New Book | Tiepolo’s Pictorial Imagination
The Second Annual Thaw Lecture presented by William Barcham in May 2016 at The Morgan Library & Museum is now available in print from the museum’s shop:
William Barcham, Tiepolo’s Pictorial Imagination: Drawings for Palazzo Clerici (New York: The Morgan Library & Museum, 2017), 63 pages, ISBN: 9780875981819, $17.
In 1740 Giambattista Tiepolo completed his grand ceiling fresco for the Gallery of Palazzo Clerici, Milan. Unlike his previous ceilings, this was a long gallery that could not be seen in its entirety from a single viewpoint; instead, the ceiling unrolls overhead in a scroll-like manner as visitors pass down the long Gallery. A large group of preparatory studies survives for the ceiling, and these permit us to consider how Tiepolo responded to this daunting assignment and produced a series of interrelated figure groups to decorate the vault. Nearly all today at the Morgan Library & Museum and the Metropolitan Museum of Art in New York and the Museo Horne in Florence, these drawings have long been recognized as studies for the ceiling, but never before has there been a sustained attempt to trace Tiepolo’s creative process through the dozens of sheets. William Barcham’s study of the Clerici drawings thus offers new perspectives not only on the Clerici ceiling but more broadly on Tiepolo’s pictorial imagination and inventive genius.
Queen’s House Lecture Series: Remarkable Women
From Royal Museums Greenwich:
Queen’s House Lecture Series: Remarkable Women
Queen’s House, Greenwich, Thursdays in March 2018
Hear about the lives of five remarkable women through our Queen’s House lecture series this National Women’s History Month. Spanning the Elizabethan and Victorian Ages, follow the lives of five extraordinary women: matriarch and entrepreneur Bess of Hardwick, poet and writer Lady Mary Wortley Montagu, local Deptford businesswoman Mary Slade, antiquarian collector Sarah Sophia Banks, and the world traveller Annie Russell-Cotes. Thursdays in March, 10.30–12.30, £8 (concession £6), Orangery & South Parlours.
1 March
Christine Riding (Royal Museums Greenwich) — Lady Mary Wortley Montagu
8 March
Arlene Leis — Sarah Sophia Banks (1744–1818): A ‘Truly Interesting Collection of Visitor Cards and Co.’
15 March
David Taylor (National Trust) — Exalting the Divine: Bess of Hardwick’s Picture Collection at Hardwick Hall
22 March
Margarette Lincoln — Mary Slade and Working Women in Eighteenth-Century Deptford
29 March
Amy Miller — Annie Russell-Cotes
Urban History, February 2018
The eighteenth century in the latest issue of Urban History:
Urban History 45 (February 2018)
A R T I C L E S
Matthew Jenkins, “The View from the Street: The Landscape of Polite Shopping in Georgian York,” pp. 26–48.
Shopping during the eighteenth century is increasingly viewed by scholars as an important leisure activity and an integral part of wider schemes of urban improvement. However, the physical evidence in the form of standing buildings is rarely considered. This article will demonstrate how a detailed examination and reconstruction of the urban landscape of York can illuminate how these practices were performed. The use of building biographies also allows owners to be identified and linked with specific shop types and surviving fabric. This enables exploration of how the physical environment influenced perceptions of the streetscape and the experience of interior retail space.
David Gilks, “The Fountain of the Innocents and Its Place in the Paris Cityscape, 1549–1788,” pp. 49–73.
This article analyses how the Fountain of the Innocents appeared and also how it was used and perceived as part of the Paris cityscape. In the 1780s, the plan to transform the Holy Innocents’ Cemetery into a market cast doubt on the Fountain’s future; earlier perceptions now shaped discussions over reusing it as part of the transformed quarter. The article documents how the Fountain was dismantled in 1787 and re-created the following year according to a new design, explaining why it was created in this form. Finally, the article considers what contemporary reactions to the remade Fountain reveal about attitudes toward the authenticity of urban monuments before the establishment of heritage institutions and societies.
Boris Stepanov and Natalia Samutina, “An Eighteenth-Century Theme Park: Museum-Reserve Tsaritsyno (Moscow) and the Public Culture of the Post-Soviet Metropolis,” pp. 74–99.
The article discusses the dramatic history of the Tsaritsyno Park and museum-reserve. By the mid-2000s, it had become one of Moscow’s iconic places and a zone where urban public culture was shaped. The authors trace the history of this architectural ensemble and park in terms of their role in сity culture and analyse changes in the historical culture of contemporary post-Soviet Moscow. The Tsaritsyno Park and museum exemplify these changes. An unfinished country residence of Catherine II, with a Grand Palace that had stood as a ruin for over 200 years, it has been radically renewed by the Moscow city authorities in what came to be labelled ‘fantasy restoration’. The palace was finished and now serves as the core of the museum, organized according to a controversial historical policy. Tsaritsyno as a whole became a cultural oddity featuring historical attractions for the public, effectively an ‘eighteenth-century theme park’.
Study Day | Pots, Prints & Politics: Ceramics with an Agenda
From the programme:
Pots, Prints, and Politics: Ceramics with an Agenda
The British Museum, London, 16 February 2018
Creamware Mug, Staffordhire, ca. 1803 (London: The British Museum).
Join British Museum curators from the Departments of Asia, Prints and Drawings, and Britain, Europe, and Prehistory in this one-day study day—held in conjunction with the exhibition Pots with Attitude: British Satire on Ceramics, 1760–1830—addressing historical and modern ceramics that have political and other messages, which have been inspired by prints and printmaking.
Since the introduction of paper and woodblock printing in China around AD 600, through to the invention of woodcuts printed on paper and the printing press in Germany in the 15th century, the print medium has been used around the world to disseminate ideas and knowledge. Ceramic artists across time and cultures have adapted these graphic sources as painted or transfer-printed images applied onto glazed or unglazed surfaces to express issues including piety, propaganda, self-promotion, gender, national, and regional identities.
This study day is open to all and will draw on the over 500,000 records catalogued by the Prints and Drawing department, which can be searched on the British Museum’s collection online. Stevenson Lecture Theatre, British Museum, Friday, 16 February 2018; £15 / £12.50 concessions. Book online here.
P R O G R A M M E
9:30 Registration
10:00 Session A
• Patricia Ferguson (Project Curator, Monument Trust, 18th-Century Prints and Ceramics, Britain, Europe and Prehistory, and Prints and Drawings), Introduction
• Yu-ping Luk (Curator: Chinese Paintings Prints and Central Asia, Asia), Woodblock Prints and Images on Ceramics in China: Some 14th- to 17th-Century Examples
• Dora Thornton (Curator: Renaissance Collection, Waddesdon Bequest, Britain, Europe and Prehistory), ‘Take Note’: Looking at Italian Renaissance Potters, Printmaking, and Politics through the Lens of the British Museum Collection
11:00 Coffee Break
11:30 Session B
• Eloise Donnelly (Collaborative Doctoral Award Student, Britain, Europe and Prehistory), Prints, Pots, and Protestantism: The Thomas Collection of German Stoneware
• Jessica Harrison-Hall (Curator: Chinese Ceramics, Percival David, Asia), Shameless Self-Promotion? European Eighteenth-Century Prints and Chinese Pots
12:30 Lunch — available for purchase in the Museum cafes
14:00 Session C
• Sheila O’Connell (Former Curator, British Prints, Prints and Drawings), Jefferyes Hamett O’Neale (fl.1750–1801): Pots and Prints
• Patricia Ferguson (Project Curator, Monument Trust), Spode and the French Invasion Scare: Profiteering or Propaganda?
• Antony Griffiths (Former Keeper, Department of Prints and Drawings), Thoughts on Prints and Pots: Beyond Politics
15:15 Coffee Break
15:45 Session D
• Mary Ginsberg (Research Fellow, Asia), Appropriated Heroes: Prints, Pots, and Politics in Revolutionary China
• Eleanor Hyun (Curator, Korean Collections, Asia), Circulating Images: North Korean Pots and Prints
16:30 Tour of Pots with Attitude: British Satire on Ceramics, 1760–1830, in Room 90a.
Call for Papers | Artistic Mobility and Exchange in Eastern Europe
From the posting at H-ArtHist, which also includes the German and Polish versions:
Routes and Contact Zones: Artistic Mobility and Exchange in Central Eastern and North Eastern Europe from the Middle Ages to the Present
Munich, 11–13 October 2018
Proposals due by 5 March 2018
The mobility of people, objects, and ideas determined the art scene in Central Eastern and North Eastern Europe for centuries and promoted transregional exchange. In contrast, art historiography in the countries of these regions has long been influenced by nationally defined political concepts that posit clearly distinct cultural developments. If, however, art is understood as a product of cross-border, transcultural exchange, then any scholarly investigation must also consider the transfer routes and the meeting places found along them.
Trade routes by sea and by land and the networks of rail and contemporary airlines all continue to promote artistic exchange. They provide the infrastructure for the mobility not only of different actors (artists, art patrons, art dealers), but also of works of art and materials and indeed of ideas, fashions, technologies, and knowledge. Some of these road networks have developed into permanent routes of cross-border artistic communication with fixed stations, where, for example, the art trade is concentrated. However, actors and objects have not always been able to operate on the tried and tested paths: mobility and communication have been temporarily hampered by war, by political or natural blockades; the search for alternatives has then sometimes led to the emergence of new places of exchange and to a shifting of the relationship between the ‘center’ and the ‘periphery’.
This network, which is both geographical and communicative, carries the movements of both artists and works of art, and the nodes at which its transregional exchanges are concentrated play a key role. Commercial and residential cities, royal and noble courts, the offices of merchants, the studios of artists, academies, the salons of the intellectual elites, museums, galleries, and art dealer depots act in very different ways as contact zones for the arts. As such, they inspire transregional and transnational collaborations and the exchange of artistic ideas and models, as well as the transfer of knowledge, materials and techniques, and contribute to the emergence of new, hybrid artistic creations that reflect the diversity of cultures involved in their genesis. However, contact zones can also become the scene of conflict and competition between foreign and domestic artists or between various interest groups. The map of these meeting places can moreover vary according to alterations in social and economic conditions, which are in turn reflected in the changing patterns of transnational cultural transfers in space and over time.
The conference will focus on both the well-known and the hitherto less well-researched routes that led to and into Central-Eastern and North-Eastern Europe and which contributed to artistic mobility. Several questions arise: Which (infra)structures, actors and personal networks support mobility and the consequent transnational communication, and which ones block them? Which traditional methods (e.g. qualitative, source-based case analysis) and innovative methods (e.g. quantitative, computer assisted geovisualisation and network analysis) can provide new insights into the pathways of artistic transfer?
In addition to the well-known names (e.g. Prague, Krakow, Vilnius), we shall examine the hitherto less explored loci of artistic exchange in Central-Eastern and North-Eastern Europe, and question formerly dominant perspectives on ‘centers’ and ‘peripheries’. Both case studies and comparative studies documenting and analyzing the exchange processes and their impact on art production are welcome. In addition, attention should be paid not only to the traditional main actors of the art scene (artist, client), but also to the seemingly secondary ‘supporting actors’, such as merchants, material suppliers, (art) agents and dealers, or curators.
Although the geographical focus of the conference is on Central-Eastern and North-Eastern Europe, transregional perspectives addressing artistic exchange of these regions with / in other art centers within and beyond Europe are very welcome. The historical framework—from the Middle Ages to the present day—is deliberately broad to encourage synchronous and diachronic comparisons.
The 26th session of the Working Group of German and Polish Art Historians and Conservators, also designated the Homburger Colloquy of the Böckler-Mare-Balticum Foundation (Bad Homburg), is organized by the Institute of Art History of the Ludwig-Maximilian-University in Munich at the Central Institute for Art History in Munich.
Conference languages are German and English. In addition to the 20-minute papers, the format of the so-called information forum provides an opportunity for briefer, 10-minute presentations of current individual or institutional research projects on art history and monument preservation dealing with topics of cultural heritage in Central-Eastern and North-Eastern Europe.
Please send in your proposal of paper or short presentation (max. 2000 characters), together with a short CV (max 1000 characters) by 5 March 2018. Please include both your email and postal address, as well as information on your current affiliation, to Prof. Dr. Aleksandra Lipinska, Institut für Kunstgeschichte, LMU München, aleksandra.lipinska@kunstgeschichte.uni-muenchen.de.
Programme Committee
Aleksandra Lipińska, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität München
Ulrike Nürnberger, Böckler-Mare-Balticum-Stiftung, Bad Homburg v.d. Höhe
Beate Störtkuhl, Arbeitskreis deutscher und polnischer Kunsthistoriker und Denkmalpfleger
New Book | The Académie Royale de Peinture et de Sculpture
From Getty Publications, comes this English translation of the 2012 French edition:
Christian Michel, The Académie Royale de Peinture et de Sculpture: The Birth of the French School, 1648–1793, translated by Chris Miller (Los Angeles: Getty Research Institute, 2018), 424 pages, ISBN: 978 160606 5358, $75.
The Académie Royale de Peinture et de Sculpture (French Academy of Painting and Sculpture)—perhaps the single most influential art institution in history—governed the arts in France for more than 150 years, from its founding in 1648 until its abolition in 1793. Christian Michel’s sweeping study presents an authoritative, in-depth analysis of the Académie’s history and legacy.
The Académie Royale assembled nearly all of the important French artists working at the time, maintained a virtual monopoly on teaching and exhibitions, enjoyed a priority in obtaining royal commissions, and deeply influenced the artistic landscape in France. Yet the institution remains little understood today: all commentary on it, during its existence and since its abolition, is based on prejudices, both favorable and critical, that have shaped the way the institution has been appraised. This book takes a different approach. Rather than judging the Academie Royale, Michel unravels existing critical discourse to consider the nuances and complexities of the academy’s history, reexamining its goals, the shifting power dynamics both within the institution and in the larger political landscape, and its relationship with other French academies and guilds.
Christian Michel is professor of art history at the Université de Lausanne.
Exhibition | Marie-Antoinette’s Japanese Lacquer
On view this year at the Getty Center:
A Queen’s Treasure from Versailles: Marie-Antoinette’s Japanese Lacquer
J. Paul Getty Museum, Los Angeles, 23 January 2018 — 6 January 2019
Curated by Jeffrey Weaver
Hen-shaped Tiered Box, Edo Period, late 17th–mid-18th century, artist unknown, lacquer (Musée National des Châteaux de Versailles et de Trianon; photo by Thierry Ollivier).
This exhibition showcases Japanese lacquer from the private collection of the French queen Marie-Antoinette. Her collection of small lacquer boxes was one of the finest in Europe, and she considered it to be among her most cherished possessions. The elaborate works reveal the queen’s personal taste and demonstrate the high level of achievement attained by Japanese lacquer artists during the 17th and 18th centuries.
The loan of the boxes is part of an artistic exchange between the J. Paul Getty Museum and Versailles, where an important desk made for Louis XVI from the Museum’s collection is currently on long-term loan.
Exhibition | Finding Form
Press release for the exhibition now on view at the Getty Center:
Finding Form
J. Paul Getty Museum, Los Angeles, 12 December 2017 — 11 February 2018
Curated by Annie Correll and Julian Brooks
Pierre-Paul Prud’hon, Head of a Woman: Study for The Happy Mother (L’Heureuse mère), 1810, black and white chalk, stumped, on blue paper (Los Angeles: The J. Paul Getty Museum).
From two-dimensional sheets of paper, artists conjure three-dimensional worlds. Even the simplest sketch can yield an arresting impression of presence in the hands of a master, and close examination of a drawing often reveals hidden layers of creativity and complexity. Featuring celebrated works from the 1500s to the 1800s, all from the Getty Museum’s drawings collection, Finding Form, on view now through 11 February 2018, demonstrates how artists skillfully select from a vast array of media and techniques to best generate form, likeness, and depth in creating a drawing.
“The immediacy of drawing brings us into direct contact with the creative process as we seem to peer over the artist’s shoulder,” says Getty Museum Director Timothy Potts. “This display of a wide range of master drawings from our collection focuses on the seeming magic of creating an image of three-dimensional reality on a two-dimensional surface, and the various techniques artists use to convey the effects of light and shadow on our ‘reading’ of form.”
Works in the exhibition reveal how artists utilized media such as chalk, ink, and different pens to yield form. In Study of a Rearing Horse (about 1616), where the artist Jacques Callot was faced with the difficult task of showing a dramatically foreshortened horse from behind, he made initial quick sketches with a quill pen (made from a bird’s feather), then added more forceful strokes with a reed pen (made from a reed), which produces lines that more easily swell and taper with the pressure of the artist’s hand.
Watercolor can produce transparent, luminous effects that are well suited to conveying the impression of weather. As the mist dissolves and sunshine breaks through scattering rain clouds in Mount Snowdon through Clearing Clouds (1857) by Alfred Hunt, the mountains dematerialize and reappear within the shifting effects of light and shadow. Hunt used the medium of watercolor and the techniques of blotting, rubbing, and scraping to capture brilliantly these atmospheric conditions.
“I find it fascinating to see how—over the centuries—artists have used all the techniques at their disposal to create different realities on each sheet,” says Julian Brooks, senior curator of drawings. “We always provide magnifying glasses in our displays, and—just by looking closely—anyone can gain entry into a rich variety of other worlds.”
In The Archangel Raphael Refusing Tobias’s Gift, Giovanni Biliverti explored the full potential of red chalk, a classic Florentine medium used widely since the Renaissance. While some forms were created with traditional strokes, to render smoke and ruffled drapery the chalk was ground to a powder and mixed with water to produce translucent effects. A new acquisition, the drawing is one of the finest by the artist.
Finding Form, is curated by Annie Correll, former graduate intern in the department of Drawings, and Julian Brooks, senior curator of drawings at the J. Paul Getty Museum.
Call for Papers | (Re-)Forming Sculpture
Installation view of Lynda Benglis at The Hepworth Wakefield, 6 February – 1 July 2015
Courtesy the artist and Cheim & Read, New York
◊ ◊ ◊ ◊ ◊
From the Association for Art History:
(Re-)Forming Sculpture
University of Leeds and The Hepworth Wakefield, 26–27 June 2018
Proposals due by 16 March 2018
Call for Papers for the Association for Art History’s 2-day Summer Symposium organised by the Doctoral and Early Career Research Network.
Keynote Speakers
• Martina Droth, Deputy Director of Research, Exhibitions, and Publications | Curator of Sculpture, Yale Center for British Art
• Rebecca Wade, Assistant Curator (Sculpture), Leeds Museums and Galleries, based at the Henry Moore Institute
This Association for Art History Summer Symposium is a two-day annual conference which will highlight current doctoral and early career research in the field of sculpture, within its widest art historical remits. Held between the School of Fine Art, History of Art and Cultural Studies at the University of Leeds, and The Hepworth Wakefield, this conference hopes to unite the academic and curatorial disciplines of sculptural studies. As a socio-cultural space Leeds is celebrated for the study, production and display of sculpture. Artists such as Henry Moore and Barbara Hepworth shared a gratitude to Leeds as a place of noteworthy influence on their work, and succeeded in leaving behind a significant legacy. A sustained interest in sculptural studies has continued, demonstrated by the formation of the Henry Moore Institute as the Henry Moore Centre for the Study of Sculpture within Leeds City Art Gallery in 1982, alongside associated initiatives including the Henry Moore Sculpture Studio, Dean Clough (1989), and the MA in Sculpture Studies at University of Leeds in 1990. In more recent times, 2011 witnessed the opening of the The Hepworth Wakefield, and in 2013 a partnership of the Sculpture Triangle was established between the Henry Moore Institute, Leeds Art Gallery, The Hepworth Wakefield and Yorkshire Sculpture Park.
Looking to the future, how can we best reconcile sculptural, scholarly, and curatorial practices, within Britain and further afield? This conference aims to continue to re-form previous narratives that have focused on monumental, figurative and free-standing sculpture, created in traditional ‘higher’ materials of plaster, marble, or bronze. Increased and expanded research around sculpture is embracing a re-thinking of materiality, aesthetics, the role played by gender and identity, and its nature as a critical form of representation. Since a shift towards more conceptual art practices in the 1960s onwards, and the associated opening up of medium categories and critique of the high modernist art object, scholarship has reassessed previous assumptions of what constitutes sculpture, influenced by Rosalind Krauss’s seminal work “Sculpture in the Expanded Field” (1979). Moreover, scholars have concentrated on the rethinking of the sculptural object, its siting and context, with Alex Potts’s phenomenological study of sculpture from the eighteenth to the twentieth century, The Sculptural Imagination: Figurative, Modernist, Minimalist (2000), and more recently in Penelope Curtis’s exhibition Sculpture in Painting (2009) at the Henry Moore Institute. Additionally, scholarship has taken into account the intersections between sculpture and the decorative arts, as demonstrated by the exhibition organized by Martina Droth between the Henry Moore Institute and the J. Paul Getty Museum entitled Taking Shape: Finding Sculpture in the Decorative Arts (2008–09). Considering the sculptural aspects inherent within painting, architecture, decorative arts, photography, and film, how might we think differently about sculpture as an art historical category in its own right? For example, how do wider notions of sculpture and its relationship with other art forms intersect with discourses relating to histories of collecting, display and place-making? How best can sculpture be re-formed (re-thought?) within academic and curatorial disciplines?
In light of these questions, this conference hopes to re-consider the boundaries and hierarchies of sculpture within art history and visual culture, broadening how it is understood in terms of its medium, form, materiality, and cultural significance. We welcome proposals for 20-minute papers which explore these themes or which address any other aspect of re-forming sculpture, from antiquity to the modern day. The Summer Symposium is organised by the Association for Art History’s Doctoral and Early Career Research Network. The 2018 organisers are Caroline McCaffrey-Howarth (University of Leeds) and Clare Nadal (University of Huddersfield/ The Hepworth Wakefield).
Topics can include but are not limited to
• The significance and legacies of sculptural heritage in Leeds and Yorkshire
• Hierarchies of sculpture as an art historical category
• Sculptural aspects of decorative arts, architecture, photography, painting, and film
• Non-traditional mediums for sculpture, e.g. porcelain, 3-d printing, light or digital sculpture, ephemeral or recycled material, such as dissolving clay, etc
• Histories of collecting or displaying sculpture
• Formations of private or public sculpture collections
• How sculpture is curated or framed in the modern museum or within an outdoor environment
• Practice-led or practice-based approaches to sculpture
To propose a paper, please send a Word document with your contact information, paper title, an abstract of 300 words, and a short biographical note. The submission of abstract is open to current doctoral researchers and early career researchers within 3 years of receiving their doctorate. Proposals should be sent to reformsculptureforarthistory@gmail.com by 16 March 2018.
Call for Papers | Digital Humanities for Academic and Curatorial Practice
Call for Papers from the Rome Art History Network (RAHN). . .
Digital Humanities for Academic and Curatorial Practice / per la pratica accademica e curatoriale
Biblioteca Angelica di Roma and the American Academy in Rome, 23–24 May 2018
Proposals due by 1 March 2018
The digital humanities have challenged all disciplines of art history to engage with new interdisciplinary methodologies, learn new tools, and re-evaluate their role within academia. In consequence, art historians occupy a new position in relation to the object of study. Museums have been equally transformed. The possibilities of creating virtual realities for lost/inaccessible monuments poses a new relationship between viewer and object in gallery spaces. Digital humanities interventions in museums even allow us to preserve the memory of endangered global heritage sites which cease to exist or are inaccessible (celebrated examples including the lost Great Arch of Palmyra reconstructed with a 3D printer). Curatorial practices are now trending towards a sensorial and experiential approach.
Is the role of digital humanities—in academic as well in museum settings—to ‘reveal’ the object itself, through empirical display of extant material, or to ‘reconstruct’ something of the original experience of the object to engage spectators? Can we propose a reconciliation between these two ‘poles’?
The Sixth International Day of Doctoral Studies promoted by RAHN aims to investigate the role of digital humanities by promoting a dialogue between the protection of cultural heritage sites, museology, the history of art, and the digitalization of ‘big data’. We are accepting papers that engage with particular dimensions of the dichotomy between ‘Revealing’ and ‘Reconstructing.’ Possible topics include
• How can the Digital Humanities preserve our global heritage?
• Do Digital Humanities interventions make historical material more accessible to non- specialists?
• What are the moral obligations of the Digital Humanities within the museum context?
• How is Digital Humanities changing the practice of Art History? Do they provide a more empirical alternative to connoisseur/style-based approaches? The call for papers is open to art and architectural history graduate students and those working in the field of Digital Humanities.
We invite candidates to submit 15-minute reports that, by means of study cases or theoretical observations, point to the centre of this methodological practice. The conference will take place in Italian and English, and papers will be accepted in both languages. Proposals must be submitted in abstract form (up to 400 words) together with a short CV (max. one page) by the 1st of March to romearthistorynetwork@gmail.com. The conference will take place on the 23rd and 24th of May 2018 at the Biblioteca Angelica di Roma and American Academy in Rome.
Curated by Angelica Federici (Rome Art History Network / University of Cambridge) and Joseph Williams (American Academy in Rome / Duke University)
Coordinated by Matteo Piccioni (Rome Art History Network/ Sapienza Università di Roma )
Previous Editions
• In situ / Ex situ: L’arte di esporre l’arte: relazioni nel contesto spaziale tra arte e architettura (27–28 April 2017)
• Now or (n)ever: I tempi dell’opera: temi, teorie e metodi nella storia dell’arte (28–29 April 2016)
• Tra assenza e presenza: Opere perdute e frammentarie (19–20 March 2015)
• Sopravvalutata, sacrosanta, scandalosa? La figura dell’artista nella storia dell’arte oggi (3–4 April 2014)
• La storia dell’arte tra scienza e dilettantismo: Metodi e percorsi (24 April 2012)
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