Seminar | Matthew Hargraves on Watercolor
J. M. W. Turner, The Pass at St. Gotthard, near Faido, 1843, watercolor over graphite
(New York: The Morgan Library & Museum, 2006.52)
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From the seminar flyer:
Seminar on Watercolor with Matthew Hargraves
The Morgan Library & Museum, New York, 15 March 2019
Applications due by 1 February 2019
The Morgan Library & Museum has an extensive collection of drawings from the Renaissance to the present, many of which feature the use of colored washes. Participants in this graduate seminar will look closely at the use of watercolor by artists of different schools, with a particular focus on the widespread use of the medium during the late eighteenth and early nineteenth centuries in Britain. From around 1750 to 1850, the period typically considered to be watercolor’s ‘golden age’, the medium came to be seen as a distinctively British art. In fact, however, watercolor had been used across Europe for centuries, and this seminar will examine the origins of watercolor, its adoption and development by British artists in the eighteenth century, and the spread of watercolor as a drawing medium in the Romanic period. Among the sheets examined will be examples by Albrecht Dürer, William Blake, Caspar David Friedrich, Eugène Delacroix, and J.M.W. Turner. The seminar will begin at 10am and last until 4pm.
Matthew Hargraves is Chief Curator of Art Collections at Yale Center for British Art in New Haven.
This seminar is open to graduate students in the history of art. Interested participants are kindly
invited to submit a one paragraph statement, which should include the following:
• Name and email
• Academic institution, class year, and field of study
• Interest in drawings
• Reason/s for wanting to participate in the seminar
A brief recommendation from the student’s advisor is welcome but not required. Applications should be submitted electronically by 1 February 2019 with the subject header ‘Watercolor Seminar’ to: drawinginstitute@themorgan.org. Participants will be notified by 11 February 2019.
Call for Content | Instagram Series, Furniture History Society
From the Call for Content:
#CuratorsChoice
A Furniture History Society Instagram Series
The Furniture History Society has recently joined Instagram, @furniturehistorysociety. Following the success of our ongoing Instagram series #ChippendaleTuesday we will shortly launch another titled #CuratorsChoice. This series will highlight the work of curators engaged in the research of decorative arts, specifically furniture, interiors and archives relating to such. This platform will provide a conversational way for curators to highlight objects in their collections, exhibitions they are preparing or indeed discoveries they have made.
Getting involved is simple:
1. Choose your topic.
2. Write approximately three short sentences about it. Feel free to use a more casual and conversational style than one might for an article or talk.
3. Pick your image or images.
4. Send us the above and, if you have one, your Instagram handle. We will take care of weaving the information together and posting to our account.
No matter if you have a fully formed idea or post, or indeed are interested in this project and would like to know more, please feel free to contact, Natalie Voorheis on natalievoorheis@gmail.com. We look forward to hearing from you.
The Furniture History Society (FHS) was founded in 1964 to study furniture of all periods, places and kinds, to increase knowledge and appreciation of it, and to assist in the preservation of furniture and its records.
Eighteenth-Century Studies, Winter 2019
The latest issue of Eighteenth-Century Studies includes a forum in memory of Mary Sheriff, edited by Jennifer Germann and Michael Yonan. Their introduction brilliantly situates Mary’s role within eighteenth-century art history, making sense of the field in relation to ASECS (and implicitly, HECAA). It works not only as a tribute to a much loved scholar; it’s among the best institutional historiography I’ve ever encountered in just three pages. –CH
Eighteenth-Century Studies 52 (Winter 2019)
Forum in Memory of Mary D. Sheriff
• Jennifer Germann and Michael Yonan, “Mary Sheriff and ASECS,” pp. 151–54.
• Dena Goodman, “On History and Art History (and Women, of course),” pp. 155–58.
• Tili Boon Cuillé, “Songs of Sorrow: Bardic Women in Girodet, Ossian, and Staël,” pp. 159–65.
• Christopher M. S. Johns, “Making History at the Capitoline Museum: Maria Tibaldi Subleyras’s Christ in the House of Simon the Pharisee,” pp. 167–71.
• Kathleen Nicholson, “Having the Last Word: Rosalba Carriera and the Académie Royale de Peinture et de Sculpture,” pp. 173–77.
• Melissa Hyde, “Something About Mary,” pp. 179–82.
Research Essays
• Samuel Rowe, “Beckford’s Insatiable Caliph: Oriental Despotism and Consumer Society,” pp. 183–99.
• Stephanie O’Rourke, “Histories of the Self: Anne-Louis Girodet and the Trioson Portrait Series,” pp. 201–23.
• Celestina Savonius-Wroth, “Bardic Ministers: Scotland’s Gaelic-speaking Clergy in the Ossian Controversy,” pp. 225–43.
• Juliane Engelhardt, “Anxiety, Affect, and the Performance of Feelings in Radical Pietism: Towards a Topography of Religious Feelings in Denmark-Norway in the Early Enlightenment,” pp. 245–61.
Review Essay
• Melvyn New, Review of The Letters of Oliver Goldsmith, ed. by Michael Griffin and David O’Shaughnessy (Cambridge University Press, 2018), pp. 263–70.
Book Reviews
• Mary McAlpin, Review of The Woman Question in France, 1400–1870 by Karen Offen (Cambridge University Press, 2017), pp. 271–72.
• Mary Beth Harris, Review of Masculinity, Militarism and Eighteenth-Century Culture, 1689–1815 by Julia Banister (Cambridge University Press, 2018), pp. 273–74.
• Elizabeth C. Libero, Review of Disciplining the Empire: Politics, Governance, and the Rise of the British Navy by Sarah Kinkel (Harvard University Press, 2018), pp. 275–76.
Books Received, pp. 277–78.
Exhibition | Maestro Van Wittel: Dutch Master of the Italian Cityscape
Caspar van Wittel, Piazza Navona, 1699, oil on canvas, 97 × 216 cm (Madrid: Carmen Thyssen-Bornemisza Collection on loan at the Museo Nacional Thyssen- Bornemisza).
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Now on view at the Kunsthal KAdE:
Maestro Van Wittel: Dutch Master of the Italian Cityscape / Hollandse meester van het Italiaanse stadsgezicht
Kunsthal KAdE, Amersfoort, 26 January — 5 May 2019
Kunsthal KAdE and Museum Flehite introduce the Netherlands to a world-renowned Dutch master who remained largely unknown in his country of birth, the Netherlands. Caspar Adriaensz van Wittel (1653–1736), also known as Gaspare Vanvitelli, became famous and revered in his adopted homeland of Italy. During the 17th and 18th century, he painted Rome, Naples, and Venice in minute detail, influencing famous Italian cityscape painters such as Canaletto and Bellotto. Van Wittel was born in Amersfoort, left around 1673 for Italy, earned a good reputation for himself there, and never returned to the Netherlands. Today, the vast majority of his works are in collections in Italy, England, and Spain. In the Netherlands, there are only a few drawings and a single gouache: View of Amersfoort in Museum Flehite. With the exhibition Maestro Van Wittel: Dutch Master of the Italian Cityscape, Museum Flehite and Kunsthal KAdE honour this master with a major retrospective from 26 January through 5 May 2019. It puts his extensive oeuvre in the context of his Dutch learning period and his influence on the later Italian vedutisti.
The exhibition at Kunsthal KAdE presents the entire Van Wittel story: the places he painted, the style he developed, his Dutch roots, his high-born patrons, and his undeniable influence in Italy. With this retrospective, Museum Flehite and Kunsthal KAdE want to give Caspar van Wittel his place in the canon of Dutch art history as maestro of the Italian cityscape.
Van Wittel’s Dutch Period
Caspar van Wittel was a student of Matthias Withoos, who had trained at Jacob van Campen’s painting school at the Randenbroek country estate in Amersfoort. Withoos’ masterpiece is his View of Amersfoort; commissioned in 1671 by the city government at the time, it was painted in the time that Van Wittel was training with him and therefore it is possible that the young student—he was 16 or 17 years old at the time—worked on it. Van Wittel relocated to Hoorn with Withoos in 1672. As a result of the move, he was neighbours with the painters Jan van der Heyden and Gerrit Berckheyde, who had developed a ‘pure’ rendering of the cityscape in Amsterdam and Haarlem. This ‘Dutch’ way of painting is conveyed in Van Wittel’s work.
Inventor of the Italian Cityscape
Accompanied by a fellow young painter—Jacob van Staverden—Van Wittel travelled to Rome sometime around 1673. In Rome, he found himself in the Dutch Schildersbent (‘painters’ clique’) faction of the Bentvueghels (‘birds of a feather’), a group that had been an artists’ colony for decades in the eternal city. In Rome, he became acquainted with the work of Lieven Cruyl and Abraham Genoels, who made topographic drawings of the city. He also met Cornelis Meyer, a mechanical engineer who was striving to land an assignment from the Pope to build water works along the Tiber. Meyer asked the young Caspar—now in his mid-20s—to help with the illustrations for the manuscript. One of the subjects that Van Wittel drew was Piazza del Popolo, the square where Van Wittel arrived in Rome from the north. Ultimately, he would paint this square some 15 times in his career, always from the same perspective.
From that moment (around 1680), Van Wittel also began capturing other places in Rome with his signature precision: the Tiber with its bridges and the Castel Sant’Angelo on the banks, the Piazza Navona, the Colosseum, St. Peter’s Square, the Quirinal, Villa Borghese, churches, streets, and smaller squares. He often repeated these compositions numerous times, too, working from a single basic drawing. From Rome he travelled to Naples, the countryside surrounding Rome (Tivoli), Florence, and Venice. In the lagoon city of Venice, he captured the view of San Marco and the Doge’s Palace from the water. He painted the majestic La Salute church at the entrance to the Grand Canal. Nowadays it belongs to the standard repertoire of Venetian cityscape painting, but Van Wittel was the first to paint it.
Van Wittel Inspires Canaletto
Around 1719, the young Venetian painter Antonio Canal was in Rome to paint several decorative pieces with his father. It is highly likely that he met Van Wittel during this time and saw a number of his Venetian cityscapes. Filled with inspiration, Canal, who would quickly be called Canaletto, dedicated himself entirely to this subject. At the time, the Grand Tour—an educational trip for young members of the nobility—became incredibly popular and Canaletto, together with his cousin Bernardo Bellotto, became the go-to painters of Venetian cityscapes that were snapped up by the travellers. Incidentally, Van Wittel led the way here, too; he had provided Grand Tour travellers—including Thomas Coke—with these sorts of ‘picture postcards’. Upon his return to England, Coke built Holkham Hall in the north of Norfolk, which was inspired in part by his travels in Italy and the work of architect Palladio.
Once he arrived in Rome, Van Wittel established an extensive network of patrons that included not only Roman aristocracy such as the Sacchetti and Colonna families—in whose palaces he took up residence from time to time—but also the Spanish nobleman Medinaceli, who lived in Rome as an ambassador, became the viceroy of Naples in 1696 and commissioned a total of 35 paintings by Van Wittel, most of which were views of Naples and around the city.
Photographer Wilschut Follows in Van Wittel’s Footsteps
As part of the exhibition, Rotterdam photographer Hans Wilschut was asked to follow in Van Wittel’s footsteps and capture a number of the places in Rome, Naples, Venice, and Amersfoort that Van Wittel frequently painted. Some of these places have remained essentially the same; some have been completely transformed. Just as Van Wittel liked to capture the urban hustle and bustle in his cityscapes at the time, Wilschut shows people today in the iconic settings. Hans Wilschut is also featured in the exhibition Stadsbeelden (‘Cityscapes‘) at Museum Flehite, from 9 February through 19 May 2019.
Works from International Collections in Amersfoort
The exhibition presents around 45 paintings and gouaches and approximately 30 drawings by Van Wittel from Italian, English, Spanish, German, and French collections. In addition, there are about 30 paintings and drawings by Dutch and Italian masters.
An events programme to accompany the exhibition will be organised in cooperation with the Friends of Caspar van Wittel Foundation. Bekking & Blitz will publish an exhibition catalogue in Dutch and English. This is the first time that a monograph on the artist will be available in these languages. The catalogue costs €30.
The exhibition Maestro Van Wittel: Dutch Master of the Italian Cityscape is made possible by the generous support of the Turing Foundation, the Mondriaan Fund, Fonds 21, the Municipality of Amersfoort, the Cultural Heritage Agency, and the Province of Utrecht.
Newberry Library Completes Renovations
The Newberry Library’s nine-month, $12.7 million renovation, including updated exhibition spaces, was completed several months ago, and just announced with a press release, via ArtDaily:
The Newberry Library, one of Chicago’s treasured landmarks, has completed renovations to enhance its public spaces and welcome visitors in new ways. As architect, Ann Beha Architects’ work balances historic preservation with clear and memorable contemporary design.
A world-renowned research library, the Newberry offers an extensive collection of rare books, maps, and manuscripts, with material spanning six centuries. The building was designed by notable Chicago architect Henry Ives Cobb in Romanesque Revival style, and completed in 1893. By renovating its entrance level, the Newberry sought to make the impressive building more accessible and inviting, and to renew historic interior spaces, introducing visitor services and settings for exhibitions and programs.
ABA’s design transforms public spaces and showcases the Library’s collections through its new exhibition galleries. Changes begin at the street, where new lighting, an information kiosk, and an accessible entry welcome the public. Inside, historic spaces have been restored, enhancing their rich details and providing new lighting and acoustical improvements. New spaces welcome and orient visitors, with amenities including an expanded bookstore, seminar and program spaces, and lounge. New galleries display thematic exhibitions, with a unique built-in display case highlighting notable items from the Newberry’s collection on an ongoing basis.
Ann Beha Architects is engaged in contemporary design and in the preservation and adaptive re-use of landmark buildings. Based in Boston and practicing nationally, ABA has led planning and design projects for the Museum of Fine Arts, Boston; Massachusetts Institute of Technology; University of Chicago; the Smithsonian Institution; the US Department of State; and Yale University.
Exhibition | Discriminating Thieves: Nazi-Looted Art and Restitution
Press release (16 January 2019) from The Nelson-Atkins:
Discriminating Thieves: Nazi-Looted Art and Restitution
The Nelson-Atkins Museum of Art, Kansas City, 26 January 2019 — 26 January 2020
Nicolas de Largillière, Augustus the Strong, Elector of Saxony and King of Poland, ca. 1715, oil on canvas (Kansas City: Nelson-Atkins Museum of Art, William Rockhill Nelson Trust, 54-35).
Discriminating Thieves: Nazi-Looted Art and Restitution follows the journey of four works of art that were once in the hands of the Nazis. The exhibition explores the circumstances surrounding their thefts, their return to their rightful owners, and their subsequent legal acquisition by The Nelson-Atkins Museum of Art in Kansas City.
During World War II, Adolf Hitler and the Nazis looted art on an unprecedented scale. They stole thousands of objects across Europe between 1933 and 1945, keeping art for their own collections or stashing art for use in the museum Hitler planned to build. Other works, considered by the Nazis to be immoral, or ‘degenerate’, were destroyed, sold, or used as Nazi propaganda.
“This exhibition was extensively researched by MacKenzie Mallon, the Nelson-Atkins provenance specialist who is gaining a national reputation for her work in this important field,” said Julián Zugazagoitia, Menefee D. and Mary Louise Blackwell CEO and Director of the Nelson-Atkins. “This is very specific and painstaking research into ownership that is of utmost importance in the museum world and uncovers fascinating stories of the journey this art has traveled.”
Most of the looted objects were recovered by the Allies after the war, many by a group of art curators and scholars known as the Monuments Men. Paul Gardner, the first director of the Nelson-Atkins and himself a Monuments Man, described his journey to an Italian castle that had once housed an important art collection, and his dismay at finding that the Germans had reached it before him. Gardner wrote: “The custodian told us that experienced German officer-experts had systematically broken open all the bales and boxes, and had taken the cream of the collection. The Germans have proven all along to be discriminating thieves.”
Augustin Pajou, Jean-François Ducis, 1779, terracotta on marble socle, bust 23 inches high (Kansas City: Nelson-Atkins Museum of Art, acquired through the McGreevy Family through the Westport Fund in honor of the Fiftieth Anniversary of the Nelson-Atkins, F83-22).
The focus exhibition is comprised of four works of art: Augustus the Strong, Elector of Saxony and King of Poland by Nicolas de Largillière; Still Life with Guelder Roses by Pierre Bonnard; Jean-François Ducis, a sculpture by Augustin Pajou; and Masks by the German artist Emil Nolde.
De Largilliere’s Augustus the Strong was among the works of art stolen by the Nazis and intended for Hitler’s museum of the future, the ‘Führermuseum’, which he imagined would be the greatest art museum in the world.
Emile Nolde’s Masks, however, was declared ‘degenerate’ because of its modern, expressionistic style, even though Nolde was a member of the Nazi party. It was removed from the Folkwang Museum in Essen, Germany in 1937 and given to a German art dealer, Karl Buchholz, to sell. The painting remained in his possession throughout the rest of the war, and he transferred it to a New York art gallery following an agreement among German museums not to pursue the restitution of ‘degenerate’ art that had been sold abroad.
“Masks remained in that gallery until the Nelson-Atkins purchased it in 1954,” said Mallon, Specialist, Provenance. “There is a human story behind each of these objects, and uncovering that ownership history is the purpose of provenance research. I think it’s important to remember the very personal cost of Nazi art looting during World War II and the subsequent return to the owners or their descendants and the museum’s legal acquisition of the works.”
Emil Nolde, Masks, 1911, oil on canvas, unframed: 73 × 77cm (Kansas City: Nelson-Atkins Museum of Art, Gift of the Friends of Art, 54-90).
Through a special guide, visitors to the exhibition will be encouraged to find other works of art in Nelson-Atkins galleries that have similar, interesting histories from World War II.
Special programming related to this exhibition includes a talk by Mallon on January 31, “What Once was Lost: Nazi Art Looting and Allied Restitution.” Mallon will discuss Nazi art looting during World War II, the recovery of much of the stolen art by the Allies, and how these stories intertwine with the history of the Nelson-Atkins collection. Mallon will also give a talk on October 3, “Safe Haven: the Nelson-Atkins and the Protection of Art during World War II.” On March 7, art historian and director of the Smithsonian Cultural Rescue Initiative Corine Wegener will give a talk, “The Monuments Men and Beyond: Saving Cultural Heritage in Today’s Conflicts,” sharing her insights into the role of museums in the development of the Monuments Men, the importance of provenance research in museums today, and how international law can help protect heritage in today’s conflicts. Three films will also be shown in conjunction with this exhibition: Hitler Versus Picasso and Others March 15 and 16, The Rape of Europa March 22 and 23, and Woman in Gold March 29 and 30.
Exhibition | Regency Fashion in Miniature
Left: John Smart, Portrait of a Woman, 1807, watercolor on ivory, 1 ¾ × 1 ½ inches (Kansas City: Nelson-Atkins Museum of Art, Gift of the Starr Foundation, Inc., F65-41/48). Right: Henry Bone, Portrait of King George IV of England, 1821, enamel on copper, 1 ¼ × 1 inches (Kansas City: Nelson-Atkins Museum of Art, Gift of Mr. and Mrs. John W. Starr and the Starr Foundation, Inc., F58-60/134).
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Now on view at The Nelson-Atkins:
Regency Fashion in Miniature
The Nelson-Atkins Museum of Art, Kansas City, 21 March 2018 — 17 March 2019
High-waisted dresses, open-necked shirts, and un-powdered curls abound in the extravagant age of the Regency era (about 1795–1837). A period in Britain associated with the rise of a handsome young prince who became King (George IV) and the work of novelist Jane Austen, this time left its mark on fashion, too. Many men followed the lead of the romantic poet Lord Byron, whose ‘Byronic’ curls cluster at the front of his head. Women, too, wore their hair in natural curls and followed a style of dress inspired by the classical fashions of Greece and Rome. The Regency era ended in 1837 with the ascension of Queen Victoria, who ushered in a new style that would bring fashion into the twentieth century.
This rotation of portrait miniatures features some of the leading miniaturists of the period including John Smart, Henry Bone, William Essex, and Jean Baptiste Isabey, among others.
Presented to the Nelson-Atkins by Mr. and Mrs. John W. Starr in two major gifts from 1958 and 1965, and numerous additional gifts through the years, the Starr Collection of Miniatures illustrates the history of European portrait miniatures through more than 250 objects. These delicate objects, many of which are painted in watercolor on ivory, include works by Britain’s greatest miniaturists, ranging from the late 1500s to the early 1800s, as well as some very fine examples by European and American artists made during the same time frame.
The exhibition of portrait miniatures in Gallery P24 changes every twelve months to showcase the variety of the collection and also to limit exposure of the light-sensitive pigments.
Call for Papers | Themis on Trial, 16th–18th Centuries
From H-ArtHist:
Colloque jeunes chercheur.e.s du CIREM
Thémis en procès: Justice et sentiment d’injustice, XVIe–XVIIIe siècles
Université du Québec à Montréal, 29–30 May 2019
Proposals due by 1 February 2019
L’actualité récente autant que la société d’Ancien Régime foisonne d’exemples révélant des justices parallèles aux institutions (polices, tribunaux), se déployant en marge des textes de lois et des rituels judiciaires. Inscrit aux fondements mêmes du lien communautaire et de l’ordre social, ces pratiques, que l’historien Benoît Garnot a conceptualisées par l’«infrajudiciaire», le «parajudiciaire, ou encore l’«extrajudiciaire» (Garnot 2000), se déploient dans les interstices de la justice officielle, hors de la portée de ses lieux de pouvoir et en amont des droits civil et religieux. La dix-neuvième édition du colloque «Jeunes chercheurs» du CIREM se propose d’interroger précisément les diverses formes de ce phénomène de régulation socioculturel opérant dans les zones poreuses de la justice instituée, là même où se développent les expressions du sentiment d’injustice. Une certaine conception d’une organisation sociale « juste » se dessine en filigrane de ces expressions du sentiment d’injustice, qui révèlent le seuil fluctuant de ce qui est moralement acceptable, par rapport à ce qui ne l’est pas. Dans L’Encyclopédie, le chevalier de Jaucourt rappelle d’ailleurs combien les fondements religieux et moraux de la justice dépassent largement le cadre légal pour l’établir comme baromètre du juste et de l’injuste devant permettre à chacun de « contribuer à l’avancement du bien commun » (tome 8, p. 754). Ainsi, l’accent porté sur l’injuste détourne notre attention des procédures judiciaires, des grands textes de loi et des symboles canoniques de l’imagerie judiciaire pour mieux permettre une perspective au ras du sol, plus à même de rendre compte de l’ensemble des pratiques, discours et représentations ayant cours au sein des communautés et des sociabilités modernes. Entre les soulèvements populaires et les réflexions théoriques des philosophes, à travers le miroir des œuvres de fiction et des productions artistiques, ou encore au cœur des conflits politiques et des tensions interindividuelles, la désignation de ce qui est « juste » et « injuste » comme comportement interroge jusqu’aux dimensions affectives qui rythment la vie des collectivités.
Afin d’approfondir ces quelques réflexions, nous sollicitons des propositions de communication qui s’inscrivent dans l’un des axes suivants (liste non exhaustive) :
• Les médias écrits et visuels comme modes d’expression du sentiment d’injustice, représentations et constitutions de référents moraux dans la littérature et dans l’art
• Les écarts entre les lois prescrites et leur application quotidienne, tensions entre régimes judiciaires concurrents, conflits armés et diplomatie politique
• Revendications socioéconomiques et remises en cause étatique, motivations des soulèvements, ainsi que les sociabilités qui en émergent
• Les productions littéraires dans leurs rapports entre elles (polémiques) et avec les autorités (censure), idées politiques et conceptions philosophiques du peuple
• Les lieux d’expression de l’injustice, rumeurs et mobilité de l’affect, la spatialisation de l’émotion collective
De nature interdisciplinaire, ce colloque est l’occasion pour les jeunes chercheurs et chercheuses (soit à la maîtrise, au doctorat ou au postdoctorat) de divers horizons—histoire, histoire de l’art, philosophie et littérature—de mettre en commun leurs réflexions concernant la justice et le sentiment d’injustice, et ce, dans la multitude de formes qu’ils ont pu avoir été vécus et exprimés dans l’Europe des 16e,17e et 18e siècles.
L’événement se tiendra à l’Université du Québec à Montréal, les 29 et 30 mai 2019. Les communications, inédites et en français, ne devront pas dépasser les vingt minutes allouées à chacune des participantes. Les propositions de communication (titre et résumé de 250 mots, niveau d’étude et affiliations institutionnelles) devront être envoyées au comité organisateur avant le 1er février à l’adresse suivante: colloque.etudiant.cirem.2019@gmail.com. Les Cahiers du CIERL (Éditions Hermann, Paris) accueilleront les articles issus des communications après examen par le comité organisateur et scientifique du colloque.
Comité organisateur
Annie Champagne, doctorante et chargée de cours en histoire de l’art, UQÀM
Antoine Champigny, doctorant en histoire et en lettres, UQÀM et Univ-Lyon 2
Virginie Cogné, doctorante en histoire, UQÀM
Julien Duval-Pélissier, maîtrisant en histoire, UQÀM
Direction scientifique
Sophie Abdela, professeure d’histoire moderne, Université de Sherbrooke
Pascal Bastien, professeur d’histoire moderne, UQÀM
Call for Papers | Spaces and Frontiers of Islamic Art and Archaeology
From H-ArtHist:
Spaces and Frontiers of Islamic Art and Archaeology
Fifteenth Ernst Herzfeld Gesellschaft (EHG) Colloquium
Budapest, 4–6 July 2019
Proposals due by 1 March 2019
The Ernst Herzfeld Society for Studies in Islamic Art and Archaeology and the Eötvös Loránd University are pleased to invite you to the 15th colloquium of the Society to be held in Budapest, July 4–6, 2019, under the title Spaces and Frontiers of Islamic Art and Archaeology.
The concepts of frontier, boundary, and border, and consequently of spaces and regions they delimit, have left a persistent mark on the perception of geography, whether expounded in pre-modern Muslim textual sources, or by modern geostrategists. The medieval Hudud-al-ʽAlam (Limits of the World, 372/982) suggests, encapsulating in its title the defining significance of boundaries, that such divisions, imposed by mountains, rivers, or deserts, are inherent and natural markers to differentiate spaces and regions. The spatial turn, related also to changes in Central and Eastern Europe not so many years ago, has brought the concept to the forefront once again, also in scholarship on visual and material culture, art history, and archaeology.
Attempts to do away with the constraints of the inherited perception of a trans-regional Muslim world have brought about new approaches of looking at them. Such experiments have inevitably created new, perhaps more subtle, ruptures: temporal junctures between past and present understandings of things, and new, globalized distinctions. Spatial and regional delimitations rely on conceptual frames within which entities are defined, yet definitions themselves remain fluid despite our dependence on the very idea of definition. ‘Islamic art’ is among the definitions that fall short of assuming a generally accepted outline, often particularly in the regional art historiography of the countries that supposedly are covered by the term. Postulating sets of criteria to imply that the visual and material culture of a Muslim community, or Muslim society, was perceived by that community or society as ‘Islamic’ may lead to unsatisfying results, yet scholarly discourse on art and archaeology needs a discussion of these attempts.
The 15th colloquium of the Ernst Herzfeld Society invites papers, and encourages panel proposals, to address the ways in which Islamic art developed within or expanded beyond external, internal, confessional, and political limits and resulted in a diversity of visual and material cultures. There will be, as usual, also room for papers that report on current research outside of the main theme of the colloquium.
The colloquium is planned to begin with a keynote lecture on the evening of Thursday, July 4, 2019. It continues with panel sessions on Friday and Saturday, July 5–6. A meeting of graduate students is scheduled for Thursday, July 4, for which a separate call will be circulated. The graduate meeting is planned to include also a discussion panel with professionals speaking on research skills, publishing, and finding a job.The annual general assembly of the Ernst Herzfeld Society will be held on Friday or Saturday afternoon.
Please submit your panel or paper proposal for the colloquium by March 1, 2019 to Dr Iván Szántó: szanto@caesar.elte.hu. All proposals will undergo a peer review selection process. Acceptance will be notified in the first week of April 2019.
Pre-arranged panels will preferably include three presentations. It is of course also possible to submit individual papers, which will be presented in open panels. Each presentation is limited to 20 minutes, followed by 10 minutes of discussion (or 30 minutes of discussion per panel). The colloquium languages are English and German.
• Individual papers: Please submit a title and an abstract of no more than 300 words.
• Pre-arranged panels: Please submit a title and an abstract of no-more than 500 words presenting the topic and the aim of the panel, as well as a provisional list of speakers.
If you want to submit a paper proposal for the graduate meeting, please send your title and abstract to Sarah Johnson: sarah.cresap.johnson@gmail.com.
Registration and participation in the colloquium are free for members of the Society. Other speakers and participants are asked to pay a conference fee equivalent to the annual membership fee of 50€ (reduced 25€). We kindly request that speakers and participants organize their own travel and accommodation. A list of hotels located in the vicinity of the colloquium venue will be sent in due course.
Organizer of the 15th EHG colloquium
Dr. Iván Szántó
Department of Iranian Studies Eötvös Loránd University, Budapest
szanto@caesar.elte.hu
Ernst Herzfeld-Gesellschaft Chairman
Prof. Dr. Markus Ritter
History of Islamic Art
Department of Art History, University of Vienna
Vice-Chairwoman
Prof. Dr. Francine Giese
SNF-Professor
Institute of Art History, University of Zurich
Call for Papers | Recycling Luxury
From H-ArtHist:
Recycling Luxury
Christie’s Education, 42 Portland Place, London, 5 July 2019
Proposals due by 1 March 2019
The concept of luxury is associated with ideas of excess (luxus) or even worse immodesty (luxure). An infamous example involving Cleopatra dissolving a priceless pearl and swallowing it encapsulates some common associations between luxury and immorality, or luxury as intrinsically linked to the idea of waste.
This conference intends to go beyond the common connotations attached to the concept of luxury, and challenge them. It will posit that luxury cannot be seen entirely in the light of dissipation. Rather we would like to invite contributions that explore the links between luxury and the idea of recycling i.e. the re-using, repurposing, remaking, reshaping of luxury materials and objects across time and place, hence giving more space for discussion to this understudied historical phenomenon.
Object case studies from all fields of the fine and decorative arts are welcomed to foster conversations across disciplines—for example:
• Historical Fashion and Textiles
• Furniture
• Silver
• Ceramics
• Jewellery
• Armour
• Painting
• Sculpture
• Books and Manuscripts
Contributors can select from the following submission formats:
• Full Paper: 25-minute conference presentation
• Short Paper: 15-minute conference presentation
• Flash Paper: 5-minute (no more than 5 slides). We particularly welcome proposals from emerging scholars in this category.
This conference has been designed to coincide with Classic Week at Christie’s in July 2019. For all submissions, please send a 300-word abstract and short biography to jansell@christies.edu and mtavinor@christies.edu.
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