Symposium | Cross Media Porcelain
Two Vases, China, Qing Dynasty (1644–1911)
Porzellansammlung, Staatliche Kunstsammlungen Dresden
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From the Institut für Kunstgeschichte Ostasiens:
Cross Media Porcelain
Ruprecht-Karls-Universität Heidelberg, 31 March — 1 April 2016
Organized by Sarah Fraser and Cora Würmell
The Institute for East Asian Art History of Ruprecht-Karls-University Heidelberg would like to invite you to attend the symposium Cross Media Porcelain, which considers the migration of themes and motifs across media—woodblock prints, paintings, porcelains and ultimately early photographs—during the 17th, 18th, and19th centuries. The 17th-century transitional period in porcelain production when official kilns in Jingdezhen were shut during the Ming-Qing transition is our starting point. Participants discuss the expansion of narratives on porcelain surfaces and the emerging dominance of the female form, especially in vessels exported or made for export. Several symposium papers explore the emergence of chinoiserie and its imbededness in objects created in trans-cultural exchange between Europe and Asia.
Cross-Media-Porcelain is organised by the Institute of East Asian Art History, Heidelberg University in cooperation with the Staatliche Kunstsammlungen Dresden (SKD) and is generously funded by Field of Focus 3 Initiative ‘Cultural Dynamics in Globalised Worlds’. Due to limited seating, informal registration is necessary; please email Cecilia C. Zi, cecilia.zi@zo.uni-heidelberg.de.
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T H U R S D A Y , 3 1 M A R C H 2 0 1 6
9:00 Welcome and Introduction
• Sarah E. Fraser, The Emergence of Narrative and the (Female) Figure in Chinese Porcelain
9:30 Chinoiserie
• Adina Badescu, Between China and Europe: Watercolors in the Kupferstichkabinett Dresden, An Approach to Chinoiserie
• Cecilia C. Zi, Who Created Chinoiserie? Cross-media Motifs at the Saxony Court
• Aina Gu, A Case Study of the Chinese Image
10:30 Coffee Break
11:00 Women on Display
• Qiuzi Guo, The Male Gaze: Female Representation in Photography and Porcelain
• Yizhou Wang, Representation of Female Bodies and Narratives on Three-dimensional Dresden Porcelain Surfaces
• Ruoming Wu, Female Representations: Studies of Iconography on Chinese Porcelain in the SKD Collection
12:30 Lunch Break
13:30 Afternoon Presentation
• Anita Xiaoming Wang, Images of Women in Chinese Woodblock Prints in the 18th Century
14:15 Coffee Break
14:30 The World in Saxony
• Jan Hüsgen, ‘Sweetness and Power’: Porcelain and Colonial Consumption in Saxony
• Agnes Matthias, Exploring the Photographic Archive: Ethnography and Depicting the ‘Other’
15:30 Motifs and Visualization
• Lucie Olivova, Three Boys at Play
• Wenzhuo Qiu, ‘Sweeping the Elephant’: A Trans-media Example between Woodblock Prints and Porcelain
• Renyue He, Landscape on Porcelain: The ‘Orchid Pavilion Gathering’
F R I D A Y , 1 A P R I L 2 0 1 6
9:15 Morning Presentation: Dresden Collection
• Cora Würmell, Forgotten Treasures: The Dresden Inventories of the 18th Century
10:00 Global Porcelain
• Karolin Randhahn, Porcelain with Lacquer Application in the Dresden Inventories
• Lianming Wang, ‘European’ Cityscape on Chinese Plates
• Wenting Wu, Roundel, Panel, Lotus Petal: Elements of Byzantine Interior Design Appropriated in Ceramic Decoration, China and the Islamic World
11:30 Coffee Break
11:50 Porcelain in Transformation
• Xiaobing Fan, Transcultural Media: The Transformation of Motifs on Chinese Export Porcelain
• Muyu Zhou, Guangcai Porcelain and the Global Trade
• Feng He, Gazing at Earthly Paradise: Private Theater, Garden, and Female Representation on Early Qing Narrative Porcelain
13:00 Lunch Break
14:00 Afternoon Presentation
• Stacey Pierson, Export or Exported? Primary and Secondary Transfer in 17th- and early 18th-Century Chinese Porcelain
15:00 Final Discussion
Eve Straussman-Pflanzer to Head European Art at the DIA
Press release (2 March 2016) from the DIA:
Eve Straussman-Pflanzer © E. Rothstein.
The Detroit Institute of Arts (DIA) has hired Eve Straussman-Pflanzer as head of the European art department and Elizabeth and Allan Shelden curator of European paintings. Straussman-Pflanzer comes to the DIA from Wellesley College, where she is assistant director of curatorial affairs and senior curator of collections at Wellesley’s Davis Museum. She begins at the DIA on May 2, 2016.
“Eve brings exceptional connoisseurship, scholarship and administrative skills to our curatorial team,” said Salvador Salort-Pons, DIA director. “Her leadership, community engagement and highly collaborative abilities will bring our prestigious European art department and collection to the next level of accomplishment and accessibility. Eve’s expertise includes southern Baroque art and women artists and patrons. Her interest in gender studies will provide a fresh perspective to learning more about our world-class collection, acquiring new works and creating innovative exhibitions in conjunction with our Learning and Interpretation department.”
Straussman-Pflanzer previously held positions at the Metropolitan Museum of Art in New York and the Art Institute of Chicago (AIC), where she researched and published on European painting and sculpture from the Renaissance to the 18th century. At the AIC, she curated the exhibition Violence and Virtue: Artemisia Gentileschi’s ‘Judith Slaying Holofernes’ as well as installations on Ludovico Carracci and Picasso’s relationship to Spanish Golden Age painting. She contributed to the exhibition catalogues Kings, Queens and Courtiers: Art in Early Renaissance France and Capturing the Sublime: Five Centuries of Italian Drawing. Straussman-Pflanzer also taught courses on early modern art at the School of the Art Institute of Chicago and the University of Chicago.
At the Davis Museum, Straussman-Pflanzer led the curatorial team and organized special exhibitions, including Figment of the Past: Venetian Works on Paper, Hanging with the Old Masters, and Warhol@Wellesley. She also shepherded the reinstallation of the permanent collection and is curating the first monographic exhibition in America on the Florentine 17th-century painter Carlo Dolci to open at the Davis on February 8, 2017 with a second venue at the Nasher Museum of Art at Duke University in Durham, North Carolina, later that year.
Straussman-Pflanzer earned her BA from Smith College and her MA and PhD from the Institute of Fine Arts, New York University. Her dissertation focused on the art patronage of Grand Duchess Vittoria della Rovere, an illustrious member of the Medici family. Eve is a native New Yorker, an avid walker and an aficionado of all things edible.
Salon du Dessin 2016
From the art fair’s website:
Salon du Dessin 2016
Palais Brongniart, Paris, 30 March — 4 April 2016 / Symposium, 30–31 March 2016
The Salon du Dessin is a unique event of worldwide renown, lead by its new chairman Louis de Bayser. Serving as a reference for drawing collectors, the Fair also gathers curators, experts or amateurs from across the globe. This year, the Salon du Dessin, will feature 39 prestigious galleries specialising in Old Masters, Modern and Contemporary drawings. More than 1000 drawings will be showcased in the prestigious Palais Brongniart.
To celebrate its 25th anniversary, special works from the Pushkin State Musuem will be unveiled for the first time in France. Curator of French drawings at the Pushkin State Museum and curator of the exhibition Vitaly Michine worked with curators from the private collections department along with the graphic arts department of the Pushkin State Museum to choose the twenty-six works that will be exhibited. Of the drawings, Russian artists produced seventeen, among which three come from Zilberstien collection; nine of the works were produced by European artists.
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Salon du Dessin 2016 Symposium
Palais Brongniart, Paris, 30–31 March 2016
W E D N E S D A Y , 3 0 M A R C H 2 0 1 6
• Sarah Catala, ‘Carcer Socratis Domus Honoris’: The Drawings of Hubert Robert in Prison
• Anne Lenoir and Sophie Join-Lambert, Joseph-Benoit Suvée: A New View of Italy, 1772–78
• Anna Ottani Cavina, Jean-Thomas Thibault: Italian Landscapes, 1788–92
• Emilie Beck Saiello, Typology of Vernet’s Sketchbooks
• Benjamin Couilleaux, Jean-Baptiste Huet: A Neoclassical Artist?
T H U R S D A Y , 3 1 M A R C H 2 0 1 6
• Louis-Antoine Prat, Some New Drawings by David
• Patrick Ramande, The Second Part of the Album of Jean-Germain Drouais de Rennes
• Sylain Laveissière, Prud’hon Draughtsman
• Mehdi Korchane, The Nude under His Skin: The Academic Drawings of Jean-Baptiste Regnault
• Isabelle Mayer-Michalon, Drawings by Charles-Toussaint Labadye for the 1798 Rome Competition: The Battle between the Horatii and the Curiatii
• Rébecca Duffeix, Drawings by Alexandre-Évariste Fragonard in Sèvres
2016 Summer Institute in Technical Art History for PhD Students
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From the Institute of Fine Art’s Conservation Center:
Manifestations of the Model in Art and Architecture
2016 Summer Institute in Technical Art History for PhD Students
Institute of Fine Arts, New York University, 6–17 June 2016
Applications due by 21 March 2016
The Summer Institute in Technical Art History (SITAH) is an intensive two-week course, geared towards PhD candidates in art history who are looking to delve more deeply into technical studies. Students are immersed into the world of technical art history and conservation of works of art, with faculty ranging from conservators to conservation scientists, curators, art historians, and artists. The course takes full advantage of the wonderful resources of New York City, and many sessions are held in local conservation labs, where attendees have the opportunity to closely examine works of art with experts in the field. Off-site visits also include artists’ studios, museum permanent collections, and, where relevant, special exhibitions and galleries. A priority is placed on case studies and discussions, and students are encouraged to build relationships within the group, in the hopes of enriching their own research.
This year’s Summer Institute in Technical Art History focuses on forms of the model in art and architecture. We will examine preparatory materials such as sketches, bozzetti, and architectural plans, as well as presentation models for sculpture and architecture, and will look for evidence of the model in the finished work of art. Our study will consider works that served as models for other media, like prints and lay figures; maps, globes, and three-dimensional botanical and medical replicas; so-called tomb models; the contemporary use of models in art making; and the afterlives of models as collection objects. This topic will allow us to explore questions of scale, material, and process through close examination of objects in New York City museums and conservation laboratories.
Participants will study with distinguished conservators, art historians, scholars and artists, with a focus on materiality and process through close looking at art objects. Hands-on studio sessions will introduce historic and contemporary working practices. Participants will discuss how these methodologies materially and theoretically inform their own diverse research interests. This seminar will provide a forum to develop critical skills in the interpretation of object-based analyses.
Generously funded by the Andrew W. Mellon Foundation, the seminar will be held at the Conservation Center of the Institute of Fine Arts, and in New York City’s leading museums. Participants will receive housing and a stipend of $1400 to help defray travel costs.
Students currently enrolled in or completing a doctoral program in the US and Canada are eligible to apply. No background in science or conservation is required. A maximum of fifteen participants will be admitted to the program. Applicants will be evaluated on the basis of their academic accomplishment to date and on their expressed interest in integrating technical art history into their own research.
Applicants should submit a cover letter addressed to Professor Michele Marincola, Conservation Center, Institute of Fine Arts, NYU; a statement of purpose (maximum 1200 words) expressing interest in integrating technical art history into their research; a letter of support from their advisor that addresses their academic standing and their interest in the topic; and an academic and professional CV. The application deadline is March 21, 2016. Please submit applications in electronic format to: Sarah Barack, course coordinator, sb340@nyu.edu.
Exhibition | Grezler’s Choices: Work from the ITAS Collection
Now on view at the Castello del Buonconsiglio:
Grezler’s Choices: Work from the ITAS Collection, 1500–1900
Le scelte di Grezler: Opere antiche della collezione Itas al Castello del Buonconsiglio
Castello del Buonconsiglio, Trento, 5 December 2015 — 1 May 2016
Bernardino Nocchi (previously attributed to Pompeo Batoni), Vulcan Delivering the Weapons of Aeneas to Venus, second half of the eighteenth century
Claudio Grezler, well known in Trento as having been president for over twenty years of the insurance company ITAS (Istituto Trentino Alto Adige per Assicurazioni), was also distinguished as a passionate art-lover. Over the years, this passion translated itself in the accumulation of a rich and varied personal collection of paintings. For the most part consisting of pictures by Italian and Flemish artists from the 1500s to the 1800s, his collection included outstanding works along the theme of the sacred and profane, of portraits, battles, and landscapes. By his own wish, his collection was merged with that of ITAS on his death and, in 1981, was exhibited in the prestigious setting of Buonconsiglio Castle. Claudio Grezler expressly wished that his collection, built up “with time, effort and sacrifice” should not be divided up and should instead become a public heritage.
Today, in gathering together this important patrimony, the Buonconsiglio Castle museum and ITAS have worked in harmonious synergy to pay homage to this important figure through a new initiative in appreciation of his collection. After assiduous research and a painstaking restoration process, the paintings are presented to the public in an exhibition that is further enriched by other exquisite works that Grezler, during his time as president, had added to the insurance company’s own collection.
Among the works exhibited are many that have only now, thanks to research conducted especially for this occasion, emerged from anonymity and been associated with their legitimate authors. We can, for instance, now admire Antonio Giuseppe Sartori’s baroque relief featuring the figure of Saint Florian, the patron saint of fire-fighters which is ideally suited to the insurance activities of ITAS. Present, too, is a delicate representation of Holy Conversation attributed to Nicolò de Barbari, alongside a sumptuous painting by Antonio Marini and an equally vivacious Bacchanalia from the Flemish school.
Call for Session Proposals | CAA in New York, 2017
From CAA News (22 January 2016). . .
105th Annual Conference of the College Art Association
New York, 15–18 February 2017
Proposals due by 18 April 2016
For the CAA 105th Annual Conference, CAA will change the format of the conference as we look to liven up the experience for all our members. The changes highlighted below are the result of a critical look at the event by the organization’s Annual Conference Committee.
• New time grid: All sessions will be ninety minutes in length, allowing for more sessions
• More types of submissions and therefore more ways to participate, such as complete session proposals, with participants chosen in advance; proposals to chairs, who will solicit speakers through a call for papers; and independent proposals of papers
• Individuals may participate in consecutive years, if their proposals are accepted
• Other Annual Conference Events (more information available here)
You can download and read the full report of recommendations by CAA’s Task Force on the Annual Conference. Please remember all participants will have to be members and registered for the conference for 2017.
Key Dates for the 2017 Conference
March 1 Call for Annual Conference session and paper proposals
April 18 Deadline for session and paper proposals
June 3 Annual Conference Committee meets to select sessions and papers
June 20 Notification sent regarding approved sessions
July 1 Call for Participation
July 1 Deadline for travel grant applications
August 30 Paper titles and abstracts due for sessions soliciting contributors
Mid-September Online conference registration opens
September 30 Deadline for chairs to choose speakers for sessions soliciting contributors
October 1 Deadline for Hot Topics session proposals
February 15–18 CAA 105th Annual Conference, New York
Affiliated Society Submissions
• One session per Affiliated Society will be accepted with a note of approval from the chair of the group; subsequent submissions may be submitted separately by individuals and require peer review by the Annual Conference Committee; these submissions will not be labeled as an Affiliated Society panel.
• Each Affiliated Society is still guaranteed one 90-minute session, as well as a business meeting, which will be tagged as an Affiliate Society meeting.
• Sessions should be submitted in the proposal submission process above.
Exhibition | The Splendor of Venice
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From Fondazione Cariplo:
Lo Splendore di Venezia: Canaletto, Bellotto, Guardi e i Vedutisti dell’Ottocento
The Splendour of Venice: Canaletto, Bellotto, Guardi and the Vedutisti of the Nineteenth Century
Brescia, Palazzo Martinengo, Brescia, 23 January — 12 June 2016
Palazzo Martinengo is hosting a new international art exhibition to celebrate the city of Venice. The Splendour of Venice shows how the city has been and still is—more than any other city—a timeless legend in the world’s collective imagination. Down through the centuries, Venice has been immortalised by Italian and foreign artists so often that it was identified as the origin of vedutismo. ‘Veduta’ in English was a successful new landscape genre that was appreciated by the rich and educated Grand Tour travellers who wanted to return to their home countries with a lovely picture of the charming sights they had seen in Italy.
To tell the public about the origins and development of the glorious season of Venetian vedute, Palazzo Martinengo presens for the first time ever a selection of over one hundred masterpieces by Canaletto, Bellotto, Guardi, and other important vedutisti from the 18th and 19th centuries. The paintings, on loan from prestigious private and public collections in Italy and Europe, have been carefully selected by an international scientific committee. This artwork demonstrates that the popularity of the genre did not end with the Republic of Venice, which came about with the Treaty of Campo Formio, signed in 1797 by the French and the Austrians, but instead continued during the entire 19th century.
The exhibition will follow an interesting chronological itinerary, divided into ten thematic sections, which all feature a selection of Murano glass objects created by master craftsmen of the 20th century. The exhibition will end with a final surprise, set up in the section ‘Venice, theatre of life’, with scenes from daily life in the squares, open spaces, streets, and canals of the city. Fondazione Cariplo is present at this event with four masterpieces from its art collection, painted by Guglielmo Ciardi and Pietro Fragiacomo.
Study Day | Textiles and Diplomacy: Diplomats and Spies
From H-ArtHist:
Textiles and Diplomacy: Diplomats and Spies in the Early Modern Age
Centre for Textile Research, SAXO Institute, University of Copenhagen, 17 March 2016
Convened and introduced by Corinne Thépaut-Cabasset
13:00 Corinne Thépaut-Cabasset (CTR/SAXO Institute Copenhagen), ‘Textiles and Diplomacy: Diplomats and Spies in the Early Modern Age’
13:30 Axel Harms (Rosenborg Castle), ‘Splendour and Confidentiality: Rosenborg Castle and the Diplomacy of Christian IV’
14:00 Cecilia Candreus (Uppsala University), ‘An Embroidered Marriage Proposal to Elizabeth I of England’
14:30 Charlotte Paludan (Independent Textile Scholar Copenhagen), ‘French Espionage on Danish Textile Production’
15:00 Nadia Fernández de Pinedo (Universitad Autonóma Madrid), ‘Textile Consumption in Mid-18th Century-Madrid: Diplomats and Upper Middle Class’
15:30 Sidsel Frisch (University of Copenhagen), ‘Textile Diplomacy: Tapestries of War and Peace’
Call for Papers | Romantic Legacies
From the Call for Papers and conference website:
Romantic Legacies
National Chengchi University (NCCU), Taipei, 18–19 November 2016
Proposals due by 15 May 2016
Keynote Speakers: Rachel Bowlby (Comparative Literature, Princeton University/English, University College, London) and Arthur Versluis (Religious Studies, Michigan State University)
In his seminal book The Roots of Romanticism (1999), Isaiah Berlin regards Romanticism as “the largest recent movement to transform the lives and the thoughts of the Western world.” Indeed, Romantic ideas and attitudes—embraced by Goethe, Hegel, Sade, de Staël, Rousseau, Baudelaire, Wollstonecraft, Wordsworth, Coleridge, Shelley, Beethoven, Schubert, Poe, Emerson, Thoreau, Dickinson, Turner, and Delacroix, to name but a few—not merely changed the course of history in the West in the late-eighteenth and nineteenth centuries but helped to fashion twentieth-century democracy, environmentalism, Surrealism, fascist nationalism, communist universalism, spiritualism, social liberalism, and so forth in the West as well as in the East. This two-day interdisciplinary conference aims to bring together academics from across the humanities and social sciences to explore the full spectrum of possible Romanticisms, the germination, maturation, and development of this heritage on both sides of the Atlantic and its afterlife in our global capitalist culture today.
We invite proposals for individual papers or collaborative panels from academics in the humanities and social sciences to reassess Romanticism and its legacies in different nations and disciplines. Possible topics may include, but are not limited to esotericism and spiritualism, emotion and neuroesthetics, Gothic and uncanny, imagination and memory, childhood, revolution and anarchy, geographies and the tourist gaze, romantic Victorians, romanticism as proto-modernism, romanticism and Abstract Expressionism, romanticism and empire, romanticism and its afterlife in the Far East, romanticism and Realism, the environmental humanities, romanticism and the inhuman, the Apocalypse, romanticism and the everyday, romanticism and world literature, the technological sublime, psychiatry and psychoanalysis, celebrity culture, gender performance, sensibility and social reform, solitude and sociability, the country and the city.
Proposals of no more than 300 words should be sent by 15 May 2016 via EasyChair. Should you have any questions or enquiries, please contact us at earn.nccu@gmail.com. We intend to produce an edited volume from the conference with a major academic publisher and a special issue for The Wenshan Review of Literature and Culture.
This conference is organised by the EARN (Enlightenment and Romanticism Network) in partnership with The Wenshan Review in the Department of English at NCCU.
Organising Committee
John Michael Corrigan (NCCU)
Yih-Dau Wu (NCCU)
Shun-liang Chao (NCCU)
Li-hsin Hsu (NCCU)
Jing-fen Su (NCCU)
Emily Sun (NTHU/Barnard College)
Alex Watson (Japan Women’s University)
Laurence Williams (University of Tokyo)
Lecture | Giorgio Riello, Towards a Global Cultural History?
Giorgio Riello, Towards a Global Cultural History? Gifts,
Commodities and Diplomacy in the First Global Age
Deutsches Haus, Columbia University Department of History, New York, 23 March 2016
Columbia University Department of History is pleased to present the Dr. S. T. Lee Annual Lecture in History: Towards a Global Cultural History? Gifts, Commodities and Diplomacy in the First Global Age, presented by Professor Giorgio Riello (University of Warwick, Department of History), Wednesday, March 23rd, Deutsches Haus (420 West 116th Street, between Amsterdam Avenue and Morningside Drive), 6:00–7:30pm. Reception to follow.
Giorgio Riello was trained as an economic historian, with a focus on material culture and the history of technology. After his work on the transformation of Italian and European industry in the eighteenth century, he began publishing on global history, becoming founding director of the Centre for Global History and Culture at Warwick University, one of the world’s leading programs focusing on the global history of material culture. His multiply award-winning publications have ranged from the global history of cotton to south Asian textile production, to the global industry of shoe production.
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