Exhibition | La Surprise: Watteau in Los Angeles
Opening next month at the The Getty:
La Surprise: Watteau in Los Angeles
The Getty Center, Los Angeles, 23 November 2021 — 20 February 2022
Graceful scenes of courtship, music and dance, strolling lovers and theatrical characters: this is the imaginary world conjured by the greatest French painter and draftsman of the 18th century, Antoine Watteau (1684–1721). Los Angeles is home to an extraordinary group of Watteau’s works. This focused exhibition, marking the 300th anniversary of the artist’s death, brings together a dozen of them from public and private collections and celebrates the Getty’s recent acquisition of an exquisite example: the painting La Surprise. The picture belongs to what was a new genre of painting invented by the artist himself—the fête galante. These works do not so much tell a story as set a mood: one of playful, wistful, nostalgic reverie. Esteemed by collectors in Watteau’s day as a work that showed the artist at the height of his skill and success, La Surprise vanished from public view in 1848, reemerging only in 2007. The Getty Museum acquired the painting in 2017.
Emily Beeny, Davide Gasparotto, and Richard Rand, Watteau at Work: La Surprise (Los Angeles: J. Paul Getty Museum, 2021), 88 pages, ISBN: 978-1606067352, $25.
La Surprise by Antoine Watteau has never before been the subject of a dedicated publication. Marking the three hundredth anniversary of Watteau’s death, this book considers the painting within the context of the artist’s oeuvre and discusses the surprising history of collecting works by the artist in Los Angeles.
Emily A. Beeny, former associate curator of drawings at the J. Paul Getty Museum, is curator in charge of European paintings at the Fine Arts Museums of San Francisco. Davide Gasparotto is senior curator of paintings and chair, curatorial affairs, at the J. Paul Getty Museum. Richard Rand is associate director for collections at the J. Paul Getty Museum.
C O N T E N T S
Timothy Potts, Director’s Foreword
Acknowledgments
Richard Rand, Jean Antoine Watteau, Three Hundred Years Later
Davide Gasparotto, Rediscovering a Masterpiece: Watteau’s La Surprise
Emily Beeny, Quelle Surprise! Watteau in Los Angeles
Plates
Works in the Exhibition
References
Index
Colloquium | Watteau and His Universe: Networks and Influences
Jean-Antoine Watteau / Jean-Baptiste Pater, Fête champêtre (Pastoral Gathering), 1718–21, oil on panel, 49 × 65 cm
(Art Institute of Chicago, Max and Leola Epstein Collection, 1954.295)
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From Fine Arts Paris:
L’univers de Watteau: Réseau(x) et influence(s) autour d’Antoine Watteau (1684–1721)
Auditorium du Petit Palais, Musée des Beaux-Arts de la Ville de Paris, 6–7 November 2021
This symposium, Watteau and His Universe: Networks and Influences of Antoine Watteau (1684–1721), aims to study the figures gravitating around the painter who made him a central figure in eighteenth-century century French art. Close investigation of fellow painters, printmakers, merchants, collectors, amateurs, and friends is necessary in order to further our knowledge of Watteau.
Réservation conseillée par email à rsvp@finearts-paris.com. Les personnes ayant réservé auront accès en priorité aux sièges disponibles. Pass sanitaire requis et port du masque obligatoire dans l’auditorium.
S A M E D I , 6 N O V E M B R E 2 0 2 1
10.00 Introduction
• Louis de Bayser (Président de Fine Arts Paris) et Pierre Rosenberg (de l’Académie française)
10.15 Conférence inaugurale
• Martin Eidelberg (Pr. Emeritus, Rutgers University, New Jersey), Watteau and His Circle
10.45 Réseaux artistiques autour de Watteau, Premières formations
• Jennifer Tonkovich (Eugene and Thaw Curator of Prints and Drawings, The Morgan Library & Museum, New York), When Watteau Met Gillot
• Bruno Guilois (Centre André Chastel, Paris Sorbonne Université), “De ce nombre sont, entre autres, MM. de Saint-Pol, du Mesnil, Dieu, Spoede […]” : cercles et réseaux parisiens autour du jeune Watteau, dans les premières années du XVIIIe siècle
• Turner Edwards (collaborateur scientifique, musée des Arts Décoratifs, Paris), Watteau, Gillot, Lancret et les femmes graveuses de la rue Saint-Jacques : dans la sphère du clan Cochin
• Christophe Guillouet (Chercheur indépendant, Paris), Scènes militaires et figures de fantaisie : Watteau, Bonnart et les genres mineurs à Paris
13.00 Déjeuner
14.30 Réseaux artistiques autour de Watteau, Collaborateurs directs et indirects
• Hugo Coulais (Doctorant, Paris Sorbonne Université), Les paysages oubliés de Jean Forest
• Gérard Migliore (Chercheur indépendant), “Acis et Galathé”, hypothèse de rapprochement avec un dessin de Michel Corneille le Jeune
• Marianne Paunet (Galerie Descours, Paris), Antoine Dieu, Antoine Watteau et le milieu de l’image imprimée pour point de contact
• Maud Guichané (assistante de conservation, Fondation Custodia, collection Frits Lugt), “Watho pour peindre les figures” : les peintres d’architecture Philippe Meusnier et Michel Boyer, collaborateurs d’Antoine Watteau ?
16.10 Réseaux artistiques autour de Watteau, Juste après Watteau
• Margaret Morgan Grasselli (Visiting Senior Scholar for Drawings, Harvard University), The Use of Wash in Drawings by Watteau
• Florence Raymond (attachée de conservation, Palais des Beaux-Arts, Lille), Dessiner d’après les maîtres : Antoine Watteau, Jean-Baptiste Pater et Nicolas Lancret, une culture matérielle au service de l’art de la citation ?
• Mary Tavener Holmes (chercheuse indépendante, New York), The Portraits of Nicolas Lancret
• Yuriko Jackall (Head of Curatorial & Curator of French Paintings, The Wallace Collection, Londres), On Influence and Inspiration: Watteau and Pater
D I M A N C H E , 7 N O V E M B R E 2 0 2 1
9.45 Accueil des participants
10.00 Réseaux artistiques autour de Watteau, Juste après Watteau
• Christoph Martin Vogtherr (directeur général, Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg), Watteau, Caylus et le principe de hasard
• Franziska Windt (conservatrice des peintures françaises et italiennes, Stiftung Preussische Schlösser und Gärten, Berlin- Brandenburg), Antoine Watteau in Prussia: Object of Collection and Model for Painting
• Sarah Sylvester Williams (Visiting Assistant Professor of Art History, Director, Museum Studies Program, Millsaps College, Jackson, Mississippi), Watteau, Lancret, and the Château de Condé
• Remi Freyermuth (chercheur indépendant, Paris), Boucher, élève de Watteau
11.40 Watteau et sa société – Regards culturels
• David Pullins (Associate Curator, The Metropolitan Museum of Art, New York), African Figures in Watteau’s Circle
• Yohan Rimaud (conservateur des collections Beaux-Arts, Besançon, musée d’art et d’archéologie), Réception de la chinoiserie dans le premier tiers du XVIIIe siècle
• Guillaume Faroult (conservateur en chef en charge des peintures françaises du XVIIIe siècle et des peintures britanniques et américaines, musée du Louvre, Paris), L’iconographie libertine de Watteau et ses émules
13.00 Déjeuner
14.30 Watteau et sa société – Watteau et l’Europe
• Enrico Lucchese (professeur d’histoire de l’art, Univerza v Ljubljani et Università degli Studi di Udine), Celestial Conjunctions in Watteau’s Universe: A Perusal on Relations with « Venetians »
• Nicolas Lesur (chercheur indépendant, Paris), Une diffusion italienne de Watteau : le cas de Carlo Spiridione Mariotti
• Christophe Janet (Marchand d’art et chercheur indépendant, Bruxelles), Le séjour de Watteau à Londres : nouveautés, précisions et questions
• Louis-Antoine Prat (Président de la Société des Amis du Louvre, Paris), Dessins de Watteau : des attributions erronées aux faux intentionnels
• Lionel Sauvage (collectionneur), Collectionner et mécéner Watteau
16.30 Conclusions générales
• Axel Moulinier (doctorant en histoire de l’art, École du Louvre, Paris, Université de Bourgogne-Franche-Comté, Dijon)
Colloquium | Sculpteurs et sculptures du XVIe au XIXe siècle
From Fine Arts Paris:
Du palais au jardin, de l’atelier au cabinet de l’amateur : Sculpteurs et sculptures du XVIe au XIXe siècle / Hommage au travail de Geneviève Bresc-Bautier
Auditorium du Petit Palais, Musée des Beaux-Arts de la Ville de Paris, 8 Novembre 2021
Fine Arts Paris organise en collaboration avec le département des Sculptures du musée du Louvre un colloque et une publication en hommage au travail de Mme Geneviève Bresc-Bautier.
Des historiens de l’art qui comptent pour Geneviève Bresc-Bautier, pour avoir été ses élèves ou pour avoir été associés à ses recherches ou à ses expositions, lui présentent un ensemble de communications en écho à ses centres d’intérêt : la Renaissance française, la sculpture de jardin, les bronzes, les moulages d’après l’Antique, le décor du palais du Louvre, le statut et la formation des sculpteurs…
Ce premier florilège préfigure les futurs Mélanges offerts à Geneviève Bresc-Bautier, dont la souscription sera ouverte à cette occasion et dont la parution est prévue en 2022. Cet ouvrage, coordonné par le département des Sculptures du musée du Louvre, réunira les textes présentés le 8 novembre et bien d’autres, proposés par des conservateurs, universitaires, restaurateurs et historiens de l’art de diverses générations, dont les recherches sur la sculpture du Moyen Âge au XIXe siècle et sur l’histoire du Louvre, ont été marquées par son exemple.
Réservation conseillée par email à rsvp@finearts-paris.com. Les personnes ayant réservé auront accès en priorité aux sièges disponibles. Pass sanitaire requis et port du masque obligatoire dans l’auditorium.
P R O G R A M M E
14.00 Accueil et introduction, présentation du volume d’articles réédités
• Sophie Jugie, directrice du département des Sculptures du musée du Louvre
14.15 Sculpture du XVIe au XVIIIe siècle
• Marion Boudon-Machuel (professeur d’histoire de l’art moderne à l’Université de Tours), Geneviève Bresc-Bautier, le ciseau sous la plume : contributions à l’Histoire de la sculpture de la Renaissance en France
• Pascal Julien (professeur d’Histoire de l’Art moderne à l’Université de Toulouse II), Satyres en Arcadie : méditation et séductions dans la sculpture de jardin, XVIe–XVIIe siècles
• Françoise de La Moureyre (historienne de l’art), Un portrait du roi sculpté à Rome par Clérion
• Sophie Mouquin (maître conférences en histoire de l’art moderne à l’Université de Lille), « Cette piété là est le véritable amour » : une allégorie virtuose et savante d’Aubert Parent
15.45 Pause
16.15 Histoire des moulages
• Elisabeth Le Breton (conservatrice au département des Antiquités grecques, étrusques et romaines, chargée de la gypthotèque du musée du Louvre), Académie de France à Rome : un plâtre daté de 1686
16.35 Histoire du Louvre
• Guillaume Fonkenell (conservateur en chef au musée de la Renaissance à Ecouen), Scibec de Carpi au Louvre
• Sophie Picot-Bocquillon (responsable du pôle documentaire de la Conservation des Œuvres d’Art Religieuses et Civiles de la Ville de Paris), Un sculpteur à l’ombre du Louvre : Francisque Duret et les décors architecturaux du palais
17.30 Conclusions et remerciements
Un ouvrage est consacré à la réédition d’un ensemble d’articles consacrés, entre 1979 et 2012, à ces sculpteurs méconnus que Geneviève Bresc-Bautier s’est attachée à faire connaître, en l’occurrence des sculpteurs actifs à Paris dans la première moitié du XVIIe siècle : Francesco Bordoni (1574–1654), Jean Séjourné (mort en 1614), Christophe Cochet (connu depuis 1606- mort en 1634), Hubert Le Sueur (connu de 1596 à 1658), Toussaint Chenu (connu depuis 1621-mort en 1666) et Thomas Boudin (vers 1570–1637). Une édition de Fine Arts Paris et In Fine Éditions, 25€.
Online Talk | Ann-Sophie Lehmann, Object Biography
From the BGC:
Ann-Sophie Lehmann, Object Biography: The Life of a Concept
Online, Seminar in Museum Conversations, Bard Graduate Center, New York, 2 November 2021
Jan Luyken, Design for frontispiece, Het Leerzaam Huisraad, 1709, 14 × 90 cm (Amsterdam: Rijksmuseum, RP-T-1989-183).
The object biography has gained popularity in art history, material culture studies, archaeology, history, conservation and restoration, and museum studies. As a concept, the biography creates attention for the individual trajectories of objects and how these change over time; it enables the connection of different approaches, usually dealt with by sub-disciplines (i.e. research into making, provenance, exhibition history, conservation, reception); it offers entry points even if no information is available and encourages interdisciplinarity as objects straddle many fields. Finally, the object biography stimulates new forms of writing because it lends the object a voice and foregrounds narrative.
But the concept’s anthropocentric foundations also raise questions. To have a ‘biography’ implies biological and mental development, which objects typically do not have. Are young objects less settled and do objects grow wiser the older they get? Metaphors of birth, maturing, and death might cover up exclusively thing-specific characteristics. Likewise, the proposed ‘life’ implies agency, but do objects really speak for themselves? Who actually tells their story, and would objects be better if we used concepts such as itineraries or necrographies to capture their histories?
This talk presents a brief history and theory of the concept of the object-biography, from its literary and didactic origins in the eighteenth-century to its recent critics, asking what the concept can help us see, which we otherwise would not. This free talk takes place, via Zoom, on Tuesday, November 2, at 5.00pm. Registration information is available here.
Ann-Sophie Lehmann is chair of art history & material culture at the University of Groningen. She recently published Lessons in Art: Art, Education, and Modes of Instruction, edited with E. Jorink and B. Ramakers (Leiden 2019). For an overview of her publications and activities is available here.
Online Series | The Museum and Gallery Today
From the PMC:
The Museum and Gallery Today: Paul Mellon Lectures 2021
Six Online Lectures, 20 October — 11 February 2022
Established in 1994, this lecture series was named in honour of Paul Mellon (Yale College, class of 1929), the philanthropist, collector of British art, and founder of both the Yale Center for British Art (YCBA) in New Haven and the Paul Mellon Centre for Studies in British Art (PMC) in London. Co-organised by the two institutions, these biennial lectures have traditionally been given by a specialist in British art, first at the National Gallery, London, and again at the YCBA in New Haven.
This year’s series, entitled The Museum and Gallery Today, is exclusively online and features individual talks from some of the world’s most distinguished museum and gallery directors. The lectures are presented as free live webinars. Registration is required (for each lecture, individually).
20 October 2021
Gabriele Finaldi (Director of the National Gallery)
3 November 2021
Kaywin Feldman (Director of the National Gallery of Art, Washington, DC)
10 November 2021
Thelma Golden (Director and Chief Curator of the Studio Museum in Harlem)
11 November 2021
Iwona Blazwick (Director of the Whitechapel Gallery)
24 November 2021
Maria Balshaw (Director of Tate)
11 February 2022
Eve Tam (Former Director of the Hong Kong Museum of Art)
New Book | My Monticello
From Macmillan:
Jocelyn Nicole Johnson, My Monticello: Fiction (New York: Henry Holt and Co., 2021), 224 pages, ISBN: 978-1250807151, $27.
A young woman descended from Thomas Jefferson and Sally Hemings driven from her neighborhood by a white militia. A university professor studying racism by conducting a secret social experiment on his own son. A single mother desperate to buy her first home even as the world hurtles toward catastrophe. Each fighting to survive in America.
Tough-minded, vulnerable, and brave, Jocelyn Nicole Johnson’s precisely imagined debut explores burdened inheritances and extraordinary pursuits of belonging. Set in the near future, the eponymous novella, “My Monticello,” tells of a diverse group of Charlottesville neighbors fleeing violent white supremacists. Led by Da’Naisha, a young Black descendant of Thomas Jefferson and Sally Hemings, they seek refuge in Jefferson’s historic plantation home in a desperate attempt to outlive the long-foretold racial and environmental unravelling within the nation.
In “Control Negro,” hailed by Roxane Gay as “one hell of story,” a university professor devotes himself to the study of racism and the development of ACMs (average American Caucasian males) by clinically observing his own son from birth in order to “painstakingly mark the route of this Black child too, one whom I could prove was so strikingly decent and true that America could not find fault in him unless we as a nation had projected it there.” Johnson’s characters all seek out home as a place and an internal state, whether in the form of a Nigerian widower who immigrates to a meager existence in the city of Alexandria, finding himself adrift; a young mixed-race woman who adopts a new tongue and name to escape the landscapes of rural Virginia and her family; or a single mother who seeks salvation through “Buying a House Ahead of the Apocalypse.”
United by these characters’ relentless struggles against reality and fate, My Monticello is a formidable book that bears witness to this country’s legacies and announces the arrival of a wildly original new voice in American fiction.
Jocelyn Nicole Johnson’s writing has appeared in Guernica, The Guardian, Kweli, Joyland, phoebe, Prime Number Magazine, and elsewhere. Her short story “Control Negro” was anthologized in Best American Short Stories 2018, guest edited by Roxane Gay, and read live by LeVar Burton as part of PRI’s Selected Shorts series. Johnson has been a fellow at Hedgebrook, Tin House Summer Workshops, and VCCA. A veteran public school art teacher, Johnson lives and writes in Charlottesville, Virginia.
Lecture Series | Printing Abolition, 1783–1807
Fold-out engraving in Charles Crawford, Observations on Negro-Slavery (Philadelphia: Eleazer Oswald, 1790)
(Philadelphia: Penn Libraries, Kislak Center for Special Collections, Rare Books and Manuscripts)
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From Penn Libraries:
Michael Suarez, Printing Abolition: How the Fight to Ban the British Slave Trade Was Won, 1783–1807
The A.S.W. Rosenbach Lectures in Bibliography
Online and In-person, University of Pennsylvania, Philadelphia, 25, 26, and 28 October 2021
In this series of highly illustrated lectures (originally scheduled for March 2020), Michael Suarez offers a fresh perspective on British abolition, richly informed by political prints and personal correspondence, newspapers and pamphlets, account books and committee minutes, parliamentary reports and private diaries. Suarez’s revisionist history not only traces the production and distribution of abolitionist print, but also reveals the hidden networks that variously sustained the first humanitarian mass media campaign. Abolition forces brilliantly exploited the power of print to contend with the complex legacies of the American and French Revolutions, the slave revolt in present-day Haiti, and the Napoleonic Wars. Seeking to understand how both abolitionists and their foes exploited systems of influence through printed words and images in many forms, Suarez delineates the strategies that abolitionists devised to overcome accusations of religious fanaticism, economic malfeasance, and political sedition. Exploring the first author’s book tour in the UK, a consumer boycott fostered by the radical press, and the fashionable publisher who clandestinely worked as press agent for the pro-slavery interest, these lectures will demonstrate the power of bibliography and book history to rewrite established narratives and to recover lives and labors typically left out of conventional accounts.
These three lectures will be held in person and also livestreamed via Zoom webinar (advance registration required to receive Zoom link). In addition, the lectures will be recorded and available for viewing and as podcasts approximately several weeks after being presented.
Michael F. Suarez, S.J. has served as Director of Rare Book School, Professor of English, University Professor, and Honorary Curator of Special Collections at the University of Virginia since 2009. Professor Suarez serves as Editor-in-Chief of Oxford Scholarly Editions Online. His recent books include The Cambridge History of the Book in Britain, Volume V, 1695–1830 (Cambridge University Press, 2009), co-edited with Michael Turner, and The Oxford Companion to the Book (Oxford University Press, 2010), a million-word reference work co-edited with H. R. Woudhuysen. The Book: A Global History, also co-edited with H. R. Woudhuysen, first appeared in 2013. In 2014, Oxford University Press published his edition of The Dublin Notebook, co-edited with Lesley Higgins, in the Collected Works of Gerard Manley Hopkins. He delivered the 2015 Lyell Lectures in Bibliography at the University of Oxford.
Feeding the Machine: A Triple System of Networks
Monday, 25 October 2021, 5.30pm (EST)
Register for this lecture (attending in person or attending virtually, via Zoom webinar).
Commodity Culture and the Political Economies of Print
Tuesday, 26 October 2021, 5.30pm (EST)
Register for this lecture (attending in person or attending virtually, via Zoom webinar).
Beyond Westminster: Toward More Global Forms of Knowing
Thursday, 28 October 2021, 5.30pm (EST)
Register for this lecture (attending in person or attending virtually, via Zoom webinar).
Digital Tools for Better Understanding Jean-Henri Riesener
From Art Daily (17 October 2021) . . .
Jean-Henri Riesener, Fall-front desk with trellis marquetry and gilt-bronze mounts, 1783 (London: The Wallace Collection, F302).
Jean-Henri Riesener (1734–1806)—the German cabinetmaker who emigrated to Paris in the mid-eighteenth century and became supplier of furniture to Louis XVI, Marie Antoinette, and their court—has been the subject of an extensive research project undertaken by the Wallace Collection, Waddesdon Manor, and the Royal Collection. Over the past six years, the Project has investigated Riesener’s career, craft, and legacy, which has helped develop a greater understanding of his cabinetmaking materials and techniques, as well as his innovations in furniture design. Many of the Project’s discoveries were incorporated into cutting-edge 3D furniture models, the first monograph on Riesener, and a display at the Wallace Collection. This display focused on the furniture that Riesener made for Marie-Antoinette as well as his lasting influence on later cabinetmakers.
Although this display at the Wallace Collection has now drawn to a close, much of the Project’s work, as well as the pieces of furniture themselves, can still be explored through a comprehensive microsite dedicated to Riesener, in addition to the book. The detailed technical examination of the materials, structure, and condition of the objects that took place during the Project, along with scientific analysis, allowed accurate digital models to be created in SketchUp. These are hosted on Sketchfab for a fully interactive experience that allows users to gain an appreciation of the complexity of Riesener’s work and his virtuosity as a craftsman and designer. These models on the microsite are enriched by isometric drawings and catalogue entries that examine the history of the furniture and the characteristics of their production, along with essays that explore Riesener’s life, craft, patrons, and collectors.
A Riesener trail has also been created on the Royal Collection’s website. This draws together all the Riesener furniture from the three collections, along with their digital models, short catalogue entries, and an interactive timeline of Riesener’s life and key commissions, interspersed with events in French national history.
Many aspects of the Riesener Project were pioneering, from its focus on the materiality of Riesener’s furniture to his workshop processes and the business of furniture-making. However, perhaps the Project’s most ground-breaking achievement was sharing its research results with as wide an audience as possible, through multiple media, on an open-access online platform.
Rosenberg Lecture | Jessica Fripp, The French Academy in Rome
Hubert Robert, View of the Gardens at the Villa Mattei, 1761, red chalk on paper
(Dallas Museum of Art, fractional gift of Charlene and Tom Marsh, 2006.17)
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From the DMA:
Jessica Fripp, The French Academy in Rome: Adventures in Bromance
Annual Rosenberg Lecture
Online and In-Person, Dallas Museum of Art, 11 November 2021, 7.00pm
Presented by the Michael L. Rosenberg Foundation
Winning the Royal Academy’s prix de Rome was a major accomplishment for aspiring painters and sculptors in 18th-century France. The prize came with a three-year funded stay in Rome, and provided an opportunity for artists to finish their education by viewing firsthand antique, Renaissance, and Baroque works of art in the Eternal City. But, much like students who study abroad today, their time in Rome involved just as much play as work.
In this lecture, Jessica L. Fripp, Associate Professor of Art History and Undergraduate and Graduate Coordinator at Texas Christian University, will talk about works of art that provide a view into the less studious side of artists’ time in Rome: caricatures. What can these ‘silly’ drawings tell us about life in Rome as a young artist and the role of friendship and play in academic artistic training?
This talk will be livestreamed on the DMA’s YouTube channel, with limited in-person seating available. Dr. Fripp’s recent book Portraiture and Friendship in Enlightenment France will be available for purchase at the DMA Store, and a book signing will follow the event on-site.
To register (for either in-person or virtual attendance), click here»
Online Conference | Buying Art and Antiquities in 18th-Century Italy
From the conference program:
Buying Art and Antiquities in Eighteenth-Century Italy
La compra de arte y antigüedades en la Italia del siglo XVIII
Online, UNED, Madrid, 4, 11, 18, 23 November and 2 December 2021
Organized by Pilar Diez del Corral Corredoira and David Ojeda Nogales
Jean-François Sablet, In the Antiquities Shop, Rome, 1788 (Private Collection)
The third meeting of the international conference series Transnational Relations and the Arts will address the issue of art and antiquities markets in eighteenth century. With the Grand Tour at its peak, men from all over Europe and beyond flooded into the cities of Italy, mainly Rome but also Naples, Venice, and Florence. These grand tourists fed an already flourishing art market and were also active agents of the spread of ancient marbles and vases, Old Master paintings, ancient coins, and medals back to their homelands, not to mention the diffusion of an international ‘buon gusto’ among the middling and upper classes. For virtual access via Zoom, please email dojeda@geo.uned.es and diezdelcorral@geo.uned.es. The conference is also available for streaming (without registration) here.
This conference is part of the results of the I+D+i project (PID2020-117326GB-I00), FAKE- La perdurabilidad del engaño: Falsificación de Antigüedades en la Roma del siglo XVIII, and the Ramón y Cajal research Project (2017-22131), Academias artísticas, diplomacia e identidad de España y Portugal en la Roma de la primera mitad del siglo XVIII, both funded by the Ministerio de Ciencia e Innovación.
First Session — Agents and Art Markets
4 November 2021, 15.00 (Madrid Time)
• Sascha Kansteiner (Curator of Greek and Roman sculpture, Staatliche Kunstsammlungen, Dresden), Cavaceppi: Sculptor, Restorer, Dealer, Publisher, and Forger
• Jeffrey Laird Collins (Professor of Art History and Material Culture, Bard Graduate Center, New York), The Pope, the Curator, the Milord, and his Dealer: Rome’s Red-Hot Antiquities Market in Theory and in Practice.
• Heiner Krellig (Independent Scholar, Venice and Berlin), Preliminary Notes for a History of the Art Market in Eighteenth-Century Venice
• Paola D’Alconzo (Universidad de Nápoles Federico II), Il mercato di antichità nel Regno di Napoli nel XVIII secolo: quadro normativo e alcuni casi esemplari
• Alexandre Vico Martori (Universidad de Gerona), ‘Quattro quadri dipinti per il traverso dipinti in tavola’: El redescubrimiento de Sandro Botticelli y la adquisición de las spalliere del Palazzo Pucci
Second Session — Agents and Art Markets, part 2
11 November 2021, 15.00 (Madrid Time)
• Paweł Gołyźniak (Institute of Archaeology, Jagiellonian University), Philipp von Stosch (1691–1757) and His Dominant Position in Terms of Trade, Collecting, and Research of Engraved Gems in Eighteenth-Century Italy
• Tara Zanardi (Hunter College of the City University of New York), Isabel de Farnesio, Filippo Juvarra, and the Modern Interior at La Granja
• Mercedes Simal (Unversidad de Jaén), Troiano Acquaviva y el mercado artístico romano: un agente al servicio de los reyes de España y Nápoles
• Elena Dmitrieva (Department of the Classical Antiquities, The State Hermitage Museum), Russian Buyers of Antique and Modern Gems in the Italian Art Market in the Second Half of the Eighteenth Century
• Odile Boubakeur (Ecole du Louvre / Université Paris-Saclay), ‘Italy, Garden of the World’…or ‘jardin à l’anglaise’? British Supremacy on the Italian Antique Art Market through the Eighteenth Century
Third Session — Collectors and Their Collections
18 November 2021, 15.00 (Madrid Time)
• Tracy L. Ehrlich (Associate Teaching Professor, Parsons School of Design / The New School, New York), Alessandro Albani and European Practices of Collecting and Display in the Era of the Grand Tour
• Fabrizio Federici (Independent Scholar), Dispersing a Collection in Eighteenth-Century Italy: The Paintings and Statues of the Cybo Malaspina Family
• John E. Davies (FRHistS, former County Archivist Carmarthenshire Archive Service, independent scholar), An Examination of the Art Collecting of the First Baron Cawdor
• Theresa Kutasz Christensen (Exhibitions Researcher, Prints, Drawings, and Photographs, Baltimore Museum of Art), The King is Dead, Long Live the King’s Things: The Transformation of Private Pleasures into Public Propaganda in Gustav III of Sweden’s Museum of Antiquities
• Alexander V. Kruglov (Independent Scholar, New York), The Russian Grand Tour: Sculptures Purchased by Count and Countess of the North in Rome in 1782
Fourth Session — Collectors and Collections
23 November 2021, 15.00 (Madrid Time)
• Daniela Roberts (Assistant Professor, Institute of Art History, University of Würzburg), Grand Tour Pickings: Antiquities for Georgian Gothic Houses
• Maureen Cassidy-Geiger (Independent Scholar), Bringing Rome Home: Souvenirs and Gifts for Crown Prince Friedrich Christian of Saxony/Poland during His Sojourn in the Eternal City, 1738–39
• José Antonio Vigara Zafra (UNED), El Grand Tour del VI conde de Fernán Núñez: un ejemplo de cultura cortesana en la Europa de la Ilustración
• Domenico Pino (University College London), Gems Never Seen Before: William Hamilton, Vesuvius, and the Rising Taste for Precious Marble in Europe, c. 1770
• Ginevra Odone (Université de Lorraine / La Sapienza Università di Roma / Society for the History of Collecting, Italian Chapter), From Rome to London: Expertise, Dealer, and Buyer for Two Antique Hands
Fifth Session — Works of Art
2 December 2021, 15.00 (Madrid Time)
• Max Kunze (Professor at the University of Mannheim), Winckelmann and the Venus Menophantus or Emphatic Aspects of Restored Sculptures in the Eighteenth Century
• Alexis R. Culotta (Professor of Practice, Tulane University), Commemorating Italy?: The Walpole and Brand Cabinets as Grand Tour Souvenirs of Elsewhere
• David Ojeda (UNED), Forgeries in the Eighteenth Century and Classical Art: A Methodological Conundrum
• Julio C. Ruiz (Universidad Rovira i Virgili, Tarragona), Sobre un torso masculino con indumentaria militar en el Museo del Prado
• Lorenzo Ebanista (Independent Scholar), La felloplastica napoletana nel XVIII secolo tra scenografie presepiali, souvenirs del Grand Tour e rappresentazioni naturalistiche
• Eliška Petřeková (Masaryk University Brno), Between a Souvenir and Archeological Documentation: The Cork Model of the Paestum Temple in the Chancellor Metternich‘s Collection
Enfilade 
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