Enfilade

New Book | Dandy Style

Posted in books, catalogues, exhibitions by Editor on May 31, 2021

The related exhibition is scheduled to open later at the Manchester Art Gallery, but the publication, from Yale UP, is available now:

Shaun Cole and Miles Lambert, Dandy Style: 250 Years of British Men’s Fashion (New Have: Yale University Press, 2021), 168 pages, ISBN: 978-0300254136, $35.

Celebrating 250 years of male self-expression, investigating the portraiture and wardrobe of the fashionable British man

The style of the dandy is elegant but bold—dedicated to the perfection of taste. This meticulously choreographed look has a vibrant history; the legacy of Beau Brummell, the original dandy of Regency England, can be traced in the clothing of urban dandies today. Dandy Style celebrates 250 years of male self-expression, investigating the portraiture and wardrobe of the fashionable British man. Combining fashion, art, and photography, the historic and the contemporary, the provocative and the respectable, it considers key themes in the development of male style and identity, including elegance, uniformity, and spectacle. Various types of dandy are represented by iconic figures such as Oscar Wilde, Edward VIII as Prince of Wales, and Gilbert & George. They appear alongside the seminal designs of Vivienne Westwood, Ozwald Boateng, and Alexander McQueen; and portraits by Thomas Gainsborough and David Hockney.

Shaun Cole is associate professor in fashion at Winchester School of Art, University of Southampton. Miles Lambert is curator of costume at Manchester Art Gallery.

C O N T E N T S

Christopher Breward — Foreword: Dandy Style
Alistair Hudson — Director’s Preface

Shaun Cole and Miles Lambert — Introduction
1  Miles Lambert — Creative Collecting: How Museums Acquire Men’s Fashion
2  Ben Whyman — The Life Stories of Men’s Clothes
3  Joshua M. Bluteau — The Devil Is in the Detail: Why Men Still Wear Suits
4  Shaun Cole, Miles Lambert, and Rebecca Milner — Painting Men’s Style: Portraying an Image
5  Kate Dorney — Performing the Dandy
6  Miles Lambert — Extravagance and Flamboyance: Decorated Men’s Fashion
7  Shaun Cole — Casual Subversion
8  Jay McCauley Bowstead — Contemporary British Menswear: Hybridity, Flux, and Globalisation

Notes
Select Bibliography
Index
Acknowledgments
List of Contributors

New Book | Material Lives: Women Makers and Consumer Culture

Posted in books by Editor on May 30, 2021

From Bloomsbury:

Serena Dyer, Material Lives: Women Makers and Consumer Culture in the 18th Century (London: Bloomsbury Visual Arts, 2021), 272 pages, ISBN: 978-1350126978 (hardcover), £80 / ISBN: 978-1350126961 (paperback), £27.

Eighteenth-century women told their life stories through making. With its compelling stories of women’s material experiences and practices, Material Lives offers a new perspective on eighteenth-century production and consumption. Genteel women’s making has traditionally been seen as decorative, trivial and superficial. Yet their material archives, forged through fabric samples, watercolours, dressed prints and dolls’ garments, reveal how women used the material culture of making to record and navigate their lives.

Material Lives positions women as ‘makers’ in a consumer society. Through fragments of fabric and paper, Dyer explores an innovative way of accessing the lives of otherwise obscured women. For researchers and students of material culture, dress history, consumption, gender and women’s history, it offers a rich resource to illuminate the power of needles, paintbrushes and scissors.

Serena Dyer is Lecturer in History of Design and Material Culture at De Montfort University. She has taught at the University of Warwick and the University of Hertfordshire, and was Postdoctoral Fellow at the Paul Mellon Centre for Studies in British Art. She was previously Curator of the Museum of Domestic Design and Architecture. She has published on albums, wallpaper, consumer culture, and childhood in the eighteenth century.

C O N T E N T S

List of Illustrations
List of Charts and Tables
Acknowledgements
List of Abbreviations

1  Introduction: Making Material Lives
• Material Life Writing
• The Consumer Culture of Making
• Four Material Lives

2  Material Accounting: A Sartorial Account Book
• Barbara Johnson (1738–1825)
• Educating Barbara Johnson
• Accounting for Herself
• Material Literacy
• A Chronicle of Fashion

3  Dress of the Year: Watercolours
• Ann Frankland Lewis (1757–1842)
• Sartorial Timekeeping and the Fashion Plate
• Accomplishment and Creative Practice
• Society and Fashionable Display
• Selfhood, Emotion, and the Mourning Watercolours

4  Adorned in Silk: Dressed Prints
• Sabine Winn (1734–1798)
• Paper Textiles, Dress and the Dressed Print
• Sabine Winn’s Dressed Prints
• Print and Making at Nostell

5  Fashions in Miniature: Dolls
• Laetitia Powell (1741–1801)
• The Powell Dolls
• Mimetic Dolls and Miniature Selves
• Dolls as Sartorial Social Narrators

6  Conclusion: Material Afterlives

Glossary
Bibliography
Index

New Book | Dress Codes

Posted in books by Editor on May 29, 2021

From Simon & Schuster:

Richard Thompson Ford, Dress Codes: How the Laws of Fashion Made History (New York: Simon & Schuster, 2021), 464 pages, ISBN: 978-1501180064, $30.

Dress codes are as old as clothing itself. For centuries, clothing has been a wearable status symbol; fashion, a weapon in struggles for social change; and dress codes, a way to maintain political control. Merchants who dressed like princes and butchers’ wives wearing gem-encrusted crowns were public enemies in medieval societies structured by social hierarchy and defined by spectacle. In Tudor England, silk, velvet, and fur were reserved for the nobility and ballooning pants called “trunk hose” could be considered a menace to good order. The Renaissance era Florentine patriarch Cosimo de Medici captured the power of fashion and dress codes when he remarked, “One can make a gentleman from two yards of red cloth.” Dress codes evolved along with the social and political ideals of the day, but they always reflected struggles for power and status. In the 1700s, South Carolina’s “Negro Act” made it illegal for Black people to dress “above their condition.” In the 1920s, the bobbed hair and form-fitting dresses worn by free-spirited flappers were banned in workplaces throughout the United States and in the 1940s the baggy zoot suits favored by Black and Latino men caused riots in cities from coast to coast.

Even in today’s more informal world, dress codes still determine what we wear, when we wear it—and what our clothing means. People lose their jobs for wearing braided hair, long fingernails, large earrings, beards, and tattoos or refusing to wear a suit and tie or make-up and high heels. In some cities, wearing sagging pants is a crime. And even when there are no written rules, implicit dress codes still influence opportunities and social mobility. Silicon Valley CEOs wear t-shirts and flip flops, setting the tone for an entire industry: women wearing fashionable dresses or high heels face ridicule in the tech world, and some venture capitalists refuse to invest in any company run by someone wearing a suit.

In Dress Codes, law professor and cultural critic Richard Thompson Ford presents an insightful and entertaining history of the laws of fashion from the middle ages to the present day, a walk down history’s red carpet to uncover and examine the canons, mores, and customs of clothing—rules that we often take for granted.

Richard Thompson Ford is a Professor at Stanford Law School. He has written about law, social and cultural issues, and race relations for The New York Times, The Washington Post, San Francisco Chronicle, and Slate, and has appeared on The Colbert Report and The Rachel Maddow Show. He is the author of The New York Times notable books The Race Card and Rights Gone Wrong: How Law Corrupts the Struggle for Equality. He lives in San Francisco.

Expanding Colonial Williamsburg’s Stories

Posted in today in light of the 18th century by Editor on May 29, 2021

Emily James in April portrays Edith Cumbo, a free Black woman who lived in Williamsburg in the 18th century.
(Photo by Julia Rendleman for The Washington Post)

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From The Washington Post:

Peter Marks, “Colonial Williamsburg Gets Real,” The Washington Post (22 May 2021). Some of the most progressive and insightful theater in America is happening at one of the nation’s premier sites for experiencing U.S. history. Really.

On the streets of Colonial Williamsburg—one of the world’s premier living-history museums—Emily James cuts a formidable figure. Portraying Edith Cumbo, a free woman of color who walked these byways in the 18th century, James tries daily to convey to tourists the humiliations and contradictions Cumbo lived with.

“I’m restricted,” she explains to a group of mask-wearing visitors on a walking tour one late-April morning. “Because the laws didn’t say ‘free’ or ‘enslaved.’ They said ‘Negroes.’ ”

James has been embodying Cumbo in this mile-by-half-mile historic area for a decade, in a career in ‘actor interpretation’ spanning 34 years. Though she has always loved the work, it has taken on deeper resonance of late. Colonial Williamsburg—a place where theater lives, too—has been grappling with more determination than ever with the harsher realities of its past. And particularly with the lives of its Black inhabitants, most of whom were enslaved and formed the majority of its population in the 1700s.

It is through performance of various kinds that this bastion of history is seeking to raise awareness of Williamsburg’s legacy, one far more diverse than visitors heard about in the early days of the historic restoration, opened in 1937. The instruction has gone out lately to all of Colonial Williamsburg’s dozens of actor-interpreters that the city’s slaveholding past is to figure in every tour and talk. The sense that the rosy vision of hard-working artisans and horsemen in period garb requires more context pervades this extraordinary pocket of history. . .

Members of Jug Broke Theater Company performing Ladies of Llangollen, by Claire Wittman. Based on the lives of Eleanor Butler and Sarah Ponsonby, who eloped together in 1778, the play premiered on 10 April 2021 (Photo from the Colonial Williamsburg; by Wayne Reynolds).

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And in the middle of town, on the Play House Stage—which sits on the remnants of what is believed to be the first theater of Colonial America—members of the resident Jug Broke Theater Company are performing Ladies of Llangollen. Claire Wittman’s drama, which includes new lyrics to 18th-century songs, is the first in the foundation’s history to feature a romance between women.

“Your happiness is my only aim,” Wittman’s Eleanor says to her fellow poet and lover, Sarah, played by Alyssa Elkins. “I don’t want a husband,” Sarah replies. “I want you.”

Think about it: In the midst of contemporary reckonings about the rights of women and people of color, Williamsburg is giving guests—who number about 550,000 in a normal year—the historical backstories. . . .

The full article is available here»

Exhibition | Artists as Collectors

Posted in exhibitions by Editor on May 28, 2021

From the press release for the exhibition now on view at The Getty:

Artists as Collectors
Getty Center, Los Angeles, 25 May — 12 September 2021

Curated by Casey Lee

Gerard van Nijmegen (1735–1808), Allegory of Painting and Drawing, 1801, graphite, gray and brown ink, and gray wash, 38 × 27 cm (Los Angeles: The J. Paul Getty Museum, 2008.31).

Artists were among the earliest and greatest collectors of drawings. Celebrated European painters including Edgar Degas, Joshua Reynolds, and Giorgio Vasari were passionate collectors, and their appetites for drawings by old and contemporary masters compelled them to acquire exceptional examples of draftsmanship by artists such as Delacroix, Raphael, and Rembrandt. These drawings were valued as intellectual property, powerful status symbols, and works of art in their own right. This exhibition, featuring objects from the Getty’s permanent collection, reveals how artists gathered, used, and cared for their drawings.

An artist’s ability to acquire objects depended on his or her social network and the development of a market for drawings. The first works any artist owned came from their own hand, and favorite pupils or studio assistants obtained pieces by their teachers. By the end of the 15th century, when a market for drawings began to develop, it became easier for artists to acquire artwork from their peers, thereby increasing the scope of their collections.

Drawings were kept and treasured for a variety of reasons. They were used to train students and as reference material for an artist in search of inspiration. Certain sheets were valued for sentimental reasons, while others conferred status by confirming the wealth, power, and knowledge of the collector.

“Artists were among the first to recognize and appreciate drawings’ informative and aesthetic qualities, which is why they are among the first and greatest collectors of drawings,” says Casey Lee, curator of the exhibition. “By declaring their ownership through inscriptions and personalized stamps, the collectors make it possible to reconstruct aspects of a drawing’s life and reception.”

 

 

Call for Papers | Graphic Landscape: The Landscape Print Series

Posted in Calls for Papers by Editor on May 28, 2021

J. T. Smith, The Entrance of Stroud, a Village near Egham, Surry, from Twenty Rural Landscapes from Nature, 1795, etching
(London: British Museum 1860,1208.72)

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From the Mellon Centre and the British Library:

Graphic Landscape: The Landscape Print Series in Britain, c. 1775–1850
Online, Paul Mellon Centre and the British Library, 2–11 November 2021

Proposals due by 1 July 2021

Organized by Mark Hallett and Felicity Myrone

Landscape and topographical print series proliferated in the late eighteenth century and in the first decades of the nineteenth century. Indeed, the format seems to have enjoyed an artistic and commercial boom in this period. The British Museum, the British Library and the Yale Center for British Art hold rich collections of such series, in various formats. Some, like Turner’s Liber Studiorum (1807–19) and Constable’s English Landscape Scenery (1830–33) are extremely well known. Many others, however, have still to receive sustained and critical attention. This programme of four online seminars, to take place in the first two weeks of November 2021, is designed to look afresh at the late Georgian and early Victorian landscape print series and to stimulate new research on this important strand of graphic art.

Across the programme, we will seek to question the assumptions that are typically brought to bear on such material. Why were print series produced? Who produced them, and what was their appeal? Why did they so regularly focus on landscape and topographical subjects? What were the commercial stakes in producing prints in series? How did they work as pictorial sequences, and how did they shape contemporary artistic practice? Is it possible to interrogate the full compass of such works—how many series were initiated, how many completed, and which survive? Were particular formats and subjects specific to printmaking in Britain, and how does this compare to the production of print series in the rest of the world? Finally, what do these series tell us about the categories of artist and of landscape art in the Romantic period?

This programme of seminars, which is being convened by Mark Hallett and Felicity Myrone, will seek to be broad and interdisciplinary in approach. We hope to showcase new research on print culture and publishing and to present new ways of thinking about how and why the ‘big names’ of the period such as Turner, Constable, Girtin and Cotman stand out (or not) in this context. We would hope that the subject will appeal to scholars of publishing, literature, and book history, as well as to landscape art historians.

We welcome proposals for 15-minute papers that take a variety of approaches. These might offer close readings of individual sets of such prints, whether familiar or obscure. We are just as interested in approaches that look at these kinds of graphic series from a broader perspective, and that address their production, consumption and appeal within the wider realms of print publishing, print culture, publishing, antiquarianism and artistic practice. Similarly, we encourage proposals that place such series in the context of eighteenth/nineteenth-century debates about rural, regional, metropolitan and imperial identity, and in relation to recent discussions on the environment and the Anthropocene.

William Crotch, THE BRILL HILLS, from WOODPERRY, near OXFORD. Pubd. Septr. 1. 1810, by J. Girtin, Engraver, Printer & Publisher, 11, Charles Street, Soho Square (London: British Library, K.Top.35.39)

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Most of all, we encourage original, scholarly and creative approaches that allow us to see the landscape print series in new ways, and to place such work in productive dialogue with the other kinds of contemporary landscape imagery—painted, water-coloured, or drawn—with which we may now be more familiar. The British Library’s recently uploaded gallery of images from the King’s Topographical Collection may provide inspiration.

This series has been organised as part of the Paul Mellon Centre’s ‘Generation Landscape’ research project, and in collaboration with the British Library. It is convened by Mark Hallett and Felicity Myrone. Presentations are planned to take place online on the afternoons of Tuesday, 2 November; Thursday, 4 November; Tuesday, 9 November; and Thursday, 11 November 2021.

To propose a paper, please email an abstract of 300 words or fewer and a 50-word biography in a single Word document to Shauna Blanchfield at sblanchfield@paul-mellon-centre.ac.uk by midnight on Thursday, 1 July 2021.

New Book | Gainsborough in London

Posted in books by Editor on May 27, 2021

Distributed for Modern Art Press by Yale UP:

Susan Sloman, Gainsborough in London (London: Modern Art Press, 2021), 412 pages, ISBN: 978-0956800787, £35 / $45.

Thomas Gainsborough’s (1727–1788) London years, from 1774 to 1788, were the pinnacle and conclusion of his career. They coincided with the establishment of the Royal Academy, of which Gainsborough was a founding member, and the city’s ascendance as a center for the arts. This is a meticulously researched and readable account of how Gainsborough designed his home and studio and maintained a growing schedule of influential patrons, making a place for himself in the art world of late-18th-century London. New material about Gainsborough’s technique is based on examinations of his pictures and firsthand accounts by studio visitors. His fractious relationship with the Royal Academy and its exhibition culture is reexamined through the works he sent to its annual shows. The full range of Gainsborough’s art, from fashionable portraits to landscapes and fancy pictures, is addressed in this major contribution, not just to the study of a great artist, but to 18th-century studies in general.

Susan Sloman is an independent scholar and curator specialising in eighteenth-century studies. Gainsborough in London is the follow-up to her previous book, Gainsborough in Bath.

For more information, see Dr. Sloman’s posting at the Yale Books Blog.

Online Conference | Friedrich Christian von Sachsen (1722–1763)

Posted in conferences (to attend), online learning by Editor on May 26, 2021

From the Sächsischen Akademie der Wissenschaften zu Leipzig:

Friedrich Christian von Sachsen (1722–1763): Thronfolger und Förderer der Künste
Online, Saxon Academy of Sciences in Leipzig, 3-5 June 2021

Organized by Susanne Müller-Bechtel

Pierre Subleyras, Portrait of Friedrich Christian von Sachsen (Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden, Foto: Elke Estel/ Hans-Peter Klut).

Vom 3. bis 5. Juni 2021 findet an der Sächsischen Akademie der Wissenschaften zu Leipzig die internationale Tagung Friedrich Christian von Sachsen (1722–1763): Thronfolger und Förderer der Künste statt. Sie wird ausgerichtet von Dr. phil. habil. Susanne Müller-Bechtel, Mitglied des Jungen Forums der Akademie, in Kooperation mit der Strukturbezogenen Kommission „Kunstgeschichte Mitteldeutschlands“ und dem Institut für Kunst- und Musikwissenschaft der TU Dresden. Die Tagung findet als virtuelle Veranstaltung statt.

Intention der Tagung ist die Erarbeitung eines aktuellen und methodisch avancierten Kenntnisstands zum kulturellen Wirken Friedrich Christians und seines Umfelds, nicht nur am Hof in Dresden. Damit sollen zudem in mikrohistorischer Perspektive konkrete Ergebnisse zur Rolle der Künste für Thronfolger zusammengetragen werden — eine wichtige Grundlage für weitere Forschungen zum dynastischen Nachwuchs und seiner Bedeutung für Geschichte und Kultur. Außerdem bietet die Tagung methodisch zahlreiche Ansatzpunkte für die Bewältigung künftiger kunsthistorischer Forschungsfragen an den Schnittstellen zwischen Biographie, Netzwerk und kulturellen Objekten.

D O N N E R S T A G ,  3  J U N I  2 0 2 1

ab 13.30  Konferenzsaal geöffnet | Virtuelles Eintreffen

14.00  Eröffnung & Grußworte, Susanne Müller-Bechtel, Prof. Bruno Klein, Prof. Dr. Wolfgang Huschner

14.20  Susanne Müller-Bechtel (Leipzig), Einführung ins Tagungsthema

14.40  Sektion 1: Historischer Rahmen
Moderation: Susanne Müller-Bechtel
• Werner Telesko (Wien), Herrscherrepräsentation und bildende Kunst im europäischen 18. Jahrhundert – Möglichkeiten und Grenzen der Visualisierung von Macht
• Joachim Schneider (Dresden), Friedrich Christian und die sächsisch-polnische Union
• Matthias Müller (Mainz), Kranke Herrscher – mächtige Körper: zum Problem der Darstellung physisch kranker Regenten und ihrer bildlichen Sublimierung am Beispiel Karls II. von Spanien und Friedrich Christians von Sachsen

17.10  Pause | Aperitif

18.00  Keynote / Abendvortrag
Moderation: Susanne Müller-Bechtel
• Maureen Cassidy-Geiger (New York), A Princely Muse: Friedrich Christian of Saxony/Poland and our Adventures in the Archives and on the Road

19.00  Online Reception

F R E I T A G ,  4  J U N I  2 0 2 1

9.00  Sektion 2: Grand Tour
Moderation: Peter Heinrich Jahn (Dresden)
• Peter Björn Kerber (London)‚ The Adriatic Sea Receiving into Her Arms the Hope of Saxony: Friedrich Christian in Venice
• Tobias Weissmann (Mainz), Die Nation auf dem Wasser. Inszenierung venezianischer Identität bei Fürstenbesuchen von Heinrich III. (1574) bis Friedrich Christian von Sachsen (1740)
• Pilar Diez Del Corral Corredoira (Madrid), Don Carlos in Parma: A Sort of ‚Prinzenreise‘ for the King In-being

11.40  Kurzpräsentationen: Kunst und Geschichte in Dresden im 18. Jahrhundert
• Alexander Röstel (Dresden), Bernardo Bellotto und Friedrich Christian von Sachsen zwischen Venedig und Dresden
• Sabine Peinelt-Schmidt (Dresden), Im Wettstreit mit dem Kaiser von China – Digitalisierung und Erschließung der Porzellansammlung Augusts des Starken und Augusts III.
• Stefanie Wenzel (Dresden) & ANDREAS RUTZ (Dresden), Weibliche Herrschaftspartizipation in der Frühen Neuzeit. Regentschaften im Heiligen Römischen Reich in westeuropäischer Perspektive – ein DFG-Projekt des Lehrstuhls für Sächsische Landesgeschichte, TU Dresden
• Tobias Knobelsdorf (Dresden), Architektur für das Kurprinzenpaar 1747–1764

12.30  Mittagspause

14.00  Sektion 3: Kindheit
Moderation: Marina Beck (Erlangen)
• Ulrike Marlow (München), Das Taufzeremoniell anlässlich der Geburt von Friedrich Christian und seiner Kinder
• Annette C. Cremer (Giessen), Zur Materialität hochadeliger Kindheit
• Anselm Hartinger (Leipzig), Mein hoffnungsvoller Held‘ – Eine Huldigungskantate als tönender Regentenspiegel

16.00  Kaffeepause

16.30  Sektion 4: Friedrich Christian von Sachsen & Maria Antonia Walpurgis von Bayern
Moderation: Marina Beck
• Christine Fischer (Luzern), Oronte als Grenzgänger: Maria Antonia Walpurgis’ Talestri neu gedacht
• Carolin Köhler (Leipzig), Die Beziehungen zwischen dem Gelehrtenpaar Gottsched und dem sächsischen Thronfolgerpaar Friedrich Christian und Maria Antonia Walpurgis
• Sabrina Leps (Münster), Reliquien und Reliquienkult bei Friedrich Christian von Sachsen

18.45  Online Reception

S A M S T A G ,  5  J U N I  2 0 2 1

9.00  Sektion 5: Beziehungen und Netzwerke
Moderation: Annette C. Cremer
• Pablo Vázquez Gestal (Paris), Maria Amalia of Saxony, Queen of the Two-Sicilies and Spain, and the Politics of Art, 1738–1760
• Jakub Sito (Warschau), Maria Josepha und ihre Kinder als Architektur- und Kunstförderer in Warschau. Ein unbekanntes Kapitel in der Geschichte des Sächsischen Mäzenatentums in Polen
• Ute Christina Koch (Münster), Heinrich Graf Brühl und Friedrich Christian
• Wiebke Fastenrath Vinattieri (Florenz), Joseph Anton Gabaleon Graf Wackerbarth-Salmour (1685–1761): Oberhofmeister und Kunstberater des Kurprinzen Friedrich Christian von Sachsen in der Zeit von 1731 bis 1761

12.20  Abschlussdiskussion mit Kurzstatements
• Helen Watanabe O’Kelly (Oxford) und Matthias Müller (Mainz)

13.00  Susanne Müller-Bechtel, Schlusswort

 

New Book | Dangerous to Show: Byron and His Portraits

Posted in books by Editor on May 25, 2021

Distributed in the US and Canada by The University of Chicago Press:

Geoffrey Bond and Christine Kenyon Jones, Dangerous to Show: Byron and His Portraits (London: Unicorn Publishing Group, 2020), 160 pages, ISBN: 978-1912690718, £25 / $38.

“Don’t look at him. He is dangerous to look at,” said Lady Liddell to her daughter in 1817. Handsome, charismatic, aristocratic, and allegedly “mad, bad and dangerous to know,” Lord Byron (1788–1824) is one of the most captivating and recognizable figures of the Romantic Age. His face, figure, and appearance added to the appeal of his poetry, and the close association of the man with his poetic creations encouraged a wide range of artists to create portraits during his lifetime and to memorialize him after his heroic death in Greece.

The first work on the subjects of the portraits of the poet, and written by two authorities on the subject, Dangerous to Show explores Byron’s life through the intriguing stories behind one hundred of these images. Reproduced in color for the first time, we can explore the key paintings, miniatures, sculptures, drawings, and sketches, along with a selection of prints, cartoons, engravings, and other representations of the artist. The book uses Byron’s own wit with words to recount his attempts to manage his own image through the way he was presented in his portraits, as well as through fashion, weight control, and the disguise of his lameness.

Christine Kenyon Jones is a writer and lecturer, and an expert on Lord Byron and the Romantic period. She has been published widely on Byron’s image and his portraiture; on his politics and his pronunciation; on his disability and his dieting; on his relationship with his publisher John Murray, his religious background and his afterlife as a science-fiction character. Her book Kindred Brutes is a study of animals in the Romantic period, in which Byron figures largely. She has also written, lectured and broadcast widely about the Regency period and Jane Austen. She is a Research Fellow in the Department of English at King’s College London.

Geoffrey Bond is a polymath, having had careers as a solicitor, businessman, and broadcaster. His special interests now are the creation and promotion of education initiatives for young people in the heritage, law and engineering sectors. He has written and lectured on heritage matters and chaired a variety of heritage organisations at regional and national level. A collector and antiquarian, living in an historic house, he is a Fellow and former member of the council of the Antiquaries Society of London. He has one of the best collections of Byron first editions and Byron memorabilia in the country.

Call for Papers | Discovering Dalmatia VII, Travel Stories

Posted in Calls for Papers by Editor on May 25, 2021

From the Call for Papers for this conference, envisioned to include both in-person and online components:

Discovering Dalmatia VII — Travel Stories: The Grand Tour, Travellers, Itineraries, Travelogues
The Institute of Art History – The Cvito Fisković Centre in Split, 9–11 December 2021

Abstracts due by 15 July 2021

A call for papers for an international conference organized as part of a week of events in scholarship and research

Over the course of time, the aims of the journeys discussed in travel writing underwent numerous changes. This, in turn, had an impact on the creation of travel itineraries. At times, the factors driving these changes were the dominant layers of a history that travellers wished to read in a particular space, such as that of antiquity or the Middle Ages. At others, itineraries were shaped by the limits of the journeys undertaken, which over the course of the 18th and 19th centuries gradually extended ever further towards the East. Between the eastern and the western portions of the Grand Tour itinerary lies Dalmatia, a historical region through which—due to centuries of Venetian-Ottoman wars—the border between the eastern and western worlds ran. The spatial features that had a strong pull on travellers to Dalmatia, drawing them to this region to capture it in words and images, frequently remained the same; nevertheless, travellers recognised and uncovered new layers of interest within them.

The Grand Tour in Dalmatia is the central theme of this conference, but it is not the only one. In addition to inviting researchers working on travel writing, travel itineraries, and travelogues that shed light on the role that Dalmatia played as a destination for study trips, we also invite all those working on the topics of travellers-researchers and study trip itineraries. We also invite researchers undertaking comparative studies that consider various records of a particular space through a range of different media. Finally, this call for papers is also open to those working on the development of digital research tools and resources for travelogues, as well as the visualization of study trip itineraries.

We therefore invite professionals of various backgrounds, whose research addresses the topics this conference covers, to send a 250-word abstract (for a 20-minute paper) and a short CV, both in English, to discoveringdalmatia@gmail.com. The closing date is 15 July 2021.

In the light of current uncertainties, we plan to host the conference both live in Split and via online platforms to facilitate international participation. Registration will take place on the evening of the 8th of December, the closing address will take place on the 11th of December, and the hosts will organise coffee and refreshments for the conference participants during breaks. No participation fee will be charged for this conference. The organisers do not cover travel and accommodation costs. The organisers can help participants to find reasonably-priced accommodation in the historical city centre. The duration of a spoken contribution should not exceed 20 minutes. Contributions will be divided into sections according to topics. Each section will be followed by a discussion. We propose to publish a collection of papers from the conference.

Scientific Committee
• Joško Belamarić (Institute of Art History – Cvito Fisković Centre Split)
• Katrina O’Loughlin (Brunel University London)
• Ana Šverko (Institute of Art History – Cvito Fisković Centre Split)
• Colin Thom (The Bartlett School of Architecture, University College London)
• Elke Katharina Wittich (Leibniz Universität Hannover)

Organizing Committee
• Joško Belamarić (Institute of Art History – Cvito Fisković Centre Split)
• Ana Ćurić (Institute of Art History)
• Matko Matija Marušić (Independent Researcher)
• Sarah Rengel (Independent Researcher)
• Ana Šverko (Institute of Art History – Cvito Fisković Centre Split)