Enfilade

Call for Papers | RSA 2020, Philadelphia

Posted in Calls for Papers by Editor on June 18, 2019

Next year’s RSA meeting takes place in Philadelphia, with a handful of panels welcoming late seventeenth- and early eighteenth-century topics. I’ve noted a few of these below, and the larger list of sessions is available at the RSA blog. CH

Renaissance Society of America
Philadelphia, 2–4 April 2020

Proposals due by July 2019 (specific dates vary)

Accommodations and meeting rooms have been booked at the Philadelphia Marriott Downtown and the nearby Courtyard Philadelphia Downtown, both of them a short walk from the famed Reading Terminal Market and City Hall. The Philadelphia Historic District, which was the first World Heritage city in the US, is also within walking distance or accessible by a short cab, bus, or subway ride. The Library Company of Philadelphia houses collections on American society and culture dating from the seventeenth century. The majestic Philadelphia Museum of Art, originally chartered for the Centennial Exposition in 1876, with its main building on Fairmont Hill completed in 1928, has pay-as-you-wish evening hours on Wednesdays and evening hours on Fridays as well.

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Exhausted with Antiquity: A Symptom of Early Modern Invention
Organizers: Marisa Bass (Yale University) and Carolyn Yerkes (Princeton University)

Where and when did early modern artists, architects, and writers begin to show signs of fatigue with the models of the classical past, and what kinds of creative experiments developed in response? Renaissance scholarship has long since moved beyond an understanding of its period as one defined first and foremost by a revival of antiquity. Although the significance of antiquarianism and classicism to manifold developments in early modern art and culture remains incontrovertible, both of those projects also met with productive resistance.

We invite papers addressing works of art or literature that reveal an exhaustion with antiquity and a conscious attempt to develop alternative modes, forms, and principles of invention. Especially welcome are proposals for papers that consider competing notions of the past, the distinction between ‘antique’ and ‘modern’, the political and cultural implications of the choice to forgo classical models, and the reasons why antiquity may have come to be perceived as an exhausted source in the context of certain moments and localities.

To submit a paper proposal please provide the following by email to Marisa Bass (marisa.bass@yale.edu) and Carolyn Yerkes (yerkes@princeton.edu) by 22 July 2019:
• your name and institutional affiliation
• paper title (15-word maximum)
• abstract (150-word maximum)
• keywords
• curriculum vitae (up to 5 pages)
• PhD completion date (past or future)

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The Miniature and the Monumental in Early Modern Art, 1500–1700
Organizers: Isabelle Lecocq (Royal Institute for Cultural Heritage, Brussels) and Elizabeth Rice Mattison (University of Toronto)

This panel aims to examine the role of scale and size in early modern art (ca. 1500–1700). This period witnessed increasingly ambitious projects: massive tomb complexes, immense palaces, and large programs of stained glass. Meanwhile, diminutive arts became increasingly popular: collectible statuettes, tiny prints, portrait miniatures, and small painted glass (commonly known as ’roundels’). Scale and size affected the production and reception of the arts across media in the face of shifts in patronage, organization of artists’ workshops, and dissemination of objects.

Questions this panel considers include: What is the difference between scale and size in early modern art? What is the relationship between scale and size and the circulation of objects, ideas, and materials? How does choice of medium affect the scale of a work? What happens to scale in translations of an iconography across media, and how does scale transform that iconography? How are the miniature and monumental connected, as in instances of microarchitectural projects such as sacrament houses, altarpiece cases, or reliquaries? How did artists working on simultaneously small and large scales adapt their style accordingly? What is the role of scale in new cultures of collecting and display?

This panel invites papers of any geographic focus that explore aspects of scale between 1500 and about 1700. Please send proposals including a paper title (15 words), abstract (150 words), keywords, PhD completion date (past or expected), and CV (max. 5 pages) to the organizers: Isabelle Lecocq (isabelle.lecocq@kikirpa.be) and Elizabeth Rice Mattison (elizabeth.mattison@mail.utoronto.ca) by 15 July 2019.

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Art Theory and Global Dissemination of Early Modern Spain and Colonial Spanish America
Organizers: Livia Stoenescu (Texas A&M University) and Luis Javier Cuesta Hernández (Universidad Iberoamericana)

Papers are sought for panel presentations on the impact of art theory and the global dissemination of works of art from Early Modern Spain and the Hispanic territories of the New World. Spain’s visual culture and literary arts thrived amid a time of political turmoil, instability, and economic crisis. The theoretical discourses generated by Spain, the Hispanic Kingdoms, and Viceroyalties prompted new conceptions of art and unprecedented claims to artistic originality while producing an intense circulation of artistic works around the world.

We invite papers that examine sacred allegories, historical painting, philosophical and literary texts from Golden Age Spain, as well as architectural settings, public processions, miraculous relics and the venerated saints that were held up as symbols of the city and/or the kingdom. The presentations comprising this panel will provide an in-depth perspective on the interrelated issues of Early Modern Spain and the Hispanic territories, and on understudied aspects of the interaction with the arts of Colonial Spanish America in a global context.

500–1,000-word abstracts are invited for consideration on topics including but not limited to the following:
• Spanish paintings distributed in Peru, New Spain, and the rest of the Americas and the impact of the imported art on the art of the colony from the late sixteenth century to mid-eighteenth century.
• the majolicas of Spanish America and global distribution
• early global trade and lavish consumption in the Spanish America
• art theory and the circulation of works of art at the Court, and in the cities of Valencia and Naples as independent art centers, as well as in other major regional centers such as Toledo, Seville, Madrid
• art theory and art dissemination in the main centers of Colonial Spanish America such as Mexico and Lima, and their interrelation with Early Modern Spain
• the status of painting as a liberal art and the painter as its noble practitioner on both the Spanish national art scene and in the Hispanic territories
• the large body of art theory in Early Modern and Baroque Spain: Carducho, Pacheco, Jusepe Martínez, Lázaro Díaz del Valle, and Antonio Palomino (1724).
• Italian Renaissance ideas and Palomino’s theory of 1715 that Spanish artists should attend the schools of Spain, rather than the osterie of Rome where they experience only bewilderment and disorientation
• art theoretical positions by major artists such as Diego de Velázquez, Alonso Cano, Francisco Ribalta, Jusepe de Ribera, Felipe Gómez de Valenica, Bartolomé Esteban Murillo, and others that mark the historical and political events of the Siglo de Oro
• Spanish Baroque artists engaging the Italian Renaissance art, culture, architecture, and art theoretical discourse
• materials and techniques of polychrome sculpture as well as the important centers, clientele, and art theorists associated with its production
• innovative art theoretical approaches to the integration of painting and carving that characterize the complex medium of polychrome sculpture as a devotional art form
• old practices of processional statues, altarpieces, stalls, and their reassessment by art theorists
• the true portrait, or the Veras Imagos, sculpted likeness that stood on the church altar
• the dissemination and circulation of drawings in Colonial Spanish America

Abstracts, one-page CV (not in prose!), and keywords should be sent by 1 July 2019 to Dr. Livia Stoenescu livias@tamu.edu and to Dr. Luis Javier Cuesta Hernández luis.cuesta@ibero.mx.

New Book | Female Portraiture and Patronage in Marie Antoinette’s Court

Posted in books by Editor on June 18, 2019

From Routledge:

Sarah Grant, Female Portraiture and Patronage in Marie Antoinette’s Court: The Princesse de Lamballe (New York: Routledge, 2018), 248 pages, ISBN: 978-1138480827 (hardcover), $150 / ISBN: 978-1351061827 (ebook), $55.

This comprehensive book brings to light the portraits, private collections and public patronage of the princesse de Lamballe (1749–1792), a pivotal member of Marie-Antoinette’s inner circle. Drawing extensively on unpublished archival sources, Sarah Grant examines the princess’s many portrait commissions and the rich character of her private collections, which included works by some of the period’s leading artists and artisans. The book sheds new light on the agency, sorority, and taste of Marie-Antoinette and her friends, a group of female patrons and model of courtly collecting that would be extinguished by the coming revolution.

Sarah Grant is Curator, Prints, at the Victoria & Albert Museum, London.

C O N T E N T S

Introduction
1  From Wife to Widow: Early Portraits of the Princesse de Lamballe
2  Paying Court: Careerism, Sentiment, and Sorority in Portraits of the Princesse de Lamballe
3  The Anglophile Princesse de Lamballe: Portraits, Prints, Gardens, and Anglomania at the Court of Marie-Antoinette
4  ‘Protector of the Fine Arts’: The Private Collection and Public Patronage of the Princesse de Lamballe, a Courtier-Collector
5  Epilogue

Bibliography
Index