New Book | The Architecture of Ruins

Posted in books by Editor on September 26, 2019

From Routledge:

Jonathan Hill, The Architecture of Ruins: Designs on the Past, Present, and Future (New York: Routledge, 2019), 374 pages, ISBN: 978-1138367777 (hardback), $140 / ISBN: 978-1138367784 (paperback), $47.

The Architecture of Ruins: Designs on the Past, Present and Future identifies an alternative and significant history of architecture from the sixteenth century to the twenty-first century, in which a building is designed, occupied, and imagined as a ruin. This design practice conceives a monument and a ruin as creative, interdependent and simultaneous themes within a single building dialectic, addressing temporal and environmental questions in poetic, psychological, and practical terms, and stimulating questions of personal and national identity, nature and culture, weather and climate, permanence and impermanence, and life and death. Conceiving a building as a dialogue between a monument and a ruin intensifies the already blurred relations between the unfinished and the ruined and envisages the past, the present, and the future in a single architecture.

Structured around a collection of biographies, this book conceives a monument and a ruin as metaphors for a life and means to negotiate between a self and a society. Emphasising the interconnections between designers and the particular ways in which later architects learned from earlier ones, the chapters investigate an evolving, interdisciplinary design practice to show the relevance of historical understanding to design. Like a history, a design is a reinterpretation of the past that is meaningful to the present. Equally, a design is equivalent to a fiction, convincing users to suspend disbelief. We expect a history or a novel to be written in words, but they can also be delineated in drawing, cast in concrete or seeded in soil. The architect is a ‘physical novelist’ as well as a ‘physical historian’.

Like building sites, ruins are full of potential. In revealing not only what is lost, but also what is incomplete, a ruin suggests the future as well as the past. As a stimulus to the imagination, a ruin’s incomplete and broken forms expand architecture’s allegorical and metaphorical capacity, indicating that a building can remain unfinished, literally and in the imagination, focusing attention on the creativity of users as well as architects. Emphasising the symbiotic relations between nature and culture, a building designed, occupied, and imagined as a ruin acknowledges the coproduction of multiple authors, whether human, non-human or atmospheric, and is an appropriate model for architecture in an era of increasing climate change.

Jonathan Hill is Professor of Architecture and Visual Theory at the Bartlett School of Architecture, University College London, where he directs the MPhil/PhD Architectural Design programme. He is the author of The Illegal Architect (1998), Actions of Architecture (2003), Immaterial Architecture (2006), Weather Architecture (2012), and A Landscape of Architecture, History and Fiction (2016); editor of Occupying Architecture (1998) and Architecture—the Subject is Matter (2001); and co-editor of Critical Architecture (2007).


List of Figures

1  Monuments to Rome
2  The First ‘Ruins’
3  Architecture in Ruins
4  Speaking Ruins
5  Ruin and Rotunda
6  Life in Ruins
7  Wrapping Ruins around Buildings
8  Nations in Ruins
Conclusion: A Monument to a Ruin



Exhibition | City Women in the 18th Century

Posted in exhibitions, on site by Editor on September 25, 2019

From the exhibition:

City Women in the 18th Century: An Outdoor Exhibition of Women Traders in Cheapside, London
Cheapside, London, 21 September — 18 October 2019

Curated by Amy Erickson

In the 18th century, many women worked in luxury manufacturing and sales in the Cheapside area between St Paul’s and the Royal Exchange. They were not only employed to make the clothing, jewellery, prints, fans, trunks and furniture on sale; they also ran some of the businesses. These women, all of whom were members of London’s livery companies, employed thousands more in their trades. Some of these elite employers produced highly ornamental trade cards to advertise their business. These represent only a fraction of all the business women trading over the 18th century. Others we know of through their printed products (e.g., Sarah Ashton, fanmaker), or an insurance policy (Eleanor Coade, merchant), or livery company records (Martha Gurney, printer).

Most of the surviving business cards are in two collections in the British Museum. The first collector was Sarah Sophia Banks (1744–1818). The sister of Joseph Banks, who collected items of natural history, she collected material relating to the social history of her own day. The second collector was Ambrose Heal (1872–1959), arts and crafts furniture designer and heir to Heal’s furniture shop which had been established in Tottenham Court Road since the 1850s. This outdoor exhibition, over a 700-metre trail, explores the important role of women in commerce and manufacturing in 18th-century City.

Amy Louise Erickson, the curator of the exhibition, is Reader in Economic History at the University of Cambridge, and the author of Women and Property in Early Modern England and articles on women trading in 18th-century London. Her current project is reconstructing female labour force participation in early modern Britain. She co-directs the ‘Occupational Structure of England and Wales, 1379–1911’ research programme at the Cambridge Group for the History of Population & Social Structure.

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In addition to the virtual exhibition, organized around eight sites, the exhibition includes the following programming:

Mary Owen, jeweller and goldsmith, printed her card as a widow in the mid-18th century. Her husband (dead by 1745) had also been a goldsmith, but was a member of the Fishmongers’ Company; as his widow, Owen traded as a member by courtesy.

Talk | City Women in the 18th Century
London Metropolitan Archives, 17 September, 14.00

Dr Amy Erickson, from the Faculty of History at the University Cambridge, will be discussing her exhibition, City Women in the 18th Century, at the London Metropolitan Archives.

Guided Tours
Paternoster Square, 29 September, 10.30; and 6 October, 15.00

Join Dr Amy Erickson on a tour of the exhibition. Booking required (29 September or 6 October).

Talk | Women in the Luxury Trades
Goldsmiths’ Centre in Clerkenwell, 19 November, 18.00

Learn about the women who traded as goldsmiths, silversmiths, milliners, fan-makers, and printers along the length of Cheapside, from Paternoster Square to the Royal Exchange, through their ornately engraved business cards. Further details.


Lecture | Matthew Reeve, ‘Children of Strawberry’

Posted in lectures (to attend) by Editor on September 24, 2019

Next month at BGC:

Matthew Reeve, ‘Children of Strawberry’: Replication and Referentiality in the English Gothic Revival / The Lee B. Anderson Memorial Lecture on the Gothic
Bard Graduate Center, New York, 16 October 2019

John Carter, The Tribune at Strawberry Hill, ca. 1789 (Lewis Walpole Library, Yale University).

Matthew M. Reeve will deliver the inaugural Lee B. Anderson Memorial Lecture on the Gothic on Wednesday, October 16, at 6pm. His talk is entitled “‘Children of Strawberry’: Replication and Referentiality in the English Gothic Revival.”

Horace Walpole’s Strawberry Hill (begun 1747) established a significant template for subsequent Gothic buildings. Eliding the persona of a famous author, antiquary, and connoisseur with an extraordinary Gothic villa, it would be emulated in a long list of commissions from c. 1750 into the twentieth century. In Reeve’s recent work he has explored the place of homoerotic coteries in the formation of the Gothic idiom—and more broadly of medievalism—within Walpole’s milieu. Walpole’s queer coterie would disseminate the Gothic style in Georgian London from c. 1750–1790 in a handful of buildings that followed in Strawberry Hill’s wake. For Walpole, these buildings were “Children of Strawberry,” the offspring of his famous home. This was grounded in the construction of Walpole’s coterie as a ‘queer family’, a sexual rather than biological construction of kinship. Sexuality was, however, only one possible signification of Strawberry Hill and Strawberry Hill Gothic, and the house’s reception history indicates that the meanings of the house morphed to adapt to different needs of patrons. The apparent ‘queerness’ of these buildings and of the Gothic generally, would change significantly around 1800 and be reframed in the light of the religious and social reforms that shaped the Victorian Gothic Revival. Taking the ‘long view’ of Walpole’s famous home, this lecture considers the changing meanings of the Gothic on either side of c. 1800 and in so doing offers a new perspective on the shaping of ‘the Gothic Revival’.

Matthew M. Reeve is Associate Professor and Queen’s National Scholar of Art History at Queen’s University and a Fellow of the Society of Antiquaries of London. Beginning at the University of Toronto, he moved to Cambridge for his graduate work under Paul Binski and taught at the University of Toronto and the University of London. His research has long been divided between medieval art (proper) and episodes of medievalism in Western art. His first books were on Gothic architecture and wall painting and he has recently completed Gothic Architecture and Sexuality in the Circle of Horace Walpole 1717–97, which is soon to appear from Penn State. Arguing that the revival of Gothic art and architecture was the product of a queer coterie surrounding Horace Walpole, this study interrogates the sexual and aesthetic origins of medievalism itself. This project has been supported by fellowships from the Paul Mellon Centre and the Social Sciences and Humanities Research Council of Canada, and earlier papers from it were published in The Art Bulletin, Architectural History, the Burlington Magazine, and elsewhere. He is currently working on books on the Gothic sculpture of Wells Cathedral, Welsh Gothic architecture, and a collaborative study of Medievalism during Toronto’s Gilded Age.

Exhibition | Jean-Jacques Lequeu: Visionary Architect

Posted in exhibitions by Editor on September 23, 2019

From the press release (18 July 2019) for the exhibition:

Jean-Jacques Lequeu: Visionary Architect, Drawings from the Bibliothèque Nationale de France
Petit Palais, Paris, 11 December 2018 — 31 March 2019
Menil Drawing Institute, Houston, 4 October 2019 — 5 January 2020
The Morgan Library & Museum, New York, 31 January — 10 May 2020

Curated by Edouard Kopp and Kelly Montana

Jean-Jacques Lequeu, The Tomb of Isocrates, Athenian Orator (Tombeau d’Isocrate, orateur athénien), 1789; ink on paper, 47 × 41 cm (Paris: Collection of the Bibliothèque nationale de France).

The Menil Collection is pleased to present Jean-Jacques Lequeu: Visionary Architect, Drawings from the Bibliothèque nationale de France, an exhibition of fifty drawings by the draftsman and architect who is now considered to be one of the most inventive artists of post-revolutionary France. On display at the Menil Drawing Institute from October 4, 2019 to January 5, 2020, the exhibition explores Lequeu’s wildly imaginative and spectacularly detailed architectural drawings and anatomical studies.

Jean-Jacques Lequeu (1757–1826) was born in Rouen, France, and studied architecture in Paris. Over the course of his career, which was drastically impacted by the French Revolution of 1789 and its aftermarth, he worked as a draftsman, a surveyor, and a cartographer. His posthumous acclaim would come from the discovery of the hundreds of carefully preserved drawings he bequeathed to the Bibliothèque nationale de France in 1825, the year before his death.

Ranging from government proposals to fantastic and speculative structures that were never intended to be constructed, Lequeu’s architectural drawings depict civic infrastructure along with curious oddities such as a towering stable in the shape of a cow. His designs were never realized in part because of the political turmoil caused by the Revolution, and also because some of his architectural ideas, though minutely executed on paper, were simply impossible to build.

Said Edouard Kopp, John R. Eckel Jr. Foundation Chief Curator, Menil Drawing Institute, “Jean-Jacques Lequeu: Visionary Architect presents rarely-seen drawings of great refinement by a singular artist, who was in essence an ‘architect on paper’. Together, the drawings attest to Lequeu’s prolific imagination, erudite knowledge and eclectic tastes. They also demonstrate how brilliantly he managed to bring his ideas to life on paper. More broadly, they remind us of the tremendous power and versatility of the drawing medium to conceive and to visualize architecture.”

Lequeu’s work was included in an exhibition of 18th-century French architectural drawings titled Visionary Architects, Boullée, Ledoux, Lequeu organized by Jean Adhémar for the Bibliothèque nationale de France in 1964. Dominique de Menil, co-founder of the Menil Foundation, brought that exhibition to the United States in 1967 and arranged its American tour. Visionary Architects was shown at the University of St. Thomas, Houston, before travelling to the St. Louis City Art Museum; the Metropolitan Museum of Art, New York; the Art Institute of Chicago; the M. H. de Young Memorial Museum of San Francisco; The Institute of Contemporary Art at the University of Pennsylvania; and the French Embassy in Mexico. Along the way it influenced a number of young artists. Sol LeWitt and Claes Oldenburg, for example, are known to have closely studied the fanciful and obsessive peculiarities of Lequeu’s work. In 1968 the notable architecture critic of The New York Times, Ada Louise Huxtable, described Lequeu’s drawings as “délices [that] hover between dream and nightmare…. His is a world much closer to Disneyland, but infinitely more elegant and erotic….” Sixteen of Lequeu’s drawings that were included in Visionary Architects will be shown at the Menil as part of the forthcoming presentation.

Said Menil Director Rebecca Rabinow, “John and Dominique de Menil took great satisfaction in introducing the public to art of all kinds. Mrs. de Menil believed that Lequeu was someone who ‘belong[ed] to another world, a world pervaded by dreams and eccentricities’. Now, in the context of our new Menil Drawing Institute building, we can return to this quietly influential exhibition from more than fifty years ago and provide an in-depth look at an artist who is now being rediscovered by scholars.”

Co-organized by the Petit Palais, Paris, and the Bibliothèque nationale de France, the exhibition in Houston is curated by Edouard Kopp, John R. Eckel Jr. Foundation Chief Curator, and Kelly Montana, Assistant Curator, both of the Menil Drawing Institute. Following the Menil’s presentation, the exhibition will travel to the Morgan Library & Museum, New York. Major funding for this exhibition in Houston is provided by Cecily E. Horton and The Vaughn Foundation. Additional support comes from Curtis & Windham Architects; Caroline Huber; Janie C. Lee; Adelaide de Menil; Susanne and William E. Pritchard III; Bill Stewart; and The City of Houston.

Barry Bergdoll, Jean-Jacques Lequeu: The Architectural Imagination in the Age of Reason
Menil Drawing Institute, Houston, Thursday, 14 November, 7pm

Barry Bergdoll will present a lecture on the occasion of the exhibition. Professor Bergdoll is a specialist in late 18th- and 19th-century French and German architecture, and the author of numerous works on the period, including the textbook European Architecture 1750–1890 in the Oxford History of Art series. He is Professor of Art History at Columbia University and former Chief Curator of Architecture and Design at the Museum of Modern Art.

Call for Papers | Durham Early Modern Conference 2020

Posted in Calls for Papers by Editor on September 21, 2019

From Durham:

Durham Early Modern Conference 2020
Durham, 8–10 July 2020

Submissions for panels and strands due by 11 November 2019

We welcome proposals for panels and strands from scholars interested in any aspect of the early modern period, ca. 1450 to 1800. The conference committee encourages panels that include papers from participants at a range of career stages. The deadline for submissions of panels and strands is Monday, 11 November 2019.

Panel Proposals should comprise at least three papers. The usual panel structure is three papers, each lasting 20 minutes, with thirty minutes dedicated to discussion (90 minutes in total). Panels may also consist of four papers, each lasting 15 minutes, with the whole session being delivered within the 90-minute slot.

Strand Proposals: The conference organisers strongly encourage the submission of proposals for strands that will run through the conference. These should generally comprise at least two and no more than five related panels.

New Book | Crowning Glories

Posted in books by Editor on September 20, 2019

From the University of Toronto Press:

Harriet Stone, Crowning Glories: Netherlandish Realism and the French Imagination during the Reign of Louis XIV (Toronto: University of Toronto Press, 2019), 312 pages, ISBN 978-1487504427, $70.

Crowning Glories integrates Louis XIV’s propaganda campaigns, the transmission of Northern art into France, and the rise of empiricism in the eighteenth century—three historical touchstones—to examine what it would have meant for France’s elite to experience the arts in France simultaneously with Netherlandish realist painting. In an expansive study of cultural life under the Sun King, Harriet Stone considers the monarchy’s elaborate palace decors, the court’s official records, and the classical theatre alongside Northern images of daily life in private homes, urban markets, and country fields.

Stone argues that Netherlandish art assumes an unobtrusive yet, for the history of ideas, surprisingly dramatic role within the flourishing of the arts, both visual and textual, in France during Louis XIV’s reign. Netherlandish realist art represented thinking about knowledge that challenged the monarchy’s hold on the French imagination, and its efforts to impose the king’s portrait as an ideal and proof of his authority. As objects appreciated for their aesthetic and market value, Northern realist paintings assumed an uncontroversial place in French royal and elite collections. Flemish and Dutch still lifes, genre paintings, and cityscapes, however, were not merely accoutrements of power, acquisitions made by those with influence and money. Crowning Glories reveals how the empirical orientation of Netherlandish realism exposed French court society to a radically different mode of thought, one that would gain full expression in the Encyclopédie of Diderot and d’Alembert.

Harriet Stone is Professor of French and Comparative Literature at Washington University in St. Louis.


List of Images

Introduction: Hiding in Plain Sight

Part I: Divergent Patterns
1  Two Models in Context: Northern Realist Art in France
2  France at the Intersection: Configuring the French Response to Northern Realism

Part II: Transformations
3  Fractured Spaces: Staging the King’s Portrait
4  In Death as in Life

Part III: Patterns of Change
5  The Great Reveal
6  Legacies

Coda: Trompe l’oeil Illusions and the Thoughts They Inspire

Works Cited

Exhibition | Slavery

Posted in exhibitions by Editor on September 19, 2019

View of the Plantation Cornelis Friendship in Suriname (‘Plantagie Cornelis Vriendschap’), eighteenth century, watercolor, 43 × 64 cm
(Amsterdam: Rijksmuseum, RP-T-1959-120)

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The exhibition opens this time next year at the Rijksmuseum:

Slavery, An Exhibition
Rijksmuseum, Amsterdam, 25 September 2020 — 17 January 2021; dates extended to summer 2021

This exhibition testifies to the fact that slavery is an integral part of our history, not a dark page that can be simply turned and forgotten about. And that history is more recent than many people realize: going back just four or five generations you will find enslaved people and their enslavers. For the very first time, in 2020 the Rijksmuseum will hold an exhibition devoted entirely to this subject. Slavery is found in many cultures, places and times, but this exhibition focuses on slavery in the Dutch colonial period, spanning from the 17th to the 19th century.

Why the Rijksmuseum is holding this exhibition

The Rijksmuseum is the Dutch national museum for art and history. Slavery is an integral part of that history, and one that affects us all. Delving into the history of slavery will lead to a better understanding of contemporary Dutch society. The plans for this exhibition are part of a museum-wide effort to increase the attention given to colonial history, from diverse perspectives. Academic research, recent acquisitions, and a critical reappraisal of the existing collection are all aspects of this policy. Others include the multimedia guided tour entitled ‘Colonial Past’ and the Country Series of eight books that each focus on a nation with which the Netherlands had a relationship during the colonial period.

What the exhibition is about

In the days of Dutch colonial slavery, millions of people were reduced to the status of personal ‘property’. It has proven to be difficult to trace the stories of these people. The exhibition at the Rijksmuseum will center on ten individuals, some of them well-known, others less so. This emphasis on the personal will enable the museum to give a ‘face’ to slavery and make the universal and perpetual relevance of this history tangible. This exhibition does not attempt to offer a complete overview of the history of Dutch slavery. By taking a biographical approach, the museum wants to encourage museum visitors to reflect and to ask questions: How did enslaved people cope with their situation? Were there any voices of dissent? What did people in the Netherlands know about slavery? The exhibition will shed light on the trading triangle linking Europe, Africa and the Americas; on the Indian Ocean region; on southern Africa; and on enslaved people who were brought to the Netherlands.

The people involved in building this exhibition

The Rijksmuseum has assembled a team of specialist curators with wide-ranging academic networks, including Eveline Sint Nicolaas, Valika Smeulders, Maria Holtrop, Stephanie Archangel, and Saida Si Amer. The team will receive support from a think-tank that will convene on four occasions, as well as an international advisory council.

In the run-up to the exhibition, the Rijksmuseum will hold a number of meetings and events focusing on contributions and discourse from society at large. On 18 May 2018, for example, a discussion took place that focused on the part that Wikipedia can play in increasing the accessibility of our collection. And did you know that if you go to our online Rijksstudio, you can already start putting together your own collection of Rijksmuseum objects relating to slavery?

New Book | Epic Landscapes: Latrobe and the Art of Watercolor

Posted in books by Editor on September 18, 2019

From The University of Virginia Press:

Julia A. Sienkewicz, Epic Landscapes: Benjamin Henry Latrobe and the Art of Watercolor (Charlottesville: The University of Virginia Press, 2019), 288 pages, ISBN 978-1644531594, $65.

Epic Landscapes is the first study devoted to architect Benjamin Henry Latrobe’s substantial artistic oeuvre from 1795, when he set sail from Britain to Virginia, to late 1798, when he relocated to Pennsylvania. Thus, this book offers the only extended consideration of Latrobe’s Virginian watercolors, including a series of complex trompe l’oeil studies and three significant illustrated manuscripts. Though Latrobe’s architecture is well known, his watercolors have received little critical attention. Epic Landscapes rediscovers Latrobe’s watercolors as an ambitious body of work and reconsiders the close relationship between the visual and spatial sensibility of these images and his architectural designs. It also offers a fresh analysis of Latrobe within the context of creative practice in the Atlantic world at the end of the eighteenth century as he explored contemporary ideas concerning the form of art for Republican society and the social impacts of revolution.

Julia Sienkewicz is Assistant Professor of Art History at Roanoke College.

Conference | Fürstliche Feste

Posted in conferences (to attend) by Editor on September 18, 2019

From Art-Hist.net (11 September 2019) . . .

Fürstliche Feste
Schloss Sondershausen, 25–26 October 2019

Höfisches Feiern diente der Manifestation von Herrschaftsbeziehungen. Offizielle Feste waren und sind ein wichtiges Medium der Repräsentation gesellschaftlicher und politischer Ordnung, aber auch ihrer spielerischen Reflexion. Die Inszenierung von Festen forderte insbesondere im Zeitalter des Barock das ganze Aufgebot der Künste von der Architektur über die bildende Kunst und das Kunsthandwerk bis zu Musik und Theater. Nicht umsonst betrauten Herrscher oft ihre Hofkünstler mit der Regie dieser Gesamtkunstwerke, die häufig in Wort und Bild dokumentiert und mit großem Interesse weit über den Teilnehmerkreis hinaus rezipiert wurden. Neben dem kulturhistorischen Schwerpunkt schlägt die Tagung den Bogen in die Gegenwart.

Wir bitten um Anmeldung mit Antwortbogen (Download Interneseite) oder unter veranstaltungen@thueringerschloesser.de und Überweisung der Tagungsgebühr bis 14. Oktober 2019 unter Angabe des Namens auf das Konto der Stiftung bei der Kreissparkasse Saalfeld-Rudolstadt:
IBAN: DE03 8305 0303 0000 0001 24
Damit gilt die Anmeldung als verbindlich. Bei Absage der Teilnahme ist eine Rückerstattung nicht möglich.

Tagungsgebühr für die Vortragsreihe an beiden Tagen: 65€ inkl. Kaffeepausen (ermäßigt 35€ für Arbeitslose, Schwerbeschädigte, Schüler und Studenten); Tageskarte Freitag 40€ (ermäßigt 20€); Tageskarte Samstag 25€ (ermäßigt 15€)

Stiftung Thüringer Schlösser und Gärten
Schloßbezirk 1 07407 Rudolstadt
T 0 36 72 – 4 47 0 F 0 36 72 – 44 71 19

gemeinsam mit
Prof. Dr. Michael Maurer
Friedrich-Schiller-Universität Jena, Seminar für Volks-
kunde/Kulturgeschichte, Professur für Kulturgeschichte
Zwätzengasse 3 07743 Jena

F R E I T A G ,  2 5  O K T O B E R  2 0 1 9

10.00  Begrüßung und Einführung, Doris Fischer

10.30  Michael Maurer (Friedrich-Schiller-Universität Jena), Welche Funktionen erfüllen höfische Feste? Ein Überblick aus kultur- und sozialgeschichtlicher Perspektive

11.00  Jörn Steigerwald (Universität Paderborn), Das Fest der Feste – Die Plaisirs de l’Île Enchantée oder Versailles als Maßstab

11.30  Andrea Sommer-Mathis (Österreichische Akademie der Wissenschaften, Wien), Feste im Machtzentrum des Heiligen Römischen Reichs – der Wiener Hof

12.00  Diskussion

12.15  Mittagspause mit Gelegenheit zu Führungen

14.00  Ines Elsner (Berlin), Zwischen Alltagsphänomen und Ausnahmezustand: Feste am Berliner Hof Friedrichs III./I. von Brandenburg-Preußen, 1688–1713

14.30  Christian Quaeitzsch (Bayerische Verwaltung der Staatlichen Schlösser, Gärten und Seen, München), Reflexionen französischer Festkultur am Hof der Wittelsbacher

15.00  Harriet Rudolph (Universität Regensburg), Fest und Status. Feste als Medium fürstlicher Repräsentation in der Hierarchie des Heiligen Römischen Reichs

15.30  Diskussion

15.45  Kaffeepause

16.15  Susan Baumert (Friedrich-Schiller-Universität Jena), Dynastie und Individuum – Lebensfeste am Weimarer Hof

16.45  Hendrik Bärnighausen (Dresden), Festkultur am Hof der Fürsten von Schwarzburg-Sondershausen

17.15  Hendrik Ziegler (Philipps-Universität Marburg), „Alla Turca“ – Der Osmane als Bezwungener oder als Bezwinger im höfischen Fest des Barock

17.45  Diskussion

18.15  Enrico Brissa (Leiter des Protokolls beim Deutschen Bundestag), Manieren und Protokoll. Zur Fernwirkung höfischer Kultur. Enrico Brissa liest aus seinem Buch „Auf dem Parkett. Kleines Handbuch des weltläufigen Benehmens“

S A M S T A G ,  2 6  O K T O B E R  2 0 1 9

9.30  Hildegard Wiewelhove (Museum Huelsmann, Bielefeld), Feste im Garten und Gärten im Fest. Gartenfeste im Spiegel ihrer medialen Verbreitung

10.00  Marc Jumpers M.A. (Bayerisches Landesamt für Denkmalpflege, München), Weltliche und sakrale Festinszenierungen der geistlichen Wittelsbacherprinzen im Nordwesten des Alten Reiches

10.30  Tobias C. Weißmann (Johannes-Gutenberg-Universität Mainz), Vom Entwurf zum Ereignis. Der Künstler als Festregisseur und die Festindustrie im barocken Rom

11.00  Kaffeepause

11.30  Sebastian Werr (Bayerische Staatsbibliothek München), Klangstrategien. Musik bei Münchner Hoffesten

12.00  Franz Nagel (Stiftung Thüringer Schlösser und Gärten, Rudolstadt), Feste in Stuck und Farbe. Hauptsäle in Thüringen

12.30  Abschlussdiskussion

13.00 bis 17.00  Tag der offenen Tür im Schlossmuseum mit Sonderführungen, musikalischer Umrahmung und künstlerischen Darbietungen

Lecture | Menno Fitski, On a Japanese Lacquer Chest

Posted in lectures (to attend) by Editor on September 17, 2019

Next Thursday at Columbia:

Menno Fitski, Genji Meets Yoritomo
Burke Center, Columbia University, New York, 26 September 2019

Menno Fitski, head of Asian Art at the Rijksmuseum, will lecture on an astonishing mid-seventeenth century Japanese lacquer chest acquired by the museum in 2013. Hitherto known only through a poor World War II-era photograph published by his mentor (and father-in-law), the late Oliver Impey, the RM chest must be counted as one of the finest examples of Japanese lacquer ever to have been exported to the West. It forms part of what Impey described as the Fine Group—comprised of three other, similarly large, richly lacquered chests, in the the Victoria and Albert Museum; the State Historical Museum, Moscow; and one believed to have been sawn up. The recovery of the RM chest was rightfully heralded in the 2015 exhibition Asia in Amsterdam.

The RM and V&A chests are believed to have passed from the directors of the Dutch East India company in Japan who first acquired them to Cardinal Mazarin whose descendants preserved them throughout the eighteenth century. Around 1800, they were acquired by the renowned English collector William Beckford and subsequently sold in the estate sale of his son-in-law, the 10th Duke of Hamilton in 1882. At this point, their paths diverged—one to the V&A and the RM example into the collection of Sir Trevor Lawrence. At some point thereafter, the RM chest dropped off the map, only to remerge in a house near Paris six years ago.

But the odyssey through trade and European princely ownership is only part of their story as the quality and themes of these lacquers are in every sense exceptional (if only for what we now view as having been made expressly for export, i.e, Namban wares). Of a quality more generally identified with the most refined domestic taste (akin to those collected by Maria Theresa and Marie Antoinette), the panels of the chest illustrate scenes from the eleventh century Tale of Genji.

The lecture is scheduled for Thursday, 26 September 2019 at 6:00pm.

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