Online Symposium | Printmaking between Art and Science in Britain

Posted in conferences (to attend), online learning by Editor on July 31, 2021

From Eventbrite:

The Itinerant Image: Printmaking between Art and Science in Enlightenment Britain
Online, University of St Andrews, 12–13 August 2021

Charles Reuben Ryley, Ring-Tailed Lemurs, in George Shaw, Museum Leverianum (1792), op. p. 43.

In early modern Britain, the printed image was a major practical and conceptual tool for scientists. As recent research into the graphic practices of the Royal Society has shown, illustrations and diagrams were indispensable to communicating scientific knowledge, both collectively and by individuals. In particular printed images circulated between the Royal Society’s periodicals and the published volumes of its fellows. Some of these images, such as the flea from Robert Hooke’s Micrographia (London 1665), subsequently became widely reproduced and iconic images in the history of science. Yet these printed images were rarely confined to scientific domains; not only were they usually the result of collaboration with artisans and in some cases artists, but the most successful images would often circulate far beyond the scientific communities for which they were initially produced. Further still, images were often copied or translated into new locations, where their meaning might be altered for new audiences.

Over two days, this symposium will bring together scholars and curators of British art, science, and print culture from the seventeenth and eighteenth centuries, to interrogate the creation, use, and function of prints in the production of new scientific knowledge. It considers how the ‘epistemic’ value of an image changed as it was reprinted, adapted, and modified; and pays particular attention to how and when a reproduced image might gain or lose scientific authority.

All sessions will take place over Zoom. Please register for an online ticket. A link will be sent to all attendees in advance of each day’s event.

T H U R S D A Y ,  1 2  A U G U S T  2 0 2 1

14.00–16.30 BST

Welcome and Introduction, Stephanie O’Rourke (University of St. Andrews) and Katherine Reinhart (Bibliotheca Hertziana – Max Planck Institute for Art History)

• Megan Barford (Royal Museums Greenwich), Travelling Charts and Shrinking Paper: Royal Naval Hydrography in the 1830s
• Richard Bellis (University of St. Andrews), Printing the Structures and Textures of Disease: Matthew Baillie’s A Series of Engravings … to Illustrate the Morbid Anatomy (1799–1802)
• Elaine Ayers (New York University), Drawing at a Distance: Botanical Illustration in the East India Company in the Early Nineteenth Century

Respondents: Jack Hartnell (University of East Anglia) and Katy Barrett (Science Museum)

F R I D A Y ,  1 3  A U G U S T  2 0 2 1

14.00–16.30 BST

• Anna Marie Roos (University of Lincoln), Lives and Afterlives of the Lithophylacii Britannici ichnographia (1699), the First Illustrated Field Guide to English Fossils
• John Bonehill (University of Glasgow) ‘Curious and Chargeable Cuts’: Michael Burghers and the Illustration of Robert Plot’s Natural Histories
• Meghan Doherty (Berea College), The Long Life of Ephemera: (Re)Printing the Philosophical Transactions of the Royal Society

Respondents: José Marcaida (University of St. Andrews) and Aileen Fyfe (University of St. Andrews)

Call for Papers | Hidden Hands: Untold Stories of the Object

Posted in Calls for Papers by Editor on July 31, 2021

Plate 419, Silver-plating in L’Enclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers by Denis Diderot.

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From the Call for Papers:

Hidden Hands: Untold Stories of the Object
Rienzi Biennial Symposium
Online, Rienzi, The Museum of Fine Arts, Houston, 6 November 2021

Proposals due by 1 September 2021

Rienzi, the house museum for European decorative arts of the Museum of Fine Arts, Houston, presents the virtual symposium, Hidden Hands: Untold Stories of the Object. Geographic exploration and colonial expansion led to the introduction of new materials and technological innovation in the early modern period. These developments created an increased demand for goods made of ceramics, glass, exotic woods, textiles, and metals. The refining of raw materials and the production of these goods depended upon a diverse labor force made up of men, women, and children from across the globe. Despite the integral roles played by these workers in all of these varied enterprises, their names and contributions have often been lost to history. Who were these people? How did they interact and engage with these new materials and goods? What social, political, and economic forces contributed to the exclusion of their narratives? The symposium invites scholars to reconsider established ideas of craftsmanship and artistic authorship through the telling of these ‘hidden’ stories.

All presentations will be given Saturday, 6 November 2021, virtually via Zoom webinar organized by the Museum of Fine Arts, Houston. The symposium will be held in conjunction with the exhibition Hidden Hands: Invisible Workers in Industrial England, on view at Rienzi from 1 September 2021 to 3 January 2022.

Graduate students as well as entry-level and mid-career professionals are invited to submit a 400-word abstract outlining a 20-minute presentation, along with a CV, by 1 September 2021, to rienzisymposium@mfah.org. Selected participants will be notified by 15 September 2021 and offered a $250 honorarium. Possible themes for investigation may include, but are not limited to:
• Transatlantic trade
• Workshop traditions
• Empire and colonialism
• Technology
• Gender
• Race
• Economics
• Labor
• Class

Education programs at Rienzi receive generous funding from the Sterling-Turner Foundation, The Brown Foundation, the Carroll Sterling and Harris Masterson III Endowment, and the Caroline Wiess Law Endowment for Rienzi.

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