Exhibition | The First Jewish Americans
Suriname map, 1718. Nieuwe Kaart van Suriname vertonende de stromen en land-streken van Suriname, Comowini, Cottica, en Marawini; Amsterdam, 1718 (Collection of Leonard L. Milberg).
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Closing on Sunday at the New-York Historical Society (the exhibition was shown at Princeton in 2016 under the title By Dawn’s Early Light: Jewish Contributions to American Culture from the Nation’s Founding to the Civil War); from the press release:
The First Jewish Americans: Freedom and Culture in the New World
Princeton University Art Museum, 13 February — 12 June 2016
New-York Historical Society, 28 October 2016 — 12 March 2017
How did Jewish settlers come to inhabit—and change—the New World? Jews in colonial America and the young United States, while only a tiny fraction of the population, significantly negotiated the freedoms offered by the new nation and contributed to the flowering of American culture. The First Jewish Americans: Freedom and Culture in the New World follows the trajectory of a people forced from their ancestral lands in Europe, as well as their homes in South America and the Caribbean, to their controversial arrival in New Amsterdam in 1654 to the unprecedented political freedoms they gained in early 19th-century New York, Philadelphia, and Charleston. In this ground-breaking exhibition, rare portraits, drawings, maps, documents, and ritual objects illuminate how 18th- and 19th-century artists, writers, activists, and more adopted American ideals while struggling to remain distinct and socially cohesive amidst the birth of a new Jewish American tradition.
Gerardus Duyckinck I, Portrait of Jacob Franks (1688–1769), oil on canvas (Bentonville, Arkansas: Crystal Bridges Museum of American Art).
The exhibition explores the origins of the Jewish diaspora and paths to the New World, Jewish life in American port cities, and the birth of American Judaism in the 18th and early 19th centuries, as well as profile prominent Jewish Americans who made an impact on early American life.
European Jews fleeing persecution and seeking ports of refuge were propelled westward to the distant shores of New World colonies, which offered hope for a new beginning until the infamous Holy Inquisition followed them across the ocean. The exhibition powerfully illustrates this experience through the 1595 autobiography of Luis de Carvajal, a ‘converso’ Jew in Mexico and the nephew of a prominent governor, who was tried by the Inquisition and denounced more than 120 other secretly practicing Jews before he was burned at the stake in 1596. The recently rediscovered documents, which had gone missing from the National Archives of Mexico more than 75 years ago, will be on view at New-York Historical by special arrangement with the Mexican government before returning to Mexico.
The Jewish community in the New World dispersed throughout the colonies in the Caribbean, creating a network built on trade, family, and religious connections. Examples of these island communities and influences featured in the exhibition include a 1718 map of the Jewish settlement in Suriname, 18th-century texts of religious services for the circumcision of slaves, and Jamaican legal documents from 1823 that argued for Jewish voting rights.
During the colonial period, Jews clustered in the cosmopolitan and commercially minded port cities of New York, Philadelphia, and Charleston, and within each city, an elaborate communal infrastructure grew that supported all aspects of Jewish life. Shearith Israel, the first Jewish congregation in colonial North America, built its home in Lower Manhattan in 1730. The congregation has loaned significant objects to the exhibition, such as a Torah scroll that was burned by British soldiers during the Revolutionary War and a rare set of Torah bells (or rimonim) designed by Myer Myers—one of colonial America’s preeminent silversmiths and an active congregation member. Also on view are six oil paintings circa 1735 of the prominent Levy-Franks family of New York, also members of the congregation. On loan from the Crystal Bridges Museum of American Art, they emulate paintings of the British aristocracy.
The Philadelphia Jewish community grew during and after the Revolutionary War, with the city serving as a refuge for patriots fleeing British-occupied New York. Some Philadelphia Jews opposed Britain’s harsh restrictions on American trade by signing the Resolution of Non-Importation made by the Citizens of Philadelphia in 1765—one of the first official protests against British mercantile policy, which is on view in the exhibit. Also featured are portrait paintings of Philadelphia merchant Barnard Gratz, a signer of the resolution who supplied American militias; and of his niece Rebecca Gratz, who in 1819 established the Female Hebrew Benevolent Society, the first Jewish lay charity in the country.
In the first decades of the 19th century, Charleston was home to more Jews than any other place in North America and became a site of cultural and religious ferment. Congregation K.K. Beth Elohim—whose elegant synagogue is depicted in an 1838 oil painting on view—was the birthplace of the Reform movement in 1824, when a group of 47 members petitioned to make worship more accessible by introducing innovations that included prayers in English. The leadership refused, so the petitioners seceded and established the Reformed Society of Israelites for Promoting True Principles of Judaism According to Its Purity and Spirit. The exhibition features the group’s 1825 prayer book and speeches promoting their initially radical position, which soon became main stream. Also on view are earlier examples of revolutions in American Judaism, such as an English translation of a Hebrew prayer book from 1766, Samuel Johnson’s English and Hebrew Grammar book from 1771, and a lunar calendar of Jewish festivals and Sabbath observance from 1806.
The exhibition also features profiles of prominent Jewish Americans of the 18th and early 19th centuries, whose writing, activism, and artistic achievements provide a window into an era of cultural vitality and change in the new Republic. Among the highlighted figures are renown artist Camille Pissarro (1830–1903), a Caribbean Jew born in St. Thomas whose 1856 landscape paintings on view capture waterfront scenes of his island home; and Louis Moreau Gottschalk (1829–1860), a New Orleans-born piano prodigy and composer who became the first classically trained American pianist to achieve international fame. Science and medicine were remarkably open to Jewish men during the 19th century. On display are books written by Jewish Americans that made major contributions to American science and medicine as those fields were developing during this period. The exhibition concludes with views of newly flourishing cities, including Cincinnati, Los Angeles, and San Francisco that became home to American Jews as they ventured westward.
The exhibit is based primarily upon loans from the Princeton University Jewish American Collection, gift of Mr. Leonard L. Milberg, Class of 1953, and Mr. Leonard L. Milberg’s personal collection.
Adam Mendelsohn, By Dawn’s Early: Light Jewish Contributions to American Culture from the Nation’s Founding to the Civil War (Princeton: Princeton University Library, 2016), 352 pages, ISBN: 978 08781 10593.
Terrific installation photographs are available at Arts Summary.
Exhibition | Saving Washington
From the press release from the New-York Historical Society:
Saving Washington
New-York Historical Society, 8 March — 30 July 2017
Curated by Valerie Paley
Bass Otis, Portrait of Dolley Madison, ca. 1817, oil on canvas (New-York Historical Society).
Opening on International Women’s Day, March 8, and remaining on view through July 30, 2017, in the Joyce B. Cowin Women’s History Gallery, Saving Washington will explore the tenuousness of American democracy from the aftermath of the Revolutionary War through the War of 1812 and beyond, addressing women’s roles as citizens of a new republic by focusing on the political and social significance of First Lady Dolley Madison and other women of the era. Curated by Valerie Paley, New-York Historical vice president, chief historian, and director of the Center for Women’s History, the exhibition will illustrate the mission of the Center for Women’s History: to reveal the often-overlooked stories of women who shaped American history.
Saving Washington recasts the traditional Founding Fathers narrative to focus on the less-examined contributions of women whose behind-the-scenes and largely unrecognized efforts helped develop the young nation and realize the Constitution ‘on the ground’. Among those who expertly navigated the political world of the early republic, Dolley Madison (1768–1849) was more than an example of what a woman could be in America; she was the embodiment of American strength, virtue, and honor. As the wife of the fourth U.S. president, she is sometimes remembered merely as the hostess who saved the White House portrait of George Washington from British vandalism during the War of 1812. But in fact, she was one of the most influential women in America during the nation’s formative years and a powerful force during a time when women were excluded from affairs of state.
Saving Washington will feature more than 150 objects—including artwork, books, documents, clothing, jewelry, and housewares—within immersive, interactive installations evoking Dolley Madison’s famous ‘Wednesday night squeezes’, her popular social gatherings that drew a wide range of people to ‘squeeze’ into the president’s mansion and encouraged informal diplomacy.
Saving Washington will inaugurate the Joyce B. Cowin Women’s History Gallery within the Center for Women’s History on New-York Historical’s renovated fourth floor. Other programming highlights for Women’s History Month will include a conference on the history of reproductive rights; an evening with tennis icon and social justice pioneer Billie Jean King, who will unveil select items from her personal archives, recently donated to New-York Historical; a reading series with Girls Write Now featuring young women sharing their creative works; and a panel discussion about “Women and the White House,” moderated by 60 Minutes correspondent Lesley Stahl.
Lead support for Saving Washington has been provided by Joyce B. Cowin and the Robert David Lion Gardiner Foundation, with additional support provided by Susan Klein. Educational programming was made possible by Deutsche Bank.
Exhibition | Winckelmann: Modern Antiquity
Henry Fuseli (Johann Heinrich Füssli), Woman before the Laocoön, ca. 1801–05, ink on paper
(Kunsthaus Zürich).
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Opening next month in Weimar:
Winckelmann: Modern Antiquity / Moderne Antike
Neues Museum Weimar, 7 April — 2 July 2017
Johann Joachim Winckelmann (1717–1768) is widely regarded as the founder of modern archaeology and aesthetics. With his view of ancient art as possessing “noble simplicity and solemn greatness,” he was a pioneer of European aesthetics during the Classical period. In commemoration of Winckelmann’s 300th anniversary, the Klassik Stiftung Weimar and the German Studies Department of the Martin Luther University Halle-Wittenberg present the first comprehensive exhibition on this influential researcher, writer, and critic who strongly shaped our modern view of antiquity.
Angelika Kauffmann, Portrait of Johann Joachim Winckelmann, 1764 (Kunsthaus Zürich).
Winckelmann grew up in poverty. His path in life led him to Halle, Jena, and Dresden, and finally to Italy where he gained international fame in papal Rome. Winckelmann was many things: a passionate visionary, a learned enthusiast, and an intellectual adventurer who put everything on the line to achieve his life’s dream. His violent death, which stunned Goethe and his contemporaries like a “clap of thunder,” played no small role in making him a revered and eminent figure throughout Europe within a few short years.
Like a kaleidoscope, the exhibition demonstrates the fascinating power of Winckelmann’s extraordinary life and his revolutionary works in which antiquity and modernity commune. Exquisite items from German and international collections illustrate the impact of his aesthetic, anthropological, and political ideas from the end of the eighteenth century to the present day. It will be the first time that three portrait paintings of Winckelmann from collections in Weimar, Zurich, and New York are presented together in one exhibition.
The exhibition is part of a joint research project, conducted by the Klassik Stiftung Weimar and the German Studies Department of the Martin Luther University Halle-Wittenberg. The project director at the Klassik Stiftung Weimar is Dr. Bettina Werche. Funded by the Cultural Foundation of German States, the Ernst von Siemens Kunststiftung, and Alexander von Humboldt Foundation.
The catalogue is published by Hirmer:
W. Holler, E. Décultot, M. Dönike, C. Keller, T. Valk, and B. Werche, eds., Winckelmann: Moderne Antike (Munich: Hirmer Verlag, 2017), 352 pages, ISBN: 978 37774 27560, 45€.
Johann Joachim Winckelmann (1717–1768) gilt als Begründer der Archäologie und Kunstgeschichte. Mit seiner Formel von der »edlen Einfalt und stillen Größe« antiker Kunst war er ein Wegbereiter der klassizistischen Ästhetik in Europa. Winckelmanns revolutionäres Werk, in dem Antike und Moderne einander begegnen, wird anlässlich seines 300. Geburtstages neu beleuchtet.
Winckelmann wuchs in ärmlichen Verhältnissen auf. Sein Weg führte ihn über Halle, Jena und Dresden nach Italien, wo er im päpstlichen Rom zu einer internationalen Berühmtheit wurde. Winckelmann war vieles: ein schwärmerischer Visionär, ein gelehrter Enthusiast und ein geistiger Abenteurer, der für seinen Lebenstraum alles auf eine Karte setzte. Nicht zuletzt sein gewaltsamer Tod, der auf Goethe und andere Zeitgenossen wie ein »Donnerschlag« wirkte, ließ ihn binnen weniger Jahre zu einem in ganz Europa verehrten Klassiker aufsteigen. Als einflussreicher Forscher, Schriftsteller und Kritiker hat Winckelmann unseren Blick auf die Antike wesentlich geprägt, wie das reich bebilderte Grundlagenwerk anschaulich vor Augen führt.
Note (added 16 March 2017) — The original posting omitted information about the catalogue.
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Note (added 8 March 2017) — Klaus-Werner Haupt draws readers’ attention to his 2014 book on Winckelmman:
Klaus-Werner Haupt, Johann Winckelmann: Begründer der klassischen Archäologie und modernen Kunstwissenschaft (Weimar: Weimarer Verlagsgesellschaft, 2014), 296 pages, ISBN: 978 386539 7188, 28€.
Johann Joachim Winckelmann, Sohn eines Schuhmachermeisters, rastloser Autodidakt und der Begründer der klassischen Archäologie und modernen Kunstwissenschaften, gilt als Beispiel, wie ein einfacher Bürger mit Glück und Verstand alle mit seiner niederen Herkunft verbundenen Schranken zu überwinden wusste. Seine literarischen Kunstbeschreibungen sowie sein Hauptwerk—die Geschichte der Kunst des Altertums (1764)—revolutionierten die Kunstrezeption und beeinflussten neben Ästhetik und Kunstkritik die Literatur in ganz Europa. Der Autor Klaus-Werner Haupt schafft es, Winkelmanns kämpferische Vitalität und die poetische Bildhaftigkeit seiner Sprache vor biografischem Hintergrund und seinen wissenschaftlichen Leistungen lehrreich und unterhaltend für ein breites Publikum darzustellen.
Exhibition | Goethe and France
Now on view at the Bodmer Foundation, just outside of Geneva:
Goethe et la France
Fondation Martin Bodmer, Cologny, 12 November 2016 — 23 April 2017
Curated by Jacques Berchtold
Heinrich Christoph Kolbe, Portrait of Goethe (detail), oil on canvas, ca. 1826 (Cologny: Fondation Martin Bodmer).
Martin Bodmer (1899–1971) placed Johann Wolfgang von Goethe (1749–1832) high in his personal hall of fame and at the center of his collection, one of the most important in the world. In many ways he owed the very concept of Weltliteratur to this towering figure. Goethe was familiar with French culture from very early on. Like many of his contemporaries of feudal and aristocratic Europe, he too felt the shock of the French Revolution, and his participation in the failed campaign against the Revolutionary forces (the Battle of Valmy in 1792) was a trauma that marked him for the rest of his days.
From his affinities for Rousseau, Goethe changed directions, and the work he did in Weimar, the new capital of the Aufklärung, established a uniquely German classicism. In the process, the ideologues of classicism at court drew on antiquity but also fostered a competitive relationship with their predecessors at Versailles. Goethe—who managed the library, theater, and opera—introduced Germans to the masterworks of French geniuses in literature, theater, music, and painting. Odd writers of the French canon were rehabilitated (Rabelais), and innovative authors of the period were discovered (Diderot).
The social, ethical, and political thinking that resulted from the shock of the French Revolution was crystallized in Goethe’s play The Natural Daughter (Die natürliche Tochter). Under the protectorate of the Confederation of the Rhine, Goethe met Napoleon—a great reader of Werther—in October 1808, and contemplated creating a portrait of him as Julius Caesar in homage to this genius of visionary and decisive action. And Faust, which Goethe pursued from 1808 on, had a special resonance in France. Taking off from the many Goethean gems in the Bodmer Collection, the exhibition shows the extent to which a complex and ambivalent ‘French question’ deeply influenced Goethe’s output for some sixty years.
Call for Proposals | Swiss Art and the Grand Tour
From H-ArtHist:
Special Issue of the Zeitschrift für Schweizerische Archäologie und Kunst (ZAK) for 2018
Travelling People, Travelling Objects: The Reception of Swiss Art in the Context of the Eighteenth-Century European Grand Tour
Menschen und Objekte auf Reisen: Die Rezeption Schweizer Kunst im Kontext der europäischen Grand Tour des 18. Jahrhunderts
Proposals due by 1 May 2017; finished articles are due by 31 January 2018
In 2018, a special issue of the Zeitschrift für Schweizerische Archäologie und Kunst (ZAK) will be dedicated to Swiss art in the eighteenth century. Focusing on the context of European travel culture, the issue will address the various ways in which Grand Tourists perceived, purchased, and collected Swiss art objects during and after their travels. This perspective will help to gain new insight into the distribution and reception of Swiss art in eighteenth-century Europe.
It has often been claimed that the so-called Swiss Kleinmeister, printmakers of small genre and landscape scenes between 1750 and 1850, sold their artworks to Grand Tour travellers, thus contributing to the construction and popularization of a new ‘image of Switzerland’ in Europe. However, little is known about the travelling art buyers and the specific ways in which these small Swiss art objects were distributed, collected, and displayed abroad. Taking this question as a starting point, we welcome contributions which investigate the reception and distribution of these traveling images of Switzerland. Special priority will be given to topics which focus on the materiality of specific objects as well as topics which centre on the role and the meaning of Swiss artworks at their places of destination.
Proposals might address the following issues, among others:
1 Images, media, materialities
It is a widespread opinion that the small format and low price of the graphic art of the Swiss Kleinmeister contributed to the medium’s popularity among European travellers. Does a close view on European collections allow another, more complex perspective on the reception and distribution of Swiss art and the related role of its specific medial and material characteristics? What can be said about the collection-specific relations of graphics, watercolors, paintings, and decorative art objects of Switzerland?
2 Paths and destinations of Swiss graphic art
Kleinmeister graphic art was traded in single sheets, within illustrated books but also in literary works such as travel descriptions. Can individual trade routes be traced within this context of travel culture? Which European collections (libraries, print rooms etc.) owned (Kleinmeister) graphic art works, in which forms were they held and what role did they play within the formation of a specific
collection?
3 Swiss landscape images—identities and memories
The graphic images of the Swiss Kleinmeister are often said to have played an important role in shaping the identity of Switzerland by constructing a typical image of the country’s ‘national landscape’. What was the meaning and function of these graphic landscapes in European collections? Which role did Swiss landscapes play in other objects, for example decorative art, that were purchased by travellers?
4 Switzerland—Italy—Europe
Grand Tour travellers often purchased a great number of art objects which can be considered as conventionalized souvenirs of the places of their production along the travel routes. How were these imaginary sites of memory perceived and represented in European collections? What kinds of medial, material, and semantic relations are constructed between these collection objects on a transregional level, and which position did the objects from Switzerland occupy?
This call addresses art historians and researchers from related disciplines. Please send your proposal (max. 300 words in English, German, French, or Italian), a short CV, and a short list of keywords (max 6) no later than May 1st, 2017 to Danijela Bucher (danijela.bucher@uzh.ch) and Miriam Volmert (miriam.volmert@khist.uzh.ch). Final selection and notification to authors will be announced no later than July 31st, 2017. Finished articles (ca. 30,000–40,000 characters including spaces and ca. 12–15 illustrations) should be submitted by 31st January 2018. No royalty will be paid for any article. Authors are responsible for all reproduction right fees.
Call for Papers | The Unique Copy: Extra-Illustration
First page of text in an illustrated edition of A Midsummer Night’s Dream, 1908 (Folger Digital Image 81266), exhibited in the Folger’s 2010 exhibition Extending the Book: the Art of Extra-Illustration.
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From the Call for Papers:
The Unique Copy: Extra-Illustration, Word and Image, and Print Culture
Herzog August Library, Wolfenbüttel, Germany, 24–25 May 2018
Proposals due by 30 May 2017
Organized by Christina Ionescu and Sandro Jung
Is extra-illustration an ornamental art or does it add layers of significance and nuance to the accompanying text? How does it shed light on authorship, the act of reading, book history, and print culture? How does text-image interaction manifest itself in the extra-illustrated book-object? Is extra-illustration the equivalent of grangerising or are there other means of materially expanding the text? Is it a creative act or a form of customised reproduction or reuse of print matter? Who are the artists, readers, collectors, publishers, and curators who are responsible for the creation of extra-illustrated objects?
In his study of the history, symptoms, and cure of a fatal disease caused by the unrestrained desire to possess printed works, Thomas Frognall Dibdin (1776–1847) observes that “[a] passion for a book which has any peculiarity about it,” as a result of grangerising by means of collected prints, transcriptions, or various cutouts, “or which is remarkable for its size, beauty, and condition—is indicative of a rage for unique copies, and is unquestionably a strong prevailing symptom of the Bibliomania.” Extra-illustration as a practice did not emerge during bibliomaniac Dibdin’s birth century, which witnessed the publication of James Granger’s Biographical History of England (1769) and a widespread rage for unique copies of books, nor has it been extinguished in our digital era by modern technology. Whether it manifests materially as a published work that is supplemented verbally (with interleaved or pasted autograph letters, handwritten notes, or print matter either directly or tangentially linked to its content), or visually (with additional drawings, prints, maps, watercolours, photographs, or other forms of artwork that are similarly connected to a variable degree of closeness to the text), an extra-illustrated copy is important not only for its uniqueness as an original artefact and its commercial value as a desired commodity. As emblematic of an artistic, bibliographic, and cultural practice, it sheds light on its creator, the context of its production, and the reception of a text. As a form of personalised book design, it is moreover significant as a means of creative expression, an outlet of reader empowerment, and an archival repository of historical or cultural insight. Some of the popular targets of extra-illustration through time have been the Bible, biographies, historical treatises, topographical surveys, travel narratives, and popular plays.
A plethora of monographs and special journal issues dealing with book illustration from various theoretical and (inter)disciplinary perspectives have been published in recent years, but the subfield of extra-illustration remains largely unstudied. It is important to note, however, the contribution to the field by Luisa Calè, Lucy Peltz, and Stuart Sillars, who have proposed useful in-depth reflections on extra-illustration and grangerising as a practice. To address this gap in current scholarship, we invite papers that engage with extra-illustration through the conceptual lenses of book history, print and visual culture studies, and word and image theory. Contributions that focus on original artwork contained in extra-illustrated copies from the perspective of word and image studies are of particular interest to the co-editors, as are studies of extra-illustration as a link between text, book-object, and context, as approached through the prism of the book arts and reception theory. Other possibilities include contributions investigating extra-illustration diachronically or cross-culturally, and case studies dealing with a special copy, a collection of extra-illustrated books, or an individual collector, publisher, curator, or artist responsible for the creation of such unique artefacts.
Possible themes include but are not limited to:
· grangerising as a biblio-cultural practice
· grangerising as a form of material repurposing in relation to print culture
· grangerising as a fashionable and biblioclastic pastime
· grangerising as an act of authorship
· the Grangerite, bookscrapping, and collecting practices
· illustrative responses to the text in the form of unique infra-textual images
· marginal illustration and text-image interaction
· extra-illustration as interactive and engaged reading
· extra-illustration as emblematic of institutional/curatorial collecting practices
· extra-illustration as personalised book design
· extra-illustration as a window into history and intellectual thought
· extra-illustration as a book customisation response to mass production
· digital imports of extra-illustration as a means of expression
500-word abstracts, along with the author’s contact information and bio-bibliographical note, should be sent to the co-editors (cionescu@mta.ca / prof.s.jung@gmail.com) by 30 May 2017. A publication on the topic, either a journal issue or a collection of essays, is envisaged.
New Book | Facing the Text: Extra-illustration
Distributed by Manchester University Press:
Lucy Peltz, Facing the Text: Extra-illustration, Print Culture, and Society in Britain, 1769–1840 (San Marino, Huntington Library Press, 2017), 424 pages, ISBN: 978 08732 82611, $150 / £115.
During the eighteenth and nineteenth centuries, thousands of books were customized with prints and drawings in a practice called extra-illustration. These books were often massively extended, lavishly bound, and prized by their owners as objects of display, status, and exchange. The scale of these compilations as well their interdisciplinary nature—at once literary texts, printed books, art collections, and indexes of visual culture—have typically excluded them from histories of art and literature. In this book, Lucy Peltz maps a history of extra-illustration and its social and cultural meanings, providing a fascinating account of the practice itself and the often colourful personalities who engaged in it. The remarkable contents of key extra-illustrated books are explored, along with the broader historical and commercial contexts in which they were produced and enjoyed.
Lucy Peltz is Senior Curator of Eighteenth-Century Collections and Head of Collections Displays (Tudor to Regency) at the National Portrait Gallery, London.
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C O N T E N T S
Introduction: A Long History of Extra-Illustration
Part I: Getting Your Heads in Order: Engraved Portrait Collecting and the Origins of Extra-Illustration
1 ‘Of Collectors of English Portrait Prints’
2 Genteel Authorship, the Community of the Antiquarian Text, and the Invention of Extra-Illustration
3 Portraiture, Order, and Meaning
4 John, Lord Mountstuart and the Ends of the Bull Granger
Part II: From Domestic Retirement to a Commercial Marketplace: Amateurs, Antiquaries, and Entrepreneurs
5 ‘Retirement, Rural Quiet, Friendship, Books’: Amateurism and Its Trophies
6 Charting the Craze: Anthony Storer and Richard Bull
7 The Strawberry Hill Press and the Rituals of Bibliographic Exchange
8 Antiquarian Topography or Armchair Tourism: Thomas Pennant’s “Labors”
9 Popularizing Pennant’s London: How the Art World Sold Extra-Illustration
Part III: The Sutherland Clarendon: Gender, the Print Market, and National Heritage
10 ‘Buried under Its Own Grandeur’: Understanding the Sutherland Clarendon
12 The Cut and Thrust of the Print Market in the Early Nineteenth Century
13 Women, Widowhood, and Collecting: Charlotte Sutherland’s Inheritance
14 Monumentalizing the Sutherland Clarendon: Between Rhetoric and Content, 1820–1839
15 The Female Connoisseur and the Private Catalogue
16 A ‘National Work’ Completed: The Sutherland Clarendon and Cultural Heritage
Epilogue: Rethinking the Past, Securing the Future
Select Bibliography
Index
Postdoctoral Research Assistant: Enlightenment Architectures
From the position description:
Postdoctoral Research Assistant: Enlightenment Architectures
The British Museum, London, 28 months, starting May 2017
Applications due by 13 March 2017
An exciting opportunity has arisen at the British Museum for a Postdoctoral Research Assistant to contribute to the Leverhulme Trust funded research project Enlightenment Architectures: Sir Hans Sloane’s catalogues of his collections under the Principal Investigator, Kim Sloan and Co-Investigator Julianne Nyhan (UCL).
Beginning ideally in May 2017, as part of this project, the post-holder will work alongside another Postdoctoral Research Assistant on the process of digitally encoding externally sourced transcriptions of six of Sir Hans Sloane’s manuscript catalogues and will assist with identifying information entities within them which will inform research. You will also participate in the production of the project’s peer-reviewed research publications, planned to be a minimum of four co-authored interdisciplinary articles which will be published by the end of the project.
The successful candidate will have completed a PhD, or equivalent, and will be proficient in Latin and/or at least one modern language related to the project. With experience of research/teaching/curatorial work, you will have strong knowledge of electronic text, particularly digital cultural heritage resources for the 17th and 18th centuries.
More information is available here»
ASECS 2017, Minneapolis
2017 American Society for Eighteenth-Century Studies Conference
Hyatt Regency Minneapolis, 30 March — 2 April 2017
The 48th annual meeting of the American Society for Eighteenth-Century Studies takes place at the Hyatt Regency in Minneapolis. HECAA will be represented by the Anne Schroder New Scholars’ Session, chaired by Jessica Fripp and scheduled for Thursday afternoon. Right after that panel, members can gather to share memories of Mary Sheriff. Our annual luncheon and business meeting is scheduled for Friday.
A selection of additional panels is included below (of the 192 sessions scheduled, many others will, of course, interest HECAA members). For the full slate of offerings, see the program.
H E C A A E V E N T S
Anne Schroder New Scholars’ Session — Historians of Eighteenth-Century Art and Architecture
Thursday, 30 March, 4:15–5:45, Greenway Ballroom C
Chair: Jessica L. FRIPP, Texas Christian University
1. Olaf RECKTENWALD, McGill University, “Built Decay: Architectural Ruins in Bavarian Rocaille”
2. Kelsey MARTIN, University of North Carolina at Chapel Hill, “‘Sade From the Cave and Rousseau From the Cloud’: An Intertextual Analysis of Female Sexual Consent in the Frontispiece of La Philosophie dans le boudoir and Chapter V of Émile”
3. Andrea BELL, Parsons School of Design, The New School, “The Fainting Maenad in David’s Brutus: Associationism and the Antique”
4. Paris SPIES-GANS, Princeton University, “‘Exercising it as a profession’: The Rise of the Female Artist in London and Paris, 1760–1815”
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Mary Sheriff (1950–2016): A Memorial Session
Thursday, 30 March 2017, 6:00–7:00, Lakeshore A, 1st Floor
Please join us as we remember our colleague, dear friend, and mentor. There will be a cash bar, a short program, and an opportunity for people to share memories and celebrate Mary’s vibrant life.
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HECAA Luncheon and Business Meeting
Friday, 31 March, 1:00–2:30, Mirage Room
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O T H E R S E S S I O N S R E L A T E D T O T H E V I S U A L A R T S
T H U R S D A Y , 3 0 M A R C H 2 0 1 7
Aesthetic Subjects
Thursday, 30 March, 8:00–9:30, Greenway Ballroom C
Chairs: Sarah ERON, University of Rhode Island and David ALVAREZ, DePauw University
1. Elizabeth MANSFIELD, Getty Foundation, “Picture This: Empirical Imagination and the Aesthetics of Realism”
2. Neil SACCAMANO, Cornell University, “Judgment Time”
3. Rebecca TIERNEY-HYNES, University of Waterloo, “Eighteenth-Century Tragedy and the Ethics of Passivity”
4. Amit YAHAV, University of Minnesota, Twin Cities, “Durational Aesthetics and Durational Subjectivity”
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The State, the Household, and Discourses of ‘Economic Development’ (Roundtable)
Thursday, 30 March, 8:00–9:30, Nicollet D-1
Chair: Emily BRUCE, University of Minnesota, Morris
1. Xiaolin DUAN, Elon University, “Fashion, State, Social Changes: Chinese Silk in the Early Modern Global Trade”
2. Mary Jo MAYNES, University of Minnesota, “Technology, Entrepreneurialism, the Household, and the State: The European Textile Labor Force in the Long Eighteenth Century”
3. Ann WALTNER, University of Minnesota, “Picturing the Ideal Peasant: ‘Pictures of Tilling and Weaving’ and the Household Economy in Eighteenth Century China”
Respondent: Sarah CHAMBERS, University of Minnesota
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Women of Power and the Power of Women: Rethinking Female Agency in Honor of Maria Theresa, I
Thursday, 30 March, 9:45–11:15, Nicollet D-2
Chair: Rita KRUEGER, Temple University
1. Kate MULRY, California State University, Bakers eld, “Mary Rich’s ‘Strong Cryes for Mercy’: Signing, Groaning, and Fasting on Behalf of the Nation”
2. Kelsey RUBIN-DETLEV, Queen’s College, University of Oxford, “The Epistolary Strategies of Catherine the Great and Maria Theresa”
3. Mandy PAIGE-LOVINGOOD, University of North Carolina at Chapel Hill, “Marie-Antoinette: Une Identité Melange”
4. Yolopattli HERNÁNDEZ-TORRES, Loyola University Maryland, “Women and Productivity in Late Colonial Mexico”
5. Amanda STRASIK, Eastern Kentucky University, “Revolutionizing Royal Motherhood: Marie Antoinette and Her Children”
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Art and/in the Private House
Thursday, 30 March, 9:45–11:15, Greenway Ballroom G
Chairs: Anne Nellis RICHTER, American University and Melinda MCCURDY, The Huntington Library
1. Kristin O’ROURKE, Dartmouth College, “Domesticity and the Everyday in the New Urban Paris of the Eighteenth Century”
2. Laurel O. PETERSON, Yale University, “Priming the Eye, Producing Splendor: Pellegrini on the Grand Staircase at Kimbolton Castle”
3. Hyejin LEE, University of North Carolina at Chapel Hill, “Scent of Paradise: Visual-Material Culture of Salubrious Air and Medicalizing the Home in Eighteenth-Century Paris”
4. Craig STAMM, Carnegie Mellon University, “Harriet Mathew’s Parlor for the Arts: Producing Taste in the Middle-Class Interior”
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Medium and Magic II: Nature and Imagination — German Society for Eighteenth-Century Studies / Deutsche Gesellschaft für die Erforschung des 18. Jahrhunderts
Thursday, 30 March, 11:30–1:00, Greenway Ballroom A
Chair: Hania SIEBENPFEIFFER, Ludwig-Maximilians University
1. Michael Dominik HAGEL, Humboldt University, “Device and Figuration: Ghosts in Schiller’s Geisterseher”
2. Urte HELDUSER, Leibniz University, “Telescope of Fantasy: Johann Karl Wezel’s and Jean Paul’s ‘natural magic of imagination’”
3. Anita HOSSEINI, Leuphana University, “Magic and Verité: Chardin’s Paintings as Strong Medium”
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Empire and the Antique in Art and Design
Thursday, 30 March, 11:30–1:00, Greenway Ballroom E
Chairs: Jocelyn ANDERSON, Independent Scholar and Holly SHAFFER, Dartmouth College
1. J. Cabelle AHN, Harvard University, “Arcadia ‘sous la latitude des Iroquois:’ Representing Indigenous Canadians in the Salon”
2. Susan DEANS-SMITH, The University of Texas at Austin, “‘This Mexican Marvel:’ Manuel Tolsá’s Bronze Equestrian Statue of Charles IV All’Antica”
3. Amelia RAUSER, Franklin & Marshall College, “Neoclassical Dress and Imperial Cotton”
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1680–1715: A Crisis of the European Mind?
Thursday, 30 March, 2:30–4:00, Greenway Ballroom C
Chair: Aaron WILE, Harvard University
1. Anton MATYTSIN, Kenyon College, “The Crisis of Chronology at the Académie des inscriptions”
2. Katharine J. HAMERTON, Columbia College Chicago, “A Malebranchean Moment at the Turn of the Eighteenth Century?”
3. Izabel GASS, Yale University, “The ‘Uneasiness’ of Spectatorship: Locke and the Burkean Sublime”
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Clothing as Visual Language
Thursday, 30 March, 2:30–4:00, Nicollet A/B
Chair: Kristin O’ROURKE, Dartmouth College
1. David PULLINS, Massachusetts Institute of Technology, ‘“To traverse all the nations of the world without leaving one’s cabinet’: Developing a Model for Rethinking the Global in Early Modern Europe”
2. Olivia SABEE, Swarthmore College, “Ladies in White: From Revolutionary Fête to Iconic White Act”
3. Heather MCPHERSON, University of Alabama at Birmingham, “Style Récamier: The Lady in White”
4. Elise Urbain RUANO, University of Lille, École du Louvre, ‘“I wear, therefore I am’: Female Self-Definition through Clothing in Eighteenth- Century French Portraiture”
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Material Culture, Then and Now
Thursday, 30 March, 4:15–5:45, Nicollet D-2
Chairs: Chloe Wigston SMITH, University of York and Beth Fowkes TOBIN, University of Georgia
1. Laura ENGEL, Duquesne University, “Performing Presence: Eighteenth-Century Silhouettes and the Shadow Archive”
2. Elisabeth FRASER, University of South Florida, “The Color of the Orient and the Materiality of the Ottoman Costume Book”
3. Robbie RICHARDSON, University of Kent, “‘[P]ray what a pox are those damned Strings of Wampum?’: The Illegibility of North American Material Culture”
4. Joseph DRURY, Villanova University, “Objects of Violence in Enlightenment Britain”
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Gendered Materialities —Women’s Caucus
Thursday, 30 March, 4:15–5:45, Nicollet A/B
Chairs: Hannah Wirta KINNEY University of Oxford and Rivka SWENSON, Virginia Commonwealth University
1. Catherine COKER, Texas A&M University, “Materializing Gender in English Printing Houses”
2. Claudia Thomas KAIROFF, Wake Forest University, “What to Wear to the Apocalypse: Politics and Fashion in the Poems of Anne Finch”
3. Tracey HUTCHINGS-GOETZ, Indiana University, “If the Glove Fits: Materializing Gender on the Eighteenth-Century Female Hand”
4. Alicia CATICHA, University of Virginia, “From the Salon to the Salon: Étienne-Maurice Falconet and the Gendering of Sculpture in Eighteenth-Century France”
5. Lindsey ECKERT, Georgia State University, “Lady Caroline Lamb and Recuperative Materiality”
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Contextualizing the Passions: Eighteenth-Century Theories — Cultural Studies Caucus
Thursday, 30 March, 4:15–5:45, Greenway Ballroom F
Chair: Aleksondra HULTQUIST, Stockton University
1. Joel SODANO, University at Albany, State University of New York, “‘Love is not a Voluntary Thing’: Pamela and the History of the Passions”
2. Paul HOLMQUIST, Concordia University and Carleton University, “Moving Useful Passions: Claude-Nicolas Ledoux’s Architectural Language of Virtue”
3. Barrett KALTER, University of Wisconsin-Milwaukee, “Disgusting Swift”
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Members Reception
Thursday, 30 March, 6:00–7:00, Greenway Promenade
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F R I D A Y , 3 1 M A R C H 2 0 1 7
Visualizing Weimar
Friday, 31 March, 8:00–9:30, Nicollet A/B
Chair: Amelia RAUSER, Franklin and Marshall College
1. Karin SCHRADER, Independent Scholar, “Between Dynastic Demands and Idealization: The Portraits of Anna Amalia, Duchess of Saxe-Weimar-Eisenach”
2. Thomas WILLETTE, University of Michigan, “Italy in Weimar: Goethe’s Leben des Benvenuto Cellini”
3. Karin A. WURST, Michigan State University, “Weimar and Beyond: Visual Culture and Bertuch’s Journal des Luxus und der Moden”
Respondent: Christina LINDEMAN, University of South Alabama
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Aesthetics of the Urban, I
Friday, 31 March, 9:45–11:15, Nicollet D-2
Chair: Joanne MYERS, Gettysburg College
1. Catherine LABIO, University of Colorado Boulder, “The Cries of the Mississippi: Paris and New Orleans, ca. 1720”
2. Ellen R. WELCH, University of North Carolina at Chapel Hill, “Towards an Urban Aesthetics of Sound: Listening to Paris in the Eighteenth Century”
3. Alison O’BYRNE, University of York, “London’s Commercial Sublime”
4. Jocelyn ANDERSON, Independent Scholar, “Representing Settlements Abroad: British Artists’ Views of India in the Mid- Eighteenth Century”
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Politics of the Emotions under the Ancien Régime, I – Bodies
Friday, 31 March, 9:45–11:15, Nicollet A/B
Chairs: Kate TUNSTALL, University of Oxford and Logan J. CONNORS, University of Miami
1. Aaron WILE, Harvard University, “The Decline of Expression and the Autonomy of Painting in the Final Years of the Sun King”
2. Chloe Summers EDMONDSON, Stanford University, “Absolutism, Emotion, and the Novel: A Socio-Literary History of Interiority”
3. Katharine JENSEN, Louisiana State University, “Le roi sensible: The Politics of Emotion in Genlis’s La Duchesse de la Vallière”
4. Julie C. HAYES, University of Massachusetts, Amherst, “Verzure’s Politics of Emotion in Ré exions hasardées d’une femme ignorante”
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Textual and Visual Representations of Nature and Landscape Architecture (Roundtable)
Friday, 31 March, 9:45–11:15, Greenway Ballroom C
Chairs: Chunjie ZHANG, University of California, Davis and Alessa JOHNS, University of California, Davis
1. Cynthia WALL, University of Virginia, “The Topography of the Text”
2. Susan Clare SCOTT, McDaniel College, “The Marriage of Word and Image: Poetry on Landscape Painting in China”
3. Rebecca Anne BARR, National University of Ireland Galway, “‘Scenes of Woe in Perspective’: James Thomson’s Winter and Irish Poetry on the Great Frost”
4. Servanne WOODWARD, University of Western Ontario, “The Mazes of Paul et Virginie by Bernardin de Saint-Pierre”
5. Jason H. PEARL, Florida International University, “The Bird’s-Eye View of Nature”
6. Susan EGENOLF, Texas A&M University, “Cultivating the Industrial Sublime in the Western Midlands”
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Amateurism in the Eighteenth Century
Friday, 31 March, 9:45–11:15, Greenway Ballroom D
Chairs: Lindsay DUNN, Texas Christian University and Franny BROCK, University of North Carolina at Chapel Hill
1. Julie PRIOR, The University of Toronto, “‘I cannot be said in the least to wander from my Profession’: Amateurism, Innovation, and Adaptation on the Eighteenth-Century Stage”
2. Marilyn CASTO, Virginia Polytechnic Institute and State University, “Women’s Craft in the Long Eighteenth Century: Materiality, Purpose and Judgment”
3. Andrew CURRAN, Wesleyan University, “Diderot at the Louvre: The Non-Amateur Amateur”
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Made Up in the Eighteenth Century: Cosmetics, Wigs, and Ornamentation — Graduate Student Caucus
Friday, 31 March, 9:45–11:15, Greenway Ballroom F
Chair: Courtney HOFFMAN, University of Georgia
1. Mallory Anne PORCH, Auburn University, “Embroidering Detail: Narrative and Eighteenth-Century Needlework”
2. Jessica L. FRIPP, Texas Christian University, “Fashioning the Friendly Artist”
3. Henna MESSINA, University of Georgia, “Fanny’s Necklaces: Gift Economy in Mansfield Park”
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Aesthetics of the Urban, II
Friday, 31 March, 11:30–1:00, Nicollet D-2
Chair: Alison O’BYRNE, University of York
1. Emerson WRIGHT, State University of New York at Buffalo, “Filthy Beautiful: Hogarth’s Aesthetics of the Urban”
2. Nathan PETERSON, Saginaw Valley State University, “The Aesthetics of Poverty in the Eighteenth-Century Guidebook”
3. Joanne MYERS, Gettysburg College, “Henry Fielding and the Marvellous Uses of Urban Spaces”
4. Jason H. PEARL, Florida International University, “Satire and the View from above London”
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Rococo Queens
Friday, 31 March, 11:30–1:00, Nicollet A/B
Chair: Melissa HYDE, University of Florida
1. Tara ZANARDI, Hunter College, City University of New York, “Surface Play and Rococo Ambition: Isabel de Farnesio’s Lacquered Bedroom”
2. Christina LINDEMAN, University of South Alabama, “Composing the Rococo: Representations of Musical Princesses in Eighteenth-Century Germany”
3. Amy FREUND, Southern Methodist University, “Killer Queens: Royal Women and Hunting Guns in Rococo Europe”
4. Susan WAGER, University of New Hampshire, “Van Loo, Pompadour, Rococo: A Material Media Event”
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What is ‘The Eighteenth Century’ Now? (Roundtable)
Friday, 31 March, 11:30–1:00, Greenway Ballroom I
Chair: Rebecca L. SPANG, Indiana University
1. Al COPPOLA, City University of New York
2. Steven PINCUS, Yale University
3. Jenny DAVIDSON, Columbia University
4. Darrin MCMAHON, Dartmouth University
5. Laura M. STEVENS, Tulsa University
6. James WEBSTER, Cornell University
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Awards Presentation, ASECS Business Meeting, and Presidential Address
Friday, 31 March, 2:30–4:30, Nicollet A/B
Dena GOODMAN, University of Michigan, “A Secret History of Learned Societies”
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S A T U R D A Y , 1 A P R I L 2 0 1 7
Color in Eighteenth-Century Architecture
Saturday, 1 April, 8:00–9:30, Nicollet A/B
Chair: Basile BAUDEZ, Université Paris-Sorbonne, Paris IV
1. Kim DE BEAUMONT, Hunter College, City University of New York, “Gray Areas: Unraveling Fact and Fancy in a Colored Fête Design with Figures by Gabriel de Saint-Aubin (1724–1780)”
2. Samuel OMANS, Institute of Fine Arts, “Color, Vision and Sensationalist Aesthetics”
3. Anika REINEKE, Universität Zurich, “Crimson Damask, Yellow Tapestries: Colored Textiles in Eighteenth-Century French Interior Spaces”
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On the Walls: Painting in Eighteenth-Century Europe
Saturday, 1 April, 9:45–11:15, Greenway Ballroom D
Chair: William W. CLARK, Queens College and City University of New York Graduate Center
1. Vivian P. CAMERON, Independent Scholar, “Upholding Justice: Allegory, Performance, and Brenet’s Paintings for the Parlement de Flandre, Douai”
2. Elden GOLDEN, Union Institute & University, “The Purpose and Placement of Benjamin West’s Paintings for the Audience Chamber of Windsor Castle”
3. Vincent PHAM, University of California, San Diego, “Streatham Park in Action, Space, Sociability, and Conversation”
4. Joanna M. GOHMANN, Walters Art Museum, “Exposing the Animal Within: The Cultural Work of Christophe Huet’s Painted Petite Singerie”
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Illustrating Nature from the Margins
Saturday, 1 April, 9:45–11:15, Greenway Ballroom C
Chair: Craig Ashley HANSON, Calvin College
1. Kristina KLEUTGHEN, Washington University in St. Louis, “Exotic Zoology: Illustrating a Chinese Musk Deer for the Philosophical Transactions”
2. Nicole LABOUFF, Minneapolis Institute of Art, “Garden-Variety Science: How Women Cultivated English Botany”
3. Beth Fowkes TOBIN, University of Georgia, “John Abbot: Early Georgia’s Naturalist Artist”
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Strawberry Hill and Other Queer Spaces
Saturday, 1 April, 9:45–11:15, Greenway Ballroom F
Chair: George E. HAGGERTY, University of California, Riverside
1. Abby COYKENDALL, Eastern Michigan University, “Epistemologies of the Surface: Horace Walpole’s Strawberry Hill”
2. Caroline GONDA, Cambridge University, “Anne Damer and Strawberry Hill”
3. Fiona BRIDEOAKE, American University, “Collaboratively Queer: Strawberry Hill and Collective Spaces”
4. Ann A. HUSE, John Jay College, City University of New York, “Sapphic Wales: The Ladies of Llangollen and ‘Heritage Patronage’ at Plas Newydd”
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Clifford Lecture
Saturday, 1 April, 11:30–12:30, Nicollet A/B
David SHIELDS, University of South Carolina, “What Survives of the Flavors of the Eighteenth Century”
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Art Markets: Agents, Dealers, Auctions, Collectors
Saturday, 1 April, 2:00–3:30, Greenway Ballroom B
Chair: Wendy Wassyng ROWORTH, University of Rhode Island
1. Karin WOLFE, British School at Rome, “John Cecil, 5th Earl of Exeter (1648–1700): Contemporary Art Collector for Burghley House”
2. Kee Il CHOI, Jr., University of Warwick, “‘Copies from European Prints’ : Andreas Everardus van Braam Houckgeest and the Export Art of Canton”
3. Bénédicte MIYAMOTO, Université Sorbonne Nouvelle, “A Public Event with a Private Agenda: London Auctions as Dealers’ Clearance Sales”
4. Anne Nellis RICHTER, American University, “‘A confusion of persons, and of property’: British Collecting after the French Revolution”
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Addressing Structural Racism in Eighteenth-Century Studies (Roundtable) — Women’s Caucus
Saturday, 1 April, 2:00–3:30, Greenway Ballroom E
Chairs: Regulus ALLEN, California Polytechnic State University and Emily MN KUGLER, Howard University
1. Christine CLARK-EVANS, Pennsylvania State University, “Including People of Color in Early Modern History: Why Race? Why Now? What Is Next?”
2. Susan S. LANSER, Brandeis University, “Making Black Lives Matter in Eighteenth-Century Studies”
3. Michael J. LEE, Eastern University, “The Face of Race: Teaching the Historical Constructedness of Race”
4. Kathleen HANKINSON, State University of New York, Stony Brook, “Racism and Relationality in Eighteenth-Century Pro- and Anti-Slavery Texts”
5. Wayne RIPLEY, Winona State University, “Eighteenth-Century Studies, Social Justice, and Campus-Community Engagements”
6. Christy PICHICHERO, George Mason University, “Beyond Liberalism: Real Pathways to Inclusiveness in the Professoriate”
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Trigger Warnings and Safe Spaces: Teaching the Eighteenth Century (Roundtable)
Saturday, 1 April, 2:00–3:30, Greenway Ballroom I
Chair: Linda ZIONKOWSKI, Ohio University
1. Danielle BOBKER, Concordia University, “The Limits of Inclusion”
2. Ann CAMPBELL, Boise State University, “‘Out Rushed My Master, in a Rich Silk and Silver Morning Gown’: Addressing Attempted Rape in Richardson’s Pamela”
3. Melanie D. HOLM, Indiana University of Pennsylvania, “Teaching The Rape of the Lock in a Culture of Campus Rape”
4. Heidi KRAUS, Hope College, “Body Conscious: Trigger Warnings and the Reception of the Nude”
5. Pam LIESKE, Kent State University, “Trigger Warnings and Safe Intellectual Spaces: Differing Perceptions of Students and Faculty”
6. Jacob SIDER JOST, Dickinson College, “Wounded By Literature, From Montaigne to Austen”
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Difficulties in Diplomacy : International Relations between European Nations and the ‘Orient’
Saturday, 1 April, 2:00–3:30, Greenway Ballroom G
Chair: Nathan D. BROWN, Furman University
1. Greg CLINGHAM, Bucknell University, “Cosmology, Commerce, and Diplomacy on Sir George Macartney’s Embassy to China, 1792–94”
2. Christopher, M.S. JOHNS, Vanderbilt University, “Ceremonial Miscommunication or Diplomatic Incompatiability?: The Macartney and Amherst Embassies to Qing China, 1793 and 1816”
3. Mary E. ALLEN, University of Virginia, “Proposing Marriage, Pursuing Peace: Diplomatic Relations and Discord between Mouley Ismaël and Louis XIV”
4. Liza OLIVER, Wellesley College, “Honor and Extortion: The Evolution of the Gift in Eighteenth-Century French India”
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The Delusional Self or the Artful Self
Saturday, 1 April, 3:45–5:15, Greenway Ballroom F
Chair: Enid VALLE, Kalamazoo College
1. Kathleen FUEGER, Independent Scholar, “Staging the Self: Play, Performance, and Delusion in the Comedies of Moratín”
2. Katherine MULLINS, Vanderbilt University, “Sensory Signs: Perception, Passion, and Identity in Eliza Haywood’s Fantomina”
3. Elizabeth Franklin LEWIS, University of Mary Washington, “An Old Woman’s Guide to Love: María Gertrudis Hore’s Amor caduco”
4. Amber LUDWIG, Independent Scholar, “Anne Damer, Identity, and the Practice of Collecting”
5. Susan SPENCER, University of Central Oklahoma, “Saikaku Ihara’s Amorous Woman and the Cash Nexus in Genroku-era Osaka”
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Beautiful Books, Ugly Books — North West Society for Eighteenth-Century Studies
Saturday, 1 April, 3:45–5:15, Nicollet D-1
Chair: Johann REUSCH, University of Washington, Tacoma
1. Pamela PLIMPTON, Warner Pacific College, “Reader Reception and the Ugly Truth(s) of Aphra Behn’s Oroonoko”
2. Roger SCHMIDT, Idaho State University, “John Baskerville’s Beautiful Books”
3. Marvin D. L. LANSVERK, Montana State University, “The Good, the Bad, and the Ugly in William Blake’s Prophetic Books”
Website of The Carl Heinrich von Heineken Society
Many readers are likely to find the the Society and its website (in German, English, and French) of interest:
The Carl Heinrich von Heineken Society (Die Carl Heinrich von Heineken Gesellschaft) was established in 2016 and aims to explore the work and life of Carl Heinrich von Heineken (1707–1791), the founder of modern print studies. Building on Heineken’s Idée générale (the founding manifesto of all modern print rooms written in exile in Altdöbern), the Society considers previously unevaluated sources and sheds new light on the historic significance of the universal scholar for the Age of Enlightenment in the second half of the eighteenth century.
The Society also places particular emphasis on researching the history of Altdöbern Palace, including the sumptuous gardens co-designed by Heineken. The scholarly findings are frequently showcased in publications, public events, lectures, and exhibitions.
An art historical reference library is also being assembled, together with an extensive collection of prints which encompasses all engravings published by Heineken during his lifetime after artworks in the Dresden Picture Gallery and the painting collection of Count Brühl. These resources are available to all parties interested in art and culture upon request.
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