Conference | European Portrait Miniatures

Posted in books, catalogues, conferences (to attend), exhibitions by Editor on September 20, 2016

From the conference flyer:

European Portrait Miniatures: Artists, Functions, and Collections
The Tansey Miniatures Foundation, Bomann-Museum, Celle, 11–13 November 2016

Layout 1The conference is being held on the occasion of the opening of the sixth exhibition of the Tansey Miniatures Foundation and the publication of the accompanying catalogue Miniatures from the Baroque Period in the Tansey Collection.

Both conference venues are within walking distance (20 minutes) from the railway station. Trains from Hannover take approximately 25 to 45 minutes (Deutsche Bahn, Metronom, and S-Bahn).

For registration, please contact Juliane Schmieglitz-Otten, Head of the Residence Museum at Celle Castle, juliane.schmieglitz-otten@tansey-miniatures.com. For more information, please contact Bernd Pappe, Art Historian and Restorer, bernd.pappe@tansey-miniatures.com. Conception IT Coordination by Birgitt Schmedding, Photo Designer, birgitt.schmedding@tansey-miniatures.com.

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F R I D A Y ,  1 1  N O V E M B E R  2 0 1 6

15:00  Registration

16:30  Welcome and opening of the exhibition Miniatures from the Baroque Period in the Tansey Collection

S A T U R D A Y ,  1 2  N O V E M B E R  2 0 1 6

9:00  Objects, Agencies, and Social Practices
• Ulrike Kern (Frankfurt), The Limner’s Language: Words and Concepts Related to Miniature Painting in England
• Miranda L. Elston (Chapel Hill, North Carolina), Hilliard’s Miniatures: Enacted Desire within the Elizabethan Court
• Eloise Owens (New York), The Hand behind the Likeness: Women’s Practice as Portrait Miniaturists in Eighteenth-Century England
• Christoph Großpietsch (Salzburg), Portrait Miniatures of Mozart: Problems of Authenticity
• Violaine Joëssel (Geneva), A Quest for Legitimacy: The Practice of Miniature Painting in Colonial America
• Dimitri Gorchko (Moscow), ‘… et que tout ait un nom nouveau’: Portrait Miniatures of Napoleon’s Marshals, Generals, and Colonels: Analysis and Identification

13:00  Lunch

14:15  Politics and Representation
• Delia Schffer (Kassel), Power through Relations: Duke Louis of Württemberg‘s Family Ties in a Series of Miniature Portraits
• Sarah Grandin (Paris), Density in the ‘Boîte à Portrait’ under Louis XIV
• Stefanie Linsboth (Vienna), From Large-Scale Paintings to Precious Miniatures: Maria Theresa’s Portrait Miniatures
• Karin Schrader (Bad Nauheim), ‘Taking the Veil’: Miniatures of Royal Widows from the Sixteenth to the Nineteenth Centuries

16:30  Coffee

17:00  Special Techniques and Materials
• Tatjana Wischniowski (Dresden), Oil-Based Paint under a Layer of Water: Arnaud Vincent de Montpetit’s ‘Eludoric Painting’, a Rare Miniature Painting Technique
• Emma Rutherford, Alan Derbyshire, and Victoria Button (London), The Drawings of John Smart (1742–1811): Function, Purpose, and Line

S U N D A Y ,  1 3  N O V E M B E R  2 0 1 6

9:00  Miniature Collections
• Lucy Davis (London), Famous Women in the Miniatures at The Wallace Collection
• Catherine Hess (San Marino, California), Up Close and Personal: Portrait Miniatures at The Huntington Art Collections
• Isabel M. Rodríguez-Marco (Madrid), The Collection of Portrait Miniatures and Small Portraits in the Museo Nacional de Artes Decorativas, Madrid
• Paul Caffrey (Dublin), European Enamels from the National Gallery of Ireland Collection
• Wladyslaw Maximowicz (Bergamo), The Portrait Miniature in Russian Provincial Collections
• Reetta Kuojärvi-Närhi (Helsinki), Small Treasures in Finland: Paul Sinebrycho as a Miniature Collector

13:00  Lunch

14:15  Miniature Painters
• Halgard Kuhn (Hannover), Peter Boy (c. 1650–1727): Medallions and Miniatures by the Frankfurt Baroque Goldsmith and Enamel Painter as Integrating Parts in Golden Jewellery
• Karen Hearn (London), The ‘Small Oil Colour Pictures’ of Cornelius Johnson (1593–1661)
• Marco Pupillo (Rome), Francesco Antonio Teriggi, a Miniaturist in the Service of Joseph Bonaparte
• Roger and Carmela Arturi Phillips (Ringwood), The True and Flawed Genius of John Engleheart
• Stephen Lloyd (Liverpool), Copying Portraits in Miniature in Regency England: The Work of William Derby (1786–1847) for the 13th Earl of Derby at Knowsley Hall

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The exhibition catalogue is distributed in North America and Japan by The University of Chicago Press (with information on the other five volumes published thus far from The Tansey Foundation). . .

Bernd Pappe and Juliane Schmieglitz-Otten, eds., Miniatures from the Baroque Period in the Tansey Collection / Miniaturen des Barock aus der Sammlung Tansey (Munich: Hirmer Publishers, 2016), 400 pages, ISBN: 978-3777426389, $64.

The Tansey miniatures, now held by the Bomann Museum in Celle, represent one of the most significant collections of European miniature paintings. This volume is the sixth in a series exploring the collection in key periods. Each volume presents new photographic reproductions of the miniatures at actual size and with close-up photographs that show important details. This volume covers portrait miniatures created throughout the Baroque period of the seventeenth-century, with more than one hundred representative works. Essays by specialists in the field offer insights into the artworks, their patrons, and the period. The resulting book is as informative as it is beautiful, a stunning testament to a bygone age and a once-popular form.










Conference | The Art Market, Collectors, and Agents

Posted in conferences (to attend) by Editor on September 20, 2016

The first installment of the conference took place in July at the Warburg Institute in London. For the two days in Paris, I’ve included only the sessions most relevant to the eighteenth century. The full schedule is available from H-ArtHist:

The Art Market, Collectors, and Agents: Then and Now
Institut national d’histoire de l’art, Paris, 20–21 October 2016

The focus of the conference is to explore the changing and complex nature of the role of agent in the art market during the Early Modern Period. Papers will explore shifts in the dynamics of the market, the changing taste of collectors and the importance of writers, critics, museum curators and dealers in influencing these changes. The papers demonstrate how examining the role of agents through their correspondence with clients, day books or private records, bring new insights into the workings of the art world through the detailed evidence of how transactions were negotiated.

We would like to thank the speakers’ institutions and the Institut d’Etudes Supérieres des Arts for supporting the conference. The conference is free but to register for the lunches (20€ per day), please email a.turpin@iesa.edu.

Organised by the Collecting and Display Seminar Group London with the Centre André Chastel, INHA, Paris.

Tamsin Foulkes (PhD Candidate, University of Nottingham), James Thornhill as an Agent-Collector in Early Eighteenth-Century Paris

Corina Meyer (Institute of Art History, University of Stuttgart), ‘To See Once Again the Glorious Picture by Moretto before It Is Forever Lost for Rome’: Johann David Passavant’s (1787–1861) Recommendations and Selection of Paintings

Tina Kosak (France Stele Institute of Art History, ZRC SAZU Ljubljana), Conquering New Art Markets: International Art Dealers and Local ‘Agents’ in Inner Austria in the Second Half of the Seventeenth Century

Laura Popoviciu (PhD Candidate, Warburg Institute), Shaping the Taste of British Diplomats in Eighteenth-Century Venice

Renata Schellenberg (Mount Allison University, Sackville, Canada), Commerce, Culture, and Connoisseurship: The Emergence of the Art Dealer in Eighteenth-Century Germany


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