Symposium | Beautiful Sciences: Collecting under Joseph II
From H-ArtHist with additional information available from ÖAW and the programme:
Schöne Wissenschaften: Sammeln, Ordnen und Präsentieren unter Kaiser Joseph II
Österreichische Akademie der Wissenschaften (ÖAW), Vienna, 19–20 June 2017
Registration due by 14 June 2017
Anatomical wax models, Josephinum, Vienna (Photo: Michael Nagl).
Beautiful Sciences focuses on the collections under Emperor Joseph II (1741–1790) and makes them the entry point to a far-reaching analysis of their history and of how they were understood scientifically and by the public in late eighteenth-century Vienna. Historical art and scientific collections will be discussed, as well as their interconnected systems of systematization and organization. This interdisciplinary conference will explore how these various disciplines approach parallel contents, times, and places through their different methodical approaches and in their respective fields. From the perspective of collecting, organizing, and presenting, we will examine the extent to which the Josephine collections concentrate the ideas of the Enlightenment and translate them into practice, spread and popularise them, and thus turn them into places of knowledge and learning. Such a process was exemplary for the paradigm change emerging at that time, one that is still active today.
Konzept und Organisation: Nora Fischer und Anna Mader-Kratky
Anmeldung bis 14. Juni 2017 unter: kunstgeschichte@oeaw.ac.at
Kontakt: anna.mader@oeaw.ac.at, nora.fischer@oeaw.ac.at
M O N T A G , 1 9 J U N I 2 0 1 7
13.30 Werner Telesko (Direktor des Instituts für kunst- und musikhistorische Forschungen der ÖAW), Begrüßung
Nora Fischer (Wien), Einführung
14.00 Die Sammlungen: Konstitutionen von Wirklichkeiten und Wissensformen
Moderation: Gudrun Swoboda (Wien)
• Christa Riedl-Dorn (Wien), „Ordnung muss sein“ – Von der Naturaliensammlung zu den „Vereinigten k.k. Naturalien-Cabineten“
• Anna Maerker (London), „Spielwerk für Kinder“? Die Wachsmodellsammlung des Josephinums im Spiegel der Öffentlichkeit
• Bernhard Woytek (Wien), Systematische Numismatik. Wien und die Ordnung antiker Münzen im 18. und frühen 19. Jahrhundert
• Nora Fischer (Wien), Zwischen „Augenbelustigung“ und einer „dem Auge sichtbaren Geschichte der Kunst“. Zur Ordnung der kaiserlichen Galerie von 1781
18.00 Abendvortrag
Emma Spary (Cambridge), Placing Objects between Art and Nature in the Late Eighteenth-Century French Collection
D I E N S T A G , 2 0 J U N I 2 0 1 7
9:00 Betrachtungsweisen und Denksysteme
Moderation: Anna Mader-Kratky (Wien)
• Hans Christian Hönes (London), Winckelmann im Sammlungsraum. Armut macht Geschichte
• Kristine Patz (Berlin), Unter verkehrten Vorzeichen: Zur Musealisierung kunst- und naturwissenschaftlicher Sammlungen im Wechselspiel von ästhetischer Inszenierung und Wissenschaftlichkeit
• Christian Benedik (Wien), Das Primat der Wirtschaftlichkeit: Die Etablierung länderübergreifender Baunormen im staatlichen Bauwesen in der zweiten Hälfte des 18. Jahrhunderts
• Markus Krajewski (Basel), Wie ordnet sich Habsburg?
12.30 Mittagspause
14.00 Methoden und Konzepte der Präsentation und Publizität
Moderation: Werner Telesko (Wien)
• Andrea Seidler (Wien), Verwaltetes Wissen: Zum gelehrten Journalismus im Josephinischen Wien
• Thomas Wallnig (Wien), Wissen in Wien um 1780: Kontexte, Netzwerke, Institutionen
• Eva Kernbauer (Wien), Kunst als Wissensform? Martin Ferdinand Quadals Darstellung des Aktsaals der Wiener Akademie
Art History, June 2017
The eighteenth century in the current issue of Art History:
Art History 40.3 (June 2017)
A R T I C L E S
Louis-Michel Van Loo, Carle Van Loo and His Family, 1757; oil on canvas, 200 × 156 cm (Musée National du Château de Versailles).
• Emma Barker, ” ‘No Picture More Charming’: The Family Portrait in Eighteenth-Century France,” pp. 526–53.
During the eighteenth century, so it is conventionally argued, the family portrait underwent a decisive transformation. Hitherto stiff and formal, such pictures took on a new informality and intimacy in response to the rise of a new set of domestic ideals. In the case of French family portraiture, this narrative has continued to be rehearsed in a largely uncritical way. What has not been adequately grasped to date is the way that such pictures functioned to legitimate the sitters and, more particularly, the male head of the family in the eyes of an external beholder. Although sometimes commissioned by a royal or noble family in response to a dynastic crisis, they most often functioned to consolidate the social ascent of wealthy commoners. The changes that the family portrait underwent during this period are bound up with the shift of political authority away from the absolute monarch towards the public sphere.
R E V I E W S
• Michael Schreffler, Review of Ananda Cohen Suarez, Heaven, Hell, and Everything in Between: Murals of the Colonial Andes (University of Texas Press, 2016), pp. 672–74.
• T. A. Heslop, Review of Christy Anderson, Anne Dunlop, and Pamela H. Smith, eds., The Matter of Art: Materials, Practices, Cultural Logics, c. 1250–1750 (Manchester University Press, 2014), pp. 681–82.
New Book | Heaven, Hell, and Everything in Between
From University of Texas Press:
Ananda Cohen Suarez, Heaven, Hell, and Everything in Between: Murals of the Colonial Andes (Austin: University of Texas Press, 2016), 304 pages, ISBN: 978 14773 09544 (hardcover), $90 / ISBN: 978 14773 09551 (softcover), $30.
This first comprehensive English-language study of the church-wall paintings created in Peru’s Cuzco region from the sixteenth through the early nineteenth centuries unveils the complex intersections of religious artists, indigenous congregants, and colonizers.
Examining the vivid, often apocalyptic church murals of Peru from the early colonial period through the nineteenth century, Heaven, Hell, and Everything in Between explores the sociopolitical situation represented by the artists who generated these murals for rural parishes. Arguing that the murals were embedded in complex networks of trade, commerce, and the exchange of ideas between the Andes and Europe, Ananda Cohen Suarez also considers the ways in which artists and viewers worked through difficult questions of envisioning sacredness.
This study brings to light the fact that, unlike the murals of New Spain, the murals of the Andes possess few direct visual connections to a pre-Columbian painting tradition; the Incas’ preference for abstracted motifs created a problem for visually translating Catholic doctrine to indigenous congregations, as the Spaniards were unable to read Inca visual culture. Nevertheless, as Cohen Suarez demonstrates, colonial murals of the Andes can be seen as a reformulation of a long-standing artistic practice of adorning architectural spaces with images that command power and contemplation. Drawing on extensive secondary and archival sources, including account books from the churches, as well as on colonial Spanish texts, Cohen Suarez urges us to see the murals not merely as decoration or as tools of missionaries but as visual archives of the complex negotiations among empire, communities, and individuals.
C O N T E N T S
Acknowledgements
Introduction
1 The Painted Walls of the Andes: Chronology, Techniques, and Meanings
2 The Road to Hell is Paved with Flowers: Journeys to the Afterlife at the Church of Andahuaylillas
3 Clothing the Architectonic Body: Textile Murals of the Seventeenth and Eighteenth Centuries
4 Turning the Jordan River into a Pacarina: Murals of the Baptism of Christ at the Churches of Urcos and Pitumarca
5 Earthly Violence/Divine Justice: Tadeo Escalante’s Murals at the Church of Huaro
Conclusion
Notes
Bibliography
Index
Enfilade 
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