Call for Papers | HNA Conference 2024, Britain and the Low Countries
From HNA:
HNA Conference | Britain and the Low Countries: Cultural Exchange Past, Present, and Future
London and Cambridge, 10–13 July 2024
Proposals due by 29 September 2023
2024 marks the first time in the forty-year history of the Historians of Netherlandish Art that the biennial conference will be held in the UK. Cultural, political, and economic exchange has been pivotal to the histories of the UK and the Low Countries, and these relationships have taken on new significance and have new potential as the UK renegotiates its relationship with Europe after Brexit. Britain and the Low Countries: Cultural Exchange Past, Present & Future considers the extraordinary depth and breadth of the relationships between the constituent nations of the UK, Belgium, and The Netherlands.
The conference is comprised of workshops in London and Cambridge on 10 and 13 July and 40 paper sessions to be delivered at West Road Concert Hall in Cambridge on 11 and 12 July. Thirteen of the sessions relate to the subject of Britain and the Low Countries. These fall under three broad themes: technology and the natural sciences, key themes in scholarship on British-Netherlandish culture, and medium-based scholarship in the British-Netherlandish context. There are 25 further sessions on a broad range of themes and 2 career-development sessions.
The call for papers is now open for all sessions. Each session is 90-minutes long and, unless otherwise specified, will comprise three 20-minute papers and 30 minutes for discussion. Applicants must be HNA members and are allowed to submit multiple proposals but may not participate in more than one session. We ask that applicants inform the session chairs about the other sessions they are applying to. Unless specified otherwise, please send proposals of about 500 words, clearly stating the goals of the paper, along with a CV (no longer than one page) to the email address(es) ascribed to the session descriptions below.
The deadline for proposals is Friday, 29 September 2023. Applicants will be notified by the programme committee no later than four weeks after the submission deadline.
Please consider contributing to HNA IDEA’s appeal for contributions to an equitable conference.
s e s s i o n s a t a g l a n c e
• Copies and Reproductions in Netherlandish Art, 1400–1800
• Existential In(ter)ventions: Modernity as Makeability in the Dutch Republic
• Infinite Concordances: Elaborating on Visual Typology in Early Modern Netherlandish Art
• The ‘Inventions’ of Early Netherlandish Painting: Thirty Years since Hans Belting and Christiane Kruse’s Die Erfindung des Gemäldes: Das erste Jahrhundert der niederländischen Malerei (1994)
• Embracing the Digital Age: New Prospects for Researching Northern European Art with Computational Methods
• The ‘More-Than-Human World’ in 17th-Century Dutch Visual and Material Culture
• The Multidimensionality of Netherlandish Grotesques
• What is Anglo-Dutchness?
• Netherlandish-isms: Making Nationhood and Art History
• Reading Pendants and Multiples in Dutch and Flemish Art
• Gender and the Home across Cultures
• Remarkable Women Artists, 1500–1700
• Multiple Masculinities in Netherlandish Art
• Sound and Silence: Soundscapes, Noise, Music, and Quiet Pauses in Dutch and Flemish Art
• New Views on Vermeer: Reflections, Opinions, Reconsiderations
• Moving Dutch Knowledge: Collections as Knowledge Repositories and Sites of Transformation and Transfiguration (ANKK sponsored session)
• Museums in Conflict: Lessons Learned, 1930–1950
• Technical Art History: Material Stories – Object Itineraries
• Do We Belong Together? Case Studies into Portrait Pendants
• The Interconnected Nature between Britain and the Low Countries in the Production and Decorating of Glass
• Art and Nature in the Dutch Colonial World
• Worldly Images and Images of the World in Netherlandish Art
• Half the World Away: Cultural Circulations between Isfahan and the Early Modern Low Countries
• Mutual Appreciation and Exchanges between Artists of Northern and Southern Europe, 1590–1725
• Culture and Climate Change
• The Landscapes of Artists from the Netherlands Who Worked in Britain during the Long 17th Century
• ‘Soft Power’: The Material Legacy of William and Mary
• Netherlandish Migrant Artists and the emergence of Creativity in Late 17th-Century London
• Collecting and Exchange between North Sea Neighbours
• Netherlandish Art in Renaissance Florence: Architectural Exchanges from North to South?
• Print Culture between the UK and the Low Countries
• Print Exhibitions in the Making and Related Research
• New Research on Dutch and Flemish Drawings in the UK
• Immigrants and Excellence: Sculptors from the Low Countries at the English and Scottish Courts in the 17th and 18th Centuries
• Connecting Threads: Tapestries and Cultural Exchange in the Low Countries and England
• Material Depiction and (Cut-out) Trompe l’oeils: The Enchantment of Material Depiction by Netherlandish Painters and the Development of British Traditions
• Visual Sovereignty in Dutch and Indigenous Histories
• Visual Cultures of Cartography in the Low Countries, 1500–1800
• Professional Insights and Practical Advice for Early Career Researchers
• Pecha Kucha Workshop for Graduate Students and Early Career Researchers
Session descriptions are available here»
New Book | The Tsarina’s Lost Treasure
First published in 2020, the book appeared in paperback in 2022; from Simon & Schuster:
Gerald Easter and Mara Vorhees, The Tsarina’s Lost Treasure: Catherine the Great, a Golden Age Masterpiece, and a Legendary Shipwreck (New York: Pegasus Books, 2020), 400 pages, ISBN: 978-1643135564 (hardback), $30 / ISBN: 978-1643139425 (paperback), $19.
A riveting history and maritime adventure about priceless masterpieces originally destined for Catherine the Great.
On October 1771, a merchant ship out of Amsterdam, Vrouw Maria, crashed off the stormy Finnish coast, taking her historic cargo to the depths of the Baltic Sea. The vessel was delivering a dozen Dutch masterpiece paintings to Europe’s most voracious collector: Catherine the Great, Empress of Russia. Among the lost treasures was The Nursery, an oak-paneled triptych by Leiden fine painter Gerrit Dou, Rembrandt’s most brilliant student and Holland’s first international superstar artist. Dou’s triptych was long the most beloved and most coveted painting of the Dutch Golden Age, and its loss in the shipwreck was mourned throughout the art world. Vrouw Maria, meanwhile, became a maritime legend, confounding would-be salvagers for more than two hundred years. In July 1999, a daring Finnish wreck hunter found the ship, upright on the sea floor and perfectly preserved. The Tsarina’s Lost Treasure masterfully recounts the fascinating tale of Vrouw Maria—her loss and discovery—weaving together the rise and fall of the artist whose priceless masterpiece was the jewel of the wreckage. Gerald Easter and Mara Vorhees bring to vivid life the personalities that drove (and are still driving) this compelling tale—evoking Robert Massie’s depiction of Russian high politics and culture, Simon Schama’s insights into Dutch Golden Age art and art history, and Gary Kinder’s spirit of, danger and adventure on the beguiling Archipelago Sea.
Gerald Easter is a Professor at Boston College who has been teaching and writing about Russian/East European politics and history for more than two decades.
Mara Vorhees is a travel writer with an expertise in Russia, New England, and Central America. She has written or contributed to more than 40 guidebook editions, published by Lonely Planet.
Call for Papers | A Different Perspective for the Atlantic Routes
The Call for Papers for three related workshops, from ArtHist.net:
Traveling Objects: The Material Culture of the Atlantic Routes
Institut national d’histoire de l’art, Paris, 21 February 2024
New Towns and Old Settlements in Latin America: City Planning, Architecture, and Building Decorations in the Shadow of European Influence
Institut national d’histoire de l’art, Paris, 17 April 2024
Leaving a Trail: Memories, Reports, and Maps beyond the Fascination and Fear of the New World
Palacio de Maldonado – Centro de Estudios Brasileños, Universidad de Salamanca, 15 May 2024
Organized by Maddalena Bellavitis and José Manuel Santos Pérez
After more than two years of careful and laborious preparation (slowed down and hindered several times by the difficulties that have arisen due to the global pandemic), this project finally gets underway. A Different Perspective for the Atlantic Routes intends to go back once more to questioning issues that already count important in-depth studies, like the transoceanic relations between the sixteenth and nineteenth centuries, but also has the ambition of wanting to integrate the results already obtained with new reflections and achievements, and above all with a different point of view.
The idea, in fact, is not to propose an approach which is purely targeted to how European society had received and used the travel reports and products arrived from American lands, but to also to evaluate on the one hand the influences and consequences—cultural, technical, artistic, and social—that the exchanges had had overseas on local populations, and on the other how items and symbols closely linked to the cultures of the American territories after being brought to Europe had been reinterpreted and deprived of their original meaning in the new environment in which they had been introduced to, thus also involving the sphere of memory and the Intangible Cultural Heritage. If the common thread proposed is that of the activity of the Dutch West India Company, the project also aims to consider the whole vast cultural, diplomatic, artistic, scientific, anthropological, and gastronomic panorama that the approach to such a topic necessarily brings with itself, and will therefore also evaluate the tangencies and interactions with travels and exchanges also made by other European states and kingdoms in the period considered.
The first opportunity for comparison will be dedicated to the material aspects—that is the objects that have been used and obtained in exchanges, explorations or raids—and to the engineering aspects of the ships used to transport them. The second meeting will focus on the urban installations and the architectural and social aspects of the new settlements, while the third session will concern travelers, travel impressions, and cartography. Workshops will be held in Paris and Salamanca, hosted by the Institut national d’histoire de l’art and the Centro de Estudios Brasileños of the Universidad de Salamanca.
In addition to those who have already been involved in the discussions and in the preparation of the preliminary phases of this project, scholars interested in any discipline that can offer points of contact with the proposed theme—from collecting to memory, from travel literature to material culture, from engineering to anthropology—are encouraged to send a proposal for a contribution.
Please submit an abstract for an unpublished contribution and a short bio by 30 September 2023 to maddalena.bellavitis@gmail.com, specifying the title of the workshop you are applying for. Presentations will be in English, French, Spanish, or Portuguese and will last a maximum of 20 minutes. The organizers, Maddalena Bellavitis and José Manuel Santos Pérez, director of the Centro de Estudios Brasileños of the Universidad de Salamanca, will notify the selected proposals by the second week of October 2023.
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