Symposium | L’art de l’Ancien Régime: Sortir du rang
From the conference programme:
L’art de l’Ancien Régime: Sortir du rang / Die Kunst des Ancien Régime: Jenseits des Kanons
Deutsches Forum für Kunstgeschichte Paris / Centre allemand d’histoire de l‘art, Paris, 14–15 June 2018
L’histoire des productions artistiques de l’Ancien Régime s’est principalement focalisée sur les grands acteurs, les « beaux-arts », les institutions les mieux documentées, Paris, d’autres capitales et les cours, pour lesquels nous disposons désormais de solides connaissances. En revanche, les artistes, œuvres, techniques et foyers qui échappent aux grands courants historiographiques restent peu étudiés, ou ont été traités sous forme d’études de cas isolées. À cette histoire de l’art « par le haut » commence à se substituer une histoire plus attentive aux acteurs secondaires, aux médiateurs, aux effets et aux modes de circulation des personnes, des objets et des savoirs. Celle-ci nous place face à d’importants défis méthodologiques, nous invitant à appréhender de nouveaux thèmes, à renouveler les approches.
Ce colloque vise à décentrer le regard sur les phénomènes artistiques de l’Ancien Régime afin de mieux saisir la complexité de la culture visuelle et matérielle de l’époque. L’attention sera portée sur les circulations artistiques et la mobilité des objets et des acteurs selon une perspective européenne et globale. À l’échelle de la France, il s’agira d’interroger la diversité des pratiques artistiques sur l’ensemble du territoire et les interactions entre « centre » et « périphérie ». La construction des savoirs artistiques sera abordée selon la dynamique des transferts entre savoirs pratiques, techniques et scientifiques. Il s’agira également d’étudier la participation du fait artistique au fait social, et de réviser les hiérarchies établies par l’historiographie concernant les acteurs des mondes de l’art. Revisiter l’histoire de l’art de l’Ancien Régime nécessite enfin une approche critique des objets : les arts « décoratifs » et les genres « mineurs » seront à examiner en rapport avec les discours théoriques, l’évolution du marché ainsi que les pratiques de collection et d’aménagement domestique comme urbain, afin de privilégier une lecture qui souligne l’importance de l’expérience vécue et des propriétés matérielles des œuvres dans les différents contextes de production et de réception.
Conception
Matthieu Creson, Pascale Cugy, Sarah Grandin, Ulrike Keuper, Thomas Kirchner, Déborah Laks, Camilla Pietrabissa, Sophie Raux, Marlen Schneider, Caroline Soppelsa, Maël Tauziède-Espariat, Sarah Ubassy-Catala, Hadrien Volle
J E U D I , 1 4 J U I N 2 0 1 8
9.00 Accueil des intervenants
9.30 Introduction, Thomas Kirchner (DFK Paris) et Sophie Raux (Université Lumière Lyon 2 – LARHRA)
10.00 1. Relocaliser l’ « Ancien Régime »
• Sarah Catala et Matthieu Creson, Introduction et modération
• Anne Lafont (EHESS, Paris), Quelle histoire de l’art africain sous l’Ancien Régime? Sources, méthodes, perspectives
• Hendrik Ziegler (Philipps-Universität Marburg), Exposer les armes de l’autre: quelques réflexions sur la présentation d’objets turcs dans les collections européennes à l’époque moderne
• Anne Perrin Khelissa et Émilie Roffidal (Laboratoire FRAMESPA UMR 5136, Université Toulouse – Jean Jaurès), Réseaux des académies d’art provinciales et dynamiques des circulations au XVIIIe siècle
12.45 Pause déjeuner
14.00 2. Dépasser les hiérarchies
• Caroline Soppelsa, Hadrien Volle, Introduction et modération
• Valérie Nègre (Université Paris 1 Panthéon-Sorbonne), Architectes et entrepreneurs: se défaire des catégories ?
• Charlotte Guichard (CNRS / ENS, Paris), L’art et la marchandise: Signer le tableau dans le Paris des Lumières
• Carl Magnusson (The Getty Research Institute / Université de Lausanne), Entre centre et périphérie: les discours sur la décoration dans la France du XVIIIe siècle
17.30 Visite dans le quartier Richelieu, Isabella di Lenardo (École Polytechnique Fédérale de Lausanne)
V E N D R E D I , 1 5 J U I N 2 0 1 8
9.30 3. (Dé)construire l’ordre social
• Ulrike Keuper, Camilla Pietrabissa, Maël Tauziède-Espariat, Introduction et modération
• Fanny Cosandey (EHESS, Paris), Reproduire et déplacer: La répétition cérémonielle, entre fixation des places et dynamiques sociales
• Melissa Hyde (University of Florida), In Recovery: Some Forgotten Women of the Académie and Beyond
• Mechthild Fend (University College London), Marguerite Le Comte’s Smile: Portrait of an Amatrice
12.15 Pause déjeuner
13.30 4. Appréhender l’objet
• Pascale Cugy et Sarah Grandin, Introduction et modération
• Peter Fuhring (Fondation Custodia, Paris), L’aiguière en jaspe sanguin du XIVe siècle et sa monture en or du XVIIIe siècle de la collection du musée Gulbenkian: l’appréciation des matériaux, du travail de l’orfèvre et du « dessein »
• David Pullins (The Frick Collection, New York), A Boucher Room: Time, Authorship, and Medium
• Katie Scott (The Courtauld Institute, London), Objects of Learning: Oppenord’s Ripa and Saint Aubin’s Pernety
16.45 Sophie Raux et boursiers du sujet annuel, Conclusion du colloque
Cocktail de clôture
Journal18, #5 Coordinates (Spring 2018)
The fifth issue of J18 is now available:
Journal18, Issue #5: Coordinates (Spring 2018)
Digital Mapping & Eighteenth-Century Visual, Material, and Built Cultures
Issue Editors: Carrie Anderson and Nancy Um
Spurred by the collection, preservation, and distribution of spatial data—practices that have both collapsed and expanded our own discursive geographies—art historians are poised to harness fully the potential of geospatial analysis for the study of visual, material, and built cultures. This issue of Journal18 features current scholarship that relies on the analytical power provided by digital mapping interfaces for the study of the long eighteenth century. As Hannah Williams shows in her article on the locations of eighteenth-century artists’ studios in Paris, georectification tools can reconcile historical figurations of space with the present urban fabric, while digital mapping applications have made it possible to visualize patterns of artists’ stasis and movement. These platforms can also show the dynamic lives of mobile and fungible objects along circuitous, and sometimes unknowable, trajectories, as discussed in Catherine Walsh’s treatment of the “unsettled” parts of Bartolomeo Ammannati’s Juno Fountain that travelled around Florence for over four hundred years. Sophie Raux has made clear the possibilities afforded by mapping the Pont Notre-Dame, enhanced by 3D architectural reconstructions that allow her to address long-standing questions about Antoine Watteau’s painting of one of its shops. The interdisciplinary team of Michael Simeone, Christopher Morris, Kenton McHenry, and Robert Markley have demonstrated how computational methods can be used to analyze large datasets drawn from historical maps of the Great Lakes, thus offering new modes of seeing that exceed the human eye’s perceptive capabilities. But, even as these articles display the possibilities opened up by mapping tools, data-driven methods, and digital technologies, each author is deeply aware of their limitations. As the essays in this issue demonstrate, computational approaches to the spatial humanities—which are marked by intellectual decisions, obstacles, and quandaries—must join rather than replace or supersede an existing toolkit of historically grounded methods that are based on critical analysis, close looking, and a deep skepticism about the transparent meaning of any image or map.
In addition to these four full-length articles, this issue contains three shorter “Compass Points,” which reflect on projects in progress or already implemented, including the legacy of the famous Nolli map of Rome, the distribution of Baroque-period continent allegories found in buildings in Germany and Austria, and a planned database of Caribbean architecture. This issue also includes a roundtable that features contributions from faculty and students who worked on Itinera, a digital project that traces historical networks of cultural mobility and travel, housed in the Visual Media Workshop at the University of Pittsburgh.
Supported by a Digital Development Award for Art History Publishing from the Association of Research Institutes in Art History (ARIAH), this issue showcases two different electronic publishing interfaces, in addition to the WordPress platform on which Journal18 is currently offered. Williams’ article is presented on Quire, a static-site publication framework that features a durable and media-rich environment with enhanced discoverability, currently under development by Getty Publications. The roundtable is presented on Scalar, developed by the Alliance for Networking Visual Culture at the University of Southern California, which facilitates non-linear, multi-vocal, and multi-modal digital presentations. Through these varied modes of output and presentation, this issue thus also engages with the ongoing question of how to best present current digital scholarship, while highlighting interactivity and integrating new modes of expression and sources of evidence.
A R T I C L E S
Artists’ Studios in Paris: Digitally Mapping the 18th-Century Art World
Hannah Williams
Unsettled Sculptures: Mapping the Afterlife of Ammannati’s Juno Fountain
Catherine Walsh
Virtual Explorations of an 18th-Century Art Market Space: Gersaint, Watteau, and the Pont Notre-Dame
Sophie Raux
The Canoe and the Superpixel: Image Analysis of the Changing Shorelines on Historical Maps of the Great Lakes
Michael Simeone, Christopher Morris, Kenton McHenry, and Robert Markley
C O M P A S S P O I N T S
A Digital Extension of a Roman Cartographic Classic: The 1748 Nolli Map and its Legacy
James Tice
Continent Allegories in the Baroque Age – A Database
Marion Romberg
R O U N D T A B L E
Itinera’s Displacements: A Roundtable
Christopher Drew Armstrong, Lily Brewer, Jennifer Donnelly, Alison Langmead, Vibeka McGyver, and Meredith North
Workshop | Digital Mapping
From Eventbrite:
Hannah Williams and Chris Sparks, Digital Mapping: Introductory Workshop
Queen Mary University of London, 2–6pm, 12 July 2018
Digital mapping technologies have led to exciting recent shifts in humanities research. Rather than treating maps as mere illustrations, historians and art historians are making spatial analysis and cartographic visualisations fundamental to their inquiries and yielding fascinating insights as a result.
Yet humanities researchers often lack technical training and can be daunted by the logistics of experimenting with digital methods. This Introductory Digital Mapping Workshop aims to provide basic skills for humanities researchers who want to get started with digital mapping. In an informal setting, we will introduce some key concepts and useful resources, and run two practical sessions to develop valuable skills for undertaking your own mapping project. By the end of the day, you will have georeferenced a historical map, started devising a project brief, and prototyped a web app.
Following the workshop, we invite you to join us for the website launch of Artists in Paris: Mapping the 18th-Century Art World, a digital mapping project by Hannah Williams and Chris Sparks, funded by The Leverhulme Trust and supported by Queen Mary University of London.
This workshop is aimed especially at early career researchers, postdocs, and PhD students in humanities disciplines, but it is open to researchers at any level. Places for the workshop are limited. If after booking you are unable to attend, please let us know so that your place can be given to someone else. After booking your place at the workshop, please email the organisers with a brief description of your research interests in digital mapping and, if applicable, some of the sources you might be using. This is only for our information in planning the workshop and will not be distributed.
Website Launch – Artists in Paris: Mapping the 18th-Century Art World
Queen Mary University of London, 12 July 2018
Join us to celebrate the launch of Artists in Paris: Mapping the 18th-Century Art World, a digital mapping project by Hannah Williams and Chris Sparks, funded by The Leverhulme Trust and supported by Queen Mary University of London. Find out more about the project with a website demo and informal discussion. Drinks and snacks will be served.
These events have been made possible with support from The Leverhulme Trust.
Symposium | Water in Historic Gardens
From H-ArtHist:
Water in Historic Gardens as an Aesthetic Category and Natural Resource
Berlin-Brandenburg Academy of Sciences and Humanities, 19 June 2018
Registration due by 13 June 2018
In historic gardens and parks, water is both an essential aesthetic category and an indispensable natural resource. Water appears in a wide range of forms: outstretched lakes, bubbling fountains, or gentle ponds. Exploring a garden from its waterways optimally complements a stroll through the grounds—something visitors still love to do up to the present day.
Historic gardens—traditionally created as a Gesamtkunstwerk, embracing architecture, architectural staffages, and monuments within a natural setting—are highly dependent on the supply of water for very different types of vegetation. Consequently, the increasing number of drought events in the growing season and extreme summer heat as well as rapidly sinking groundwater tables may seriously affect the vitality of plants and trees. Likewise, raising groundwater can also be a major threat by impeding trees to grow roots into the deeper soil, hence, losing anchorage and thus becoming more susceptible to windthrow during storms.
This international symposium provides an opportunity to discuss such impacts and possible solutions to safeguard our historic parks and gardens with experts from Eastern Europe, with special focus on their relevance and applicability to the region of Berlin-Brandenburg.
Registration is available here»
P R O G R A M M E
2.00 Christoph Markschies (Vice-President of the Academy, HU Berlin), Introduction
2.15 Session 1
• Alexandra Veselova (Russian Academy of Sciences, St. Petersburg), The Water System of the 18th-Century Garden in Bogoroditsk (Tula region)
• Andrej Reyman (St. Petersburg), Water Fantasy in the Neva Delta: A Variety of Water Devices in the Gardens of St. Petersburg, 18th–20th Centuries
4.00 Coffee break
4.25 Session 2
• M. Norton Wise (University of California, Los Angeles), On the Social Aesthetics of Water and Steam in the Landscape Gardens of 19th-Century Berlin
• Vela Portugalskaya (The State Russian Museum, St. Petersburg), Hydrosystem of the Gardens of the Russian Museum in St. Petersburg: Its Transformation and Impact
• Boris Sokolov (Russian State University for the Humanities, Moscow), Aesthetics and Sustainability in the Russian Water Parks, from the Baroque to 21st Century
7:00 Closing Discussion
Chair: Christoph Markschies (Vice-President of the Academy, HU Berlin)
Enfilade 
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