Exhibition | Creating History: Stories of Ireland in Art

Posted in books, catalogues, exhibitions by Editor on December 2, 2016


Francis Wheatley, The Dublin Volunteers on College Green, 4th November 1779, 1779–80, oil on canvas, 175 × 323 cm
(Dublin: National Gallery of Ireland)

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Now on view at the National Gallery of Ireland:

Creating History: Stories of Ireland in Art
National Gallery of Ireland, Dublin, 8 October 2016 – 15 January 2017

Curated by Brendan Rooney

This exhibition represents the Gallery’s principal contribution to the Decade of Centenaries. It brings together over 50 paintings spanning the seventeenth century to the 1930s, depicting or inspired by episodes in Irish history from the early fifth century arrival of St. Patrick to the establishment of the Free State. A significant number of paintings in the exhibition are drawn from the Gallery’s collection, many of which have undergone extensive conservation in preparation for this show, such as Jan Wyck’s The Battle of the Boyne, Francis Wheatley’s The Dublin Volunteers on College Green, 4th November 1779, and Joseph Patrick Haverty’s The Monster Meeting at Clifden. Other artists represented in the exhibition include James Barry, Charles Russell, John Lavery, Richard Thomas Moynan, Seán Keating, and Jack B. Yeats, complemented by loans from public and private collections in Ireland and overseas.

Brendan Rooney, ed., Creating History: Stories of Ireland in Art (Dublin: Irish Academic Press, 2016), 312 pages, ISBN: 978-1911024286, €25.

Brendan Rooney is Curator of Irish Art at the National Gallery of Ireland, and author/editor of numerous works on Irish art, including Thomas Roberts: Landscape and Patronage in Eighteenth-Century Ireland (2009) and A Time and a Place: Two Centuries of Irish Social Life (2006).



A-Levels in Art History Retained in England, Wales, and Northern Ireland

Posted in opportunities by Editor on December 2, 2016

As reported by Judith Burns for BBC News (1 December 2016) . . .

Campaigners for art history A-level say they are “absolutely thrilled” by a late decision to save the subject, which was set to be discontinued. Exam board Pearson has confirmed plans to develop a new history of art A-level for teaching from next September.

October’s decision by the AQA board to drop the subject provoked an outcry from experts who argued “society had never required its insights more” . . .

The full article is available here»

Call for Papers | Early Modern Satire

Posted in Calls for Papers by Editor on December 2, 2016

From H-ArtHist:

Early Modern Satire: Themes, Re-Evaluations, and Practices
University of Gothenburg, Sweden, 2–4 November 2017

Proposals due by 4 January 2017

Early modern satire—broadly from around 1500 to 1800—is a vast but still under-examined field of representation. Although flourishing in certain periods and certain places, satire can be said to be integral to the European project, often challenging the limits of tolerance and evoking hostility but also associated, increasingly in this period, with notions of freedom and enlightenment. This conference, hosted by Gothenburg University, seeks to position satire as a mode of representation throughout early modern Europe and clarify its role in politics, culture, and religion. We seek proposals from scholars in all fields who work on aspects of satire in the period. Especially welcome are contributions that explore satire as a form of representation existing across boundaries—of territories, of genres, and/or periods. We also welcome proposals that situate satire in a wider aesthetic context, including cross-disciplinary work that seeks to address satire as a mode of for example visual representation.

Topics may include, but are not limited to:

The mediation of satire. Described variously as a ‘genre’ and a ‘mode’, satire often transgresses medial and generic boundaries during the early modern period. Is satire more of an ‘intermedial’ phenomenon in certain periods and places?

The gendering of satire. Early modern satire in has been characterized as very much a male enterprise. Are there variations over time and between places, as regards for example female authorship, and in terms of form and theme, how does satire depict aspects of femininity and masculinity?

Satire and censorship. Always having had a complex relationship with authority, satire in the early modern period also saw the rise of the print medium and various attempts at regulating published output. How do censorship and other forms of regulative interventions shape satirical texts (in a wide sense)?

Perspectives on the classical heritage. Although a thoroughly investigated field, the relationship between early modern satire and its classical predecessors is still relevant as a field of inquiry. Just how dependent was early modern satire on its Horatian, Juvenalian and other role models?

Satire and religion. While relating to classical forms and themes, satire also has a complex relation to Christian religion as both a target and a formative system of belief. In what ways do changes in religious institutions and norms affect the production of early modern satire?

Satire and medical discourse. The frequent description of satire as ‘melancholy’, for example, suggests links to humoral theory and other aspects of physiology. To what extent can satire be understood in such terms?

Satire and the canon. While for example literary history has ascribed a central role to satire in the 18th century, scholarly discussions are often based on select examples and relegate others to the margin. What are the social and historical determinants of the ‘lasting appeal’ of certain satirical texts?

Keynote speakers: Howard Weinbrot and Ola Sigurdson

Presentations are strictly limited to 20 minutes in length. A 250-word abstract, a title, and a 50-word biographical statement should be submitted to earlymodernsatire@lir.gu.se by 4 January, 2017. Enquiries may be directed to this address, to Dr. Per Sivefors at per.sivefors@lnu.se or Dr. Rikard Wingård rikard.wingard@lir.gu.se. Additional information is available here.

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