Enfilade

From The University of Melbourne:

Human Kind: Transforming Identity in British and Australian Portraits, 1700–1914
The University of Melbourne & National Gallery of Victoria, Melbourne, 8–11 September 2016

Joseph Wright of Derby, Self-portrait, 1765–68, oil on canvas (Melbourne: National Gallery of Victoria)

Inspired by the outstanding collection of the National Gallery of Victoria, this interdisciplinary conference will be the largest gathering of international and Australian scholars to focus on portraits. It will provide a unique opportunity to explore both British and Australian portraits through a dynamic interchange between academics and curators. Over sixty speaker will explore various aspects of British and Australian portraiture between 1700 and 1914, both as separate fields and as overlapping or comparative studies. Full details of the program can be found here. Keynotes and a selection of papers on eighteenth-century themes are listed below.

Keynotes
• David H. Solkin FBA Walter H Annenberg Professor of the History of Art, The Courtauld Institute of Art: ‘English or European? Portraiture and the Politics of National Identity in Early Georgian Britain’
• Kate Retford Senior Lecturer, Department of History of Art, Birkbeck, University of London: ‘Conversing in and with the Landscape: Edward Haytley’s Portraits of The Brockman Family at Beachborough’
• David Hansen Associate Professor, Centre for Art History & Art Theory, Australian National University: ‘Skin and Bone: Surface and Substance in Anglo-Colonial Portraiture’
• Martin Myrone, Lead Curator, Pre-1800 British Art, Tate Britain, London ‘Portrait and Autograph: Art and Identity in the Age of Reform, c.1820–40’
• Anne Gray Emeritus Curator, National Gallery of Australia, Canberra ‘The Two Titans of Australian Portraiture: Roberts and Lambert’

Sessions and papers on eighteenth-century themes

F R I D A Y ,  9  S E P T E M B E R  2 0 1 6

The British Portrait and Europe
• Mark Shepheard, University of Melbourne: ‘The Servile Drudgery of Copying Faces’: Batoni’s Italian Portraits through British Eyes’
• Callum Reid, University of Melbourne: ‘Driven by Glory’: British Self-Portraits in the Galleria degli Uffizi’
• Matthew Ducza, University of Melbourne: ‘Dutch and Flemish Art in Eighteenth-Century Britain: Its Influence on Sir Joshua Reynolds’
• Sophie Matthiesson, National Gallery of Victoria: ‘Joseph Highmore’s Portrait of David Le Marchand’

Portraits, Prints, and the Business of Art
• Kathleen Kiernan, University of Melbourne: ‘Going…Going… Gone!: Portraits of Auctioneers and Printsellers in London, 1741–1800’
• Louise Box, University of Melbourne: ‘Into the Light: An ‘Unknown’ Mezzotint after Romney at the National Gallery of Victoria’
• Sue Russell, Independent scholar: ‘The Dealer as Artist: Robert Bragge’s Portrait of His Father, the Reverend Robert Bragge’

The Theatre of the Self
• Jennifer Jones-O’Neill, Federation University: ‘Male Sensibility in Late Eighteenth-Century Portraits’
• Matthew Watts, University of Melbourne: ‘Reynolds’s Lady Frances Finch: The Female Form as a Site for Social Meaning’
• Matthew Martin, National Gallery of Victoria: ‘Fragile Identities: Eighteenth-Century British Portraits in Porcelain’

Portraits and Empire
• Deirdre Coleman, University of MelbourneL ‘Susanna Gale: A Rose by Any Other Name’
• Kate Fullagar, Macquarie University: ‘Joshua Reynolds’s Portraits of Empire’
• Kim Clayton-Greene, University of Melbourne: ‘The Portrait of Queen Victoria in Colonial Victorian Print Culture’

S A T U R D A Y ,  1 0  S E P T E M B E R  2 0 1 6

Empathy
• Angela Hesson, University of Melbourne: ‘Eighteenth-Century Portrait Miniatures as Love Tokens’
• Gillian Russell, University of Melbourne: ‘Emma Hamilton’s Performance Art: ‘Screening’ the Attitudes’
• Jennifer Milam, University of Sydney: ‘Sympathetic Understanding and Viewing Portraiture during the Enlightenment’

Artists and Sitters
• Mark Ledbury, University of Sydney: ‘James Northcote’s Godwin: Friendship, Politics and Likeness in Radical London’
• Georgina Cole, National Art School, Sydney: ‘Blind Justice: Identity and Allegory in Nathaniel Hone’s Portraits of Sir John Fielding’
• Vivien Gaston, University of Melbourne and National Gallery of Victoria: ‘Artist, Actress, Lover: Zoffany’s Portrait of Elizabeth Farren, c.1780’