Call for Applications | Seminar in Curating Prints
From ArtHist.net and Print Quarterly:
Seminar in Curating Prints
London and Paris, 12–27 March 2025 (9 days)
Applications due by 18 September 2024
Print Quarterly invites applications for a program dedicated to prints connoisseurship and curatorial practice, spanning from printmaking techniques to innovative strategies of display and public engagement in a museum context. The program will take place over approximately nine days in London and Paris in the period 12–27 March 2025, with exact dates to be confirmed in October 2024. Most sessions will be held in museum print rooms, but insights into commercial print publishing, current printmaking, and the art market will also be provided. The program will be led by the editor of Print Quarterly, Rhoda Eitel-Porter, with the contributions of international senior experts.
The program is tailored to early and mid-career curators with responsibility for prints and works on paper seeking professional development. Applications from scholars involved with print curating or advanced graduate students pursuing a thesis on a print-related topic will also be considered. A maximum of ten participants will be admitted to the program. The seminars will allow participants to strengthen their knowledge of and familiarity with prints across media and contexts, while exploring new fields and methods, including non-Western traditions. Besides furthering their knowledge of the subject, the seminar will also stimulate the participants to think differently and further on how to manage, display, and deploy their collections for the benefit of the public. Furthermore, through exposure to other museum curators and managers at the host venues and selected experts, participants will develop their network within the community of print scholars. The working language is English. Participants will be asked to prepare one or two short presentations of five to ten minutes on selected topics.
Travel, accommodation, and meal expenses will be covered by the program. The program is supported by The Getty Foundation, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.
Applications with the following (as PDF files) should be emailed to curating@printquarterly.co.uk by 18 September 2024.
• A brief letter of intent of no more than one page summarizing your interest in the program. The letter should describe your current responsibilities and work, your future hopes and ambitions, and an explanation of how participation in the program might help you achieve your goals. It should also include your thoughts about what you would hope to see covered in the program and wish to learn from it.
• A curriculum vitae that includes your name, title, current position (and whether this is part- or full-time), affiliation, email address, residential address, nationality/citizenship, languages spoken, education, publications, and name and contact details of two references.
Participants will be selected and notified by late October 2024. Questions about the program may be directed to curating@printquarterly.co.uk.
Call for Papers | The Myth of French Taste
The Myth of French Taste
A Special Issue of H-France Salon edited by Oliver Wunsch
Proposals due by 15 October 2024
The French have taste in all they do
Which we are quite without;
For Nature which to them gave goût
To us gave only gout.
–Thomas Erskine (1750–1823)
The concept of goût français first became a subject of sustained critical inquiry during the eighteenth century, integrating the discourse of aesthetic experience with new forms of national identity. Enlightenment theories of the nation as something both perfectable and corruptible gave rise to the idea of French taste as something requiring both cultivation and protection. Usage of the term le goût français grew gradually through the early twentieth century, peaking during the interwar period before dropping precipitously. Few scholars today would speak of ‘French taste’ as a coherent entity, and the national chauvinism implicit within the term make it an awkward fit for an era of research that emphasizes cultural relativism and global interconnection.
But even if we believe that ‘French taste’ represents an outdated and jingoistic myth, we still need to contend with its historical impact. How did the mythology of French taste shape cultural experience in the greater Francosphere between the eighteenth and twentieth centuries? How was French taste defined, whom did it exclude, and what purpose did it serve? And can scholars today characterize French cultural tendencies without reinforcing an essentializing understanding of national character? This special issue of H-France Salon welcomes essays that approach these questions from a range of disciplinary perspectives, including cultural history, literary studies, sociology, art history, and the history of collecting. Contributions could analyze specific works of art or literature that shaped concepts of French taste, or they might examine the theorization of French taste in the writing of a particular philosopher or cultural critic. Essays might also consider how scholarly specialization in French culture and the existence of professional organizations such as H-France serve to reinforce or challenge historical conceptions of French taste.
Interested contributors should email an abstract (max. 500 words) to Oliver Wunsch (wunscho@bc.edu) by 15 October 2024.
Oliver Wunsch
Art, Art History, and Film Department | Boston College
Exhibition | Jean-Baptiste Oudry and the Royal Hunts of Louis XV
From the press release for the exhibition:
Peintre de courre: Jean-Baptiste Oudry et les Chasses royales de Louis XV
Château de Fontainebleau, 12 October 2024 — 27 January 2025
Cette exposition valorisera des trésors méconnus du château : les cartons préparatoires au tissage de la tenture des Chasses de Louis XV, dont quatre cartons tout récemment restaurés.
À l’automne 2024, le château de Fontainebleau mettra en lumière le travail du peintre Jean-Baptiste Oudry, célèbre pour ses représentations des chasses du roi Louis XV et ses portraits animaliers. Peintures, ouvrages, porcelaines, dessins, habits et tapisseries plongeront les visiteurs dans l’univers de la chasse, activité favorite du roi, qu’il souhaita fixer pour l’éternité en passant la commande à Oudry à partir de 1733 d’un ensemble de tapisseries. Cette exposition présentera pour la première fois, côte à côte, les dessins préparatoires, les cartons d’Oudry (œuvres préparatoires à l’échelle réelle qui servent ensuite au lissier à tisser les tapisseries), conservés à Fontainebleau et dont quatre ont été récemment restaurés et les tapisseries qui en sont issues, tissées par la manufacture royale des Gobelins.
Par ailleurs, l’exposition illustrera le goût pour les scènes de chasse dans la peinture et le décor intérieur des demeures royales et aristocratiques du XVIIIe siècle , ainsi que l’« Oudrymania », c’est-à-dire la diffusion des créations de l’artiste dans divers domaines des arts décoratifs, tels que les illustrations de beaux livres, la porcelaine et l’orfèvrerie. L’exposition invite les visiteurs à (re)découvrir la résidence de chasse favorite des rois de France que fut le château de Fontainebleau au fil des siècles.
Un colloque Jean-Baptiste Oudry et la peinture animalière sera co-organisé avec la Fondation François Sommer et se tiendra à Paris et à Fontainebleau mi-décembre 2024.
Vincent Cochet et Oriane Beaufils, eds., Peintre de courre: Jean-Baptiste Oudry et les Chasses royales de Louis XV (Paris: Réunion des Musées Nationaux, 2024), 229 pages, ISBN: 978-2711880423, €49.
The full press release is available here»
Exhibition | Oudrymania
Now on view at the Château de Chantilly:
Oudrymania: Fables, Hunts, Fights
Musée Condé, Château de Chantilly, 8 June — 6 October 2024
Curated by Baptiste Roelly with Oriane Beaufils
Depicted in hunting scenes, portraiture, and combat, animals feature among the most striking images produced by Jean-Baptiste Oudry (1686–1755). A gifted artist with an unrivalled mastery of his technique, he brings us face-to-face with the animal repertoire as it existed in the 18th century, including in a series of three hunting scenes painted for the Château de Chantilly, works that were scattered after the French Revolution but which have now been brought back together.
Animal scenes were extremely popular with the leading collectors of the 18th century, including the princes of Condé, who commissioned them from the artist. A set of exquisite drawings by Oudry loaned from a private collection feature in the exhibition alongside works from Chantilly’s collections, allowing visitors to see pieces never before displayed in public. These include a large number of illustrations for La Fontaine’s fables, showing how the fabulist and the artist use the animal kingdom to help us laugh at and reflect on human nature. These illustrations were so effective they were copied by the arts and crafts industry and included in their decorative production, examples of which can also be admired in the exhibition. Through paintings, drawings, objets d’art, and rare books, this show shines a light into every corner of the Oudrymania that has gripped art lovers for centuries.
The exhibition is organized by Baptiste Roelly, curator at the Condé museum, in collaboration with Oriane Beaufils, curator and director of collections at the Villa Ephrussi de Rothschild.
Baptiste Roelly and Oriane Beaufils, eds, Oudrymania: Fables, Chasses, Combats (Éditions Faton, 2024), 128 pages, ISBN: 978-2878443585, €22. With contributions by Oriane Beaufils, Claire Betelu, Lucile Brunel-Duverger, Laurence de Viguerie, Juliette Debrie, Mathieu Deldicque, Nicole Garnier-Pelle, François Gilles, Maxime Georges Métraux, Roberta J.M. Olson, and Baptiste Roelly,
The press release (in French) is available here»
The Huntington Acquires Portrait by Antoine-François Callet
From the press release (28 August 2024) . . .
Antoine-François Callet, Portrait of the Comte de Cromot, Superintendent of the Comte de Provence, at an easel, accompanied by his two daughters-in-law, 1787, oil on canvas, 78 × 64 inches (San Marino: The Huntington Library, Art Museum, and Botanical Gardens).
The Huntington Library, Art Museum, and Botanical Gardens has acquired an ambitious, large-scale masterpiece by 18th-century French portraitist Antoine-François Callet (1741–1823), the official painter of Louis XVI. The work is the fourth in a series of acquisitions made possible by The Ahmanson Foundation.
Painted at the height of the artist’s career, Portrait of the Comte de Cromot, Superintendent of the Comte de Provence, at an easel, accompanied by his two daughters-in-law is a unique Old Master work that contains a painting within a painting. The small landscape on the easel adjacent to the sitter was painted on a separate canvas and signed by the Comte de Cromot himself, known to be an amateur painter, and then inserted into the overall composition by Callet. The complex portrait will go on view in the Huntington Art Gallery this fall as an important counterpart to the institution’s world-class collection of 18th-century French decorative arts, complementing the recent addition of Joseph Hyacinthe François-de-Paule de Rigaud, comte de Vaudreuil by Élisabeth Louise Vigée Le Brun, which also became part of the collection through a gift from The Ahmanson Foundation.
“This historically significant work by Antoine-François Callet is an extraordinary addition to our signature portrait collection and will be vital in our interpretive work as we draw connections to our related French holdings,” Huntington President Karen Lawrence said. “We are immensely grateful to The Ahmanson Foundation for their support in strengthening The Huntington’s collection of European art with this masterpiece.”
Antoine-François Callet was born in Paris in 1741. In 1764, at the age of 23, he won the Prix de Rome and completed his artistic education at the Académie de France in Rome. In the late 1770s, he returned to Paris to begin work on a ceiling painting for the Louvre, which earned him admission to the Académie Royale. He received patronage and the protection of King Louis XVI and the monarch’s brothers. As the official painter of Louis XVI, he painted the famous portrait of the king in his coronation robes. Callet was also the First Painter to ‘Monsieur’ (Comte de Provence) and the official painter to the Comte d’Artois, who were the king’s brothers. During the turbulent 18th and 19th centuries, Callet regularly exhibited at the Salon of the Académie des Beaux-Arts in Paris.
“The portrait of the Comte de Cromot is exceptional both historically and artistically,” said Christina Nielsen, Hannah and Russel Kully Director of the Art Museum at The Huntington. “It has tremendous presence—great not only in scale but also in ambition as it contains four portraits in one: that of the Comte de Cromot, his two daughters-in-law, and the future King Louis XVIII, seen in a roundel on the wall in the background.”
The primary sitter, the Comte de Cromot, was Jules-David Cromot du Bourg, superintendent of finances to the Comte de Provence, who was the brother of Louis XVI and the future king of France. The frame of the portrait of the Comte de Provence is inscribed with the words “Donné par Mr. frère du Roi au Grand Surintendant de ses finances,” acknowledging that the monumental work was commissioned by the future king for the model. The Comte de Cromot died in 1786, which makes the portrait the last representation of this important 18th-century figure. The two daughters-in-law in the painting are Marie Sophie Guillauden du Plessis and Sophie de Barral. “The Comte de Cromot is rendered as an accomplished artist, while his daughters-in-law are pictured reading letters and books and considering drawings, signifying the importance of the arts across the spectrum of intellectual life in French society,” Nielsen said.
Through its partnership with The Ahmanson Foundation, The Huntington has acquired Portrait of José Antonio Caballero, Second Marqués de Caballero, Secretary of Grace and Justice (1807) by Francisco de Goya in 2023; Portrait of Joseph Hyacinthe François-de-Paule de Rigaud, comte de Vaudreuil (ca. 1784) by Vigée Le Brun, the most important female artist of 18th-century France, in 2022; and the monumental Portage Falls on the Genesee (ca. 1839) by Anglo American painter Thomas Cole in 2021.
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On 25 January 2023, the portrait was sold at Christie’s in New York as lot 55 of Remastered: Old Masters from the Collection of J.E. Safra for $201,600, well under its low estimate of $300,000. –CH
Exhibition | Kerry James Marshall and John Singleton Copley
John Singleton Copley, Watson and the Shark, 1778, oil on canvas (DC: NGA, 1963.6.1); and Kerry James Marshall, Great America, 1994, acrylic and collage on canvas (DC: NGA, Gift of the Collectors Committee, 2011.20.1).
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Now on view at the NGA in DC:
Conversations: Kerry James Marshall and John Singleton Copley
National Gallery of Art, Washington DC, 18 November 2023 — 31 January 2025
Two centuries apart, American artists John Singleton Copley and Kerry James Marshall pushed the boundaries of history painting.
A special installation brings together three monumental paintings for a thought-provoking dialogue: Copley’s 18th-century canvas Watson and the Shark and Marshall’s two 20th-century works Great America and Voyager. These paintings—all maritime-themed—address the violent history of the transatlantic slave trade and the Middle Passage, the forced journey of enslaved people across the Atlantic. All three works are part of the National Gallery of Art collection, but this is a rare chance to experience them together in the same exhibition space, in conversation. Compare how Marshall and Copley skillfully wove historical and contemporary events together with cultural, mythological, and spiritual allusions. Take a closer look at these iconic paintings and explore a selection of Marshall’s related drawings for a glimpse into his process.
This is the second installation in our Conversations series, which connects works in our collection from our past and present to reveal how artists help us understand our place in history.
Exhibition | The Birch Trials at Fraunces Tavern
From the press release for the exhibition:
The Birch Trials at Fraunces Tavern
Fraunces Tavern Museum, New York, opening 23 October 2024
Curated by Craig Hamilton Weaver
As noted at the museum’s website: “Built by the De Lancey family in 1719, 54 Pearl Street has been a private residence, hotel, and one of the most important taverns of the Revolutionary War.” It is the oldest standing structure in Manhattan.
On 23 October 2024, the Fraunces Tavern Museum, located in the oldest building in Manhattan, will unveil a vastly enlarged permanent exhibition entitled The Birch Trials at Fraunces Tavern. The exhibition highlights the role of Fraunces Tavern in the emancipation of thousands of Black Loyalists at the end of the Revolutionary War (enabling them to leave New York City) and in the creation of the Book of Negroes (the record created of those who departed with the British). The exhibition expands upon one opened at the Museum in June 2023. Recognition is also given to the thousands of Black Patriots who fought to further the cause of American Independence. The previous exhibition attracted a multitude of visitors from around the world, including large numbers of school children. Relocating the exhibition to a larger permanent gallery will enable the Museum to provide a better visitor experience as well as include recent new discoveries of significant information concerning the identities of individuals participating in the Birch Trials and their inclusion in the Book of Negroes.
The exhibition reflects several years of exhaustive research on both sides of the Atlantic in thousands of pages of existing original documents. Museum and Art Committee Co-Chairman and Chief Curator of the exhibition, Craig Hamilton Weaver, emphasizes that “this exhibition is the most comprehensive ever organized on this tremendously significant event in the history of Black emancipation in the United States and is made all the more compelling because it can be viewed within the very walls of the building within which the events occurred.”
Installation view of The Birch Trials at Fraunces Tavern, 2024.
In 1783, as the Revolutionary War was drawing to a close, a joint British and American Commission met weekly at Fraunces Tavern from April until November. The proceedings of the Commission are known as the ‘Birch Trials’, named after Brigadier General Samuel Birch who oversaw the proceedings. The Commission reviewed and deliberated upon the eligibility of some Black Loyalists to evacuate with the British Army. Testimonies were provided by individuals in person and through documentary evidence to enable the Commissioners to render final decisions. Given that the Commissioners met at Fraunces Tavern weekly and had the responsibility “to superintend all embarkation,” it is reasonable to conclude that the British and American Commissioners reviewed and compiled the lists of names for inclusion in the Book of Negroes during the course of their weekly sessions at Fraunces Tavern. The names would later be inscribed neatly into the final Book of Negroes by staff.
Visitors will observe chairs and a table arranged as if waiting for the Commissioners to enter the room and hear cases. The exhibition also contains reproductions of pages from the Book of Negroes as well as the advertisement in the 30 May 1783 New York Gazette stating that the Commissioners would meet at Fraunces Tavern. Recent discoveries featured in this newly expanded exhibition include the identities of two women, Dinah Archey and Judith Jackson, whose fates were undecided by the Commission at their hearings, but who ultimately were recorded in the Book of Negroes as having evacuated New York City on departing ships.
Major support for this exhibition has been provided by the Robert David Lion Gardiner Foundation. The purpose of the Robert David Lion Gardiner Foundation is to educate, cultivate, and encourage the study and understanding of Long Island and New York’s historic role in the American experience. The Foundation also supports scholarships and historic preservation, including study, stewardship, and promotion of Long Island’s historic educational aspects. The Robert David Lion Gardiner Foundation remains inspired by Robert David Lion Gardiner’s personal passion for Long Island and New York history.
SAAM Fellowships for American Art History
From the Smithsonian American Art Museum:
The Smithsonian American Art Museum and its Renwick Gallery invite applications for its 2025–26 research fellowships, awarded through the Smithsonian Institution Fellowship Program (SIFP). Residencies are available at the graduate, doctoral, postdoctoral, and senior levels. The deadline to apply is October 15.
Scholars from any discipline who are researching topics relating to U.S. art, craft, and visual culture are encouraged to apply, as are those who foreground new perspectives, materials, and methodologies. Fellowships are residential and support full-time research. SAAM is devoted to advancing inclusive excellence in art history and encourages candidates who identify as members of historically underrepresented groups to apply.
The stipend for a twelve-month SIFP fellowship is $45,000 for predoctoral scholars and $57,000 for postdoctoral and senior scholars, with a supplemental research allowance of up to $5,000. Applicants who need less time to complete their research may apply for as few as three months with a prorated stipend. Residencies should take place between 1 June 2025 and 31 August 2026.
SIFP graduate student fellowships are available for ten-week summer terms and carry a stipend of $10,000.
To learn more and apply, click here. With additional questions or for research consultation, email SAAMFellowships@si.edu.
Call for Articles | Sequitur (Fall 2024): Beyond the Veil
From:
Sequitur 11.1 (Fall 2024): Beyond the Veil
Submissions and proposals due by 27 September 2024, for January 2025 publication
Arnold Böcklin, Island of the Dead, 1880, oil on wood, 29 × 48 inches (New York: The Metropolitan Museum of Art, 26.90).
The editors of SEQUITUR, the graduate student journal published by the Department of History of Art & Architecture at Boston University, invite current and recent MA, MFA, and PhD students to submit content on the theme of Beyond the Veil for our Fall 2024 issue. This issue invites an exploration of the unseen, the unknown, and the realms that lie out of reach of ordinary or earthly perception. What other worlds exist beyond death, within our minds, under the surface, or in the shadows?
Artists have used every medium at their disposal to imagine what these other worlds might look like, going so far as to employ symbolism, abstraction, and surrealism to grapple with the otherworldly. Ritualistic items, religious artifacts, and funerary objects serve as tangible links to the spiritual and the supernatural. On a larger scale, architectural elements like arches, portals, and windows invite us into holy spaces to seek sanctuary or guide transitions from life to death and back again. In this issue, we aim to gather scholarship that focuses on topics beyond the ordinary that consider the myriad ways in which humanity has envisioned and sought access to the mystical, the transcendent, and the liminal.
Possible subjects may include, but are not limited to:
• Otherworlds: the in-between, separation, the unearthly, seen and unseen, obfuscated, hidden, neither here nor there, out of time, secret spaces
• Transience: the beyond, travel, thresholds, liminal spaces, parallels, interstices, passages, portals, doorways, interfaces, windows, brinks
• Death & resurrection: mourning, memory, farewell, remembrance, burial, necropolis, underworld, afterlife, psychopomp, crossing, sanctuary, heaven, ascension, ceremony, rite, rite of passage, religion, holy, sacrament, celebration, life
• The supernatural: spiritualism, phantasmagoria, spectral, ethereal, occult, fantasy, superstition, internment, surreal
SEQUITUR welcomes submissions from graduate students in the disciplines of art history, architecture, archaeology, fine arts, material culture, visual culture, literary studies, queer and gender studies, disability studies, memory studies, and environmental studies, among others. We encourage submissions that take advantage of the digital format of the journal.
Founded in 2014, SEQUITUR is an online biannual scholarly journal dedicated to addressing events, issues, and ideas in art and architectural history. Edited by graduate students at Boston University, the journal engages with and expands current conversations in the field by promoting the perspectives of graduate students from around the world. It seeks to contribute to existing scholarship by focusing on valuable but often overlooked parts of art and architectural history. Previous issues can be found here.
We invite full submissions in the following categories:
Feature essays (1,500 words)
Content should present original material that falls within the stipulated word limit (1,500 words). Please adhere to the formatting guidelines available here.
Visual and creative essays (250 words, up to 10 works)
We invite MArch and MFA students to showcase a selection of original work in or reproduced in a digital format. We welcome various kinds of creative projects that take advantage of the online format of the journal, such as works that include sound or video. Submissions should consist of a 250-word artist statement and up to 10 works in JPEG, HTML, or MP4 format. All image submissions must be numbered and captioned and should be of good quality and high resolution.
We invite proposals for the following categories (abstracts should be no more than 200 words):
Exhibition reviews (500 words)
We are especially interested in exhibitions currently on display or very recently closed. We typically prioritize reviews of exhibitions in the Massachusetts and New England area.
Book or exhibition catalog reviews (500 words)
We are especially interested in reviews of recently published books and catalogs (1–3 years old).
Interviews (750 words)
Please include documentation of the interviewee’s affirmation that they will participate in an interview with you. Plan to provide either a full written transcript or a recording of the interview (video or audio).
Research spotlights (750 words)
Short summaries of ongoing research written in a more casual format than a feature essay or formal paper. For research spotlights, we typically, but not universally, prioritize doctoral candidates who plan to use this platform to share ongoing dissertation research or work of a comparable scale.
To submit, please send the following materials to sequitur@bu.edu by 27 September 2024:
• Your proposal or submission
• Recent CV
• Brief (50-word) bio
• Your contact information in the body of the email: name, institution and program, year in program, and email
• Subject line: ‘SEQUITUR Fall 2024’ and the type of submission/proposal
Please adhere to the formatting guidelines available here. Text must be in the form of a Word document, and images should be sent as .jpeg files. While we welcome as many images as possible, at least one must be very high resolution and large format. All other creative media should be sent as weblinks, HTML, or MP4 files if submitting video or other multimedia work. Please note that authors are responsible for obtaining all image copyright releases before publication. Authors will be notified of the acceptance of their submission or proposal the week of 7 October 2024 for publication in January 2025. Please contact the editors (sequitur@bu.edu) with any questions.
Lecture | Miriam Schefzyk on German Cabinetmaker in 18th-C. Paris
Jean-Francois Oeben and Roger Vandercruse, Tabletop of a mechanical table, ca. 1761–63, oak veneered with mahogany, kingwood, and tulipwood, with marquetry of mahogany, rosewood, holly, and various other woods; gilt-bronze mounts; imitation Japanese lacquer; replaced silk (New York: The Metropolitan Museum of Art, 1982.60.61).
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This fall at BGC:
Miriam Schefzyk | Parisian Dreams: German Migrants and Cabinetmaking in 18th-Century Paris
A Françoise and Georges Selz Lecture on Eighteenth- and Nineteenth-Century French Decorative Arts and Culture
Bard Graduate Center, New York, 2 October 2024, 6pm
Paris has long been a privileged destination for many, but there was a particularly significant migration that began in the seventeenth century and gathered strength during the eighteenth century: that of German cabinetmakers. Hardworking and aspiring to wealth, recognition, and a better life, these numerous artisans made Paris into the most important center in the furniture and luxury trade of the time. Many of them rose to important positions as masters or leaders in the guild, and some even obtained royal privileges and titles. Their furniture was regarded as the incarnation of French taste and is still viewed as evidence of the supremacy of French decorative arts today. In this lecture, Miriam Schefzyk will examine the living and working conditions of these artisans and how their background as migrants significantly shaped the framework in which these extraordinary pieces of furniture were created.
$15 General | $12 Seniors | Free for people associated with a college or university, people with museum ID, people with disabilities and caregivers, and BGC members.
Miriam E. Schefzyk is the associate curator of decorative arts at the J. Paul Getty Museum and previously worked at the Museum of Decorative Arts in Berlin. She studied art history at the universities of Marburg, Berlin, Münster, and Paris, earning a PhD in a joint French-German doctoral program. A specialist of French decorative arts of the seventeenth and eighteenth centuries, her research focuses on Parisian furniture, artistic transfer, social history, and materiality. Her book Migration und Integration im Paris des 18. Jahrhunderts: Martin Carlin und die deutschen Ebenisten (Bielefeld: Transcript Verlag, 2022) was awarded the Marianne Roland Michel Foundation Prize for its important contribution to French art and will soon be published in French.
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