Call for Papers | Drawn to Blue
From ArtHist.net:
Drawn to Blue
Online, 12–13 November 2024
Organized by the J. Paul Getty Museum and the University of Amsterdam
Proposals due by 31 July 2024
Made from discarded blue rags, early modern blue paper was a humble material. Despite that, its manufacture required expert knowledge and its impact on European draftsmanship was transformative. This call seeks proposals for 20-minute papers that address the history of European blue paper from the fourteenth century until 1800. Open to art historians, curators, conservators, conservation scientists, paper historians, papermakers, and dyers, successful proposals will demonstrate original archival research and/or object-based approach to their discussion of works on blue paper. While all topics will be considered, organizers encourage papers related to the following subjects:
• blue paper production outside the Italian peninsula and the Netherlands
• color shift in blue paper and its implications
• technical and/or scientific examination of blue paper
• artistic applications of blue paper
• non-artistic uses of blue paper
• blue paper as means of transcultural exchange
• intersection between blue paper production and textile trade and technological developments
Co-organized by the J. Paul Getty Museum and the University of Amsterdam, this interdisciplinary online symposium will take place 12–13 November 2024, over two morning sessions Pacific Standard Time. Proposals should include author’s name, title, and an abstract (not to exceed 500 words). Submissions should be sent to drawings@getty.edu by 31 July 2024. Please put ‘Drawn to Blue’ in the subject. Accepted speakers will be notified by mid-August.
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Earlier this year, The Getty presented the exhibition Drawing on Blue (30 January — 28 April 2024) and published an accompanying book edited by the show’s curators, Edina Adam and Michelle Sullivan, Drawing on Blue: European Drawings on Blue Paper, 1400s–1700s (Los Angeles: J. Paul Getty Museum, 2024).
Conference | New Perspectives on Life Drawing
From The Courtauld (and note the two virtual sessions, June 17 and June 18):
Pose, Power, Practice: New Perspectives on Life Drawing
The Courtauld Institute of Art, Vernon Square, London, 20 June 2024
Organised by Zoë Dostal and Isabel Bird
From the 16th century to the present, drawing the human body from life has remained a mainstay of Western institutional art practice. Despite significant shifts in the aesthetics, media, and purpose of art over the last five hundred years, life drawing endures in both the studio and the classroom.
Pose, Power, Practice is a one-day symposium that seeks to reassess the state of the field on life drawing and apply new critical frameworks to this sustained practice. It aims to better understand life drawing in all its complexity, from its presumed advantages to its consequences. This is a practice deeply intertwined with concerns central to the discipline of art history, including but not limited to: the power dynamics of the gaze; the politics of representation; recognition of multiple forms of artistic labour; formulations of race, dis/ability, gender, and sexuality; and critiques of institutions. How has life drawing changed across time and place? How and why has it endured as a pedagogical practice, despite repeated dismissals of its “academicism”? What uses does it hold today, for artists and art historians alike?
Our re-evaluation of life drawing will start with two virtual panels earlier in the week, hosted in collaboration with The Drawing Foundation. At Life Drawing After Death on Monday, 17 June, 16:00 BST and Life Model as Laborer and Artist on Tuesday, 18 June, 13:00 BST, we will dive into topics that will resonate with and inform our in-person discussions on the varied perspectives, ethical considerations, and diverse practices that make up life drawing. Visit The Drawing Foundation’s event webpage for further details.
Organised by Dr Zoë Dostal (Kress Fellow, The Courtauld) and Isabel Bird (PhD candidate, Harvard University)
p r o g r a m m e
10.00 Registration, with coffee and tea
10.30 Welcome
• Professor Alixe Bovey (The Courtauld)
• Zoë Dostal (The Courtauld) and Isabel Bird (Harvard University)
10.50 Session 1 | Life Drawing as an Enduring Practice
Chaired by Tara Versey (Royal Drawing School)
• Antje Southern (The King’s Foundation Diploma Year), The Creative Impact of Life Drawing at Fine Art Foundation Level: A Case Study
• Susanne Müller-Bechtel (Saxon Academy of Sciences and Humanities in Leipzig – Young Forum), The Experimental Arrangement in the ‘Aktsaal’ at the Early Modern Academies and the Effects on the Artistic Practice
• John Fagg (University of Birmingham), ‘Take the pose of the model, yourself’: Empathy in Robert Henri’s Pedagogy and Practice
12.15 Lunch Break
13.45 Session 2 | Exposure and Expression: Life Modelling
Chaired by Carole Nataf (The Courtauld)
• Fra Beecher (Director of United Models Life Drawing CIC), The Body, Captured: Photography and the Life Room
• Tomáš Valeš (Institute of Art History, Czech Academy of Sciences, Prague / Department of Art History, Masaryk University, Brno), Employed, Exposed, Captured: Life Model Praxis in 18th-Century Vienna
• Yanyun Chen (School of the Museum of Fine Arts, Tufts University), Skinning Nudity: Life Modelling Practice in Singapore
15.10 Coffee and tea
15.40 Session 3 | Beyond the Life Room: Unexpected Practices
Chaired by Professor Joanna Woodall (The Courtauld)
• Suri Li (University of Cambridge), A Renaissance Nun’s Drawing Practices: Suor Plautilla Nelli (1524–1588) and Her Drawing of a Young Woman
• Oriane Poret (Université Lyon 2, LARHRA), Beyond Human: Drawing from Non-Human Life during the 19th Century
• Nick Robbins (University College London), The Life Academy and the Origins of Landscape
17.00 Drinks Reception
Symposium | Angelica Kauffman
Angelica Kauffman, Self-portrait with Bust of Minerva, detail, ca. 1780–84, oil on canvas, 93 × 76 cm
(Chur: Grisons Museum of Fine Arts, on deposit from the Gottfried Keller Foundation, Federal Office of Culture, Bern)
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I posted this a couple of weeks ago, but without the schedule, which is now added below. –CH
From the Royal Academy:
Angelica Kauffman
Royal Academy of Arts, London, 7 June 2024
As part of the Royal Academy’s retrospective exhibition of the work of Angelica Kauffman (1741–1807), this one-day symposium will provide an in-depth look at the work of one of the RA’s founding members. Known for her society portraits and pioneering history paintings, Kauffman painted some of the most influential figures of her day—queens, countesses, actors, and socialites. Her history paintings often focused on female protagonists from classical history and mythology. Organised in partnership with the Paul Mellon Centre for Studies in British Art, this symposium will address Kauffman’s international career and her time in London, her inspirations and subjects, and her place in the art world at the time and her position now in the broader context of art history.
Speakers include Emma Barker, Rosalind Polly Blakesley, Bettina Baumgartel, Rebecca Cypess, Ellen Hanspach-Bernal, Yuriko Jackall, Chi-Chi Nwanoku, Wendy Wassyng Roworth, Jane Simpkiss, and Annette Wickham. The day will conclude with a special artist in-conversation between Sutapa Biswas and Griselda Pollock.
If you have any accessibility needs, please contact public.programmes@royalacademy.org.uk.
p r o g r a m m e
8.30 Private View of the Exhibition
10.00 Welcome and Opening Remarks
• Rebecca Lyons
10.10 Session 1 | Angelica Kauffman and the Royal Academy of Arts
Chair: Rebecca Lyons
• Annette Wickham — Angelica Kauffman at the Royal Academy: From a Face on the Wall to Painting the Walls
• Bettina Baumgärtel — Angelica Kauffman in Context
• Jane Simpkiss — An Artist among Equals: A Comparative Analysis of Angelica Kauffman’s Self-Portraits with Those of Her Male Contemporaries
11.35 Break
12.00 Session 2 | Performance and Self-Fashioning in 18th-Century London
Chair: Marie Tavinor
• Chi-chi Nwanoku — 18th-Century Musical Prodigies
• Rebecca Cypess — Music and the Self-Fashioning of Angelica Kauffman
• Emma Barker — Figuring the Sibyl: Angelica Kauffman and the Image of Female Genius
1.25 Lunch Break
2.40 Session 3 | The International Business of Art
Chair: Sarah Victoria Turner
• Yuriko Jackall and Ellen Hanspach-Bernal — The Connections between Style, Reputation, and Business Acumen
• Rosalind Polly Blakesley — Kauffman in the Reign of Catherine the Great
• Wendy Wassyng Roworth — An Enterprising Artist: Angelica Kauffman and the Business of Art
4.10 Break
4.30 Artist Talk / In-Conversation
• Griselda Pollock and Sutapa Biswas
5.30 Concluding Remarks
• Sarah Victoria Turner
Colloquium | The Bottle, 17th- and 18th-C. Representations of Alcohol
From the conference programme:
The The Culture of the Bottle: Uses and Visual Representations of Alcoholic Drinks in the 17th and 18th Centuries
La culture du flacon: Usages et représentations visuelles des boissons alcoolisées aux XVIIe et XVIIIe siècles
Online and in-person, Institut national d’histoire de l’art, Paris, 13–14 June 2024
Pour tout renseignement ou pour l’inscription Zoom : asso.grham@gmail.com
Organisation scientifique par le bureau du GRHAM avec le soutien financier et logistique de l’HiCSA et du Collège des écoles doctorales de l’Université Paris 1 Panthéon-Sorbonne.
t h u r s d a y , 1 3 j u n e
14.00 Accueil des participants
14.30 Conférence d’ouverture
• Boissons enivrantes et société française du XVIe au XVIIIe siècle — Matthieu Lecoutre, professeur agrégé d’histoire / chercheur associé à l’équipe Alimentation de l’université de Tours François-Rabelais et au centre George Chevrier de l’université de Bourgogne
15.45 Session 1 | Du chais au verre. Contenir l’ivresse
Modération : Maxime Bray, doctorant en histoire de l’art moderne, Sorbonne Université
• Avant le flacon, un contenant nécessaire, la barrique — Marguerite Figeac-Monthus, professeure des universités d’histoire moderne, Université de Bordeaux
• Une bouteille à succès : l’âge d’or de la bouteille couverte d’osier en France au XVIIe siècle — Elise Vanriest-Dabek, conservatrice du patrimoine, musée archéologique d’Istres / docteure en histoire de l’art moderne, EPHE
• Servir des alcools frappés : usages, formes et motifs des récipients en porcelaine au XVIIIe siècle — Défendin Détard, professeur agrégé d’histoire / doctorant en histoire de l’art moderne, Sorbonne Université
17.15 Présentation de notre partenaire Gallia et dégustation
19.00 Visite du musée des Arts décoratifs — Ariane James-Sarazin, conservatrice générale du patrimoine, Musée des Arts Décoratifs – Musée Nissim de Camondo
20.30 Dîner (réservé aux intervenants)
f r i d a y , 1 4 j u n e
9.30 Accueil des participants
10.00 Conférence
• Verser le vin, tenir le verre. Réflexions sur la gestuelle du vin dans la peinture européenne (XVIe–XVIIe siècles) — Philippe Morel, professeur émérite des universités d’histoire de l’art moderne, Paris 1 Panthéon Sorbonne
11.15 Session 2 | Artistes & regardeurs. L’émulation par l’ivresse
Modération : Maël Tauziède-Espariat, docteur en histoire de l’art, UBFC
• Toasting and Drinking in Dutch Golden Age Art — Benjamin Binstock, Assistant Professor, The Cooper Union
• Usages et mythologie de l’alcool chez les Bentvueghels : de la pratique à la théorie — Suzanne Baverez, docteure en histoire de l’art moderne, EPHE
12.30 Déjeuner des participants
14.30 Conférence
• Les portraits en buveur : une tradition iconographique de la peinture européenne aux XVIIe et XVIIIe siècles ? — Christine Gouzi, professeure des universités d’histoire de l’art moderne, Sorbonne Université
15.30 Session 3 | « Le goût des lumières ». Vins et images épicuriennes au XVIIIe siècle
Modération : Alice Ottazzi, docteure en histoire de l’art moderne, Université de Turin / Université Paris 1 Panthéon-Sorbonne
• Héraclite et Démocrite sous la Régence : Peinture, chansons à boire et sociétés parisiennes à l’aube des Lumières — Ulysse Jardat, conservateur du patrimoine, musée Carnavalet – Histoire de Paris
• Sculpteur Satyrs: Art, Alcohol and Materiality in 18th-Century Paris — Ashley Hannebrink, doctorante en histoire de l’art et de l’architecture, Harvard University
16.30 Pause-café
16.45 Session | Speed Talking
Modération : Justine Cardoletti, doctorante en histoire de l’art moderne, Paris 1 Panthéon-Sorbonne
• Les étiquettes de bouteilles au XVIIIe siècle — Maxime Georges Métraux, chercheur, Galerie Hubert Duchemin
• Les interprétations biblique et antique de « L’automne » de Nicolas Poussin — Chao Ying Lee, maîtresse de conférences en relations et cultures ethniques, Université nationale de Don Hwa, Taïwan
• La représentation du vin dans la nature morte italienne vers 1700 — Claudia Salvi, docteure en histoire de l’art, Université d’Aix-Marseille et experte en peinture ancienne
• « Les liqueurs estoient en quantité » : consommation de liqueurs lors des fêtes à la cour sous le règne de Louis XIV — Clémence Pau, docteure en histoire de l’architecture moderne et ATER, Sorbonne Université
• L’ivresse du décor : représenter le buveur dans le dessin de plafond. Le cas de la salle à manger du château de Chantilly ornée par Claude III Audran, 1692–1709 — Hugo Guibert, étudiant en Master 2 à l’École du Louvre
• Réflexion autour des lieux de consommation du Palais-Égalité à la fin du XVIIIe siècle — Charlotte Duvette, docteure en histoire de l’art et de l’architecture, Université Paris 1 Panthéon-Sorbonne et cheffe de projet à l’Institut national d’histoire de l’art
• « Cachez ce vin que je ne saurais boire. » Comment ressert-on son vin à Paris au XVIIe siècle ? — Jean Potel, doctorant en histoire de l’architecture moderne, Sorbonne Université
• Alcool et sexe : un mélange iconographique inexistant dans la France du XVIIIe siècle ? — Maël Tauziède-Espariat, docteur en histoire de l’art, UBFC
18.00 Mots de fin et pot de l’amitié
New Book | Outposts of Diplomacy
Distributed by The University of Chicago Press for Reaktion Books:
G. R. Berridge, Outposts of Diplomacy: A History of the Embassy (London: Reaktion Books, 2024), 256 pages, ISBN: 978-1789148497, £25 / $35.
A profusely illustrated history of the diplomatic embassy, from antiquity to today.
This compelling history traces the evolution of the embassy, from its ancient origins to its enduring presence in the modern world. Beginning with its precursors in antiquity, the book explores the embassy’s emergence on the cusp of the Italian Renaissance, its pinnacle during the nineteenth century, and its navigation through the challenges of twentieth-century conference diplomacy. G. R. Berridge investigates how this European institution adapted its staffing, architecture, and communication methods to changing international landscapes, including the tumultuous wars of religion and encounters in the Far East. He also describes the expansion of the embassy’s responsibilities, such as providing diplomatic cover for intelligence operations. Infused with vibrant anecdotes of remarkable individuals and the creation of influential family dynasties, and illustrated throughout, this book offers a fascinating exploration of the embassy’s rich history.
G. R. Berridge is professor emeritus of international politics at the University of Leicester and a senior fellow of the Geneva-based DiploFoundation. He was associate editor of the Oxford Dictionary of National Biography, to which he still contributes, and his most recent book is the sixth edition of Diplomacy: Theory and Practice.
c o n t e n t s
Preface
Introduction
1 Fifteenth-Century Beginnings
2 Expanding Duties
3 Household and Buildings
4 Pre-Telegraphic Communications
5 Nineteenth-Century Highpoint
6 Enter the Americas
7 The Middle East and Africa
8 Far Eastern Compounds
9 Backseat after the First World War
10 Stubborn Institution
Epilogue
Bibliography
Acknowledgements
Photo Acknowledgements
Index
Call for Papers | Early Modern State Descriptions
From ArtHist.net:
Early Modern State Descriptions in an Interdisciplinary Perspective
Münster, 10–11 April 2025
Organized by Karl Enenkel and Lukas Reddemann
Proposals due by 21 July 2024
From the 16th through to the 18th century, state descriptions were a vital part of European literary production and book markets. Such publications covered an enormous range of topics including geography, economics, cities, military, political constitutions, and numerous other aspects of early modern political formations. State descriptions were written in Latin and vernacular languages alike. They could be composed as single descriptions or as collections and were often published in numerous editions and translations. Such ‘bestsellers’ on the early modern book market included several well-known works. For example, one can call to mind Lodovico Guicciardini’s description of the Low Countries (Descrittione di tutti i paesi bassi, 1567), William Camden’s description of Britain (Britannia, 1586), and the collections in Giovanni Botero’s Relationi universali (1590s), Pierre d’Avity’s Les estats, empires, et principautez du monde (1613), and the ‘Republics’, a series of Latin state descriptions printed by Elzevir and other Dutch publishers in the 1620s and 1630s. In the course of the 17th century, the production of state descriptions gained new momentum through the formal establishment of statistics as an academic discipline, in Protestant universities in Germany in particular. This development resulted in the famous “Göttinger Schule” of statistics that is associated with Gottfried Achenwall and August Ludwig von Schlözer.
It is paramount that we attain a clearer picture of the place of state descriptions in the larger context of early modern academic and non-academic learning, as well as their connections to other, non-textual media. For instance, what role did state descriptions play in the development of early modern political theory, the education of and communication between diplomats, and the knowledge networks of merchants? How did they intersect with fields such as cartography or other media concerned with the pictorial representation of geographical and political aspects of early modern states?
Our conference aims to bring together multiple interdisciplinary perspectives on early modern state descriptions to address the abovementioned areas and similar fields. Rather than investigating state descriptions as a single literary genre or form of printed publication, we want to shed light on the early modern interest in different forms of literary and non-literary representations of contemporary political formations as a broader cultural phenomenon. Contributions might address, but are not limited to, the following research questions:
• On what methodical basis can we identify target audiences and actual readers of early modern state descriptions? Which academic and non-academic factors stimulated the huge interest in such publications?
• How can we describe the relationship between state descriptions in Latin and in the vernacular languages? Are there certain focal points related to time or region? Can we recognize specific connections between the language and the target audiences of such publications? What role do translations play?
• How did the authors and editors of state descriptions systematize and manage the vast amount of potentially relevant information? How do their different forms of information management interact with the literary and academic purposes of a work?
• How can we describe these often-complicated use of literary sources more specifically, rather than applying general concepts such as ‘compilation’ or ‘anthology’ (cf. e.g. Reddemann, Staatenkunde als Weltbeschreibung, 2024)?
• How do state descriptions, as ‘factual’ representations of concrete political formations, respond to and interact with writings and trends in the field of political theory?
• How does book-historical evidence help us shape clearer ideas about the dissemination, readerships, and practical use of state descriptions? What can we say about their presence in early modern libraries and book collections and how may this reveal more about domain-specific practices of book collecting?
• Which non-literary forms of representing, illustrating, and describing early modern states can we identify? Do they interact with or react to textual state descriptions and, if so, in what specific ways?
We look forward to receiving contributions from researchers in the entire breadth of disciplines within the field of early modern studies. We plan to publish the revised papers in the series Intersections: Interdisciplinary Studies in Early Modern Culture (Brill).
The conference will take place 10–11 April 2025 in Münster. The University of Münster will take care of travel costs for speakers and provide their hotel accommodation for the duration of the conference. The language of contributions and discussion is English. The deadline for submissions is 21 July 2024. Please send an abstract of your contribution (ca. 250 words) and a preliminary title to both organisers, Karl Enenkel (kenen_01@uni-muenster.de) and Lukas Reddemann (lukas.reddemann@uni-muenster.de).
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