ASECS 2019, Denver
Frederic C. Hamilton Building, Denver Art Museum (Photo: Wikimedia Commons, August 2010). The Hamilton building, by Daniel Libeskind, opened in October 2006. Works from the Berger Collection Educational Trust have been on long-term loan at DAM since 1996; in February of this year 65 works of British art from the trust—including paintings by Thomas Gainsborough, Angelica Kauffman, George Stubbs, and Benjamin West—were donated to the museum. A selection will be on view beginning 2 March 2019 in Treasures of British Art: The Berger Collection, organized by Kathleen Stuart, curator of the Berger Collection at the DAM.
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2019 American Society for Eighteenth-Century Studies Conference
Grand Hyatt, Denver, 21–23 March 2019
The 50th annual meeting of the American Society for Eighteenth-Century Studies takes place at the Grand Hyatt in Denver. HECAA will be represented by the Anne Schroder New Scholars’ Session, chaired by Susanne Anderson-Riedel and scheduled for Saturday morning. Our annual business meeting will take place Friday evening at 6:00. A selection of 31 additional panels is included below (of the 198 sessions scheduled, many others will, of course, interest HECAA members). For the full slate of offerings, see the program.
H E C A A E V E N T S
HECCA Business Meeting
Friday, 6:00–7:00, Mt Evans
Anne Schroder New Scholars Session (HECAA)
Saturday, 8:00–9:30, Mt Harvard
Chair: Susanne ANDERSON-RIEDEL, University of New Mexico
1. Danielle EZOR, Southern Methodist University, “‘Of Exquisite Whiteness’: Porcelain and Constructing Race”
2. Lauren Kellogg DISALVO, Dixie State University, “‘Fancy Portraits’ and Women in Antique Guise”
3. Joshua HAINY, Truman State University, “John Flaxman’s Shield of Achilles: The Visualization of an Ancient Greek Text”
4. Katherine ISELIN, University of Missouri, “A Collection of the ‘Spintrian’ Medals of Tiberius and the Role of Ancient Erotic Art in Eighteenth-Century Collecting Culture”
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O T H E R S E S S I O N S R E L A T E D T O T H E V I S U A L A R T S
T H U R S D A Y , 2 1 M A R C H 2 0 1 9
Roundtable: From Dissertation to Book (Cultural Studies Caucus)
Thursday, 8:00–9:30, Mt. Sopris B
Chair: Rajani SUDAN, Southern Methodist University
1. Melissa SCHOENBERGER, College of the Holy Cross, “The Author and the Applicant”
2. Bridget ORR, Vanderbilt, “Thinking Bigger: Being Read by Publishers and the Profession beyond Your Professors”
3. James MULHOLLAND, North Carolina State University, “What I’ve Learned about Writing a Book: Lessons about Time Management, Revision Plans, and Interacting with Publishers”
4. Angie HOGAN, University of Virginia Press, “What to Expect from a University Press Publisher”
5. Robert MARKLEY, University of Illinois, “From Dissertation to Book . . . to Book, to Book”
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Producers, Creators, Designers: Women Artists
Thursday, 8:00–9:30, Mt. Evans
Chairs: Franny BROCK, University of North Carolina, Chapel Hill and Lindsay DUNN, Texas Christian University
1. Kelsey BROSNAN, New Orleans Museum of Art, “Flowers, Fluids, and Femininity: The Olfactory Texture of Anne Vallayer-Coster’s Flower Paintings”
2. Katie SAGAL, Cornell College, “Vegetal Reality and Artistic Originality: Henrietta Maria Moriarty’s Botanical Illustrations”
3. Kelsey MARTIN, University of North Carolina, Chapel Hill, “Prints, Politics, and Publics: Women Printmakers during the 1789 French Revolution”
4. Molly MAROTTA, Florida State University, “‘That union of parts’: Museum Building as Nation Building in Barbara Hofland’s Ekphrastic Descriptions in the 1835 Description of the House and Museum of the North Side of Lincoln’s Inn Fields, The Residence of Sir John Soane”
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Making Stars: Biography and Celebrity
Thursday, 8:00–9:30, Mt. Wilson
Chairs: Nora NACHUMI, Yeshiva University and Kristina STRAUB, Carnegie Mellon University
1. Elaine MCGIRR, University of Bristol, “Shooting Star: Theophilus Cibber’s Disastrous Self-Fashioning”
2. Jane WESSEL, Austin Peay State University, “Charles Mathews and Transmedia Biography”
3. Stuart SHERMAN, Fordham University, “Actress-Autobiographers in Print and Time: Catherine Clive, Eliza Haywood, Charlotte Charke, and the Mid-Century Pivot from Playhouse towards Periodicity”
4. Heather McPHERSON, University of Alabama, Birmingham, “Image/Counter-Image: Contesting Celebrity in Graphic Satire”
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Roundtable: Race, Gender, Empire, and the Archives (SHARP)
Thursday, 9:45–11:15, Grays Peak A
Chair: Sean MOORE, University of New Hampshire
1. Beth Fowkes TOBIN, University of Georgia, “Drawings in the Archives”
2. Rachael Scarborough KING, University of California, Santa Barbara, “Race, Gender, and Religion in the Ballitore Collection”
3. Rebecca SCHNEIDER, University of Colorado, Boulder, “Jamaican Archives and the Study of Freedom, Dead and Alive”
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Reinventing Graduate Student Mentoring
Thursday, 9:45–11:15, Mt. Elbert A
Chair: Kathryn TEMPLE, Georgetown University
1. Manushag POWELL, Purdue University
2. Jacob MYERS, University of Pennsylvania
3. Lisa MARUCA, Wayne State University
4. Mark VARESCHI, University of Wisconsin, Madison
5. Juliet SHIELDS, University of Washington
6. Mita CHOUDHURY, Purdue University Northwest
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Collecting Studies: Circulation and Disruption
Thursday, 9:45–11:15, Mt. Evans
Chair: Bénédicte MIYAMOTO, Université Sorbonne Nouvelle
1. Sarah BAKKALI, Université Paris Nanterre, “The Portfolio as ‘Portable Museum’: Disrupting French Collecting Practices”
2. Cristina MARTINEZ, University of Ottawa, “The Removal of Poussin’s Sacraments from Italy: Smuggling, Displacing Cultural Property, and Developing Copyright”
3. Jeffrey SCHRADER, University of Colorado, Denver, “Sacred Images as a Foundation of Collecting Practices in the Spanish Monarchy”
4. Louisiane FERLIER, The Royal Society, “Classifying the Royal Society Collections in the Eighteenth Century (and Now)”
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Gesturing toward the Antique
Thursday, 9:45–11:15, Torrey Peak
Chairs: Monica Anke HAHN, Community College of Philadelphia and Craig HANSON, Calvin College
1. Ersy CONTOGOURIS, Université de Montréal, “Emma Hamilton’s Attitudes: Appropriating the Antique”
2. Tracy EHRLICH, Parsons School of Design/The New School, “Gesture, Antiquity, Aesthetics: Rome before Winckelmann and Goethe”
3. Amy FREUND, Southern Methodist University, “When in Rome: Antiquity and Ambition in Jean Ranc’s The Sons of the Duke of Berwick”
4. Ashley HANNEBRINK, Harvard University, “Classicizing Gestures in and around French Eighteenth-Century Sculpture”
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Changing Faces: New Directions in Portraiture
Thursday, 11:30–1:00, Mt. Harvard
Chair: William CLARK, Queens College and The Graduate Center, CUNY
1. Vivian P. CAMERON, Independent Scholar, “A Question of Identity: Vigée-Lebrun’s Madame Dugazon as Nina”
2. Caroline CULP, Stanford University, “Painting Outside Time: Icons and Anachronism in Copley’s Revolutionary Boston”
3. Dorothy JOHNSON, University of Iowa, “Historical Faces/Historical Fictions? Art and Ontology in David’s Portraits”
4. Bradford MUDGE, University of Colorado, Denver, “Face Value: Portraits, Money, and Genre”
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Roundtable: Forms of Empire (Race and Empire Caucus)
Thursday, 2:30–4:00, Grays Peak B
Chairs: Julie Chun KIM, Fordham University and Sunil AGNANI, University of Illinois, Chicago
1. Eugenia ZUROSKI, McMaster University, “What Happened in the Chinese Summer House?: Empire’s Ambivalent Details”
2. Chloe Wigston SMITH, University of York, “Empire, Handmade”
3. Douglas FORDHAM, University of Virginia, “Worldmaking in Aquatint”
4. Edward LARKIN, University of Delaware, “Visualizing the Chronotope of Empire”
5. Abby COYKENDALL, Eastern Michigan University, “The Empire of Form and the British Novel: Clara Reeve’s Destination”
Respondent: Wendy Anne LEE, New York University
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Roundtable: Recovering Women’s Satiric Voices; or, A Feminist’s Work is Never Done, I
Thursday, 2:30–4:00, Pike’s Peak
Chair: Sharon SMITH, South Dakota State University
1. Jonathan SADOW, SUNY Oneonta, “Satirizing ‘Satire’ and Haywood’s Eovaai”
2. Ersy CONTOGOURIS, Université de Montréal, “Hannah Humphrey, London’s Leading Caricature Printseller”
3. Susan CARLILE, California State University, Long Beach, “The Satiric Voices of Charlotte Lennox”
4. Shawn Lisa MAURER, College of the Holy Cross, “Recovering ‘Satirical’ Austen: The Work of the Juvenilia”
5. Jocelyn HARRIS, University of Otago, “Jane Austen, Satirist”
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Small Things in the Eighteenth Century, II
Thursday, 2:30–4:00, Torrey Peak
Chair: Beth Fowkes TOBIN, University of Georgia
1. Marina KLIGER, Institute of Fine Arts, New York University, “‘Small gifts kindle friendship’: Amateur Art and the Politics of Exchange in Post-Revolutionary France
2. Joanna GOHMANN, The Walters Art Museum, “A Small Box with a Big Punch: A Case Study in the Intellectual Complexity of Small Things”
3. Nathalie RIZZONI, Sorbonne Université, “French Eighteenth-Century Handscreens or Cardboard Treasures in American Public Collections”
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Interactions between Art and Insurance
Thursday, 4:15–5:45, Mt. Wilson
Chair: Jennifer CHUONG, Harvard University
1. Avigail MOSS, University of Southern California, “A Gallery of Risk and Virtue: The Eighteenth-Century Image of Insurance”
2. Matthew HUNTER, McGill University, “From the Ship and Bladebone to The Slave Ship and Back Again: Turner and Insurance”
3. Sarah CARTER, McGill University, “Underwriting Art: Thomas Coutts and Fuseli’s Milton Gallery”
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Publishing in an Eighteenth-Century Journal
Thursday, 4:15–5:45, Mt. Elbert A
Chair: Matthew WYMAN-MCCARTHY, Eighteenth-Century Studies
1. Eve Tavor BANNET, Studies in Eighteenth-Century Culture
2. Robert MARKLEY, Eighteenth-Century Theory and Interpretation
3. Cheryl NIXON, Eighteenth-Century Studies
4. Cedric REVERAND, Eighteenth-Century Life
5. Roxann WHEELER, Studies in Eighteenth-Century Culture
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Members Reception
Thursday, 6:00–7:30, Capitol Peak
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F R I D A Y , 2 2 M A R C H 2 0 1 9
Print Room Pedagogies: Teaching in the Print Room
Friday, 8:00–9:30, Mt. Evans
Chair: Hope SASKA, University of Colorado, Boulder
1. Thora BRYLOWE, University of Colorado, Boulder, “Learning to Look: Teaching Literature in the Museum”
2. Rebecca MAY, Duquesne University, “‘The very subject before us…the flies that haunt the places of dissection’: Teaching Anatomical Knowledge Using Archival Illustrations”
3. Cynthia ROMAN, Yale University, “W. S. Lewis’s Print Room to the Lewis Walpole Library: Making Connections between Documentary Content and Materiality in the Study of Eighteenth-Century Prints”
4. Alden GORDON, Trinity College, “Print History Courses for Undergraduate Liberal Arts Students”
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The Landscape Garden in Eighteenth Century England and Beyond
Friday, 8:00–9:30, Mt. Elbert B
Chair: Janet WHITE, University of Nevada, Las Vegas
1. Elizabeth MJELDE, De Anza College, “William Gilpin at Stowe”
2. Dana Gliserman KOPANS, SUNY Empire State College, “…to the gulph in which I am now swallowed up’: Some Literary Uses of Landscape Architecture”
3. Felix MARTIN, Aachen University, “Frank Lloyd Wright’s Taliesin—An English Landscape Garden?”
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Bon Appétit: Dining in the Eighteenth Century
Friday, 8:00–9:30, Mt. Yale
Chair: Joanna GOHMANN, The Walters Art Museum
1. Sarah Sylvester WILLIAMS, Independent Scholar, “Nicolas Lancret and the Sociability of Dining”
2. Nicole MAHONEY, University of Maryland College Park, “The Politics of Dinner: French Sociability, Material Culture, and Cuisine in the Early American Republic”
3. Lauren FREESE, University of South Dakota, “‘Life is like a good bowl of punch’: The Communicative and Social Function of Food Imagery in Eighteenth-Century American Periodicals”
4. Thomas NEAL, University of Akron, “‘La mesa ilustrada’: Culinary Discourse in Eighteenth-Century Spain”
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Picturing the Stage I (Theatre and Performance Studies Caucus)
Friday, 9:45–11:15, Pike’s Peak
Chair: Michael BURDEN, New College, Oxford University
1. Laurence MARIE, Columbia University, “Is Painting the New Model for Eighteenth-Century Acting?”
2. Deborah PAYNE, American University, “Theatrical Illustrations as Scholarly Evidence”
3. Laurel PETERSON, The Morgan Library and Museum, “Spectacular Stages: Set Design and Mural Painting in the Age of Vanbrugh”
4. Mark LEDBURY, University of Sydney, “Painter, Playwright, Entrepreneur: Prince Hoare and Innovation Transfer in 1790s London”
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Art, Literature, and Medicine in Eighteenth-Century Italy
Friday, 9:45–11:15, Mt. Yale
Chair: Francesca SAVOIA, University of Pittsburgh
1. Paolo PALMIERI, University of Pittsburgh, “Animal magnetism in Da Ponte’s libretto for Mozart’s Così fan tutte”
2. Wendy Wassyng ROWORTH, University of Rhode Island, “Anatomists and Portraiture: Some Encounters on the Grand Tour in Italy”
3. Rebecca MESSBARGER, Washington University, St. Louis, “Visceral Sense: From Criminal Corpses to Donor Bodies in Eighteenth-Century Bologna”
4. Irene Zanini CORDI, Florida State University, “This Body of Mine in Pain: Women’s Poetic and Discursive Portrayals of the Medicated Female Body”
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50 Years of Women at ASECS
Friday, 9:45–11:15, Mt. Sopris B
Chair: Melissa SCHOENBERGER, College of the Holy Cross
1. Margaret Anne DOODY, University of Notre Dame
2. Felicity NUSSBAUM, University of California, Los Angeles
3. Heather McPHERSON, University of Alabama, Birmingham
4. Kristina STRAUB, Carnegie Mellon University
5. Susan S. LANSER, Brandeis University
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Roundtable: Job Market Crash Course (Graduate Student Caucus)
Friday, 11:30–1:00, Maroon Peak
Chair: Kristin DISTEL, Ohio University
1. Dennis MOORE, Florida State University, “How (and How Much) to Promote Your Accomplishments”
2. Ann CAMPBELL, Boise State University, “How to Adapt a Tenure-Track Dossier to Apply for Lectureships”
3. Jonathan KRAMNICK, Yale University, “Perspectives on the Changing Job Market”
4. Joseph BARTOLOMEO, University of Massachusetts, Amherst, “Be ‘Yourself’: The Professional Persona”
5. Aleksondra HULTQUIST, Stockton University, “Adjunct to Tenure Track?”
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The Colors of Race
Friday, 11:30–1:00, Mt. Elbert B
Chairs: Oliver WUNSCH, Harvard Art Museums and Jennifer CHUONG, Harvard University
1. Rebecca CHUNG, The Legacy Press, “‘Not quite black’: Lady Mary Wortley Montagu’s Representations of Racialized Skin, in Text and Portraiture”
2. Sarah COHEN, SUNY Albany, “Fabricating Race through Metalwork in French Sugar Casters”
3. Elizabeth ATHENS, University of Connecticut, “That ‘Variety of Complexions’: Racial Variance in William Hogarth’s The Analysis of Beauty”
4. Olivia CARPENTER, Harvard University, “‘Rendered Remarkable’: Race, Color, and Character in The Woman of Colour”
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ASECS Business Meeting, Presentation of Awards, and Presidential Address
Friday, 2:30–4:15, Colorado Ballroom
ASECS Business Meeting All ASECS Members are encouraged to attend.
Presiding: Lisa BERGLUND, Executive Director
ASECS Presidential Address
Presiding: Christopher MS JOHNS, Norman and Roselea Goldberg Professor of History of Art Vanderbilt University
Melissa HYDE University of Florida, “Ambitions, Modest and Otherwise: Women and the Visual Arts in France”
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Repurposing
Friday, 4:30–6:00, Mt. Oxford
Chairs: Lauren Kellogg DISALVO, Dixie State University and Sarah Sylvester WILLIAMS, Independent Scholar
1. Matthew GIN, Harvard University, “Made Anew: Repurposed Materials and the Production of Ephemeral Festival Architecture in Eighteenth-Century Paris”
2. Shaena WEITZ, Independent Scholar, “The Afterlife of ‘Nina’: Creative Reuse of Music in Post-Revolutionary France”
3. Bethany WONG, Whittier College, “Sarah Siddons in America”
4. Mary CRONE-ROMANOVSKI, Florida Gulf Coast University, “Seats of Power: Repurposing the Chair in Three Novels of the Long Eighteenth Century”
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Picturing the Stage, II (Theatre and Performance Studies Caucus)
Friday, 4:30–6:00, Pike’s Peak
Chair: Austin Peay State University
1. Jennie MACDONALD, Independent Scholar, “‘The Most Artistic Thing’: Framing the Theatre in Miniature”
2. Mita CHOUDHURY, Purdue University Northwest, “Domesticity Re(de)fined: The Architecture of Theatrical Space at Home”
3. Vanessa ROGERS, Rhodes College, “Picturing Polly: Iconographical Approaches to The Beggar’s Opera”
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Freakery: The Limits of the Body
Friday, 4:30–6:00, Mt. Wilson
Chair: Stan BOOTH, University of Winchester
1. Noelle GALLAGHER, University of Manchester, “Noseless in London: Nasal Disfigurement in Eighteenth-Century British Literature and Art”
2. Scott SANDERS, Dartmouth College, “Freaky Sounds: Vocal Physiology as conceived through Marginalized Voices”
3. Tonya HOWE, Marymount University, “‘Sometimes we frame our Selves to be lame’: Bodies of Farce on the Eighteenth-Century Stage”
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Virtute Duce, comite Fortuna Music for Harpsichord and Flute by Elisabetta de Gambarini and Anna Bon, A Lecture-Recital
Friday, 7:30–9:00, Colorado Ballroom
Kimary FICK, Oregon State, Baroque Flute
Alison DeSIMONE, University of Missouri, Kansas City, Harpsichord
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S A T U R D A Y , 2 3 M A R C H 2 0 1 9
Pressing Questions for ASECS at 50: The Digital Humanities and the Global Eighteenth Century
Saturday, 9:45–11:15, Mt Evans
Chair: Christy PICHICHERO, George Mason University
1. Jeff RAVEL, MIT
2. Nicole ALJOE, Northeastern University
3. Paris SPIES-GANS, Harvard University
4. Rebecca GEOFFROY-SCHWINDEN, University of North Texas
5. Karen STOLLEY, Emory University
6. Michael YONAN, University of Missouri
7. Chi-Ming YANG, University of Pennsylvania
8. Kristel SMENTEK, MIT
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Art and Material Culture from the Ibero-American Realms
Saturday, 2:00–3:30, Mt. Harvard
Chair: Jeffrey SCHRADER, University of Colorado, Denver
1. Rachel ZIMMERMAN, Colorado State University, Pueblo, “Sacred, Secular, Exotic, European: Imitation Lacquer Chinoiserie in Colonial Minas Gerais, Brazil”
2. Sabena KULL, University of Delaware, “Floral Garland Paintings in Eighteenth-Century Peru: Circumscribing the Sacred from Europe to the Colonial Andes”
3. James MIDDLETON, Independent Scholar, “Dress and Trade in a Mid-Eighteenth-Century New Spanish Topographical Painting”
4. Gustavo FIERROS, University of Denver, “Toward an Equinoctial Landscape during the Eighteenth Century”
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Between Art and Labor: Craft in the Global Eighteenth Century
Saturday, 2:00–3:30, Mt. Elbert B
Chair: Cassidy PICKEN, Capilano University
1. Ruth MACK, SUNY Buffalo, “‘Useful, Again and Again’: Theory in Worker-Poet Craft”
2. Isabelle MASSE, McGill University, “The Transmission of Craftsmanship: Making Pastel Sticks in Eighteenth-Century Lausanne”
3. Katarina O’BRIAIN, St. Mary’s University, “Phillis Wheatley and the Limits of Craft Labor”
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Living with the Ancients
Saturday, 3:45–5:15, Mt. Princeton
Chair: Paul KELLEHER, Emory University
1. Helen DEUTSCH, University of California, Los Angeles, “‘TO VIRTUE ONLY and HER FRIENDS, A FRIEND’: Pope, Wimsatt, and the Erotics of Criticism”
2. Chris ROULSTON, University of Western Ontario, “Sexuality in Translation: Anne Lister and the Ancients”
3. Caroline GONDA, University of Cambridge, “Identity and the Classics in Anne Damer’s Notebooks”
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Going Public: Taking Eighteenth-Century Material Culture into the Public Eye
Saturday, 3:45–5:15, Torrey Peak
Chair: Jamie KINSLEY, Arizona State University
1. Susannah OTTAWAY, Carleton College, “‘The Biggest Object in Our Collection’: Material Culture and Museum Collaboration in the History of Social Welfare”
2. Susan EGENOLF, Texas A&M University, “Gods in the Western Midlands: Bringing Josiah Wedgwood to 21st-Century Texas”
3. Maureen HARKIN, Reed College, “Tapestry and Topiary: Adam Smith’s Defense of Craft”
4. Caitlan TRUELOVE, University of Cincinnati College-Conservatory of Music, “Ambiguity and Intertextuality in the Music of Outlander (2014–Present)”
Respondent: Jessica RICHARD, Wake Forest University
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Women and Whiteness
Saturday, 3:45–5:15, Mt. Elbert A
Chair: Katharine JENSEN, Louisiana State University
1. Emily Clare CASEY, St. Mary’s College of Maryland, “White Revivals: Women in the Guise of Shakespeare’s Miranda in Eighteenth-Century Portraiture”
2. Christopher DOUGLAS, University of Alabama, “More than ‘half an Englishwoman’: Performing Race, Nationality, and Belonging in The Woman of Colour”
3. Katherine ARPEN, Guilford College, “Elevating the White Heroine in Paul et Virginie”
4. Oliver WUNSCH, Harvard Art Museums, “Carriera’s Whiteness”
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Quinquagenary Reception and Cash Bar
Saturday, 5:30–6:30, Capitol Peak
New Book | American Silver in the Philadelphia Museum of Art
From Yale UP:
Beatrice Garvan and David Barquist, with Elisabeth Agro, American Silver in the Philadelphia Museum of Art, Volume 1, Makers A–F (New Haven: Yale University Press, 2018), 464 pages, ISBN: 978-0300229400, $150.
Beginning with Cesar Ghiselin in 1681, Philadelphia has a long and storied history of silversmithing that includes notable artists such as Joseph Richardson Sr. and Jr., Philip Syng Jr., and Olaf Skoogfors. Celebrating this legacy and showcasing the Philadelphia Museum of Art’s extraordinary and comprehensive collection of American silver, this generously illustrated book features a broad array of objects that range from colonial-era tableware to groundbreaking contemporary designs. Extensive biographies of makers accompany detailed entries on individual pieces that are full of new discoveries related to artist marks, heraldic engravings, and provenance histories. This volume is the first of four—organized alphabetically by makers and retailers—that will eventually encompass the museum’s complete collection of American silver.
Beatrice B. Garvan is curator emerita of American decorative arts, and David L. Barquist is the H. Richard Dietrich, Jr., Curator of American Decorative Arts, both at the Philadelphia Museum of Art.
Study Day | Women and Architecture
From the study day flyer:
Genres & Espaces « Pas de politique, pas de chien, pas de femme »
Le Musée du 11 Conti – Monnaie de Paris, 22 March 2019
Cette journée-débat proposée par l’ENSA Paris-Malaquais, le 11 Conti-Monnaie de Paris et AWARE (Archives of Women Artists Research & Exhibition), ambitionne de réunir et promouvoir les travaux de chercheur.se.s, mais aussi des associations, collectifs, publications et enseignements dans les ENSA, proposant tout.e.s une réflexion inclusive. De la construction de l’histoire des femmes architectes à une conception féministe de l’espace à toutes ses échelles, la journée propose de s’interroger sur la place actuelle du genre dans l’enseignement de l’architecture et quelle place doit lui être faite demain.
9.30 Accueil
• Camille Morineau (directrice des collections et expositions du 11 Conti – Monnaie de Paris, présidente d’ AWARE)
• Luc Liogier (directeur de l’École nationale supérieure d’architecture Paris-Malaquais)
10.00 Introduction
• Bérénice Gaussuin
10.20 Histoire de femmes architectes
Modération: Anne-Marie Châtelet
• Arlette Auduc (Comité d’histoire du ministère de la Culture) et Anne-Marie Châtelet (ENSA Strasbourg, EA3400 Arche) de la revue Livraisons d’Histoire de l’Architecture, Femme et architecture
• Sarah Feriaux-Rubin (ENSA Belleville), Simone Galpin, femme effacée de Wogenscky
• Dominique Amouroux (Fondation Marta Pan-André Wogenscky), Marta Pan
11.30 Du genre en ville
Modération: Lucile Biarrotte (Université Paris-Est, Lab’Urba)
• Giulia Custodi (École de Géographie de Paris, LAA), Cartographies des approches genrées dans les villes européennes: Entre le mainstreaming et le féminisme diffus
• Chris Blache et Pascale Lapalud (Genre et ville), Pourquoi et comment le genre change l’urbanisme
• Lucile Biarrotte (Université Paris-Est, Lab’Urba), L’infusion d’approches genrées dans l’urbanisme parisien: Métaphore d’une propagation aux échelles organisationnelles et individuelles
Déjeuner
14.30 Projection du film Les dites cariatides, Agnès Varda (1984, 13 minutes).
14.45 Du genre en architecture
Modération: Stéphanie Dadour (ENSA Grenoble, MHA evt, ACS)
• Flore Gustin et Yen Bui (ENSA Marnes-la-Vallée), Présentation de l’intensif sur le genre ENSA Marnes-la-Vallée (Fanny Lopez, enseignante responsable)
• Sophie Orlando (ENSA Villa Arson, situations post), Modernismes saphiques, espaces non-hétéronormés: Subjectivités, sensualité et politiques de la couleur
• Stéphanie Dadour, Architecture et féminisme: De la théorie critique à l’action in Revue Malaquais
16.30 Madame l’architecte
Modération: Olivier Chadoin (ENSAP Bordeaux, PAVE-Centre Émile Durkheim)
• Giulia Zonca et Dorota Slazakowska (ENSA Paris-Malaquais), Who runs the world? Chronologie réflexive d’un intensif féministe
• Rossella Gotti et Anne Labroille (MéMO), Présentation du Mouvement pour l’Équité dans la Maîtrise d’Œuvre (MEMO)
• Stéphanie Bouysses-Mesnages (ENSA Nantes, EA3400 Arche), Les premières femmes inscrites à l’Ordre des architectes d’Ile-de- France
18.30 Fin de la journée-débat
Cantor Art Center Acquires Works by Kaphar and Suh
From the Cantor Arts Center press release, via Art Daily:
Titus Kaphar, Page 4 of Jefferson’s ‘Farm Book’, January 1774, Goliath, Hercules, Jupiter, Gill, Fanny, Ned, Sucky, Frankey, Gill, Nell, Bella, Charles, Jenny, Betty, June, Toby, Duna (sic), Cate, Hannah, Rachael, George, Ursula, George, Bagwell, Archy, Frank, Bett, Scilla, ? , 2, 2018; oil on canvas on support panel (Stanford: Cantor Arts Center / © Titus Kaphar).
With the recent acquisition of the painting, Page 4 of Jefferson’s ‘Farm Book’, January 1774 . . ., by Titus Kaphar, and the monumental hanging sculpture, Cause & Effect, by Do Ho Suh, the Cantor Arts Center at Stanford University has added two significant works to its collection that reference how forced and unforced global migration transform personal and cultural identity.
The acquisition of these works supports the vision of Susan Dackerman, the John and Jill Freidenrich Director of the Cantor, to bring the museum firmly into the 21st century through acquisitions, exhibitions, and programs that feature concerns relevant to the everyday lives of students and other visitors. “I think art, artists, and art history have the potential to challenge a culture’s preconceived notions of itself and enlighten us to other ways of understanding the world,” she said. “Having these art works at the museum will enable us to have conversations about difficult topics from multiple points of view.”
Page 4 is what Kaphar calls a ‘visual reparation’ and belongs to a series of tar portraits imagining enslaved sitters as freed men and women. By representing them in historical dress reflective of a status above the one they lived, Kaphar visually frees his sitter from enslavement. The face of the subject is obscured by the use of tar, which suggests the sitter’s invisibility. “Kaphar’s artistic practice actively engages with art history in order to investigate its representational inequities, with regard to both what is represented, and who is doing the representing,” said Aleesa Alexander, assistant curator of American art.
In the case of Page 4, the painting was created with specific reference to Thomas Jefferson’s ‘Farm Book’, which contains lists of Jefferson’s slaves, many identified only by their first names. The full title of the painting is Page 4 of Jefferson’s ‘Farm Book’, January 1774, Goliath, Hercules, Jupiter, Gill, Fanny, Ned, Sucky, Frankey, Gill, Nell, Bella, Charles, Jenny, Betty, June, Toby, Duna (sic), Cate, Hannah, Rachael, George, Ursula, George, Bagwell, Archy, Frank, Bett, Scilla, ? , 2. While Kaphar’s style references the traditional genre of portraiture, his methods of addressing the canvas’s surface—through cutting, nailing, and covering his figures with tar—is decidedly contemporary. “Given that Stanford was also built on a farm, and that the Stanfords employed Chinese laborers, having this piece in our collection will generate interesting parallels worthy of exploration and discussion,” said Alexander. Page 4 is the first work by Kaphar to enter the Cantor’s collection and will be on display in the exhibition The Medium Is the Message: Art since 1950 February 23–August 18, 2019.
Do Ho Suh, Cause & Effect, with Suh’s Screen in the background, as installed at the Cantor Arts Center.
Cause & Effect is composed of hundreds of small, colorful, acrylic figures, which form a monumentally-scaled, cone-shaped chandelier suspended from the ceiling and reaching almost to the floor. The interconnectedness of the figures, which sit upon each other’s shoulders, suggest the weight and inescapability of one’s history. Suh’s work, which often references domestic architecture and decoration, questions cultural and aesthetic differences between his native Korea and his adopted homes in the United States and Europe. “Adding this visually compelling and complex work to our collection will allow us to continue to have important discussions about transnational identity and how we comprehend the past while living in the present,” Dackerman said.
“Cause & Effect is a bold and important work, signaling the Cantor’s commitment to exhibit more works of contemporary art by artists from Asia,” said Padma D. Maitland, Patrick J. J. Maveety Assistant Curator of Asian Art. This is the first work by Suh to be added to the Cantor’s collection and is on display with two other works by the artist in the exhibition Do Ho Suh: The Spaces in Between.
New Book | L’art et la race
From Les Presses du Réel:
Anne Lafont, L’art et la race: L’Africain (tout) contre l’œil des Lumières (Dijon: Les Presses du Réel, 2019), 476 pages, ISBN: 978-2378960162, 32€.
L’historienne de l’art Anne Lafont livre une étude inédite sur les relations étroites et paradoxales de l’art et de la race à l’époque des Lumières. Une nouvelle voix dans les travaux actuels sur les questions de race, d’art, d’images et de colonies.
En se fondant sur un corpus d’œuvres d’art connues et moins connues, l’auteure revisite les Beaux-Arts au XVIIIe siècle sous l’angle de la représentation des Noirs, figures qui, non seulement, articulent savoirs anthropologiques et expériences esthétiques, mais aussi histoire du luxe métropolitain et histoire de l’esclavage colonial. Ce livre est fondé sur une recherche de plus de dix ans sur les formes qu’ont prises les figures de l’Africain et de l’Africaine dans l’art continental et colonial français d’avant l’imaginaire abolitionniste. Il couvre les cultures visuelles et artistiques qui vont de la fin du XVIIe siècle—à l’époque de Coypel, Mignard, Largillière… —quand les colonies antillaises commencèrent à percer dans le champ artistique métropolitain, au premier tiers du XIXe siècle—à l’époque de Girodet, Benoist et Léthière jusqu’à Géricault… —quand l’échec de la première abolition de l’esclavage (1802) durcit l’iconographie partisane, mettant la violence des vies dans les plantations à l’ordre du jour de la création artistique.
Publié avec la collaboration de Laurence Bertrand Dorléac – Centre d’Histoire de Sciences Po – et le concours de la Fondation de France.
Anne Lafont est historienne de l’art, directrice d’études à l’École des hautes études en sciences sociales. Elle a étudié au Canada et en France avant d’être pensionnaire de la Villa Médicis. Elle a été ensuite maîtresse de conférences en histoire de l’art moderne à l’université Paris-Est avant de rejoindre l’Institut national d’histoire de l’art où elle a passé dix années. Elle est élue à l’EHESS en 2017 sur un projet intitulé Histoire de l’art et créolités.
Ses travaux ont porté principalement sur l’art des XVIII et XIXe siècles avec un intérêt particulier pour l’œuvre de la Révolution française et l’imagination picturale des nouveaux citoyens, les Noirs, à l’échelle des révolutions atlantiques. En parallèle, elle a initié des recherches sur la question des savoirs naturalistes et anthropologiques en lien avec les cultures visuelles du voyage, de l’expédition scientifique et du cabinet de curiosités (L’artiste savant à la conquête du monde moderne, 2010 ; 1740, L’abrégé du monde, 2012) mais aussi des travaux sur les écrits des femmes sur l’art autour de 1800 (Plumes et pinceaux. Discours de femmes sur l’art en Europe, 2012). Son travail s’oriente désormais vers l’art des Antilles françaises pendant la période coloniale et, d’une manière générale, sur les arts et les cultures de l’Atlantique noir.
New Book | The Georgian London Town House
From Bloomsbury:
Kate Retford and Susanna Avery-Quash, eds., The Georgian London Town House: Building, Collecting, and Display (London: Bloomsbury, 2019), 364 pages, ISBN: 978-1501337291, £90.
For every great country house of the Georgian period, there was usually also a town house. Chatsworth, for example, the home of the Devonshires, has officially been recognised as one of the country’s favourite national treasures—but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including Devonshire House, no longer exist, having been demolished in the early twentieth century.
This book seeks to place centre-stage the hugely important yet hitherto overlooked town houses of the eighteenth and early nineteenth centuries, exploring the prime position they once occupied in the lives of families and the nation as a whole. It explores the owners, how they furnished and used these properties, and how their houses were judged by the various types of visitor who gained access.
C O N T E N T S
Susanna Avery-Quash and Kate Retford, Introduction
Contexts
1 Joseph Friedman, Town and Country: Patterns of Aristocratic Collecting in Georgian England
2 Matthew Jenkins and Charlotte Newman, London in Pieces: Building Biographies in Georgian Mayfair
Creating the London Town House
3 Neil Bingham, The Regency Transformation of Burlington House, Piccadilly, Documented through the Architectural Drawings of Samuel Ware
4 Adriano Aymonino and Manolo Guerci, Building and Refurbishing the London Town House during the Mid-Eighteenth Century: Francophilia in Interior Decoration
5 Susanna Avery-Quash, John Julius Angerstein’s Collection of Old Masters at Pall Mall: An Eighteenth-Century London Financier and His Circle of Art Advisers
Display in the London Town House
6 Susannah Brooke, The Display and Reception of Private Picture Collections in London Town Houses, 1780–1830
7 Desmond Shawe Taylor, Picture Displays at Carlton House
8 Anne Nellis Richter, Glitter and Fashion in the ‘Louvre of London’: Animating Cleveland House
9 Jeremy Howard, New Light on Norfolk House: The Decoration and Furnishing of Norfolk House for the 9th Duke and Duchess of Norfolk
10 Donato Esposito, Artist in Residence: Joshua Reynolds at 47 Leicester Fields
11 Helen McCormack, Animating Anatomy: 16 Great Windmill Street, Westminster
Bibliography
DMA Names Nicole Myers Senior Curator of European Art
Press release (19 February 2019) from the DMA:
Dr. Agustín Arteaga, The Eugene McDermott Director of the Dallas Museum of Art, announced today that Dr. Nicole R. Myers has been named The Barbara Thomas Lemmon Senior Curator of European Art. Myers steps into her new role after serving for nearly three years as The Lillian and James H. Clark Curator of European Painting and Sculpture at the DMA. As The Barbara Thomas Lemmon Senior Curator of European Art, Myers will assume official leadership of the department, continuing her work thus far in overseeing the acquisitions, exhibitions, research, and publications related to the DMA’s expansive collection of European art, composed of thousands of paintings, sculptures, and works on paper dating from the 15th century to 1945.
“In her time at the DMA, Nicole has already demonstrated incredible leadership through her significant contributions to scholarship, visionary acquisitions, and compelling exhibitions that highlight the strength and breadth of the DMA’s collection,” said Arteaga. “I am confident that the Museum’s Department of European Art will continue to grow and evolve in meaningful ways under her direction.”
Since joining the DMA in 2016, Myers has curated several noteworthy exhibitions, including the forthcoming critically acclaimed exhibition Berthe Morisot, Woman Impressionist, opening at the DMA on February 24, 2019, for which she is co-curator. Co-organized by the DMA, Musée national des beaux-arts du Québec (Québec City, Canada), the Barnes Foundation (Philadelphia, PA), and the Musée d’Orsay (Paris, France), this is the first dedicated presentation of Morisot’s work held in the United States since 1987.
Myers is also curator of Women Artists in Europe from the Monarchy to Modernism (2018), which highlights the DMA’s exceptional holdings of artwork by female artists working in Europe between the late 18th and mid-20th centuries; Modernity and the City (2018), which brings together prints and drawings by European artists who captured the impact of industrialization on urban life in the early 20th century; and An Enduring Legacy: The Eugene and Margaret McDermott Collection of Impressionist and Modern Art (2018), dedicated to the single largest benefactors in the Museum’s history, the late Margaret and Eugene McDermott, and presenting their magnificent final bequest of 32 19th- and early 20th-century artworks. Myers also served as the curator of the only US presentation of the international touring exhibition Art and Nature in the Middle Ages, organized by the Musée de Cluny, Musée National du Moyen Âge in Paris and presented in Dallas in 2016. She is currently at work on major loan exhibitions dedicated to Juan Gris, Vincent van Gogh, and Pablo Picasso.
Additionally during her tenure at the DMA, Myers has overseen a range of significant acquisitions for the Museum’s collection. In 2018 she was responsible for the DMA’s acquisition of The Descent from the Cross by the German master painter Derick Baegert (c. 1440–c. 1509). This tour-de-force of Northern European painting is the first work of its kind to enter the DMA’s holdings and the first work by this artist to enter a US museum. Myers also acquired French artist Emile Bernard’s masterpiece The Salon (1890), as well as rare paintings by Adélaïde Labille-Guiard (French, 1749–1803), Eva Gonzalès (French, 1849–1883), Oscar Dominguez (Spanish, 1906–1957), and Joaquín Torres-García (Uruguayan, 1874–1949).
“It is both an honor and a privilege to lead the Department of European Art as The Barbara Thomas Lemmon Senior Curator,” said Myers. “I am thrilled to be part of such a dynamic institution as it starts an exciting new chapter under Dr. Arteaga’s direction, and I look forward to sharing groundbreaking exhibitions, research, and programming dedicated to European art in the years to come.”
Prior to the DMA, Myers served as the Associate Curator of European Painting and Sculpture at the Nelson-Atkins Museum of Art, where she curated the exhibitions Rodin: Sculptures from the Iris and B. Gerald Cantor Foundation (2011), Town and Country: French Types in the 19th Century (2012), and Gérôme and the Lure of the Orient (2014). She previously held curatorial positions at the Metropolitan Museum of Art, the Museum of Fine Arts, Boston, and the Saint Louis Art Museum, and served as a Curatorial Consultant to the Denver Art Museum.
Myers earned her master’s and doctorate degrees in art history from the Institute of Fine Arts, New York University, where she wrote her doctoral thesis on the French master Gustave Courbet. She is a summa cum laude graduate of Washington University in St. Louis and a member of Phi Beta Kappa.
Axel Rüger Appointed New Secretary and Chief Executive of RA
Press release (13 February 2019) from the RA:
The Royal Academy of Arts announced today that Axel Rüger has been appointed as the new Secretary and Chief Executive. He replaces Sir Charles Saumarez Smith who stepped down at the end of 2018. Rüger is currently the Director of the Van Gogh Museum in Amsterdam.
Rüger spent his early career in museums in the US, before becoming curator of Dutch Paintings at the National Gallery, London in 1999. He has been Director of the Van Gogh Museum since 2006 and, during his tenure, has made it one of the most successful museums internationally. Rüger’s appointment has been approved by the Royal Academy’s Council, General Assembly, and Her Majesty The Queen. He will start his new role at the Royal Academy in June 2019.
Axel Rüger said: “It is a great honour for me to have been asked to become the new Secretary and Chief Executive of the Royal Academy. The RA derives its unique character from being independent and artist-led and I greatly look forward to working with the Royal Academicians as well as the dedicated staff to develop further the standing of the RA at home and abroad. Following the 250th anniversary and the RA’s recent expansion, it feels like the Academy is now ready to embark on a new and exhilarating chapter in its rich history. I am excited about the opportunity to join at this critical moment and to work to tell great stories through ambitious and varied exhibitions, innovative programmes and debate and, more generally, to make the RA, its activities and collections ever more accessible to audiences from around the globe.”
Christopher Le Brun, President of the Royal Academy of Arts, said: “I am delighted that Axel Rüger will be joining the Academy as our new Secretary and Chief Executive in June. His appointment coincides with a moment in history when the international reputation of the Academy has never been higher. Axel is the perfect fit. His success at the Van Gogh Museum is highly acclaimed, and he is widely acknowledged as one of the leading directors of his generation. His experience, both in the UK and abroad, makes him ideally suited to work alongside our distinguished Royal Academicians and staff in guiding the RA towards a highly promising future and I am very much looking forward to working with him.”
Rebecca Salter, Keeper of the Royal Academy, said: “Axel Rüger brings with him a wealth of experience, which will enhance the profile and independent character of the Royal Academy. I know my fellow Academicians and all our staff will enjoy working with him as we continue to explore the potential of our new campus and shape the Royal Academy for the future.”
Axel Rüger was born in 1968 in Dortmund, Germany. He studied art history at the Freie Universität in Berlin, the University of Cambridge, and Queen’s University in Kingston, Ontario. Ruger worked in various museums in Atlanta, Detroit, and Washington D.C. before he was appointed Curator of Dutch Paintings, 1600–1800, at the National Gallery in London in 1999. He curated a number of international exhibitions for the National Gallery including Vermeer and the Delft School (2001), Aelbert Cuyp (2002), and Masterpieces of Seventeenth-Century Dutch Portrait Painting (2007).
In 2004, whilst still at the National Gallery, he was selected to take part in the first year of the then newly created Clore Leadership Programme—a high level initiative of the Clore Duffield Foundation, which focuses on the development of leadership in the cultural sector. Part of that programme was a four-month secondment to the Royal Court Theatre in London.
In 2006 Rüger became the Director of the Van Gogh Museum in Amsterdam and The Mesdag Collection in The Hague. At the Van Gogh Museum, he has been primarily responsible for artistic direction and public affairs. He completed various research projects such as the new complete edition of Van Gogh’s letters (2009) and has been responsible for the new display of the collection and numerous exhibitions.
New Book | Stewards of Memory
From The University of Virginia:
Carol Borchert Cadou, with Luke Pecoraro and Thomas Reinhart, eds., Stewards of Memory: The Past, Present, and Future of Historic Preservation at George Washington’s Mount Vernon (Charlottestville: The University of Virginia Press, 2018), 280 pages, ISBN: 978-0813941516 (cloth), $60, ISBN: 978-0813941523 (paper), $30.
Mount Vernon, despite its importance as the estate of George Washington, is subject to the same threats of time as any property and has required considerable resources and organization to endure as a historic site and house. This book provides a window into the broad scope of preservation work undertaken at Mount Vernon over the course of more than 160 years and places this work within the context of America’s regional and national preservation efforts.
It was at Mount Vernon, beginning with efforts in 1853, that the American tradition of historic preservation truly took hold. As the nation’s oldest historic house museum, Mount Vernon offers a unique opportunity to chronicle preservation challenges and successes over time as well as to forecast those of the future. Stewards of Memory features essays by senior scholars who helped define American historic preservation in the twentieth and early twenty-first centuries, including Carl R. Lounsbury, George W. McDaniel, and Carter L. Hudgins. Their contributions—complemented by those of Scott E. Casper, Lydia Mattice Brandt, and Mount Vernon’s own preservation scholars—offer insights into the changing nature of the field. The multifaceted story told here will be invaluable to students of historic preservation, historic site professionals, specialists in the preservation field, and any reader with an interest in American historic preservation and Mount Vernon.
Support provided by the David Bruce Smith Book Fund and the Fred W. Smith National Library for the Study of George Washington at Mount Vernon.
Carol Borchert Cadou, who spent nineteen years on the collections and preservation staff at Mount Vernon, is Charles F. Montgomery Director and CEO of Winterthur Museum. Luke J. Pecoraro is Assistant Director for Archaeology at George Washington’s Mount Vernon. Thomas A. Reinhart is Director of Architecture at George Washington’s Mount Vernon.
C O N T E N T S
Acknowledgments
Abbreviations
A Chronology of Historic Preservation at Mount Vernon in National Context
• Douglas Bradburn and Carol Borchert Cadou, Introduction
• Carl Lounsbury, New History in Old Buildings: Architectural Research and Public History in the Chesapeake
• Thomas Reinhart and Susan Schoelwer, ‘Distinguished by the Name of the New Room’: Reinvestigation and Reintepretation of George Washington’s Grandest Space
• Luke Pecoraro, ‘We Have Done Very Little Investigation There; There Is a Great Deal Yet to Do’: The Archaeology of Georges Washington’s Mount Vernon
• Robert Fink, Thomas Reinhart, and Alyson Steele, Mount Vernon’s Historic Building Information Management Systerm: Digital Strategies for Preservation in the Twenty-First Century
• George McDaniel, Stepping Up and Saving Places: Case Studies in Whole Place Preservation
• Lydia Mattice Brandt, The Dangers of Preserving while Popular: The Mount Vernon Ladies’ Association’s Image of Mount Vernon versus Contemporary Architecture
• Scott Casper, Saving Mount Vernon, in Black and White: Toward an Alternative History of Historic Preservation
• Carter Hudgins, Mount Vernon and America’s Historic House Museums: Old Roles and New Responsibilities in the Preservation of Place
• Carol Borchert Cadou and Luke Pecoraro, Conclusion
Contributors
Index
Call for Papers | Cardinal Alessandro Albani
From the Call for Papers:
Cardinal Alessandro Albani: Collecting, Dealing, and Diplomacy in Grand Tour Europe
Collezionismo, diplomazia ed il mercato nell’Europa del Grand Tour
British School at Rome / Centro di Studi sulla Cultura e l’Immagine di Roma, 11–13 December 2019
Organised by Clare Hornsby and Mario Bevilacqua
Proposals due by 1 April 2019
This conference aims to bring together an international range of art historians alongside scholars of related humanistic disciplines to open a new chapter on the multifaceted life and career of Cardinal Alessandro Albani (1692–1779), ‘The Father of the Grand Tour’. Albani operated in many different spheres of Roman society in a variety of roles: antiquarian, collector, art dealer, political agent, spy. It is time to make a reassessment of his life and of his activities.
There is a close connection between Britain and the study of Cardinal Albani, reflecting the central role that the British played in the art market in Rome, as entrepreneurs and purchasers. This subject—which casts valuable light on the political and diplomatic networks in mid-eighteenth-century Europe—needs to be revisited, particularly in the light of the many books, conferences, and exhibitions on collecting and the art market that have appeared in the last 25 years. It is appropriate that this conference should have as one of its venues the British School at Rome [BSR], which has, over this period, hosted many scholarly events connected with the Grand Tour.
For many years European scholars have examined aspects of the life of Cardinal Alessandro Albani, particularly in respect of his magnificent collections of ancient sculpture—of central importance in artistic and museological culture in Rome—as well as in the family archives and European correspondence. His relationship with major figures in eighteenth-century European art such as Winckelmann and Piranesi remains a fruitful area of study.
The second venue of the conference—the Centro di Studi sulla Cultura e l’Immagine di Roma [CSCIR—is an institution renowned for its commitment to a deeper understanding and reflection on Roman historical and artistic life. By this British and Italian collaboration we hope not only to build new networks of scholarship but to focus international attention on the Albani collections at a key moment.
The role of Alessandro Albani is key in eighteenth-century Rome, both as a patron of the arts and in the wider political life of the European courts. This conference is designed to be multi-disciplinary and international, reflecting the life and career of Albani himself. Proposals for talks might address the following themes:
Albani in the Grand Tour
The Roman art market
Albani and Vatican diplomacy
His correspondents and social networks
The Stuart court in Rome
Philipp von Stosch, Horace Mann, and spying
Albani the archaeologist
The drawings collection of Cassiano dal Pozzo and their sale to King George III
Winckelmann and Albani
Albani as taste-maker
The collections — sculpture, drawings, and the libraries
Albani and Piranesi
The Albani archives
Villa Albani
The languages of the conference are English and Italian, and the event will be open to the public. We invite doctoral students, postdoctoral researchers, established scholars, and members of the foreign academies in Rome to submit proposals for papers which will fall into two groups:
(1) 15-minute presentations on one event, object, or discrete theme
(2) 30-minute presentations on collections or connected themes
Please send an abstract of either 500 words (for a 15-minute talk) or 1000 words (for a 30-minute talk) with a 200-word CV to albaniconvegno@gmail.com by 1 April 2019.
We plan to publish a volume of essays based on this conference.
Scientific Committee
Mario Bevilacqua (Università degli Studi di Firenze, CSCIR), Amanda Claridge (Royal Holloway University of London, Cassiano del Pozzo project), Clare Hornsby (Research Fellow, BSR), Ian Jenkins (Dept. of Greek and Roman Antiquities, British Museum), Harriet O’Neill (Assistant Director, BSR), Susanna Pasquali (La Sapienza Roma), Jonny Yarker (Libson and Yarker Ltd., London)
Enfilade 
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