Enfilade

DMA Names Julien Domercq Assistant Curator of European Art

Posted in museums by Editor on May 1, 2019

Press release (29 April 2019) from the DMA:

Julien Domercq has been named The Lillian and James H. Clark Assistant Curator of European Art at the Dallas Museum of Art. The appointment was announced today by Dr. Agustín Arteaga, the DMA’s Eugene McDermott Director. Domercq joins the DMA after serving as the Vivmar Curatorial Fellow at the National Gallery in London from 2016 to 2018. He will begin his new role in Dallas on May 14, 2019.

Under the direction of Dr. Nicole R. Myers, the Museum’s Barbara Thomas Lemmon Senior Curator of European Art, Domercq will actively contribute to the European department’s robust research, exhibition, and collection programs. The DMA’s European collection encompasses more than 1,900 paintings, sculptures, and works on paper from the Renaissance to the mid-20th century. Domercq will focus his efforts on the Old Master collection, rethinking its presentation and interpretation in the galleries and strategizing on collection growth in this area. Among his first exhibition projects are focused presentations of master paintings by Caravaggio and Frans Hals.

“Julien is a remarkable young talent, with impressive scholarship and international experience working in one of Europe’s most important public art institutions,” said Arteaga. “He has an incredible passion for making the presentation of European art exciting and accessible to a wide and multi-generational audience. This practice aligns well with the DMA’s mission to connect people and art. As we usher in a dynamic chapter in the European Art Department that was announced by the extraordinarily generous gift in 2013 of the Marguerite and Robert Hoffman Fund for European Art Before 1700, we are excited to welcome Julien to Dallas, and look forward to the work that he and Nicole Myers will accomplish together.”

At the National Gallery, London, Domercq curated the exhibition Drawn in Colour: Degas from the Burrell (2017), a presentation of 23 works by Edgar Degas loaned from the Burrell Collection in Glasgow paired with selections from the National Gallery’s collection. The Guardian praised the exhibition as “a ravishing, revealing window on Degas’s inner world.” He assisted in the final stages of the exhibition Painters’ Paintings: From Freud to Van Dyck (2016) and also worked on major redisplays of the post-1800 and Italian Renaissance galleries, including reimagining the presentation of the National Gallery’s paintings by Titian and Raphael.

“With his breadth in European Old Masters, Julien will bring fresh eyes and new scholarship to the extant collection while expanding our holdings to reflect the DMA’s encyclopedic aim. I am excited for us to work together to reinvigorate the Museum’s Old Master exhibition program, an area that has been relatively underserved,” added Myers. “We are thrilled to welcome him to the curatorial team.”

Additionally, Domercq has contributed to a number of catalogues published by the National Gallery, London; Houghton Hall, Norfolk; and the Royal Academy of Arts, London. He has written articles as well as online reviews for Apollo magazine.

Domercq earned his bachelor’s (with first class honors) and master’s (with distinction) degrees in art history from King’s College, Cambridge, where he is currently completing his PhD. While there, his doctoral research was supported by a prestigious Gates Scholarship. His dissertation research explores shifts in European depictions of indigenous people in the Pacific Islands at the end of the 18th century.

“I am delighted to be moving to Dallas to join the curatorial team of the DMA at a time it is being dynamically reimagined under Dr. Arteaga’s direction,” said Domercq. “From my very first visit to Dallas, I was impressed by the central role the Museum plays for its community. Today, I am thrilled to be joining this great civic institution, with encyclopedic collections that reflect the vibrant multicultural city it serves. I am looking forward to immersing myself in the Dallas community and to devising ambitious Old Master exhibitions in partnership with other institutions internationally, collaborating on innovative programming and research with my new colleagues, and caring for, interpreting, and growing the DMA’s European Old Master collection, making it ever more accessible to the people of Dallas, and beyond.”

Journée d’étude | Le marché de l’art, 1750–1800

Posted in conferences (to attend) by Editor on May 1, 2019

From H-ArtHist:

Le marché de l’art dans la seconde moitié du XVIIIe siècle: Expertises, négociations et controverses
Institut national d’histoire de l’art, Paris, 5 June 2019

Les marchands se trouvent au cœur d’un vaste réseau culturel et artistique à cette période et deviennent les premiers intermédiaires entre l’œuvre et l’amateur d’art. Objets de curiosité, arts décoratifs, tableaux, dessins et gravures font tous partie des biens constituant ce négoce. Durant cette époque particulièrement dynamique, tant du point de vue historique que culturel, plusieurs controverses se font jour en lien avec ce commerce florissant. De nombreuses polémiques émergent entre différentes figures de marchands influents, certains qualifiant même leurs confrères de « brocanteurs ». Ces polémiques signalent-elles une volonté de s’imposer dans un secteur devenu fortement concurrentiel ? Où ne sont-elles que la manifestation de l’ambition de voir reconnaître une réelle distinction de compétences entre les marchands ? Des débats éclatent aussi entre les marchands et leur clientèle. Les amateurs, à la recherche constante d’œuvres authentiques, originellement créées par un artiste, sont ainsi confrontés aux problèmes que posent la copie et le faux, et à l’honnêteté parfois contestable des négociants. S’agit-il alors d’un problème de connaissances et de compétences des marchands ou d’un manque manifeste de sincérité au profit d’un désir grandissant d’enrichissement ? Enfin, cette journée s’intéressera aux échanges entre la France et ses pays voisins et, plus particulièrement, à la visibilité des pratiques marchandes contestées et à la manière dont les Français sont perçus à l’étranger durant cette période.

Journée d’étude organisée par le GRHAM (Groupe de Recherche en Histoire de l’Art Moderne)
• Florence Fesneau (université Paris 1 – Panthéon-Sorbonne)
• Barbara Jouves (université Paris 1 – Panthéon-Sorbonne)
• Maxime Georges Métraux (Sorbonne université)
• Alice Ottazzi (université Paris 1 – Panthéon-Sorbonne / Université de Turin), Marine Roberton (université Paris 1 – Panthéon-Sorbonne)
• Maël Tauziède-Espariat (université de Bourgogne)

P R O G R A M M E

9.00  Accueil des participants et du public

9.15  Introduction du GRHAM

9.30  Session 1: Réputation et autorité
Modération: Darius Spieth
• Ginevra Odone (Doctorante en histoire de l’art, Université de Lorraine / Università La Sapienza di Roma), Processus de négociation et renommé des Antiquaires à travers les lettres du comte de Caylus
• Moana Weil-Curiel (Historien de l’art indépendant), De Strasbourg à Paris, ascension et chute de Jean-Henri Eberts (1726–1803): De la banque au négoce, des tableaux au mobilier de la couronne

10.45  Pause

11.00  Session 2: Création de valeurs
Modération: Darius Spieth
• Patrick Michel (Professeur des universités, Université de Lille 3), Les marginalia d’un exemplaire du catalogue de la vente du prince de Conti: Un regard critique sur l’une des grandes ventes publiques de la seconde moitié du XVIIIe siècle
• Vincent Chenal (Chargé d’enseignement pour la Maîtrise d’études avancées en conservation du patrimoine et muséologie, Université de Genève), Établir une « échelle moyenne » de la valeur des œuvres d’art dans la « patrie des fantaisies et de l’inconstance dans les goûts » : Quelques aspects de cette pratique Jean-Baptiste-Pierre Lebrun prêteur sur gages

12.45  Déjeuner

14.00  Session 3: L’objet en question
Modération: Patrick Michel
• Jean-Baptiste Corne (Doctorant, École Pratique des Hautes Etudes /École du Louvre), De bric et de broc: Aux origines du marché de la boiserie
• Darius Spieth (San Diego Alumni Association Chapter Alumni Professor of Art History), Le paradoxe du marché de l’estampe pendant la Révolution française

15.15  Pause

15.30  Session 4: Regards sur le marché de l’art européen
Modération: Patrick Michel
• Bénédicte Miyamoto (Maître de conférences, Université Sorbonne Nouvelle –Paris 3), Visibilité des pratiques marchandes controversées outre-Manche: Intermédiaires polémiques, lots ravalés, et transparence
• Paolo Coen (Professor, Università degli studi di Teramo), The Art Market in Rome in the Second Half of the Eighteenth Century: Some Internal and External Communication Tools

16.45  Conclusion du GRHAM
• Claude Aguttes (Commissaire-priseur), Passé-présent, réflexion sur le marché de l’art

Cambridge Launches Inquiry into Historical Links to Slavery

Posted in today in light of the 18th century by Editor on May 1, 2019

I learned of this press release from the University of Cambridge through The Society of Antiquaries of London Online Newsletter (Salon) issue 426 (30 April 2018), which also notes that the University of Glasgow recently completed a similar study of its own historical ties to slavery. The report “Slavery, Abolition and the University of Glasgow,” published in September 2018, concludes that “although the University of Glasgow never owned enslaved people or traded in the goods they produced, it is nonetheless clear that the university received significant financial gifts and support from people who derived some or occasionally much of their wealth from slavery. . . The issue facing the university today is how to address this history? We deeply regret that during a crucial period of its growth and development the University of Glasgow indirectly benefitted from racial slavery, and this is a past which clashes with our proud history of support for the abolition of both the Slave Trade and slavery itself. We believe that what is most important, however, is how we intend to use our knowledge of this past in a ‘Programme of reparative justice’.” CH

From the Cambridge press release (30 April 2019) . . . .

Josiah Wedgewood, Emancipation Badge, 1787, jasperware, commissioned by the Society for Effecting the Abolition of the Slave Trade, designed by Henry Webber and modelled by William Hackwood (Cambridge: Fitzwilliam Museum).

The University of Cambridge will conduct an in-depth academic study into ways in which it contributed to, benefited from or challenged the Atlantic slave trade and other forms of coerced labour during the colonial era.

The two-year inquiry will explore University archives and a wide range of records elsewhere to uncover how the institution may have gained from slavery and the exploitation of labour, through financial and other bequests to departments, libraries, and museums. It will also investigate the extent to which scholarship at the University of Cambridge, an established and flourishing seat of learning before and during the period of Empire, might have reinforced and validated race-based thinking between the 18th and early 20th century.

A specially commissioned Advisory Group appointed by the Vice-Chancellor, Professor Stephen J Toope, has been asked to recommend appropriate ways to publicly acknowledge past links to slavery and to address its impact. The eight-member Advisory Group overseeing the work is being chaired by Professor Martin Millett, the Laurence Professor of Classical Archaeology, and draws its membership from relevant academic departments across the University. The panel will call on further external expertise as necessary. The inquiry will be conducted by two full-time postdoctoral researchers, based in the Centre of African Studies, part of the School of Humanities and Social Sciences. The research will examine specific gifts, bequests, and historical connections with the slave trade. Researchers will also look into the University’s contribution to scholarship and learning that underpinned slavery and other forms of coerced labour.

Professor Millett said: “This will be an evidence-led and thorough piece of research into the University of Cambridge’s historical relationship with the slave trade and other forms of coerced labour. We cannot know at this stage what exactly it will find but it is reasonable to assume that, like many large British institutions during the colonial era, the University will have benefited directly or indirectly from, and contributed to, the practices of the time. The benefits may have been financial or through other gifts. But the panel is just as interested in the way scholars at the University helped shape public and political opinion, supporting, reinforcing and sometimes contesting racial attitudes which are repugnant in the 21st century.”

Professor Toope, the Vice-Chancellor, said: “There is growing public and academic interest in the links between the older British universities and the slave trade, and it is only right that Cambridge should look into its own exposure to the profits of coerced labour during the colonial period. We cannot change the past, but nor should we seek to hide from it. I hope this process will help the University understand and acknowledge its role during that dark phase of human history.”

The Advisory Group’s work comes amid a wider reflection taking place in the United States and Britain on the links between universities and slavery. It is among a number of race equality initiatives currently being pursued at the University of Cambridge. In February, the Centre of African Studies hosted a round table on ‘Slavery and its Legacies at Cambridge’. The Advisory Group is expected to deliver its final report to the Vice-Chancellor in autumn 2021. Alongside its findings on historical links to the slave trade, the report will recommend appropriate ways for the University to publicly acknowledge such links and their modern impact.