Call for Papers | Women in Art and Music, ca. 1500–1800

Posted in Calls for Papers by Editor on October 24, 2022

From ArtHist.net:

Women in Art and Music, ca. 1500–1800
The Juilliard School, New York, and the National Gallery of Art, Washington DC, 18 and 20 October 2023

Proposals due by 9 December 2022

The Juilliard School in New York, and the Center for Advanced Study in the Visual Arts at the National Gallery of Art in Washington, DC are excited to announce a co-hosted global interdisciplinary symposium on women in art and music in the early modern period (ca. 1500–1800). Our goal is to think broadly about women as creators, as part of the cultural and global economy, and as experts in their chosen field of art. We suggest that visual art and musical performance were so tightly enmeshed at this time as to form their own language, particularly in women-centered spaces. We, therefore, seek a new way of addressing this shared space—not necessarily as an interdisciplinary zone where art and music always converge—but one in which modes of creation are shared in codependent and overlapping ways in the early modern period.

Lavinia Fontana, Portrait of Lucia Bonasoni Garzoni, ca. 1590, oil on canvas, 45 × 34 inches (Washington, DC: National Gallery of Art).

The National Gallery of Art’s recent acquisition of the Bolognese painter Lavinia Fontana’s portrait of 16th-century Bolognese singer and lute player Lucia Bonasoni Garzoni (b. 1561)—the first painting by an early modern Italian woman artist to enter the museum’s collection—is the impetus for this interdisciplinary conference. A prolific artist, Fontana depicts Garzoni in an exquisite and highly detailed portrait alongside her lute, displayed on the table next to a score which accurately represents music for a lute with soprano voice. We might imagine these notes emanating from her instrument in concert with her dulcet voice, garnering her the praise she received from her literary contemporaries and poets, as one asserted, “And the host of the Graces, and the whole array of Virtues, testify to this in singing her glories and honors.”

On 23 April 1595, Lavinia Fontana’s eleventh and last-born child was baptized in Bologna, and documents show that none other than Lucia Bonasoni Garzoni served as the child’s godmother, linking the two women together personally, in addition to professionally. This picture tells the story of two women, one a painter and the other a musician, who were able to overcome obstacles in a patriarchal society to succeed in the artistic spheres of painting and music. This early modern synergy between a painter and a singer will be the springboard for exploring how women succeeded as artists and musicians in the early modern period on a global stage, whether independently or collaboratively.

Early modern scholarship has recently suggested that identity is a process, a fluid phenomenon rather than fixed formation, in which the interaction between groups (be they national, religious, social, gendered, or racial) is the crucial point of study. What happens when we apply this idea to the realm of artistic identity? Some questions to consider: How does reading art and music as coexistent entities enhance our understanding of women in the early modern era? When women depicted or included other women in their art what were the societal ramifications? How did art and music-making offer women pathways for social advancement or even independence in the early modern period? How did issues of social class and race, in addition to gender, play into possible advances for women on the global stage in art and music?

The symposium will take place at The Juilliard School, New York, NY on Wednesday, 18 October 2023 and at the Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, DC on Friday, 20 October 2023.

We hope that the comingling of a museum and a conservatory will help to answer some of these questions in a lively and engaging symposium. Live music will be provided alongside papers at both institutions by the ensemble Sonnambula and musicians from Juilliard’s Historical Performance program, to reveal how crucial musical performance is to the study of music and the sister arts in the early modern period. Musicians will be on-hand to play any music discussed in papers as needed; public performances will also occur on both days of the symposium.

We invite paper submissions from scholars across the humanities that engage with early modern women as artists and/or musicians from the disciplines of history, music history, historical performance, and art history, in addition to other relevant disciplines. Papers are encouraged that consider cross-cultural connections in how they address issues of artmaking and performance, in both secular and religious contexts in Africa, the Americas, Asia, Europe, and beyond. Proposals that include music or performance as part of the talk are welcome. A selection of papers will be published following the conference in an edited volume published by the Center and distributed by Yale University Press.

To submit a proposal, please send the following by email to the co-organizers of the conference by Friday, 9 December 2022:
• Paper title (15-word maximum)
• Paper abstract (250-word maximum)
• CV/resume with your full name, affiliation, title (or ‘Independent Scholar’), and email address

Dr. Eve Straussman-Pflanzer, Curator and Head of Italian and Spanish Paintings, National Gallery of Art

Dr. Elizabeth Weinfield, Professor of Music History, The Juilliard School, Director, Sonnambula

New Book | Van Dyck and the Making of English Portraiture

Posted in books by Editor on October 24, 2022

From Yale UP:

Adam Eaker, Van Dyck and the Making of English Portraiture (London: Paul Mellon Centre for Studies in British Art, 2022), 250 pages, ISBN: 978-1913107345, £35 / $45.

A new account of painting in early modern England centered on the art and legacy of Anthony van Dyck

As a courtier, figure of fashion, and object of erotic fascination, Anthony van Dyck (1599–1641) transformed the professional identities available to English artists. By making his portrait sittings into a form of courtly spectacle, Van Dyck inspired poets and playwrights at the same time that he offended guardians of traditional hierarchies. A self-consciously Van Dyckian lineage of artists, many of them women, extends from his lifetime to the end of the eighteenth century and beyond. Recovering the often surprising responses of both writers and painters to Van Dyck’s portraits, this book provides an alternative perspective on English art’s historical self-consciousness. Built around a series of close readings of artworks and texts ranging from poems and plays to early biographies and studio gossip, it traces the reception of Van Dyck’s art on the part of artists like Mary Beale, William Hogarth, and Richard and Maria Cosway to bestow a historical specificity on the frequent claim that Van Dyck founded an English school of portraiture.

Adam Eaker is an associate curator in the Department of European Paintings at The Metropolitan Museum of Art.

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