day | Maria Hadfield Cosway
This colloquium accompanies a two-day conference (16-17 October) held in Bergamo on Luigi Marchesi, the international castrato singing superstar, who was portrayed by Richard Cosway in London and who had a close musical friendship with Maria Cosway in both London dung the late 1780s and in northern Italy during the early 1790s. From the flyer:
Maria Hadfield Cosway: Musa e benefattrice nell’età di Luigi Marchesi (1754–1829)
Fondazione Maria Cosway, Lodi, 18 October 2015
10.00 Saluti istituzionali: Francesco Chiodaroli (Fondazione Maria Cosway, Lodi), Angelo Bianchi (Università Cattolica del Sacro Cuore, Milano), Gabriella Molina (Fondazione Ospedale Marchesi, Inzago)
• Riccardo Benzoni, Napoleone a scuola: rinnovamento dell’istruzione e celebrazione del potere negli anni del Primo Impero (1804–1814)
• Cristina Cenadella, «Figlie di tutti sono le figlie di nessuno». L’orfanotrofio della Stella di Milano e le scuole di formazione interne
• Laura Giuliacci, Donne e società in Italia e in Francia ai tempi di Maria Cosway: l’educazione distinta
• Giliola Barbero, L’Europa di Maria Cosway nella sua biblioteca.
13.00 Pausa pranzo
14.30 Sessione pomeridiana
• Rosa Cafiero, L’insegnamento della musica nel Collegio delle dame inglesi: modelli europei per Maria Cosway
• Stephen Lloyd, ‘Wonderment for the table-talk of the town’: Regency London’s social and artistic context for Richard Cosway’s portrait of Luigi Marchesi (1790)
• Stefano Aresi, «If you want to hear what Italian Singing is, come to London»: Marchesi, Londra e il rapporto con Maria Cosway
16.00 Presentazione volume
Gian Carlo Sciolla presenta il nuovo volume di Tino Gipponi, La veridica storia di Maria Hadfield Cosway e il ritratto ritrovato (Lodi: PMP Editore, 2015).
Conference | Luigi Marchesi: Career of a Castrato
From the conference flyer (with more information about The Luigi Marchese project available here). . .
Luigi Marchesi (1754–1829): “L’ Oceano dei soprani” carriera di un evirato cantore
Casa Natale di Gaetano Donizetti, Bergamo, 16-17 October 2015
1 6 O T T O B R E 2 0 1 5
14.00 Apertura dei lavori
Interventi di benvenuto ed introduzione
• Damien Colas (Centre National de la Recherche Scientifique), Alla ricerca delle esecuzioni perdute: come far rivivere oggi l’arte di Luigi Marchesi?
• Lorenzo Mattei (Università degli Studi ‘Aldo Moro’, Bari), La mia Cecchina è un castrato! L’opera buffa degli evirati cantori
• Teresa M. Gialdroni (Università di Roma ‘Tor Vergata’)
• Giulia Giovani (Centro Studi sulla Cantata Italiana), Luigi Marchesi a Roma: echi nella stampa coeva
• Paola De Simone (Conservatorio ‘C. G. da Venosa’, Potenza), Mito e storia per una voce alla corte di Napoli: Luigi Marchesi nei ruoli di Amore e Arbace nella stagione 1780–1781 al Real Teatro di San Carlo
• Lucio Tufano (Napoli), Marchesi in concerto
• Nastasja Gandolfo (Hochschule für Musik, Würzburg), Il ruolo di Luigi Marchesi nell’Ezio di Josef Mysliveček per la corte elettorale di Monaco (1777)
• Annarita Colturato (Università degli Studi di Torino), Luigi Marchesi musico soprano a corte
• Luca Benedetti (Bergamo)
• Federico Zavanelli (Cremona), Comunicazioni bibliografiche: aggiornamenti da Bergamo e Londra
18.00 Villa Facheris, Inzago, Milano
Aperitivo presso la Villa Facheris e visita alla mostra ivi dedicata a Marchesi. Visita della villa appartenuta al cantante. Cena dei convegnisti e degli sponsor presso il ristorante Enotavola Pietra- santa in Treviglio (Bergamo).
1 7 O T T O B R E 2 0 1 5
9.30 Presiede: Giulia Giovani
• Nicholas Baragwanath (University of Nottingham), Alla ricerca dell’arte d’improvvisare di Marchesi: le revisioni per il debutto londinese nel ruolo di Giulio Sabino (1788)
• Simone Laghi (University of Cardiff), Le esibizioni di Luigi Marchesi a Londra (1788-1790): i castrati e il true taste
• Giovanni Polin (Conservatorio ‘C. G. da Venosa’, Potenza), «Sempre uguale a sé stesso nel dilettare e sorpren- dere»: note sulla carriera veneta di Luigi Marchesi
• Marilena Laterza (Università degli Studi di Milano), «Arietta grata che intorno spiri»: Luigi Marchesi compositore
• Livio Aragona (Fondazione Donizetti, Bergamo)
• Rosa Cafiero (Università Cattolica del Sacro Cuore, Milano), Da Lodoiska a Lovinski: Camilla Balsamini nei panni di Marchesi
• Giacomo Sances (Università di Roma ‘Tor Vergata’), «Il nostro amicone Zingaro deve essere superbo d’un così bravo scolare». Luigi Marchesi e il suo «veridico sentimento» per Bellini
15.00 Presiede: Claudio Toscani (Università degli studi di Milano)
• Marco Beghelli (Università degli Studi di Bologna), «Nella sua voce fa sentire tre voci diverse»: la voce multipla dei castrati
• Roberto Scoccimarro (Hochschule für Musik und Tanz, Köln), Luigi Marchesi nel ruolo di Achille: Ifigenia in Aulide e Achille in Sciro
• Paolo Russo (Università degli Studi di Parma) Marchesi, il ‘disertore’
• Livio Marcaletti (Universität Bern), Le «variazioni» di Luigi Marchesi: trascrizioni di un’esecuzione o esercizi didattici?
• Stefano Aresi (Stile Galante, Amsterdam), Gli abbellimenti vocali di Luigi Marchesi: possibili approcci alle fonti
Lecture | Kathleen Wilson, Performing ‘The Wonder’ in Sumatra
Next month at The Newberry:
Kathleen Wilson, Performing The Wonder in Sumatra:
East India Company Peripheries and the History of Modernity
The Newberry Library, Chicago, 17 October 2015
Registration due by October 16
How did theatrical performance work to stage larger English encounters with alterity in far-flung colonial sites? Professor Wilson will examine that question from the point of view of colonial residents of Sumatra and Saint Helena, who used English theatrical and social performances to reflect upon their own presence and status as agents of British modernity.
One such entrepreneur, East India Company Secretary William Marsden, wrote an epilogue to a staging of The Wonder at Fort Marlborough that reflected upon the temporal and cultural politics of British imperial rule in ways that anticipated his History of Sumatra, a work that stages English and Malay culture as part of a narrative of ‘world history’ that Britain had inaugurated.
Kathleen Wilson is Past President of the American Society for Eighteenth Century Studies. Her scholarship addresses issues of identity and difference in eighteenth-century Britain and empire. In addition to numerous peer-reviewed articles, her books include The Sense of the People: Politics, Culture and Imperialism in England, 1715–1785; The Island Race: Englishness Empire and Gender in the Eighteenth Century; A New Imperial History: Culture, Identity and Modernity in Britain and the Empire 1660–1840; and Strolling Players of Empire: Theatre, Culture and Modernity in the English Provinces. She is a series editor of Critical Perspectives on Empire for Cambridge University Press and has been awarded fellowships from the John Simon Memorial Guggenheim Foundation, the National Endowment for the Humanities, the American Council of Learned Societies, and the Huntington Library, among others.
Saturday, October 17, 2015, 1:00pm, Towner Fellows Lounge, with a reception to follow the seminar.
Center for Renaissance Studies Programs and Eighteenth-Century Seminar
Organized by Timothy Campbell, University of Chicago; Lisa A. Freeman, University of Illinois at Chicago; Richard Squibbs, DePaul University; and Helen Thompson, Northwestern University.
This program is free and open to the public, but space is limited and registration in advance is required. Register online here. Registrations will be processed through 10:00am Friday, October 16.
New Book | The Hanoverian Succession
From Ashgate:
Andreas Gestrich and Michael Schaich, eds., The Hanoverian Succession: Dynastic Politics and Monarchical Culture (Farnham: Ashgate, 2015), 304 pages, ISBN: 978-1472437655, $135.
The Hanoverian succession of 1714 brought about a 123-year union between Britain and the German electorate of Hanover, ushering in a distinct new period in British history. Under the four Georges and William IV Britain became arguably the most powerful nation in the world with a growing colonial Empire, a muscular economy and an effervescent artistic, social and scientific culture. And yet history has not tended to be kind to the Hanoverians, frequently portraying them as petty-minded and boring monarchs presiding over a dull and inconsequential court, merely the puppets of parliament and powerful ministers. In order both to explain and to challenge such a paradox, this collection looks afresh at the Georgian monarchs and their role, influence and legacy within Britain, Hanover and beyond.
Concentrating on the self-representation and the perception of the Hanoverians in their various dominions, each chapter shines new light on important topics: from rivalling concepts of monarchical legitimacy and court culture during the eighteenth century to the multi-confessional set-up of the British composite monarchy and the role of social groups such as the military, the Anglican Church and the aristocracy in defining and challenging the political order. As a result, the volume uncovers a clearly defined new style of Hanoverian kingship, one that emphasized the Protestantism of the dynasty, laid great store by rational government in close collaboration with traditional political powers, embraced army and navy to an unheard of extent and projected this image to audiences on the British Isles, in the German territories and in the colonies alike. Three hundred years after the succession of the first Hanoverian king, an intriguing new perspective of a dynasty emerges, challenging long held assumptions and prejudices.
Andreas Gestrich is Director of the German Historical Institute London. His present research interests comprise the history of family, childhood and youth, the history of poverty and poor relief, media history and the social history of religious groups. His publications include, among others, Absolutismus und Öffentlichkeit: Politische Kommunikation in Deutschland zu Beginn des 18. Jahrhunderts (1994), Familie im 19. und 20. Jahrhundert (1999) and (ed. with Christiane Eisenberg) Cultural Industries in Britain and Germany: Sport, Music and Entertainment from the Eighteenth to the Twentieth Century (2012).
Michael Schaich is Deputy Director of the German Historical Institute London. His current research focuses on the symbolic representation of the British monarchy and state during the seventeenth and eighteenth centuries. His publications include Staat und Öffentlichkeit im Kurfürstentum Bayern der Spätaufklärung (2001), (ed.) Monarchy and Religion: The Transformation of Royal Culture in Eighteenth-Century Europe (2007) and (ed. with R.J.W. Evans and Peter H. Wilson) The Holy Roman Empire, 1495–1806 (2011).
◊ ◊ ◊ ◊ ◊
C O N T E N T S
1 Introduction, Michael Schaich
I. Dynastic Legacies
2 The Hanoverian Monarchy and the Legacy of Late Stuart Kingship, Ronald G. Asch
3 The House of Brunswick-Lüneburg and the Holy Roman Empire: The Making of a Patriotic Dynasty, 1648–1714?, Martin Wrede.
II. Representing Protestantism
4 George I, the Hanoverian Succession, and Religious Dissent, David Wykes
5 Hanover-Britain and the Protestant cause, 1714–1760, Andrew C. Thompson
6 The Hanoverians and the Colonial Churches, Jeremy Gregory
III. Image Policies
7 The Hanoverian Monarchy and the Culture of Representation, Tim Blanning
8 ‘Every Inch Not a King’: The Bodies of the (First Two) Hanoverians, Robert Bucholz
9 Monarchy, Affection and Empire: The Hanoverian Dynasty in Eighteenth-Century America, Brendan McConville
10 Visions of Kingship in Britain under George III and George IV, G.M. Ditchfield
IV. Contested Loyalties
11 The Hanoverian Succession and the Politicisation of the British army, Hannah Smith
12 Jacobitism and the Hanoverian Monarchy, Gabriel Glickman
13 The Alternative to the House of Hanover: The Stuarts in Exile, 1714–1745, Edward Corp
14 Radical Popular Attitudes to the Monarchy in Britain during the French Revolution, Amanda Goodrich
Index
Call for Papers | Gillray after Gillray: Echoes and Influences
From H-ArtHist:
Gillray after Gillray: Echoes and Influences in Rude Britannia, Then and Now
Institut national d’histoire de l’art, Paris, 29 January 2016
Proposals due by 15 October 2015
The year 2015 witnessed a number of exhibitions and conferences devoted to James Gillray’s bicentenary and the artist’s graphic work. But Gillray after Gillray is a study day aimed at discussing Gillray’s posterity and visual heritage across several areas of British and European culture in the course of a century. British caricaturists frequently claim to work in the wake of Gillray’s satirical spirit (Ralph Steadman, Gerald Scarfe, Martin Rowson, Steve Bell) and as such manifest their debt to the artist’s approach to the body and to politics. Other artistic forms, on the other hand, may be derived from the Georgian era but in a less obvious manner, for instance, The Chapman Brothers’ envisioning of Capricios is indebted to Goya’s series, but the title Like a Dog Returns to its Vomit twice appears to be closer to motifs such as digestive discomforts and uncontrolled regurgitation recurrently exploited by Gillray in his prints and drawings. Looking at graphic afterlives and avatars of Gillray’s caricatures and his particularly vitriolic sense of satire is also an opportunity to extend current critical views from editorial cartooning and contemporary art onto a whole range of satirical forms in mass media. Issues that may be raised, though not exclusively so, may range from art-historical approaches to case studies of post Georgian era reception.
Submissions are invited that engage with examples of graphic satire dating from any point across the last 250 years and that address the following questions, among others:
• What traces of Gillray can be identified in contemporary painting, installation art, video or even TV?
• How can we engage with the notion of morbid comic as for instance demonstrated in the works of the Young British Artists?
• Public space and the aesthetics of graphic satire
• Politeness, decorum and Rude Britannia from 1790 to nowadays
• British tabloids as part of Gillray’s influence and heritage
• What exactly is « rude » in British visual and mass media culture?
• How far can Gillray be viewed as a founding father of a specific approach to visual satire?
• Art, visual satire as something deliberately spectacular and shocking
• Art, commerce and visual satire then and now
Please send proposals (of no more than 250 words) for 20-minute papers to Brigitte Friant-Kessler and Morgan Labar before 15 October 2015. This study day will be held in French and English.
Brigitte Friant-Kessler
Maître de conférences en langues et cultures anglophones
CALHISTE EA 4343
Université de Valenciennes
Brigitte.Friant-Kessler@univ-valenciennes.fr / b.friant@free.fr
Morgan Labar
Doctorant contractuel en Histoire de l’art (ED441)
HiCSA, Université Paris 1 Panthéon-Sorbonne
morganlabar@gmail.com
Symposium | Penser le Rococo, XVIIIe–XXIe siècles
From the symposium programme:
Penser le Rococo (XVIIIe–XXIe siècles) / Reconsidering the Rococo
Université de Lausanne, 5–6 November 2015
Le rococo, en dépit de la méfiance ou de l’ironie qu’il suscite, occupe une place centrale dans l’historiographie. En tant que catégorie stylistique et critique, il structure notre appréhension de l’art du XVIIIe siècle et détermine le regard que l’on porte sur celui-ci. Ce colloque, conçu en écho aux stimulantes recherches de ces vingt dernières années sur le rococo, vise à développer une réflexion épistémologique sur une notion protéiforme. La perspective privilégée pour ce colloque est celle, critique, de l’étude d’une notion devenue catégorie, le rococo, appelant à réfléchir sur son apparition, sa sédimentation, sa diffusion. Quelles sont les premières formulations de ce terme ? Sur quels présupposés se fonde-t-il ? Comment devient-il un canon formel et esthétique ? De quelles sources se nourrit-il ? En fonction de quels enjeux établit-on les frontières et les corpus du rococo ? Comment la situation d’énonciation des exégètes, aux XIXe, XXe et XXIe siècles, a-t-elle orienté la mise en récit de son histoire ? Comment les idées véhiculées dans leurs travaux agissent-elles sur la production tardive d’objets imitant le XVIIIe siècle ? Comment ces revivals agissent-ils en retour sur notre compréhension du rococo ?
Despite the scepticism or irony which it provokes, the notion of the Rococo occupies a central position within the historiography of 18th-century art. It structures our understanding of this epoch and determines the way in which we see it. This symposium, planned as an answer to the stimulating research of the last twenty years on the Rococo, aims at an epistemological reflection on a protean notion which was progressively defined as a style during the 19th century. This symposium therefore favours a critical approach to this notion, urging contributors to reconsider how it emerged, how it was formed and diffused. What were the first manifestations of the Rococo, on what preconceived ideas was it founded, and how did it become a formal and aesthetic canon? Which sources did it draw upon? What ideas and categories have been used to structure it? How were the boundaries of the Rococo established? How has the context in which interpreters have written about the Rococo oriented the formulation of narratives during the 19th, 20th and 21st centuries? How have the ideas upon which their work is founded inflected the production of imitations of 18th-century objects? How have these revivals, in turn, acted upon our understanding of the Rococo?
Organisation scientifique
Carl Magnusson (Université de Lausanne)
Marie-Pauline Martin (Aix-Marseille Université, UMR 7303 TELEMME-CNRS)
Comité scientifique
Jan Blanc (Université de Genève), Frédéric Dassas (Musée du Louvre), Michaël Decrossas (INHA, Paris), Peter Fuhring (Fondation Custodia, Paris), Christian Michel (Université de Lausanne)
Organisation logistique et contact
Geneviève Dutoit (Université de Lausanne) / genevieve.dutoit@unil.ch
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J E U D I , 5 N O V E M B R E 2 0 1 5
8.30 Accueil
8.45 Introduction par Carl MAGNUSSON et Marie-Pauline MARTIN
9.00 1 | Les champs du rococo, du décor à la sculpture
Président de séance : Peter Fuhring
• Carl MAGNUSSON (Université de Lausanne)—Le rococo, style «décoratif» par excellence
• David PULLINS (Harvard University)—«Quelques misérables places à remplir» : locating chantourné painting in eighteenth-century France
• Malcolm BAKER (University of California)—Reconsidering ‘Rococo’ sculpture
14.00 2 | Pertinence d’une catégorie ?
Président de séance : Frédéric Dassas
• Fabrice MOULIN (Université de Paris X-Nanterre)—Les « mauvais choix » en art et en amour : le rococo mis en fiction dans L’homme du monde éclairé par les arts (1773)
• Marie-Pauline MARTIN (Université d’Aix-Marseille)—Du sobriquet à la catégorie de style
• Floriane DAGUISÉ (Université de Paris-Sorbonne)—De l’usage du rococo dans la recherche en littérature
• Elisabeth FRITZ (Friedrich-Schiller-Unversität Jena)—La fête galante : un genre paradigmatique dans le discours ambigu du rococo
V E N D R E D I , 6 N O V E M B R E 2 0 1 5
9.00 3 | Mécanismes et composantes du rococo
Présidence de séance : Cyril Lécosse
• Bérangère POULAIN (Université de Genève)—Rococo et fugacité du regard: émergence et modifications de la notion de ‘papillotage’ (XVIIIe–XXIe siècle)
• Melissa HYDE (University of Florida)—Déjà-vu All Over Again ? Rococo, Then and Now
• Aleksandra WOJDA (Université Jagellon, Cracovie)—Du romantique au penseur d’un rococo moderne : Gautier et les ambiguïtés de la concrétion esthétique
14.00 4 | Les géographies éclatées du rococo
Président de séance : Christian Michel
• Jean-François BÉDARD (Syracuse University)—Fiske Kimball, diffuseur de la rocaille
• Étienne TORNIER (Université de Paris X-Nanterre / University of Minnesota)—Rococo revival ou l’élaboration du goût et du style américain (1850–1900)
• Raul C. SAMPAIO LOPES (Seoul National University)—Ce que l’historiographie des manifestations périphériques du rococo nous dit sur la construction de cette notion stylistique
17.30 Discussion et conclusions
Enfilade 
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