Call for Session Proposals | ASECS 2018, Orlando
Panel proposals are due soon:
2018 American Society for Eighteenth-Century Studies Conference
Hilton Orlando Buena Vista Palace, 22–25 March 2018
Session Proposals due by 15 May 2017
Proposals for panels at the at the 49th annual meeting of the American Society for Eighteenth-Century Studies, to take place in Orlando, are now being accepted. Please complete the session proposal form (available as a Word document) and email it to asecs@wfu.edu.
The Burlington Magazine, April 2017
The eighteenth century in The Burlington:
The Burlington Magazine 159 (April 2017)
AR T I C L E S
• Susan M. Wager, “The Earliest Known Version of Madame de Pompadour’s Suite d’Estampes Rediscovered,” pp. 285–89.
• Elizabeth Darrow, “The Art of Conservation: X Pietro Edwards: The Restorer as Philosophe,” pp. 308–17.
R E V I E W S
• Owen Hopkins, Review of Angelo Hornak, After the Fire: London Churches in the Age of Wren, Hooke, Hawksmoore, and Gibbs (Pimpernel Press, 2016), pp. 323–24.
• Giles Waterfield, Review of Burton Fredericksen, The Burdens of Wealth: Paul Getty and His Museum (Archway Publishing, 2015), p. 325.
• Teresa Leonor M. Vale, Review of the exhibition catalogue, Alvar Gonzalez Palacios, I Valadier: L’album dei disegni del museo napoleonico (Museo Napoleonico di Roma, 2015), p. 328.
• Richard Green, Review of Stephen Lloyd, ed., Art, Animals and Politics: Knowsley and the Earls of Derby (Unicorn Press, 2015), p. 328.
Study Day | Owen Hopkins on Hawksmoor
Study day arranged by Martin Randall Travel:
Owen Hopkins | Hawksmoor: The Six London Churches (LD296)
London and Greenwich, 16 May 2017
Christ Church Spitalfields (Hawksmoor), from Some London Churches, illustrated by G. M. Ellwood (1911).
From the West End to Greenwich by coach to see all six extant churches: St George’s Bloomsbury, St Mary Woolnoth, Christ Church Spitalfields, St George-in-the-East, St Anne’s Limehouse, and St Alfege. Also visit Thomas Archer’s contemporaneous St Paul’s Deptford. 9:20am to approximately 5:20pm; return to central London by river bus; from £210.
Nicholas Hawksmoor (1661–1736) dropped from public consciousness while Wren and Vanbrugh did not. In so far as he was known before the 20th century he was reviled for just those qualities which lead to passionate attachment to his creations now—boldness, massiveness, Baroque vigour, dissident classicism, and sculptural imagination.
Yet he is probably an even greater architect than his documented buildings show; it is highly likely that he is the author of some of the finer parts of buildings long attributed to others. He was Wren’s assistant for over twenty years and also collaborated with Vanbrugh. The Baroque flowering of Wren’s late works should probably be ascribed to Hawksmoor, while his professionalism and artistry were key to turning the soldier-playwright into a great architect.
Taken together, his greatest achievement remains the six London churches built in accordance with the 1711 Act of Parliament. This specified fifty new churches; only twelve were built, not least because Hawksmoor’s extravagant ambition absorbed an undue proportion of the funds. Remarkably, they all survive, though one is a (well-preserved) shell after the Blitz. The journey by coach takes in St George’s Bloomsbury, St Mary Woolnoth, Christ Church Spitalfields, St George-in-the-East Stepney, St Anne’s Limehouse, and St Alfege Greenwich. Thomas Archer’s contemporaneous St Paul’s Deptford is also included.
Owen Hopkins is Senior Curator of Exhibitions and Education at Sir John Soane’s Museum and former Architecture Programme Curator at the Royal Academy of Arts where his exhibitions included Urban Jigsaw, Mavericks: Breaking the Mould of British Architecture, and Nicholas Hawksmoor: Architect of the Imagination. He is author of four books including The Architecture and Afterlife of Nicholas Hawksmoor.
Call for Papers | L’art du diorama, 1700–2000
From H-ArtHist:
L’art du diorama, 1700–2000
Culture & Musées: Appel à proposition d’article pour un numéro thématique
Sous la direction de Noémie Etienne et Nadia Radwan
Proposals due by 30 June 2017
Entendu comme un dispositif d’exposition multidimensionnel et multimédia, le diorama est à la frontière de différentes disciplines et catégories d’institutions muséales. Ce dispositif intéresse les anthropologues, les sémiologues, les géographes, mais aussi les chercheurs en histoire naturelle, les préhistoriens, les historiens et historiens d’art. Il interroge également les artistes contemporains, comme le montre la persistance de ce que l’on peut appeler une esthétique du diorama chez des artistes tels que Marcel Duchamp, Edward Kienholz, Marc Dion, ou Thomas Hirschorn.
Les dioramas ont été étudiés comme précurseurs du cinéma (Griffiths, 2002), ou comme dispositifs singuliers dans les domaines des sciences naturelles et de l’anthropologie (Rader, Cain, 2014). Les études postcoloniales, dans le sillage de l’article de Donna Haraway, ont porté un regard critique sur ces installations (Haraway, 1984 ; Mitchell, 1988 ; Çelik, 1992). Pourtant, ces études n’ont considéré que les exemples réalisés en Europe et aux États-Unis, tandis que ces dispositifs sont largement répandus en Amérique latine, en Asie ou au Moyen Orient.
Vingt ans après le numéro consacré aux dioramas par la revue Public & Musées sous la direction de Bernard Schiele (1996) qui questionnait le statut du diorama en muséologie, il importe de réinterroger ces installations. Ce numéro propose de remettre le diorama au centre d’une étude des institutions muséales, en insistant d’une part, sur la matérialité de ces dispositifs (Bennett, Joyce, 2010), et, d’autre part, sur l’identité de ceux qui les fabriquent. Il examinera également les questions liées à l’opérativité symbolique et sociale des dioramas et à leur réception par les publics. Enfin, l’authenticité des espaces ainsi créés sera au cœur des interrogations. Cette question est d’autant plus urgente que de nombreux musées discutent aujourd’hui de la conservation de ces dispositifs qui appartiennent à l’histoire des musées, mais aussi à son futur.
L’objectif de ce numéro est de réunir une série de recherches sur les dioramas entendus comme dispositifs muséographiques singuliers en allant de leur conception à leur réception par différentes catégories de publics. Trois entrées sont proposées :
Sémiotique et Matérialité
Les dioramas donnent une place aux fragments en les organisant dans un système et requalifient la culture matérielle (Kirschenblatt, 1998). Peut-on avec profit les aborder comme des assemblages (Bennett, 2010), des agencements (Bennett et alii, 2017), ou encore, pour reprendre un terme de l’art contemporain, des installations ? Nous nous intéresserons ici aux caractéristiques formelles de ces dispositifs : peut-on établir une grammaire des dioramas ? Quels en seraient les éléments, vu l’hétérogénéité des matériaux (cire, plâtre, bois), des médiums (peinture, sculpture, taxidermie), mais aussi des registres (réalistes, poétiques, etc.)? Enfin, comment les différentes échelles (maquette, mini-diorama, taille réelle, dispositifs monumentaux) déterminent-elles l’usage et la pratique des dioramas ?
Acteurs
On accordera une attention soutenue aux acteurs de ces dispositifs — qu’ils soient artistes, scientifiques, artisans, identifiés ou non. La carrière des sculpteurs, peintres, taxidermistes, photographes, décorateurs ou anthropologues, leur statut en tant que praticiens à la croisée de diverses disciplines, le rôle qu’ils ont joué dans la définition de leur pratique ainsi que les enjeux de la conception des dioramas, retiendront notre attention. En dehors des trajectoires individuelles et collectives, il sera possible d’examiner les réseaux transnationaux par lesquels s’effectue la transmission de savoirs à la croisée des approches scientifiques et artistiques : de plus, du point de vue d’une histoire sociale des métiers, on mettra en évidence les négociations et redéfinitions des identités professionnelles que ces projets collectifs et interdisciplinaires engendrent.
Réceptions
Les dioramas sont des lieux privilégiés de transmission, mais aussi d’élaboration — et parfois de contestation — des discours scientifiques et historiques, en marge d’autres espaces de production des savoirs (foires, université, livre, etc.). Quel est l’impact des dioramas sur les publics et comment saisir la réception de cette forme dans divers musées à une échelle globale ? Réciproquement, quelle est la portée des publics sur la transformation de ces dispositifs ? Les dioramas ont aussi une dimension esthétique, qui semble avoir inspiré de nombreux artistes. On s’interrogera enfin sur les récits ou encore les images que suscitent ces installations, pour questionner leur portée sensorielle et cognitive sur les imaginaires.
Références
Jane Bennett. Vibrant Matter: A Political Ecology of Things. Durham : Duke University Press, 2010.
Tony Bennett et Patrick Joyce. Material Powers: Cultural Studies, History, and the Material Turn. London : Routledge, 2010.
Tony Bennett, Fiona Cameron, Nélia Dias, et alii. Collecting, Ordering, Governing: Anthropology, Museums, and Liberal Government. Durham : Duke University Press, 2017.
Zeynep Çelik. Displaying the Orient: Architecture of Islam at Nineteenth-Century World’s Fairs. Berkeley : University of California Press, 1992.
Alison Griffiths. Wondrous Difference: Cinema, Anthropology & Turn-of-the-century Visual Culture. New York : Columbia University Press, 2002.
Donna Haraway. « Teddy Bear Patriarchy: Taxidermy in the Garden Even, 1908–1936 ». Social Text 11 (1984–85): 19–64.
Barbar Kirschenblatt-Gimblett. Destination Culture: Tourism, Museums, and Heritage. Berkeley : University of California Press, 1998.
Timothy Mitchell. Colonizing Egypt. New York : Cambridge University Press, 1988.
Karen Rader et Victoria E. M. Cain. Life on Display: Revolutionizing U.S. Museums of Science and Natural History in the Twentieth Century. Chicago : The University of Chicago Press, 2014.
Envoi des résumés
Merci d’adresser vos propositions d’articles sous la forme de résumés (environ 5000 signes) par courriel avant le 30 juin 2017 à Noémie Etienne (noemie.etienne@ikg.unibe.ch), Nadia Radwan (nadia.radwan@ikg.unibe.ch) et Marie-Christine Bordeaux (mc.bordeaux@wanadoo.fr).
Les résumés comporteront :
• La revue Culture & Musées un titre
• 5 références bibliographiques
• les noms, adresse électronique, qualité et rattachement institutionnel (Université, laboratoire) de leur auteur.e.
Calendrier
Fin juin 2017 : réception des propositions (résumés)
Début juillet 2017 : réponse aux auteurs et commande des textes aux auteurs retenus
Fin octobre 2017 : réception des textes
Janvier 2018 : réponses définitives aux auteurs et propositions éventuelles de modifications
Avril 2018 : réception des textes modifiés et navettes éditoriales
Décembre 2018 : publication
Contact
Noémie Etienne
noemie.etienne@ikg.unibe.ch
Université de Berne
Institut für Kunstgeschichte
Hodlerstrasse 8, CH-3011 Bern
La revue Culture & Musées
Culture & Musées est une revue scientifique transdisciplinaire à comité de lecture. Ses publications sont orientées vers des travaux de recherche inédits sur les publics, les institutions et les médiations de la culture. Depuis 2010, elle possède une dimension internationale car elle est indexée à l’INIST et sur les bases Arts and Humanities Citation Index (Thomson Reuters). Les contributions, regroupées autour d’un thème, font de chaque livraison un ouvrage collectif chargé d’approfondir un thème ou une question. La revue est co-éditée par l’Université d’Avignon et les éditions Actes Sud.
Directeurs de la rédaction
• Frédéric Gimello-Mesplomb, directeur de publication, Université d’Avignon et des Pays de Vaucluse
• Eric Triquet, directeur adjoint de publication, Université d’Avignon et des Pays de Vaucluse
• Yves Winkin, directeur de rédaction, Musée des arts et métiers, CNAM
• Marie-Christine Bordeaux, directrice de rédaction, Université Grenoble Alpes
Colloquium | Horace Walpole and His Legacies
Next week at Durham University:
Horace Walpole and His Legacies: A Tercentenary Colloquium
Durham Castle, 5 May 2017
Organized by Fiona Robertson
An informal gathering with presentations, discussion, and a workshop, as part of Durham’s series of events marking the tercentenary of the birth of Horace Walpole—novelist, playwright, designer, collector, and letter-writer extraordinaire. Friday, 5 May 2017, 10.00–14.00 in the Senate Suite, Durham Castle. This event is free of charge, and a working lunch will be provided. Participants are asked to register their interest in advance by emailing fiona.robertson@durham.ac.uk.
Presentations
• Peter N. Lindfield, Walpole’s Paper House
• Dale Townshend, Walpole, Enchantment, and the Legacy of The Castle of Otranto
• Serena Trowbridge, Teaching Gothic: Walpole’s Shadows
Workshop
• Stephen Regan, Reading Walpole’s Letters
New Book | Oxford Botanic Garden and Arboretum
Happy National Arbor Day!
Distributed for the Bodleian Library by The University of Chicago Press:
Stephen Harris, Oxford Botanic Garden and Arboretum: A Brief History (Oxford: Bodleian Library, 2017), 144 pages, ISBN: 978 18512 44652, £15 / $25.
The Oxford Botanic Garden is the oldest surviving botanic garden in Britain, occupying the same location in central Oxford since 1621. Designed as a nursery for growing medicinal plants amid the turmoil of the civil war, and nurtured through the restoration of the monarchy, it has, perhaps unsurprisingly, a curious past.
This book tells the story of the garden through accounts of each of its keepers, tracing their work and priorities, from its founding keeper, Jacob Bobart, through to the early nineteenth-century partnership of gardener William Baxter and academic Charles Daubeny, who together gave the garden its greenhouse and ponds and helped ensure its survival to the present. Richly illustrated, this book offers a wonderful introduction to a celebrated Oxford site.
Stephen A. Harris is the Druce Curator of the Oxford University Herbaria and a University Research Lecturer. He is the author, most recently, of What Have Plants Ever Done for Us?, also published by the Bodleian Library, University of Oxford.
Call for Papers | Building the Scottish Diaspora
From the conference website:
Building the Scottish Diaspora: Scots and the Colonial Built Environment, 1700–1920
University of Edinburgh, 17–18 November 2017
Proposals due by 24 July 2017
This symposium takes as a point of departure, colonial cultures of Scottish entrepreneurship operating and building in the hemispheres of the Atlantic and the India-Pacific from the eighteenth to the twentieth centuries. It seeks contributions that explore Scottish traders, merchants, agents, missionaries and others influential in colonial arenas of the Atlantic and India-Pacific ‘worlds’, especially within the analytical frameworks of regional, oceanic, and World/Global historiography, methods of cultural and historical geography, as well as economic and business history. We are interested in research that maps diasporic networks—familial, professional, entrepreneurial, religious etc.—and their material presence with a view to better understanding the significance of Scottish modes of operation, particularly (but not exclusively) those that demonstrate their achievement as entrepreneurs in a networked, international environment. In sum, we seek a range of disciplinary perspectives on the spatial and material dimensions of Scottish entrepreneurship in the colonial arena.
Related questions include (but are not limited to): how do we begin to understand the particular Scottish contribution to the colonial built environment, and why is it important? Does reference to a ‘British’ empire in this context too readily encourage coagulation, even confusion, especially where clear ethnic predominance was seen to occur? And how might architecture have been used to forge, or even dissolve, distinctive forms of Scottishness within the wider limits of British identity? Please send paper abstracts of no more than 300 words, plus a brief bio of 150 words, to buildscotdiaspora@gmail.com by 24 July 2017.
Conference | Allegory after 1789
From the Workshop des Kunstgeschichtlichen Instituts der Goethe-Universität Frankfurt am Main:
Allegorie nach 1789: Kritik und Transformation
Museum Giersch der Goethe-Universität, Frankfurt am Main, 19 May 2017
Workshop des Kunstgeschichtlichen Instituts der Goethe-Universität Frankfurt am Main in Kooperation mit eikones NFS Bildkritik, Universität Basel
Die Allegorie als künstlerische und literarische Form sah sich im Laufe des 18. Jahrhunderts vielfacher Kritik ausgesetzt, wobei die Vorwürfe von ihrer Abwertung als dunkel und unverständlich bis zur Diskreditierung als rein willkürlicher Modus der Bedeutungsproduktion reichen. Mit dem folgenreichsten Ereignis des 18. Jahrhunderts, der Französischen Revolution, gewannen diese kritischen Spannungen an verschärfter Aktualität. Angesichts der umwälzenden Ereignisse und der zunehmenden Schwierigkeit, diese historisch sinnfällig zu deuten, erlebte die Allegorie als Mittel der semantischen Stabilisierung jedoch auch eine Wiederbelebung sowohl in der Malerei wie insbesondere in der Druckgraphik.
Der Workshop beschäftigt sich mit der Wiederaufnahme der Allegorie, ihrer kritischen Debatte während und nach der Revolution und der transformierenden Kraft, die diese Kritik entfaltete. Dabei steht nicht nur die Frage nach der kunsthistorischen Bedeutung der ›Sattelzeit‹ um 1800 zur Diskussion, sondern mehr noch die Relevanz vormoderner Formen der malerischen und literarischen Sinnstiftung unter den Bedingungen moderner Autonomieästhetik. Nicht zuletzt entstehen mit der Transformation der Allegorie im 18. und 19. Jahrhundert auch neue Lektüretechniken der Kunstkritik und schließlich der Kunstgeschichte, die an die Technik der Allegorese anknüpfen. Kontakt: Gabriel Hubmann, hubmann@kunst.uni-frankfurt.de.
P R O G R A M M
10:00 Ralph Ubl/Barbara Wittmann, Begrüßung
10:15 Gabriel Hubmann, Die Problematik der Allegorie in der französischen Bildproduktion um 1800
11:30 Barbara Wittmann, Allegorie und die Launen der Einbildungskraft nach Anne-Louis Girodet
12:45 Mittagessen
14:30 Ralph Ubl, Allegorien einer Allegorie? Delacroix’ Die Freiheit führt das Volk (1830) in den Salons von 1838 und 1845
15:45 Philipp Ekardt, Post-Pygmalionisch, Fast-Allegorisch: Körperfigurationen bei Eichendorff und Goethe
17:00 Pause
17:30 Regine Prange, Respondenz
18:30 Abendvortrag: Philippe Bordes, The Allegorical Imagination in French Painting around 1800: Poetic Invention versus Political Service
Chatsworth House Acquires Bird’s Eye View of the Estate
Jan Siberechts, A View of Chatsworth, ca. 1703; the painting is now on display at Chatsworth in the Green Satin Room
(Chatsworth House Trust)
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Press release, via Art Daily:
Visitors can now discover how Chatsworth appeared in the early eighteenth century thanks to the acquisition of an important major landscape painting giving a detailed bird’s eye view of the estate. The Directors of the Chatsworth House Trust announced the arrival of an important addition to the Devonshire Collection: A View of Chatsworth by Jan Siberechts, painted circa 1703. Until now a painting of the house and garden in the 1st Duke’s time was missing from the collection. This large scale, detailed painting is now on display at Chatsworth, with a series of landscape paintings of the house and garden detailing major changes through the past 400 years.
The Duke of Devonshire said, “I am extremely excited that this landscape has joined the Devonshire Collection. It will be of great interest to our visitors as it portrays on a grand scale a complete view of Chatsworth, house, garden and park as built and laid out by the 1st Duke and this enables us all to know so much more about Chatsworth at the very beginning of the eighteenth century.”
Jan Siberechts, A View of Chatsworth, ca. 1703 (Chatsworth House Trust).
This bird’s eye view of Chatsworth originally belonged to Admiral Edward Russell, later 1st Earl of Orford, a close friend and political colleague of the 1st and 2nd Dukes of Devonshire. It passed by descent to his great-niece Letitia Tipping who married the 1st Lord Sandys in 1725 and has remained in the Sandys family until now. Previously catalogued as by an unknown late seventeenth-century English artist, A View of Chatsworth has recently been reattributed by Omnia Art to Jan Siberechts, who specialised in painting bird’s eye views of English country houses in this period. Siberechts is known to have worked for the 1st Duke of Devonshire as payments to the artist are recorded in the Chatsworth archives, and a number of watercolours by Siberechts exist showing views of Derbyshire near Chatsworth.
His view of Beeley near Chatsworth of 1699, which shows the meeting of the rivers Derwent and Wye, is in The British Museum.
Chatsworth’s Curator of Fine Art, Charles Noble advised the Directors of the Chatsworth House Trust said, “I am absolutely thrilled to have been a part of this acquisition from a leading landscape artist working in England at the turn of the eighteenth century. It is of historical importance both in art and to Chatsworth.”
Exhibition | Cross-Pollination
Dish from Chelsea Porcelain Factory, ca.1760; glazed porcelain with enamel; approximately 10 × 8 inches (Saint Louis Art Museum, Gift of Melanie Redler from the collection of Dr. and Mrs. Irving Redler, 188:2015).
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Opening next month at the Saint Louis Art Museum (along with Reigning Men: Fashion in Menswear, 1715–2015, which was previously on view in Los Angeles and Sydney) . . .
Cross-Pollination: Flowers in 18th-Century European Porcelain and Textiles
Saint Louis Art Museum, 26 May — 26 November 2017
Curated by Genevieve Cortinovis
Intoxicated by scientific discovery, the fervor for natural science, particularly botany, reached new heights in 18th-century Europe. Botanical gardens and nurseries flourished, as did expertly illustrated albums describing flora and fauna of the Old and New World in tantalizing detail. Naturalism triumphed across the decorative arts, but especially in textiles and porcelain, where the media’s vibrant colors and painterly effects allowed for particularly artful and accurate botanical imagery.
The exhibition will feature a number of artworks never before exhibited at the Museum. Outstanding recent acquisitions include a rare silk damask by the English textile designer Anna Maria Garthwaite and an exceptional porcelain tureen and stand from a little-known Meissen dinner service. Two mid-18th-century dresses made of exquisite floral silk will be presented alongside recent gifts of Chelsea porcelain delicately painted with sprays of lilies, roses, and violets.
Cross-Pollination also examines potential sources for floral imagery by presenting rare illustrated books and plant specimens on loan from the Missouri Botanical Garden. The result is an interdisciplinary look at the dialogue between fashionable goods, nature, and natural science in the 18th century.
Cross-Pollination is curated by Genevieve Cortinovis, assistant curator of decorative arts and design at the Saint Louis Art Museum.
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