Enfilade

New Book | Tastemakers: British Dealers and the Anglo-Gallic Interior

Posted in books by Editor on April 30, 2020

Forthcoming from The Getty (in July) . . .

Diana Davis, The Tastemakers: British Dealers and the Anglo-Gallic Interior, 1785–1865 (Los Angeles: Getty Research Institute, 2020), 320 pages, ISBN: 978-1606066416, $65.

In this volume, Diana Davis demonstrates how London dealers invented a new and visually splendid decorative style that combined the contrasting tastes of two nations. Departing from the conventional narrative that depicts dealers as purveyors of antiquarianism, Davis repositions them as innovators who were key to transforming old art objects from ancien régime France into cherished ‘antiques’ and, equally, as creators of new and modified French-inspired furniture, bronze work, and porcelain. The resulting old, new, and reconfigured objects merged aristocratic French eighteenth-century taste with nineteenth-century British preference, and they were prized by collectors, who displayed them side by side in palatial interiors of the period.

The Tastemakers analyzes dealer-made furnishings from the nineteenth-century patron’s perspective and in the context of the interiors for which they were created, contending that early dealers deliberately formulated a new aesthetic with its own objects, language, and value. Davis examines a wide variety of documents to piece together the shadowy world of these dealers, who emerge center stage as traders, makers, and tastemakers.

Diana Davis specializes in the interface between collectors, dealers, and the art market in the late eighteenth and early nineteenth centuries.

C O N T E N T S

Acknowledgments
Note to the Reader

Introduction

Part 1 — Trade, Taste and Retail
1  ‘The Revised Taste of Louis the Fourteenth’
2  ‘Nos Amis, Les Enemies!: Britain and France
3  ‘The Wily Brocanteur
4  ‘The New Race of Connoisseurs’

Part 2 — The Dealer-Producer
5  Manufacturers of Antique Furniture
6  ‘Matt and Burnished Gold’
7  ‘China Painted and Gilt’
8  ‘A Burst of Splendour’: The Anglo-Gallic Interior

Conclusion

Appendix 1  Selected Dealer Biographies
Appendix 2  Sale Catalogs

Sources and Bibliography
About the Author
Illustration Credits
Index

Call for Papers | Piranesi @300

Posted in Calls for Papers by Editor on April 28, 2020

From the updated Call for Papers, which also includes Italian and French versions:

Piranesi @300
Rome, 27–30 January 2021
Proposals due by 31 July 2020 (extended from the original April deadline)

Organized by Mario Bevilacqua and Clare Hornsby

Concluding the year celebrating the 300th anniversary of the birth of Giovanni Battista Piranesi (1720–1778), this conference aims to reveal new aspects of his life and works, their contexts, and critical fortune, and we are seeking proposals for a comparison of interdisciplinary themes and innovative methodologies.

In the light of current uncertainties, we plan to host the conference both live in Rome and via online platforms to facilitate international participation.

Some ideas of themes that could be addressed:

Piranesi as Artist, Theorist, Entrepreneur, and Merchant
Many aspects of Piranesi’s life and work still remain in the shadows: we hope to discover new documentary data, new drawings, new interpretations, new networks.

Piranesi and History
The Mediterranean civilizations, the fall of the Empire, the Middle Ages and the Renaissance. Egypt, Etruria, Greece, Rome. From the fall of the Empire to the Renaissance. Piranesi and the texts of his books, the birth of archaeology, the philosophy of history in 18th-century Europe.

Piranesi: Europe, America, the World
Piranesi as ‘global’ artist. His lasting reputation—from Rome across 18th-century Europe—takes on different aspects in different European contexts: England, France, Germany, Russia—and in the more distant United States and Latin America, Australia and Japan, maintaining close yet changing relationships with art, literature, photography, and cinema.

Piranesi as Architect: Monument, City, Utopia
Though constantly designing, he was the architect of only one building, S. Maria del Priorato on the Aventine hill yet Piranesi always signed himself ‘architect’. His vision of Roman architecture and of the ancient metropolis states certainties and raises concerns about the dystopian future of the global city.

Piranesi in the Global 21st Century: New Methods for New Paths of Research
We can ask questions about Piranesi in the context of contemporary scenarios. His work continues to provoke reflection, inspire new projects and interpretations.

The languages of the conference are English, Italian, and French, and the event will be open to the public. We invite doctoral students, postdoctoral researchers, established scholars to submit proposals for papers that contain new research or use new approaches. These will fall into two groups:
1) 15-minute presentations on one event, object, or discrete theme
2) 30-minute presentations on wider issues

Please send a 250-word CV and an abstract in English, French, or Italian of either 500 words (for a 15-minute talk) or 1000 words (for 30-minute talk); the abstract should make clear the new content of the contribution. Submissions should be sent to Piranesi300@gmail.com by July 31st 2020. We plan to offer accommodation in Rome to speakers at the conference though we are not able to assist with travel costs. We propose to publish a volume of the papers of the conference.

Supporting Institutions
Centro Studi Cultura e Immagine di Roma / Biblioteca Nazionale Centrale
Istituto Centrale per la Grafica
The British School at Rome
Académie de France à Rome – Villa Médicis

Conference Organisers
Mario Bevilacqua and Clare Hornsby

Scientific Committee
Francesca Alberti (Académie de France à Rome), Fabio Barry (Stanford University), Mario Bevilacqua (Università degli Studi di Firenze, CSCIR), Clare Hornsby (British School at Rome), Giorgio Marini (Ministero Beni Culturali), Heather Hyde Minor (Notre Dame Rome), Susanna Pasquali (Sapienza Università di Roma), Frank Salmon (Cambridge University), Giovanna Scaloni (Istituto Centrale per la Grafica).

HECAA Launches New Website

Posted in Member News by Editor on April 26, 2020

HECAA is pleased to announce its new website! To visit, go to hecaa18.org where you can explore exciting content like featured artworks, recently published member books, and resources for graduate students. All active members will have access to the HECAA forum, where you can share ideas, exchange teaching materials, and more.

And no worries: Enfilade will continue largely as it has up to now, including its affiliation with HECAA. It’s been clear—really since this site launched in 2009—that Enfilade’s audience overlaps with HECAA but is also much broader. The launch of the new HECAA site means that the organization now has the website it has long deserved. I’m delighted with the new site and look forward to how it will develop. Kudos to the officers (outgoing and incoming) and to the board members who have brought it to fruition.

I’m confident that many Enfilade readers would enjoy the additional resources and community that HECAA has to offer. Membership is affordable, with an annual student rate of $10 and a professional rate of $30. So please consider joining. And please keep checking in here.

Craig Hanson

 

New Book | Restoring Williamsburg

Posted in books by Editor on April 20, 2020

Distributed by Yale University Press:

George Humphrey Yetter and Carl Lounsbury, Restoring Williamsburg (The Colonial Williamsburg Foundation, 2019), 296 pages, ISBN: 978-0300248357, $50.

Today best known as the world’s largest ‘living history’ museum, Williamsburg was the capital of the colony of Virginia in the 1700s and the setting for key debates leading to the American Revolution. Inspired by growing interest in America’s colonial heritage, W. A. R. Goodwin, supported by John D. Rockefeller, Jr., initiated a major restoration in the 1920s and 1930s that has allowed visitors to see how Williamsburg looked in the 18th century. Restoring Williamsburg expands on Williamsburg Before and After, a now-classic book with more than 200,000 copies in print, offering an updated and nuanced look at the continuing process of restoration. In addition to capturing moments throughout the site’s transformation, the book offers important considerations about modern curatorial practices and changing approaches to historic preservation.

Lavishly illustrated with more than 350 photographs, watercolors, sketches, maps, and other illustrations, Restoring Williamsburg features new images from both before and after the restoration. This is an important contribution not only to architectural history and restoration practices but also to our understanding of the town that continues to inspire Americans to think about their history.

George Humphrey Yetter, who wrote Williamsburg Before and After, is the former associate curator of architectural drawings at the Colonial Williamsburg Foundation. Carl R. Lounsbury is the former Shirley and Richard Roberts Architectural Historian at the Colonial Williamsburg Foundation and currently teaches history at the College of William and Mary.

On Television and Online | Opening Up The Soane

Posted in museums by Editor on April 19, 2020

The three episodes of Opening Up The Soane will be uploaded to museum’s website a day after each episode airs on London Live.

• Episode 1, Restoring the Recesses — 20 April (airs 19 April, 8PM)
• Episode 2, Restoring the Private Apartments — 27 April (airs 26 April, 8PM)
• Episode 3, A Triumph of Restoration — 4 May (airs 3 May, 8PM)

You can watch the series live on London Live,Freeview 8 | Sky 117 | Virgin 159 | YouView 8

In the meantime, you can read about the Opening Up The Soane project, or explore the Museum online using Explore Soane. While the Soane Museum is temporarily closed, the institution is ever more reliant on your support to protect and maintain Sir John Soane’s house and collection.

New Book | Fancy in Eighteenth-Century European Visual Culture

Posted in books by Editor on April 18, 2020

From the Oxford University Studies in The Enlightenment series:

Melissa Percival and Muriel Adrien, eds., Fancy in Eighteenth-Century European Visual Culture (Liverpool: Voltaire Foundation in association with Liverpool University Press, 2020), 325 pages, ISBN: 978-1789620030, £65 / $100.

Fancy in the eighteenth century was part of a rich semantic network, connecting wit, whimsicality, erotic desire, spontaneity, deviation from norms and triviality. It was also a contentious term, signifying excess, oddness and irrationality, liable to offend taste, reason and morals. This collection of essays foregrounds fancy—and its close synonym, caprice—as a distinct strand of the imagination in the period. As a prevalent, coherent and enduring concept in aesthetics and visual culture, it deserves a more prominent place in scholarly understanding than it has hitherto occupied. Fancy is here understood as a type of creative output that deviated from rules and relished artistic freedom. It was also a mode of audience response, entailing a high degree of imaginative engagement with playful, quirky artworks, generating pleasure, desire, or anxiety. Emphasizing commonalities between visual productions in different media from diverse locations, the authors interrogate and celebrate the expressive freedom of fancy in European visual culture. Topics include: the seductive fictions of the fancy picture, Fragonard and galanterie, fancy in drawing manuals, pattern books and popular prints, fans and fancy goods, chinoiserie, excess and virtuality in garden design, Canaletto’s British capricci, urban design in Madrid, and Goya’s Caprichos.

Melissa Percival is Professor of French, Art History, and Visual Culture at the University of Exeter. She has published widely on theories of facial expression, fantasy figures, and portraits, with particular reference to eighteenth-century France; these include a monograph on Fragonard’s fantasy figures. Muriel Adrien is Associate Professor of art history and visual culture within the English Department at the University of Toulouse. She has published numerous articles on 18th- and 19th-century British and American art, especially as related to scientific contexts. She is chief editor of the online scholarly journal Miranda.

C O N T E N T S

List of figure
Acknowledgements

• Melissa Percival, Introduction
• Emmanuel Faure-Carricaburu, The Fantasy Figures of Jean-Baptiste Santerre and the Limits of Generic Frameworks of Interpretation
• Christophe Guillouet, The Parisian World of Printmaking at the Heart of the Invention of a Genre? Poilly, Courtin, and Bonnart’s Fantaisies, 1713–28
• John Chu, Windows of Opportunity: The French Fantasy Figure and the Spirit of Enterprise in Early-Eighteenth-Century Europe
• Martin Postle, Modelling for the Fancy Picture in Eighteenth-Century England
• Bénédicte Miyamoto, The Influence of Drawing Manuals on the British Practice and Reception of Fancy Pictures
• Guillaume Faroult, A Galant Fantasy: Fragonard’s Fantasy Figures and The Music Lesson in Relation to Van Dyck, Watteau, and Carle Vanloo
• Pierre-Henri Biger, Fans, Fantasy, and Fancy
• Melissa Percival, Fancy as a Mode of Consumption
• Vanessa Alayrac-Fielding, ‘A Butterfly Supporting an Elephant’: Chinoiserie, Fantaisie, and ‘the Luxuriance of Fancy’
• Laurent Châtel , The Garden as Capriccio: The Hortulan Pleasures of Imagination and Virtuality
• Béatrice Laurent, Grand Tour Capricci
• Xavier Cervantes, Venetian Reminiscences and Cultural Hybridity in Canaletto’s English-period Capricci and Vedute
• Adrián Fernández Almoguera, From the Private Cabinet to the Suburban Villa: Caprices and Fantasies in Eighteenth-Century Madrid
• Andrew Schulz, Satire and Fantasy in Goya’s Caprichos
• Alice Labourg, ‘Fancy Paints with Hues Unreal’: Pictorial Fantasy and Literary Creation in Ann Radcliffe’s Gothic Novels

Summaries
List of Contributors
Bibliography
Index

New Book | A Fistful of Shells

Posted in books by Editor on April 16, 2020

From The U of C Press:

Toby Green, A Fistful of Shells: West Africa from the Rise of the Slave Trade to the Age of Revolution (Chicago: The University of Chicago Press, 2019), 640 pages, ISBN: 978-0226644578, $40.

By the time the “Scramble for Africa” among European colonial powers began in the late nineteenth century, Africa had already been globally connected for centuries. Its gold had fueled the economies of Europe and the Islamic world for nearly a millennium, and the sophisticated kingdoms spanning its west coast had traded with Europeans since the fifteenth century. Until at least 1650, this was a trade of equals, using a variety of currencies—most importantly, cowrie shells imported from the Maldives and nzimbu shells imported from Brazil. But, as the slave trade grew, African kingdoms began to lose prominence in the growing global economy. We have been living with the effects of this shift ever since.

With A Fistful of Shells, Toby Green transforms our view of West and West-Central Africa by reconstructing the world of these kingdoms, which revolved around trade, diplomacy, complex religious beliefs, and the production of art. Green shows how the slave trade led to economic disparities that caused African kingdoms to lose relative political and economic power. The concentration of money in the hands of Atlantic elites in and outside these kingdoms brought about a revolutionary nineteenth century in Africa, parallel to the upheavals then taking place in Europe and America. Yet political fragmentation following the fall of African aristocracies produced radically different results as European colonization took hold.

Drawing not just on written histories, but on archival research in nine countries, art, oral history, archaeology, and letters, Green lays bare the transformations that have shaped world politics and the global economy since the fifteenth century and paints a new and masterful portrait of West Africa, past and present.

Toby Green is a senior lecturer in Lusophone African history and culture at King’s College London and is author of The Rise of the Trans-Atlantic Slave Trade in Western Africa, 1300-1589.

C O N T E N T S

List of Maps
Foreword
Note on Spellings/Names
Glossary

Introduction

Part One
Causes: Economic Divergence in West and West- Central Africa
Timelines for Part One
1  ‘Three Measures of Gold’: The Rise and Fall of the Great Empires of the Sahel
2  Causeways across the Savannah: From Senegambia to Sierra Leone
3  Ready Money: The Gold Coast and the Gold Trade
4  Rivers of Cloth, Masks of Bronze: The Bights of Benin and Biafra
5  The Kingdom of Kongo: From Majesty to Revolt
Coda to Part One

Part Two
Consequences: Politics, Belief and Revolutions from Below
Timeline for Part Two: West African Political History, c. 1680–1850
Prologue to Part Two
6  ‘With Boots Worth 3 Slaves’: Slavery and Value in the Eighteenth Century
7  On a War Footing: The ‘Fiscal- Military State’ in West African Politics
8  Feeding Power: New Societies, New Worldviews
9  Transnational Africas, Struggle and the Rising of Modernity
10  Warrior Aristocracies and Pushback from Below
11  Let them Drink Rum! Islam, Revolution and the Aristocracy

Conclusion

Bibliography
Notes
List of Illustrations
Index

New Book | John Reeves

Posted in books by Editor on April 14, 2020

From ACC Art Books:

Kate Bailey, John Reeves: Pioneering Collector of Chinese Plants and Botanical Art (New York: ACC Art Books, 2019), 176 pages, ISBN: 978-1788840316, £35 / $50.

This is the story of John Reeves (1774–1856) and the Reeves Collection of botanical paintings, the result of one man’s single-minded dedication to commissioning pictures and gathering plants for the Horticultural Society of London.

Reeves went to China in 1812 and immediately on arrival started sending back snippets of information about manufactures, plants and poetry, goods, gods, and tea to Sir Joseph Banks. Slightly later, he also started collecting for the Society. But despite years of work collecting, labelling, and packing plants and organising a team of Chinese artists until he left China in 1831, Reeves never enjoyed the same degree of recognition as other naturalists in China. This was possibly because he had a demanding job as a tea inspector. Reeves himself never claimed to be a professional naturalist, and the plant collecting and painting supervision were undertaken in his own time. Furthermore, fan qui (foreign devils) were restricted to the port area of Canton and to Macau, so that plant-hunting expeditions further afield were impossible. Furthermore, Reeves never published an account of his life in the country, unlike Clarke Abel and Robert Fortune, but he left us some letters, notebooks, drawings, and maps.

The collection is held at the Royal Horticultural Society’s Lindley Library in Vincent Square, London. It is a magnificent achievement. Not only are the pictures accurate and richly coloured plant portraits of plants then unknown in the West, but they stand as a record of plants being cultivated in nineteenth-century Canton and Macau. In John Reeves: Pioneering Collector of Chinese Plants and Botanical Art, Kate Bailey reveals John Reeves’s life as an East India Company tea inspector in nineteenth-century China and shows how he managed to collect and document thousands of Chinese natural history drawings, far more than anyone else at the time.

Kate Bailey started working life as a reluctant solicitor. At the age of 54, on the strength of a magazine article about a paper conservator, she abandoned the law and enrolled at Camberwell College of Arts for a degree in paper conservation. After obtaining an M.A. and being accepted for a Ph.D., for three years Kate stalked Reeves in libraries, museums, and auction houses while at the same time drawing on her own childhood memories of Singapore and Hong Kong in the early 1950s. A post-doctoral year at the V&A followed, working on a collaborative project into the pigments found on Chinese export paintings using the Reeves pictures for comparison. Then came a request for a book to bring the work of a modest, dedicated East India Company tea inspector and his band of skilfull Chinese painters to a wider audience. Kate continues to research, write, and lecture on Reeves and related art-botanical subjects.

C O N T E N T S

Letter to the Reader
Acknowledgments

Introduction
1  Mr Reeves’ Drawings
2  Mr Reeves Sails to China
3  Mr Reeves Arrives in Canton
4  Mr Reeves Writes to Sir Joseph Banks
5  Mr Reeves Goes Plant Hunting in Macao
6  Mr Reeves Commissions Drawings
7  Mr Reeves Collects Plants
8  Mr Reeves Creates a Collection

Endnotes
Index of Plants
General Index

New Book | Jane Austen’s England

Posted in books by Editor on April 13, 2020

From ACC Art Books:

Karin Quint, Jane Austen’s England: A Travel Guide (New York: ACC Art Books, 2019), 320 pages, ISBN: 978-1788840354, $20.

Walk in Jane Austen’s footsteps with this unique travel guide—the first book to explore England in relation to its most beloved Regency author. Rambling across the rolling fields of Hampshire, along the bustling streets of London, and around the golden crescents of Bath, Jane Austen’s England is the perfect companion for any Janeite planning a pilgrimage.

Functionally arranged by region, each chapter tracks down the most iconic scenes from both the big and little screen, as well as the key destinations where Jane lived, danced, and wrote. Descriptions of each location are interspersed with biographical anecdotes and local history. Subsections focus on various stately homes that have been featured in every adaptation of every novel, from the beloved Pride and Prejudice television series (1995, Jennifer Ehle and Colin Firth) to Pride and Prejudice and Zombies (2016). With a compilation of websites, seasonal opening hours, and tour details, this compact book contains everything you need to immerse yourself in Austen.

Karin Quint discovered Austen aged 20, when she picked up Pride and Prejudice at a flea market. She later realized that she was reading one of the best-loved novels in English literature, and her obsession only grew from there. As well as being a professional journalist and photographer, Quint is an ambassador for the Jane Austen Literacy Foundation. She has co-written two other travel guides about Wales and Scotland.

Call for Papers | Virtuosity: Ethics and Aesthetics of the Technical Gesture

Posted in Calls for Papers by Editor on April 13, 2020

From ArtHist.net (where the posting also includes the French version) . . .

Virtuosity: Ethics and Aesthetics of the Technical Gesture from the Middle Ages to the 19th Century
Virtuosités. Éthique et esthétique du geste technique du Moyen Âge au XIXe siècle
Institut national d’histoire de l’art, Paris, 14–16 January 2021

Proposals due by 30 May 2020

Technical skills and gestures have already been the subject of collective work aimed at studying them in their ethnological, anthropological, economic, technical or sociological dimension [Brill 2002, De Beaune 2013B, Bouillon, Guillerme Piernas 2017, Joulian, D’Onogrio 2006]. On one hand, industrial procedures for the most recent periods have been well studied by contemporary historians who have examined in particular their constitution, their dissemination and, more generally, the technical or cultural history of these industrial procedures [for instance Baudet 2004 or journals like the Revue d’histoire de la sidérurgie published in Nancy since 1960]. For earlier periods, on the other hand, the point of view most often adopted by historians and art historians to deal with the history of technology since the 1950s in particular was first that of historians of work and production [for instance Coquery, Hilaire-Perez, Sallmann, Verna 2004]. Few of them have considered technical gestures and know-how as historical objects, submitted to various cultural regimes.

This situation is all the more damaging as recent research trends are increasingly focusing on the material and physical constraints of production processes. This is the case of the history of medieval art, in which the growing number of works claiming to be based on the archéologie du bâti has contributed to reconfiguring the historiographical panorama of the discipline by introducing—or at least displaying—a renewed interest in the processes [Hartmann-Virnich, Boto-Varela, Reveyron 2012]. This is just as much the case for the history of 17th- and 18th-century architecture, about which research prospects have been broadened by the development of the history of construction [for instance Carvais, Guillerme, Nègre, Sakarovitch 2012]. However, despite these recent developments and even if art historians can only consider it necessary to summon the material constraints of artistic and craft production, the work of historians, philosophers, anthropologists or sociologists who have taken an interest in gesture and technical practices is only marginally taken into account.

Therefore, the ambition of this conference is to provoke the meeting and dialogue of different approaches to the technical gesture, departing from a category of gestures that one can call virtuoso. This refers to the attitude of discreetly drawing the attention to the act itself of the production; virtuosity being considered as the primacy given to a metatechnique («the technique of producing forms that produce effects») [Klein 1970, 393, note 1 and Klein 1960-62, 152, 154 et 215, chapter «La Maraviglia»]. The phenomenon will be examined in the field of the construction studies, but also in all the arts and crafts of pre-industrial times (from painting to music and dance, through the art of gardens, cabinet work, goldsmith or textile). One hope to see whether, for example, the remarks and observations gathered on this phenomenon by cognitive or anthropological sciences can be historicized in order to shed light on our knowledge of the virtuoso technical gesture, its status and its social or cultural value and, thus, in order to nurture the historian’s reflection.

Different converging themes could be used to develop an exchange on these issues:

• Discourses and rhetoric on technical virtuosity and virtuoso craftsmanship practices [Suthor 2010, Nègre 2019a]. What do theorists, critics and the public in general think about the demonstrations of skill and the resulting artefacts? How do practitioners talk about it themselves?
• The definitions and the different aspects of these preindustrial virtuoso practices (creation, restoration); the types of virtuosities (perfection of execution, search for complexity, search for variety, mastery of extreme scales, speed of execution, etc.) [Kris, Kurz 2010, 95-101. Nègre 2019B. Guillouët 2019] ; the characteristics of the objects.
• The cultural and social consequences as well as the effect of «address» of the virtuoso technical gesture, for «internal» or «external» use [De Beaune 2013a].
• The transmission of «incorporated» know-hows [as defined by Barel 1977] or formalized through drawings and models. What role does the technical challenge play in the training curriculum of the craftsmen (through provocations, competitions, masterpieces, etc.)? And in innovation? How studio/workshop secrets and formalized know-how interact or clash (or not)?
• The practical conditions for the dissemination of these skills as well as the cultural constraints of their transmission (normalization of the gesture, mediation through processes…) and the criteria for virtuoso distinction [Metzner 1998]; the representations of virtuosity in manuals, collections and prints such as the ones collected by Jacques Doucet now held at the INHA. These last questions raise the role of technical perfection in aesthetic delight [Gell 1992] like did André Leroi-Gourhan’s idea of a «functional aesthetics» [Gell 1992. De Beaune 2013a].
• Case studies: some papers could also focus on the analysis of technical gestures through specific objects and their material and archival study (for instance in the case of some conservation–restoration case studies).

Proposals for papers should be sent by May 30th to Jean-Marie Guillouët (jmguillouet@gmail.com) and Valérie Nègre (valerie-negre@wanadoo.fr) in the form of a summary of a maximum of 2,000 characters. They must be accompanied by a short one-page CV.
The conference will be held at the Institut national d’histoire de l’art with the support of the INHA, the Institut d’histoire moderne et contemporaine (Paris) and the Centre François Viete (Nantes)

Organizing committee // Comité d’organisation
Jean-Marie Guillouët (Université de Nantes) Valérie Nègre (Université Paris 1 Panthéon- Sorbonne)
Pauline Chevalier (INHA)
Sigrid Mirabaud (INHA)

Scientific Committee // Comité scientifique
Nicolas Adell (Université Toulouse Jean Jaurès) Gil Bartholeyns (Université de Lille 3 – IRHiS) Philippe Bernardi (Lamop)
Anne-Laure Carré (Cnam)
Sven Dupré (Utrecht University)
Patricia Falguières (Ehess)
André Guillerme (Cnam, chaire unesco)
Liliane Hilaire-Pérez (Université de Paris, Ehess) Antoine Picon (Harvard University)
Pamela Smith (Columbia University)
Victor A. Stoichita (Centre de recherche en ethnomusicologie)
Nicola Suthor (Yale University)