From the NGA:
America Collects Eighteenth-Century French Painting
National Gallery of Art, Washington, D.C., 21 May — 20 August 2017
When Joseph Bonaparte, elder brother of Napoleon, arrived in the United States in 1815, he brought with him his exquisite collection of eighteenth-century French paintings. Put on public view, the works caused a sensation, and a new American taste for French art was born. Over the decades, appreciation of French eighteenth-century art has fluctuated between preference for the alluring decorative canvases of rococo artists such as François Boucher and Jean Honoré Fragonard to admiration for the sober neoclassicism championed by Jacques Louis David and his pupils. This exhibition brings together sixty-eight paintings that represent some of the best and most unusual examples of French art of that era held by American museums and tells their stories on a national stage: Who were the collectors, curators, museum directors and dealers responsible for bringing eighteenth-century French painting to America? Where are the paintings now?
The exhibition highlights smaller museum collections, less well-known paintings, and diverse locations across the United States, from Pittsburgh and Indianapolis to Birmingham and Phoenix. It considers eighteenth-century America’s very real fascination with France—a staunch ally in the American Revolution, an intellectual model for Benjamin Franklin, Thomas Jefferson, and other Americans abroad—and how the cultural ideal of eighteenth-century France has continued to endure in the American imagination to this day.
Yuriko Jackall et al, America Collects Eighteenth-Century French Painting (London: Lund Humphries, 2017), 304 pages, ISBN: 978 18482 22342, £50.
Image: Joseph Ducreux, Le Discret, ca. 1791, oil on aluminum, transferred from canvas (Lawrence: Spencer Museum of Art, University of Kansas).
From the conference programme:
The Royal Palace in the Europe of Revolutions, 1750–1850
Palais Royaux dans l’Europe des Révolutions
Institut national d’histoire de l’art, Paris, 27–28 April 2017
Organized by Basile Baudez and Adrián Almoguera
Since the publication of Nikolaus Pevsner’s History of Building Types in 1976, architectural historians have been alert to the importance of typologies for rethinking their discipline. As analyzed by Werner Szambien or Jacques Lucan, thinking through types allowed for the articulation of concepts of convenance, character and composition in both public and private commissions. Along with metropolitan churches and royal basilicas, in ancien régime Europe princely palaces represented the most prestigious program an architect could expect. For a period in which the divine right of kings was being called into question, however, what happened to the physical structures of royal or princely power, symbol of political authority and dynastic seats? Did the national models of the Escorial, Versailles, Het Loo, or Saint James palaces still hold, even in light of new models made available through the publication of archeological discoveries in Rome or Split? The second half of the eighteenth and first half of the nineteenth century represent a moment of intense construction or reconstruction of the principal European palaces, from Caserta to Buckingham Palace, Saint-Petersburg to Lisbon, Versailles to Coblenz. This trend, addressed by Percier and Fontaine in their Résidences des souverains de France, d’Allemagne, de Russie, etc. (1833), took place in a Europe that was undergoing political developments that altogether changed the nature and symbolic structure of princely power.
This symposium, focused on Europe from roughly 1750 to 1850, aims to interrogate the manner in which architects and their patrons integrated the changing concepts of character in architecture and symbolic place of dynastic palaces, reconciling them with theory and/or practice through rethinking issues of distribution, construction, environmental situation, décor, function, reuse of interpretations of printed or drawn sources.
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10.00 Basile Baudez (Université Paris-Sorbonne), Reconstruire Versailles, de Louis XV à Louis-Philippe
10.30 Francesco Guidoboni (Université Paris 1 Panthéon-Sorbonne) et Pierre Geoffroy (Université Paris-Sorbonne), Napoléon Ier empereur ou citoyen? Du choix de la résidence privée du souverain
11.15 Fabien Passavy (architecte du patrimoine, Versailles), Au service de la nouvelle élite au tournant du siècle: les cas des hôtels de Bourrienne et de Beauharnais
12.00 Mathieu Caron (Université Paris-Sorbonne), La France en ses meubles: Une symbolique du décor dans les palais du Domaine étranger (Italie, Belgique, Hollande) de l’an X à 1815
14.00 Guillaume Nicoud (Archivio del Moderno, Accademia di Architettura Università della Svizzera italiana), Fastes, étiquette et collection: regard croisé sur la nécessaire transformation des complexes palatiaux des Tuileries et du Louvre, du palais d’Hiver et de l’Ermitage vers 1800
14.30 Elizaveta Renne (Musée de l’Ermitage, Saint-Pétersbourg), The Chesma Palace in St. Petersburg and Catherine II’s Shifting Political Ambitions
15.30 Delfín Rodríguez (Universidad Complutense de Madrid), Théories et typologies de l’idée de palais royal dans la culture espagnole du XVIIIe siècle: histoire d’un conflit artistique et politique
16.15 Adrián Almoguera (Université Paris-Sorbonne), Le Palais du roi au temps de l’empereur: réflexions sur le Palacio Nuevo de Madrid
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10.00 Susanna Pasquali (Università di Roma La Sapienza), Nouvelles façades pour un palais trop sévère: projets inédits de Raffaele Stern pour le Palais Impérial de Rome, 1811–14
10.30 Ludovica Cappelletti (Politecnico di Milano), Towards a Modern Imperial Palace: The Ducal Palace of Mantua in the Eighteenth Century
11.15 Paolo Cornaglia (Politecnico di Torino), La forteresse et le palais: Plusieurs projets pour la dynastie de Savoie dans une ville juste annexée et hostile après la tempête napoléonienne 1818–25
12.00 Alba Irollo (chercheur indépendant), Changements de goût et d’étiquette: les souverains français et les palais royaux des Bourbons de Naples
14.00 Pablo Vázquez Gestal (Université Paris-Sorbonne), Pour le roi, pour l’État: Caserte et Charles de Bourbon
14.30 Dirk Van de Vijver (Université d’Utrecht), Le projet de Barnabbé Guimard pour un palais à Bruxelles vers 1768
15.00 Nilay Ozlu (Bogazici University, Istanboul), Showcases of Modernity in the Age of Reforms: Nineteenth-Century Ottoman Palaces of Istanbul
Celebrating Female Agency in the Arts
Christie’s Education New York, 26–27 June 2018
Proposals due by 15 July 2017
Following the success of the 250-anniversary conference held in London in July 2016, Christie’s Education is organizing its second academic conference on the theme of women in the arts. The conference will take place at Christie’s, 20 Rockefeller Plaza in New York on Tuesday June 26th and Wednesday June 27th 2018.
From Antiquity to today, women have always played a significant role in the arts and their markets. With this call for sessions, we welcome proposals coming from a wide range of disciplines that would consider women’s diverse contributions to the arts from a transnational and transhistorical perspective. We hope that the sessions will reflect the global and historical diversity of the issues at stake.
This conference is not advocating for a separate history nor an alternative history of art and its markets, but rather we want to look at the central role played by women in the creation, development, support and preservation of the arts and, also how their contribution has changed over time. Sessions should consider globally and throughout history women as artists, patrons and collectors of art and architecture, dealers and brokers, art historians and art critics as well as curators and preservers of culture. From the presence of women in emerging and established art centers to historical aristocratic patronage and back in time to the medieval period and antiquity we hope that the sessions will investigate a diverse range of topics.
We encourage academics across disciplines and art professionals to submit proposals for individual sessions. Sessions will be 115 (4 x 20 minute papers) or 90 minutes (3 x 20 minute papers) in length. Please send a 250/300-word abstract to Dr. Cecily Hennessy (firstname.lastname@example.org) and Dr. Véronique Chagnon-Burke (email@example.com) by July 15th 2017. We look forward to receiving your proposal.