Library at Trinity College Dublin Preps for Restoration
The Long Room of the Old Library at Trinity College Dublin
(Wikimedia Commons, July 2015)
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From The NY Times:
Ed O’Loughlin, “An Irish National Treasure Gets Set for a Long-Needed Restoration,” The New York Times (28 May 2022). The majestic Old Library at Trinity College Dublin, where some of Ireland’s most ancient and valuable books are stored, is a popular tourist attraction.
The Long Room, with its imposing oak ceiling and two levels of bookshelves laden with some of Ireland’s most ancient and valuable volumes, is the oldest part of the library in Trinity College Dublin, in constant use since 1732.
But that remarkable record is about to be disrupted, as engineers, architects and conservation experts embark on a 90 million euro, or $95 million, program to restore and upgrade the college’s Old Library building, of which the Long Room is the main part.
The library, visited by as many as a million people a year, had been needing repairs for years, but the 2019 fire at Notre Dame cathedral in Paris was an urgent reminder that it needed to be protected, according to those involved in the conservation effort. . . .
Much of the effort will be focused on conserving the historic worked wood that makes up much of the library’s interior and the frames of its windows, as well as improving fireproofing and environmental controls needed to protect the valuable book collection.
Faced with the example of Notre Dame, and the realization that something similar could happen to an Irish national treasure, the government pledged €25 million, with the college and private donors adding €65 million more.
Work started in April, and in October 2023, the Old Library’s doors will close to visitors for at least three years as it moves into full gear. . . .
The full article is available here»
James Malton (1761—1803), Trinity College Library, The Long Room, eighteenth-century watercolour (Wikimedia Commons). From the Wikipedia entry for “Library of Trinity College Dublin”: “The 65-metre-long (213 ft) main chamber of the Old Library, the Long Room, was built between 1712 and 1732 and houses 200,000 of the Library’s oldest books. Initially, The Long Room had a flat ceiling, shelving for books only on the lower level, and an open gallery. By the 1850s the room had to be expanded as the shelves were filled due to the fact that the Library had been given permission to obtain a free copy of every book that had been published in Ireland and Britain. In 1860, The Long Room’s roof was raised to accommodate an upper gallery.”
Symposium | Thinking Europe Visually
From ArtHist.net, where the posting also includes the French version:
Thinking Europe Visually
Centre IMAGO / École normale supérieure, Paris / Musée du Jeu de Paume, Paris, 9–10 June 2022
“If I had to do it again, I would start with culture.” This statement, often erroneously attributed to Jean Monnet, suggests that in the absence of a shared culture, Europe as a political and economic construct remains nothing but a hollow shell. This conference aims to question the disillusioned position which holds that there is no meaningful common European culture, and to do so through images. One way to visualize the potential existence and limits of a European cultural base is indeed to trace the circulation of images—be they works of art, press images, posters, photographs, or even motifs and patterns—in the region, from antiquity through to the present day. What are the images that have circulated most widely in Europe? Are they specific to Europe or are they already globalized? What was their visual and symbolic impact? Is there a ‘visual culture’ specific to Europe and, if so, what might be its distinctive ‘patterns’?
The symposium will take place on June 9 and 10, 2022 in Paris at the Ecole normale supérieure, 45 rue d’Ulm. It is hosted by European Excellence Center Jean Monnet IMAGO (ENS), in collaboration with the project VISUAL CONTAGIONS at the University of Geneva (Switzerland). If is supported by the European agency Erasmus + and by the Swiss national Fund for research.
The symposium is also structured around three exhibitions:
• Contagions visuelles, an exhibition for the Espace de Création numérique du Jeu de Paume (10 May — 31 December 2022, curated by Béatrice Joyeux-Prunel with Nicola Carboni).
• Ces images qui ont fait l’Europe / Those Images That Made Europe, a digital exhibition hosted by Europeana.eu (forthcoming June 2022)
• Correspondances, a ‘real’ exhibition at the University of Geneva (16–30 May 2022) on the circulation of images, with works and texts by students from the chair in digital humanities at UNIGE (Prof. Béatrice Joyeux-Prunel) and the Atelier de Photographie at the Beaux-Arts de Paris led by Marie José Burki.
Organisation
• Béatrice Joyeux-Prunel, Professeure à l’université de Genève, chaire des humanités numériques
• Léa Saint-Raymond, postdoctorante, ENS-PSL / IMAGO
• Centre d’excellence Jean Monnet IMAGO, ENS-PSL (https://www.imago.ens.fr), en partenariat avec le projet FNS VISUAL CONTAGIONS, Université de Genève (https://visualcontagions.unige.ch)
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T H U R S D A Y , 9 J U N E 2 0 2 2
8.30 Welcome and Coffee
9.30 Béatrice Joyeux-Prunel (UNIGE) and Léa Saint-Raymond (ENS-PSL), Introduction
9.45 Keynote
• Adeline Rispal, L’Étoffe de l’Europe®, une œuvre pour tisser l’avenir [The Fabric of Europe, A Work to Weave the Future]
10.45 Pause
11.00 Morning Session
• Areti Adamopoulou (University of Ioannina), The Pediment and the Column: The Persistence of Values
• Fabienne Gallaire (INP), A Stable Continent: On the Horse and the Other Animal Attributes of Europe in Early Modern Allegories, 16th–18th c.
• Eveline Deneer (University of Utrecht), A Light on Europe: The International and Intermedial Trajectory of a Medieval Chandelier at the Turn of the 19th Century
12.30 Lunch
14.00 Afternoon Session
• Sylvain-Karl Gosselet (CNRS, Université de Paris Cité, LARCA), Fashionable Europe: Iconological Wonders à la Bonnart
• Emilia Olechnowicz (Institute of Art of the Polish Academy of Sciences), Fabrication of Europe: Europe as the Space and the Myth in Early Modern Costume Books
• Béatrice Joyeux-Prunel (UNIGE), What Images Made Europe in the Era of Illustrated Print? The Imago/Visual Contagions Project
• Nicola Carboni (UNIGE), The Rise of Machines: A Data-Driven Approach to the Study of Image Circulations
• Marie Barras (UNIGE), Visual Hits from the Past: Tracing the Global Circulation of Art Images from 1890 until 1990
17.00 Pause
17.30 Grégory Chatonsky (artist) – Réalisme contrefactuel : l’introduction des images possibles dans l’histoire de l’art [Counterfactual Realism: The Introduction of Possible Images in Art History]
18.30 Roundtable — Europe between Its Vision and Its Images / Vision et images de l’Europe
• Thomas Serrier (Université Lille III), Béatrice Joyeux-Prunel (UNIGE), Léa Saint-Raymond (ENS-PSL) and the team of the journal Le Grand Continent
19.30 Cocktail Reception
F R I D A Y , 1 0 J U N E 2 0 2 2
9.00 Coffee
10.00 Keynote
• Christophe Charle (Université Paris 1 Panthéon-Sorbonne), The Cultural Spaces of Europe in the 19th Century
11.00 Pause
11.15 Morning Session
• Emmelyn Butterfield-Rosen (Williams College Graduate Program in the History of Art, Clark Art Institute), Posture and the Invention of European Art
• Léa Saint-Raymond (ENS-PSL) and Quentin Bernet (Ecole du Louvre), The ‘Madonna of Humility’: A Pattern That Made Europe, 14th–16th c.
12.15 Lunch
13.45 Coffee
14.00 Afternoon Session
• Marie Blanc (Université Grenoble Alpes), An Image of Europe for and by Its Tourists during the Cold War: The Example of Czechoslovakia
• Paolo Villa (University of Udine), War and Peace: The Film « iconeme » of the Urban Square as Mirror of Europe in Translation, 1944–1948
• Lefteris Spyrou (Institute for Mediterranean Studies-FORTH), Promoting a Shared European Cultural Heritage: The Council of Europe’s Art Exhibitions in the 1950s
• Antje Kramer (Université Rennes 2), T 1956-9 by Hans Hartung: A Line Drawn between Europe and Africa?
• Matteo Bertele (Ca’Foscari University of Venice), Defining European Art through International Exhibitions, 1955–1958
18.30 Evening at Jeu de Paume Museum (Auditorium)
à propos the exhibition Visual Contagions / Contagions visuelles; les images dans la mondialisation – Jeu de Paume, Espace de Création numérique — with Marta Ponsa (Jeu de Paume), Béatrice Joyeux-Prunel and Nicola Carboni (UNIGE), and the artists Valentine Bernasconi, Robin Champenois, Nora Fatehi, Thomas Gauffroy-Naudin, Anim Jeon, Rui-Long Monico
U of Buckingham | MA in French and British Decorative Arts
MA in French and British Decorative Arts and Historic Interiors
University of Buckingham, starting September 2022
Bursary applications due by 20 June 2022
Applications are invited for a bursary on the University of Buckingham’s MA in Decorative Arts and Historic Interiors starting September 2022. Generously funded by The Leche Trust, the award is worth £7,500 and will contribute towards course fees. The deadline for bursary applications is Monday, 20 June, 4.30pm.
This unique MA in French and British Decorative Arts and Interiors, taught in partnership with the Wallace Collection, focuses on the development of interiors and decorative arts in England and France in the ‘long’ eighteenth century (c.1660–c.1830) and their subsequent rediscovery and reinterpretation in the nineteenth and twentieth centuries.
A key element of the course is the emphasis on the first-hand study of furniture, silver, and ceramics, where possible in the context of historic interiors. Based in central London, it draws upon the outstanding collections of the nearby Wallace Collection and the Victoria and Albert Museum as well as the expertise of the Wallace Collection curatorial staff and other leading specialists who participate in the teaching.
Bursary priority will be given to applicants:
• with excellent academic qualifications, seeking, or currently pursuing careers in museums, the built heritage or conservation,
• in need of financial assistance,
• have a strong interest in the decorative arts and historic buildings,
• or, for those wishing to go on to pursue academic research in the decorative arts and historic interiors.
The bursary is also open to part-time students commencing their studies in 2022 for whom the funding would be spread over two-years. To be eligible for the bursary, students will need to have applied for and been offered a place on the course.
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