Enfilade

Workshop | The Pencheon Collection in Context

Posted in conferences (to attend) by Editor on January 27, 2017

screen-shot-2017-01-25-at-7-28-43-pm

From the workshop flyer:

The Pencheon Collection in Context: Collecting and Recollecting the French Revolution
University of Leeds, 17 March 2017

The Pencheon Collection in the Brotherton Library, University of Leeds, of material relating to the French Revolution contains nearly 3,000 volumes in French and English along with boxes of miscellaneous items—manuscripts, pamphlets, prints, maps, booksellers’ catalogues, newspaper clippings, correspondence and additional ephemera—many of them related to the process of collection. It was created by James Michael Pencheon (1924–1982), a neurosurgeon and psychiatrist, who had studied medicine at the University of Leeds but who then developed an interest in the historical knowledge of the French Revolution ostensibly outside his disciplinary field, but perhaps inflected by his research in psychology. This resource raises questions about the formation of the cultural memory of the French Revolution in Britain, about the role and approach of individual collectors of materials on the French Revolution, and about what can be learnt about the acquisitions policies and subsequent use of such collections in university libraries. This workshop will enable networking about the collection and its use to begin.

Speakers—including Madame Valérie Guillaume, Directrice of the Musée Carnavalet, Paris, and leading UK specialists from the fields of History, History of Art, and French Studies—will give short presentations on their work on analogous collections, sharing insights and ideas and helping us to refine our aims and objectives for the future exploitation of the collection. All are welcome to attend. The £20 cost includes lunch and refreshments. Registration information is available here.

Contacts: Dr Valerie Mainz, v.s.mainz@leeds.ac.uk; and Dr Paul Rowe: P.Rowe@leeds.ac.uk

In collaboration with the Institut français du Royaume-Uni and the Centre for the Comparative History of Print (CentreCHoP)

◊  ◊  ◊  ◊  ◊

P R O G R A M M E

10.00  Introduction
• Valerie Mainz, School of Fine Art, History of Art and Cultural Studies, University of Leeds
• Paul Rowe, School of Languages, Cultures and Societies, University of Leeds

10.15  French Revolutionary Collections in Britain, 1: The Contexts and Methodological Challenges
• Tom Stammers, Department of History, University of Durham/Bowes Museum
• Richard Taws, Department of History of Art, UCL London/UCL prints

11.15  Coffee

11.30  Plenary: The Musée Carnavalet and the Collecting of the French Revolution in France
• Valérie Guillaume, Directrice, Musée Carnavalet

12.15  French Revolutionary Collections in Britain, 2: The Contexts and Methodological Challenges
• Kate Astbury, School of Modern Languages and Cultures, University of Warwick/Marandet Collection
• Phillippa Plock, Waddesdon Manor/Ferdinand de Rothschild Collection

13.15  Lunch

14.15  The French Revolution in Britain: Historians’ Perspectives
• Munro Price, Department of Peace Studies and International Development, University of Bradford
• Juliette Réboul, Historical, Literary and Cultural Studies, Radboud University, Nijmegen/Emigrés and memoirs

15.15  The Psychopathology of the French Revolution
• Mechthild Fend, Department of History of Art, UCL London

15.45  Round Table: The Potential of the Pencheon Collection and Next Steps
• The Pencheon Collection as a resource for researchers
• Studying the Pencheon Collection: UG, PGT, PGR
• Public engagement
• Impact
• What are the priorities?

CAA 2017, New York: Memorial Session for Mary Sheriff

Posted in conferences (to attend), obituaries by Editor on January 26, 2017

In addition to this year’s regular CAA offerings, the schedule includes a memorial session for Mary Sheriff (other Enfilade postings for CAA 2017 have been updated with the addition). The session is open to the public, and no conference registration is required to attend. Tara Zanardi’s session ‘Superpowers in the Global Eighteenth Century: Empire, Colonialism, and Cultural Contact’ (Friday, 17 February 2017, 10:30–12:00) will also be dedicated to Mary.

Beyond CAA, other events are planned, including two symposia in conjunction with the exhibition Becoming a Woman in the Age of Enlightenment, curated by Mary Sheriff and Melissa Hyde. In addition, there’s a gathering in Paris at INHA scheduled for Saturday, February 25 at 3:30 in the Salle Mariette.

Key Conversation: Mary Sheriff (1950–2016): A Memorial Session
Saturday, 18 February 2017, 12:15–1:15, Madison Suite, 2nd Floor

Chair: Francesca Fiorani (University of Virginia)

Join this session to remember Mary Sheriff. Come together, share memories, and celebrate her achievements.

◊  ◊  ◊  ◊  ◊

Note (added 26 January) — The original posting listed an incorrect date for the Paris event; it’s been corrected.

Round Table | Les femmes artistes au XVIIIe et XIXe siècles

Posted in lectures (to attend) by Editor on January 26, 2017

From INHA:

Les femmes artistes au XVIIIe et XIXe siècles
Columbia Global Centers, Paris, 26 January 2017

Table-ronde animée par Anne Lafont (INHA/LEGS/CNRS) avec Charlotte Foucher-Zarmanian et Séverine Sofio

Deux monographies viennent de paraître sur la question des femmes artistes et/ou des artistes femmes dans les mondes de l’art français des XVIIIe, XIXe et XXe siècles. Écrits par deux historiennes de l’art et chercheuses au CNRS : Charlotte Foucher-Zarmanian et Séverine Sofio, ces livres, forts d’une historiographie artistique abondante et conflictuelle, reposent, de manière inédite et dans un débat en français, la question de l’histoire des femmes, des études de genre, des approches quantitatives, de l’interprétation des imaginaires, mais aussi du statut social et professionnel dans le milieu de l’art. Quels sont les jalons posés par ces deux ouvrages qui ouvrent à une nouvelle histoire de l’art travaillée par les études de genre ?

Jeudi, 26 Janvier 2017, 18h30

New Book | Artistes femmes

Posted in books by Editor on January 26, 2017

From CNRS:

Séverine Sofio, Artistes femmes: La parenthèse enchantée, XVIIIe–XIXe siècles (Paris, CNRS, 2016), 384 pages, ISBN: 978  2271  091918, 25€.

cjyilnbugaa6egzEntre 1750 et 1850, l’univers des beaux-arts connaît de profondes mutations, dont l’une des conséquences est la banalisation d’une image positive de la dame artiste. Progressivement, des barrières s’abaissent, des contraintes se desserrent et la pratique de la peinture est rendue plus accessible aux femmes. S’ouvre alors une période de créativité foisonnante associée aux noms—parfois oubliés aujourd’hui—d’Elisabeth Vigée-Lebrun, Adélaïde Labille-Guiard, Marie-Guillemine Benoist, Marguerite Gérard, Constance Mayer, Victoire Jaquotot, Lizinka de Mirbel, Rosa Bonheur…

Pourquoi les artistes femmes, à ce moment précis de l’histoire, ont-elles bénéficié de l’intérêt de leurs contemporains et de conditions de travail relativement égalitaires ? Pour saisir ce phénomène, Séverine Sofio réintègre les artistes des deux sexes dans la réalité quotidienne de leur travail de création.

Ni recueil d’analyses d’œuvres, ni histoire des femmes dans l’art, cet ouvrage traite de la pratique des beaux-arts, de son organisation et de ses réalités professionnelles, institutionnelles et économiques. Cette suspension relative de l’infériorisation des femmes dans les beaux-arts n’en demeure pas moins provisoire : si la parenthèse s’ouvre timidement dans les dernières décennies de l’Ancien Régime, elle se referme progressivement avant le milieu du siècle suivant.

Sociologue, diplômée de l’École du Louvre, Séverine Sofio est chargée de recherche au CNRS. Elle a notamment co-dirigé, avec Wenceslas Lizé et Delphine Naudier, Les Stratèges de la notoriété. Intermédiaires et production de la valeur dans les univers artistiques (2014).

Call for Nominations | Schulman and Bullard Article Prize from APS

Posted in opportunities by Editor on January 26, 2017

From APS:

Schulman and Bullard Prize for an Outstanding Article on Printmaking
Nominations due by 31 January 2017

The Association of Print Scholars invites applications for the Schulman and Bullard Article Prize. The Prize is given annually to an article published by an early-career scholar that features compelling and innovative research on fine art prints or printmaking (versus printed matter). The award, which carries a $2,000 prize, is generously sponsored by Susan Schulman and Carolyn Bullard. Following the mission of the Association of Print Scholars, articles can feature aspects of printmaking across any geographic region and all chronological periods. Articles will be evaluated by a panel of advanced scholars and print experts for the author’s commitment to the use of original research and the article’s overall contribution to the field of print scholarship.

The Association of Print Scholars invites nominations and self-nominations for the 2017 Schulman/Bullard Article Prize meeting the following criteria:
• Authors must have graduated with an MA, MFA, or PhD fewer than 10 years prior to article publication and have less than 10 years of experience as a practicing professional in an academic or museum institution or as an independent scholar.
• Authors must be current members of APS.
• Articles must have been published in a journal, exhibition catalogue, or anthology between January 1, 2016 and December 31, 2016. Online publications will be considered on a case-by-case basis.
• Articles must be between 3,000 and 10,000 words, inclusive of footnotes and references.
• Entries for consideration must be in English, though the text of the original article may be in any language.

To submit an article for consideration, please send the completed nomination form along with an electronic copy of the article to Angela Campbell, the APS Grants Coordinator, angela@printscholars.org.

Display | Gifts for a Jacobite Prince: A Highlight Tour

Posted in exhibitions by Editor on January 25, 2017

press-bonnie-prince-charlie-sword-detail

Backsword made by Charles Frederick Kandler of London, 1740–41, presented to Bonnie Prince Charlie by James, 3rd Duke of Perth
(National Museums Scotland)

◊  ◊  ◊  ◊  ◊

On view in Perth (Scotland), from National Museums Scotland, with thanks to Elizabeth Jane Timms for noting it:

Gifts for a Jacobite Prince: A Highlight Tour
Perth Museum art Art Gallery, 25 October 2016 — 25 February 2017
Inverness Museum and Art Gallery, 7 March – 21 May 2017

targe-hln_49

Dress targe presented to Prince Charles Edward Stuart by James, 3rd Duke of Perth (National Museums Scotland).

Touring in advance of the opening of the exhibition Bonnie Prince Charlie and the Jacobites at the National Museum of Scotland [23 June — 12 November 2017], the sword and the targe, or Highland shield, were probably gifted to Prince Charles Edward Stuart, better known as Bonnie Prince Charlie, by James, 3rd Duke of Perth, a committed supporter of the Jacobite cause. The son of James VIII and III, the exiled claimant to the thrones of Scotland, England and Ireland, Charles arrived in Scotland in the summer of 1745 intent on raising an army to regain the crown for this father. Others rallied by his side, culminating in the Battle of Culloden where the Jacobites suffered a crushing defeat.

Not weapons of war, but instead symbols of power and status, the sword and targe were discovered after the battle. The targe was recovered by a Jacobite clan chief, while tradition states that the sword was found by government troops and presented to their Commander, the Duke of Cumberland. This is just one of the fascinating stories to feature in the major exhibition Bonnie Prince Charlie and the Jacobites, opening at the National Museum of Scotland on 23 June 2017.

Emily Peters Appointed Curator of Prints & Drawings at Cleveland

Posted in museums by Editor on January 25, 2017

Press release (23 January 2017) from the CMA:

peters_emily_head-shotThe Cleveland Museum of Art (CMA) has announced the appointment of Emily J. Peters as Curator of Prints and Drawings. The museum’s renowned collection of prints and drawings, ranging from the Renaissance to the early 21st century, is distinguished by the quality and rarity of its holdings. Peters’s appointment follows an international search. She will assume her responsibilities at the CMA in April.

“Emily is an exceptional curator with a remarkable eye and creative approach. Her range of expertise and scholarly interests—which span five centuries and a panoply of graphic mediums—are admirable. We very much look forward to having Emily as a colleague in Cleveland,” said Director William M. Griswold.

As Curator of Prints and Drawings, Peters will oversee the care and development of the collection, working closely with the Director and Chief Curator on the identification and acquisition of works of art to augment the collection. Together with an Assistant or Associate Curator of Prints and Drawings—who will be appointed later this year—Peters will be responsible for exhibitions in the James and Hanna Bartlett Prints and Drawings Galleries; she will also curate special exhibitions in the Smith Foundation Hall and Gallery that highlight all aspects of European and American graphic art. Peters will also develop interpretive and didactic materials designed to appeal to broad audiences, helping to deepen visitors’ appreciation and understanding of graphic art.

The collections for which Peters will be responsible span more than 500 years of artistic production throughout Europe and the United States. Consisting of approximately 22,000 prints and 4,000 drawings, the collection is internationally known for its rarity and high quality. Areas of particular strength include Italian Renaissance drawings by Michelangelo and Raphael as well as a strong group of engravings and woodcuts by Albrecht Dürer. Highlights of the 17th century include drawings and a range of etched subjects by Rembrandt van Rijn, while an impressive group of early lithographs and celebrated drawings by Ingres and Degas stand out among the 19th-century holdings. The drawings collection is admired for watercolors by Blake, Turner and Palmer, and for luminous pastels by Cassatt and Redon. Among the highlights of modernism is a group of more than 50 German Expressionist prints and drawings by Miró, Picasso, and Winslow Homer.

“I am honored to be joining the Cleveland Museum of Art at this exciting time,” said Peters. “Cleveland’s collection of prints and drawings is one of the finest in the United States, and I have long admired its many treasures as well as the important exhibitions and acquisitions presented by my predecessors at the museum. I look forward to thinking about new ways to present the collection and to working with my colleagues to augment its holdings in keeping with the CMA’s rich history of collecting. I am particularly looking forward to getting to know the vibrant community of prints and drawings supporters in Cleveland via the Print Club and the Painting and Drawing Society.”

Peters brings more than a decade of curatorial work and museum experience to the CMA. In 2005, she joined the curatorial team at the RISD Museum as Assistant Curator of Prints, Drawings and Photographs; in 2008, she was promoted to Associate Curator. A specialist of 15th- and 16th-century Netherlandish prints and drawings, Peters has mounted at RISD such diverse exhibitions as Design and Description: Renaissance and Baroque Drawings (2006); Urban America, 1930–1970 (2007); The Brilliant Line: Following the Early Modern Engraver 1480–1650 (2009); and The Festive City (2014); and Landscape and Leisure: 19th-Century American Drawings from the Collection (2015). Along with organizing exhibitions, Peters has collaborated closely with her curatorial colleagues at RISD in planning the reinstallation of the museum’s European galleries, set to open in the fall of 2017.

In addition to her curatorial work, Peters has extensive experience teaching. While at the RISD Museum, she has worked closely with professors and students at Rhode Island School of Design and Brown University, collaborating with professors on exhibitions and publications and supervising undergraduate and graduate students who research the museum’s collection and curate exhibitions. Peters has also taught art history at Rhode Island College and the University of California, Santa Barbara.

Peters’s scholarship has been widely praised. Her exhibition catalogue The Brilliant Line: Following the Early Modern Engraver 1480–1650 (2009) received a first-place award from the New England Museum Association, and her catalogue essay, “Systems and Swells: The Collective Lineage of Engraved Lines” was deemed runner-up for essay of the year by the Association of Art Museum Curators. Research for The Brilliant Line was funded by grants from the Samuel Kress Foundation, the International Fine Prints Dealers Association, and the Foundation for the American Institute for Conservation of Historic and Artistic Works. Peters has authored numerous scholarly articles including “Processional Print Series in Antwerp during the Dutch Revolt,” Print Quarterly 32 (September 2015): 259–70; “Treasures from the Vault: Leaf e from the Biblia Pauperum, ca. 1460s,” in Art in Print 3 (November/December 2013): 28–31; and “Printing Ritual: The Performance of Community in Christopher Plantin’s La Joyeuse & Magnifique Entrée de Monseigneur Francoys . . . d’Anjou (Antwerp, 1592)” Renaissance Quarterly 61 (2008): 61–2.

Holding a PhD from the University of California, Santa Barbara, Peters has been the recipient of several fellowships from institutions including the Interdisciplinary Humanities Center at UCSB, the Belgian American Educational Foundation, and the American Association of Netherlandic Studies. In 2002–03, she was awarded a Fulbright Fellowship for dissertation research in Antwerp. Emily J. Peters will be moving to Cleveland with her family.

Symposium | Garnitures: Vases in Interiors

Posted in conferences (to attend) by Editor on January 24, 2017

unnamed

Assembled garniture, porcelain from Jingdezhen and Dehua, China, 1650–1720, on an English japanned cabinet, ca. 1680, in the British Galleries at the Victoria and Albert Museum, London (Photo: Peter Kelleher).

◊  ◊  ◊  ◊  ◊

Garnitures: Vases in Interiors
Victoria and Albert Museum, London, 17 March 2017

Organized by Matilda Pye, Patricia Ferguson, and Reino Liefkes

The focus of this one-day symposium is the garniture, assembled or matched sets of primarily ceramic vessels, displayed in European interiors from 1620 and 2017. It will contextualize and enhance the ground-breaking Garnitures: Vase Sets from National Trust Houses, a temporary display in the Ceramics Gallery at the Victoria and Albert Museum, on view until 30 April 2017, and curated by Patricia Ferguson, Honorary Adviser on Ceramics to the National Trust, with Reino Liefkes, Senior Curator, Victoria and Albert Museum. The Headley Trust has generously supported the display, a publication of the same title and this symposium.

Many of the leading international ceramic specialists and contemporary makers will explore national differences in how European tastemakers and followers used garnitures to ornament and enliven interiors in the Netherlands, France, Saxony, and Britain. These displays were typically dictated by innovative architectural features in elite interiors, such as the development of the chimneypiece in France in the mid-seventeenth century, as well as the furniture types associated with these cultures and available materials: Asian porcelain, Dutch delftware, French faience, silver, and European porcelain. The papers will cover the use of the vase in China, its adaptation and collection in the West, the impact on the potteries in Japan and Delft and at porcelain manufactories in Germany at Meissen, and in France at Sevres, in addition to the revival of interest among collectors in the nineteenth century.

As evidence that artists and ceramicists are still fascinated by the idea of the series and repetition in forms, colours, and pattern, the day will conclude with papers by artists Edmund de Waal and Matt Smith—both well known for their site-specific ceramic work in museums, galleries, and historic houses—who will share their own personal responses to this interior phenomenon. Other speakers will include Dr. Yu-ping Luk, curator, Chinese collections, Asian Department, V&A; Patricia Ferguson; Suzanne Lambooy, curator applied arts, Gemeentemuseum, The Hague, Netherlands; Dr. Julia Weber, director, Porzellansammlung, Staatliche Kunstsammlungen, Dresden, Germany; Dame Rosalind Savill, DBE, FSA, FBA, President of the French Porcelain Society, and former Director of the Wallace Collection; Tamara Préaud, the former Archivist, Manufacture Nationale de Sèvres, France, Selma Schwartz, Associate Curator, Waddesdon Manor, The National Trust. The conference will be of interest to students and scholars of Asian, European and Contemporary ceramics, silver, the country house, the history of the interior, collecting, and taste. The day will conclude with a lively round table discussion.

The full conference fee is £25; concessions available. To book, please follow this link.

P R O G R A M M E

10.00  Registration

10.30  Matilda Pye (Learning Academy, V&A), Welcome

10.35  Patricia Ferguson (Curator, Vase Sets from National Trust Houses), Introduction

11.00  Suzanne Lambooy (Gemeentemuseum, The Hague), Delft Garnitures in the Dutch Interior

11.25  Yu-ping Luk (V&A), The Vase in China

11.45  Ros Savill (Former Director Wallace Collection), Vincennes and Sevres Garnitures

12.15  Tamara Preaud (Former Archivist Sèvres, Cité de la céramique , Musée National de Sèvres), Evidence of Biscuit Figures in Sevres Garnitures

12.30  Discussion

12.45  Lunch Break

13.45  Selma Schwartz (Waddesdon Manor, National Trust), Collecting in the 19th Century: Sevres Garnitures at Waddesdon Manor

14.05  Julia Weber (Porzellansammlung, Staatliche Kunstsammlungen, Dresden), Meissen and Garnitures in the Collection of Augustus the Strong

14.30  Refreshments

15.00  Edmund de Waal and Matt Smith, Contemporary Perspectives

 

Fellowships | James Loeb Fellowship for the Classical Tradition

Posted in fellowships by Editor on January 23, 2017

From H-ArtHist:

James Loeb Fellowship for the Classical Tradition in Art and Architecture
Zentralinstitut für Kunstgeschichte, Munich, 3 months, starting either in June or September 2017

Applications due by 15 March 2017

The Zentralinstitut für Kunstgeschichte will award two James Loeb Fellowships for the Classical Tradition in Art and Architecture. The fellowship commemorates James Loeb (1867 New York – 1933 München), graduate of Harvard University, initiator of the Loeb Classical Library project, and art collector. The fellowship is intended to support research that reflects Loeb’s central interests. The fellowship is intended for doctoral students and postdoctoral scholars who have graduated within the last five years and who are working on a project related to the classical tradition in art and architecture, from the Middle Ages to the present. Fellows are expected to partake in the activities of the ZI and to present the fellowship project. The fellowship lasts three months, starting either on June 1, 2017 or on September 1, 2017. In addition to a monthly stipend of 1.500€, lodging will be provided in a form of an apartment. Individuals applying from outside of Germany may be awarded a one-time travel subvention.

Please submit a CV and a project description (no more than 3000 characters) and the contact information of two potential referees. Please send your application in electronic form by March 15, 2017 to fellowships@zikg.eu. For further information, please contact Sonja Nakagawa, Zentralinstitut für Kunstgeschichte, Katharina-von-Bora-Str. 10, 80333 München: fellowships@zikg.eu.

 

Display | Two Busts by Rysbrack

Posted in exhibitions by Editor on January 22, 2017

From the DIA press release (19 January 2017). . .

Two Busts of John Barnard by John Michael Rysbrack
Detroit Institute of Arts, January 2017 — Summer 2018

det-2

John Michael Rysbrack, Portrait of John Barnard, 1744, marble (New York: The Metropolitan Museum of Art, 1976.330).

The Detroit Institute of Arts welcomes two new ‘guests of honor’: a terracotta model and a marble bust of a young boy, John Barnard, by John Michael Rysbrack. The model is on loan from a private collector and the bust is on loan from The Metropolitan Museum of Art, New York. Shown together for the first time, these immaculately preserved portraits provide a rare glimpse of Rysbrack’s creative process. The sculptures, both of which the artist signed and dated, showcase both Rysbrack’s mastery of modeling terracotta and his exceptional skill as a marble carver. They will be on view through summer 2018.

Born and trained in Antwerp, Rysbrack moved to London in 1720 and quickly became one of the leading sculptors working in 18th-century England. Along with his fellow expatriate sculptor Louis François Roubiliac, whose arresting bust of the architect Isaac Ware stands as a major highlight of the DIA’s British portrait collection, Rysbrack was instrumental in elevating the popularity of the sculpted portrait bust above that of more conventional painted portraits in England.

While Rysbrack was highly sought after for his psychologically dynamic portraits, only a handful of his surviving works represent children. On the back of the marble bust, Rysbrack inscribed the name of his young sitter, John Barnard, the son of a British clergyman. The boy is fashionably outfitted in a Hussar’s costume, the uniform of a Hungarian cavalryman. Deriving from England’s sympathy for Hungary and Vienna during the War of the Austrian Succession (1740–48), the fad for the Hussar’s uniform appeared often throughout the 1740s in portraits of children and adults alike.

The livelier expression on the boy’s face in the hand-modeled terracotta contrasts with his graver yet youthful appearance in the marble, suggesting that the portrait was intended as a posthumous tribute to a child who died at a young age. Viewing the Metropolitan Museum’s marble bust alongside its corresponding terracotta model presents a unique opportunity to appreciate Rysbrack’s ability to transform keen observation of youthful vitality into an enduring memorial portrait. The two works are on display in the third floor British portrait gallery.

%d bloggers like this: