Enfilade

HBA Book Award Winners for 2014 Publications

Posted in books by Editor on February 1, 2016

From HBA:

9780300196979The Historians of British Art is pleased to announce Book Award winners for publications from 2014. The winners were chosen from a nominating list of over eighty books from more than twenty different presses. Awards are granted in three different categories, and this year two books share the award for single-author books dealing with a subject before 1800. Paul Binski’s Gothic Wonders: Art, Artifice, and the Decorated Style, 1290–1350 sets a major and understudied episode in medieval art in conversation with its Continental neighbors, dramatically enlivening both in the process. Mark Hallett’s Reynolds: Portraiture in Action breathes new life into one of Britain’s most thoroughly studied portraitists by tracing his work from studio conception to exhibition and beyond. John Potvin is the winner of the post-1800 single-author category for Bachelors of a Different Sort: Queer Aesthetics, Material Culture and the Modern Interior in Britain, a book that expands the scope of interior design and the insights that it can yield for British modern culture. Finally, British Art in the Nuclear Age, edited by Catherine Jolivette, is the winner of the multi-author category. Drawing on a wide array of artists and materials, this volume offers a subtle and surprising take on Britain’s cultural position during, and in relation to, the Cold War.

More information is available here»

New Book | Transatlantic Romanticism, 1790–1860

Posted in books by Editor on February 1, 2016

From the U of Massachusets Press:

Andrew Hemingway and Alan Wallach, eds., Transatlantic Romanticism: British and American Art and Literature, 1790–1860 (Amherst: University of Massachusetts Press, 2015), 336 pages, ISBN: 978-1625341143, $30.

9781625341143That the Romantic movement was an international phenomenon is a commonplace, yet to date, historical study of the movement has tended to focus primarily on its national manifestations. This volume offers a new perspective. In thirteen chapters devoted to artists and writers of the late eighteenth and early nineteenth centuries, leading scholars of the period examine the international exchanges that were crucial for the rise of Romanticism in England and the United States.

In the book’s introduction, Andrew Hemingway—building on the theoretical work of Michael Lowy and Robert Sayre—proposes that we need to remobilize the concept of Weltanschauung, or comprehensive worldview, in order to develop the kind of synthetic history of arts and ideas the phenomenon of Romanticism demands. The essays that follow focus on the London and New York art worlds and such key figures as Benjamin West, Thomas Bewick, John Vanderlyn, Washington Allston, John Martin, J. M. W. Turner, Thomas Cole, James Fenimore Cooper, George Catlin, Edgar Allan Poe, Harriet Beecher Stowe, and Herman Melville. Taken together, these essays plot the rise of a romantic anti-capitalist Weltanschauung as well as the dialectic between Romanticism’s national and international manifestations.

In addition to the volume editors, contributors include Matthew Beaumont, David Bindman, Leo Costello, Nicholas Grindle, Wayne Franklin, Janet Koenig, William Pressly, Robert Sayre, William Truettner, Dell Upton, and William Vaughan.

Andrew Hemingway is professor emeritus of art history, University College London, and author of The Mysticism of Money: Precisionist Painting and Machine Age America.
Alan Wallach is professor emeritus of art and art history, The College of William and Mary, and author of Exhibiting Contradiction: Essays on the Art Museum in the United States (University of Massachusetts Press, 1998).

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C O N T E N T S

Acknowledgments

Introduction: Capitalism, Nationalism, and the Romantic Weltanschauung, Andrew Hemingway

I  The City
1  ‘The pit of modern art’: Practice and Ambition in the London Art World, William Vaughan
2  The Urban Ecology of Art in Antebellum New York, Dell Upton
3  Urban Convalescence in Lamb, Poe, and Baudelaire, Matthew Beaumont

II  History
4  Sublime and Fall: Benjamin West and the Politics of the Sublime in Early Nineteenth-Century Marylebone, Nicholas Grindle
5  Benjamin West’s Royal Chapel at Windsor: Who’s in Charge, the Patron or the Painter?, William Pressly
6  The Politics of Style; Allston’s and Martin’s Belshazzars Compared, Andrew Hemingway
7  James Fenimore Coooper and American Artists in Europe: Art, Religion, and Politics, Wayne Franklin

III  Landscape
8  John Martin, Thomas Cole, and Deep Time, David Bindman
9  ‘Gorgeous, but altogether false”: Turner, Cole, and Transatlantic Ideas of Decline, Leo Costello
10  Thomas Cole and Transatlantic Romanticism, Allan Wallach

IV  Race
11  Picturing the Murder of Jane McCrea: A Critical Moment in Transatlantic Romanticism, William H. Truettner
12  The Romantic Indian Commodified: Text and Image in George Catlin’s Letters and Notes (1841), Robert Woods Sayre
13  Romantic Racialism and the Antislavery Novels of Stowe, Hildreth, and Melville, Janet Koenig

Notes on Contributors
Index

Call for Papers | All the Beauty of the World

Posted in Calls for Papers by Editor on February 1, 2016

From the Call for Papers:

All the Beauty of the World: The Western Market
for Non-European Artefacts, 18th–20th Centuries

Berlin, 13–15 October 2016

Proposals due by 15 February 2016

In the wake of the Western expansion, a fast growing number of non-European artefacts entered the European market. They initially made their way into princely cabinets of curiosities. Made possible by the forced opening and exploitation of more and more parts of the world and pushed by social and technological changes of the time, the 18th century brought a boom of the market of non-European artefacts in Europe. This came along with the emergence of a broader collecting culture and the development of a rich museumscape.

This market and its development in terms of methods and places of exchange and monetary and ideological value of the objects are in the focus of an international symposium organised by the Institute for Art History in cooperation with the Center for Art Market Studies at Technical University Berlin, in collaboration with the Institut d’histoire moderne et contemporaine (CNRS) and the Labex TransferS (PSL) in Paris. The keynote lecture will be given by Professor Timothy Brook, holder of the Republic of China Chair at the University of British Columbia.

The aim of the symposium is to examine how the market for non-European artefacts developed between the 18th and 20th centuries and to which extend it was entangled with the history of museums and private collections. The following five topics will serve as main axis: actors and networks, places of purchase and trade, transfer and transport, prices and value and expertise. The axes are entangled and should not be regarded as separated topics.

1  Actors and networks
Who were the actors of the market (e.g. art dealers, commercial agents, carriers but also diplomats, travellers, expats, missionaries or military as well as museums and collectors)? Which regional specifications can be identified? Who were the key figures of the market(s)? Which networks can be spotted? How did they work?

2  Places of purchase and trade
What were the centres of the purchase and/or trade of art objects (in the countries of origin as well as in Europe)? How did they develop in the course of the period of examination? Which significance did the primary markets and their political/social development have for the European market? Did the European market turn into the primary market at a certain time? What were the main places for purchase and trade in Europe (e.g. auctions houses, galleries, private houses)? What marketing methods can be identified?

3  Transfer and transport
What were the (political, social, technological) circumstances of the transactions? To what extent did technological developments (e.g. establishment of railway lines) influence the market offer? How were the objects brought to Europe (e.g. export and import regulations, methods of transport)?

4  Prices and value
Which payment methods or methods of exchange did exist? How did they impact the value of objects? How was the value of an object determined? To what extent did this value change in space and time (difference between primary and secondary market; development in the course of time)? Despite the monetary value of a price: which other function in the act of purchase can be identified (e.g. legitimation of possession)? And to what extent did the change of the price and value shape the European collections? Here, we are especially interested in the shift from an economy of looting or/and bazaar in the countries of origin to the pricing and “rational” marketing after the arrival and commercialisation of the objects in Europe.

5  Expertise
How did the perception of and the knowledge about non-European art develop? How was the knowledge generated and transferred? Which role did individual actors (e.g. dealers, museums, collectors) play in the development of the perception of the objects? To what extent did the development of expertise influence the supply, the display of the objects and the character of the collections?

The focus of the investigation will be on the development between the 18th and the 20th centuries. Papers exploring the market development before 18th century and especially those comparing the development before and after 1700 are also welcome. The conference language is English. Papers should be a maximum of 20 minutes in length, and preference will be given to proposals that stimulate dialogue and engage with broader topics. Please send proposals (max. 300 words) with a short academic CV to c.howald@tu-berlin.de by 15 February 2016 at the latest. Selected speakers will be notified by 15 March 2016. Financial assistance with travel expenses for speakers may be available (subject to grant approval).

Convenors
Bénédicte Savoy (TU Berlin)
Charlotte Guichard (CNRS, IHMC, Paris)
Christine Howald (TU Berlin)