Morgan Library & Museum Seminar | Drawing Nature, 1500–1900
The Morgan presents this day-long seminar for graduate students:
Drawing Nature, 1500–1900
The Morgan Library & Museum, New York, Friday, 4 April 2025
Proposals due by 21 February 2025
Led by Sarah Mallory, Assistant Curator of Drawings and Prints at the Morgan; Olivia Dill, Moore Curatorial Fellow at the Morgan; and Roberta J. M. Olson, Curator of Drawings Emerita at The New York Historical
European and North American Natural History drawings made before 1900 are historically understood as either works of fine art or as scientific records. The Morgan Library & Museum’s significant collection of natural history drawings, however, provides an opportunity to rethink longstanding divisions between the arts and sciences. This seminar will focus on collection holdings made by artists working in The Netherlands, Germany, England, France, and the Americas, from ca. 1450 to ca. 1850. Participants will have the opportunity to closely examine a large selection of works by Maria Sibylla Merian, Mark Catesby, Madeleine Françoise Basseporte, Georg Dionysius Ehret, John James Audubon, and many others. Lively discussions will address the production and subsequent uses of natural history drawings, including the ways in which techniques of observation and scientific developments informed drawing praxis. Key too will be instances in which artistic practice conditioned the production of empirical knowledge. We will also consider how gender, patronage, collecting practices, and colonial expansion inform natural history drawings.
This seminar is open to graduate students of the history of art, the history of science, and related fields, and also to graduate students interested in the conservation of works on paper. Applicants are kindly invited to submit a one paragraph statement which should include the following:
• Name and email
• Academic institution
• Class year
• Field of study
• Interest in natural history drawings and relevance of the seminar to your research
Applications should be submitted electronically with the subject header ‘Drawing Nature Seminar’ to drawinginstitute@themorgan.org by 21 February 2025. Participants will be notified by March 4.
AIC Receives Horvitz Collection of over 2200 Works of French Art
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Installation view of French Neoclassical Paintings from The Horvitz Collection at the Art Institute of Chicago, 2024.
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From the AIC press release (11 February 2025) . . .
The Art Institute of Chicago is honored to announce a transformative gift of 16th- to 19th-century French art from Jeffrey and Carol Horvitz. The Horvitz Collection is the preeminent collection of French Old Master paintings, drawings, and sculptures in the United States, and while the Art Institute is already renowned for one of the most comprehensive collections of 19th-century French art worldwide, this unparalleled gift will allow the museum to provide its visitors with a 300-year panorama of French art that is wholly unique outside of France.
This gift is made up of nearly 2,000 drawings, 200 paintings, and 50 sculptures, and includes works by well-known artists Charles Le Brun, François Boucher, Jean-Honoré Fragonard, Jacques-Louis David, and Théodore Géricault; numerous works by women artists, including Anne Vallayer Coster, Élisabeth Vigée Lebrun, Marie-Gabrielle Capet, and Adélaïde Labille-Guiard; and rare works of art where few or none otherwise exist in America, such as artworks by Jacques Bellange, Reynaud Levieux, and Nicolas Prevost.
Jean-Charles-Niçaise Perrin, Death of Seneca, ca. 1788 (Chicago: AIC, Horvitz Collection).
The collection has been built over four decades and continues to grow and evolve. For the last three decades, it has been widely featured in thematic exhibitions in museums across the United States and Europe. More recently, two spectacular exhibitions in late 2024 at the Art Institute—French Neoclassical Paintings from The Horvitz Collection and Revolution to Restoration: French Drawings from The Horvitz Collection—featured just a small portion of the paintings and drawings in this vast collection.
To ensure the care, stewardship, accessibility, and long-term sustainability of the collection and programming for French art, phased financial gifts will accompany the collection and are expected to become one of the largest financial gifts in the history of the Art Institute. These funds will be dedicated to supporting French art across the permanent collection—conserving and caring for works, creating special exhibitions, supporting museum staff, and conducting groundbreaking research.
Jeffrey Horvitz explains, “We have always envisioned this collection remaining as a whole in order to be more than the sum of its parts, and for it to go to a major American museum where the most visitors can experience these artistic treasures, where scholars and curators can avail of the resources and advance this important research, and where our enthusiasm will resonate long after we are gone. We spent years thinking about where the collection should ultimately go—there was no more perfect choice than the Art Institute.”
This ongoing collaboration is the result of significant partnership between Jeffrey and Carol Horvitz; Alvin Clark, the Horvitzes’ curator of French drawings, paintings, and sculpture; and the Art Institute. Carol is an active member of the museum’s Board of Trustees and works closely with the museum regarding other aspects of the Horvitz’s collection, including superb Chinese cinnabar lacquer and the most significant collection of contemporary Japanese ceramics outside of Japan. Many of these works were loaned to the recent acclaimed Art Institute exhibition Radical Clay: Contemporary Women Artists from Japan, which was seen by more than 100,000 visitors.
“We are so grateful to Jeffrey and Carol for this impactful gift,” James Rondeau, President and Eloise W. Martin Director of the Art Institute of Chicago said. “Their continued support and passion for the museum is truly special, not only because it will allow millions of visitors to experience a fuller story of French art, but also because their generous financial support of the ongoing care and research of this collection will allow us to continue advancing our broader mission.”
Conference | CAA 2025, New York
Very warm wishes to everyone attending this week’s conference! –CH
113th Annual Conference of the College Art Association
New York Hilton Midtown, 12–15 February 2025
The CAA 113th Annual Conference will take place at the New York Hilton Midtown, New York City, 12–15 February 2025. Noted below is just a small selection of this year’s offerings, with a full schedule available here.
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Women Artists and the Politics of Neoclassicism
Wednesday, 12 February, 2.30–4.00, Hilton Midtown, 2nd floor, Nassau East
Chairs: Andrea Morgan (The Art Institute of Chicago) and Megan True (The Art Institute of Chicago)
• Marie-Thérèse Reboul Vien and the Emergence of Neoclassicism — Tori Champion (University of St Andrews)
• Marie-Guillemine Benoist (1768–1826): A Neoclassicism of Her Own — Jennifer Germann (Independent Scholar)
• La Créatrice in Flux: Women’s Artmaking and Ambition in Revolutionary France — Maura Gleeson (Valencia College)
• The Genre Anecdotique and Feminine Historical Consciousness in Early 19th-Century France — Marina Kliger (Harvard Art Museums)
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Gender, Class, and Empire: Women and the Representation of Animals in 18th- and 19th-C. Art
Thursday, 13 February 13, 11.00–12.30, Hilton Midtown, 3rd floor, Mercury Ballroom
• The Shepherdess in the Colonies: Young Women in the Pastoral Mode — Patricia Johnston (College of The Holy Cross)
• Bridging Relationships: Pet Animals as Connectors in Eighteenth-Century British Portraiture — Luba Stephania Kozak (University of Regina)
• Vincent van Gogh, Jules Michelet, and Working-Class Women — Christa Rose DiMarco (New College of Florida)
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The Art of Collaboration in the Long 18th Century (HECAA)
Friday, 14 February, 2.30–4.00, Hilton Midtown, 2nd floor, Nassau East
Chairs: Yasemin Diba Altun and Tori Champion
• Layers of Collaboration: The Making of Toiles de Jouy, — Melissa Percival (University of Exeter)
• Beyond the Inner Chamber?: The Making of Female ‘Elegant Gathering’ Paintings in Late 18th-Century China — Michelle Tian (Princeton University)
• Materials as Collaboration in 18th- and 19th-Century Philadelphia — Cambra Sklarz (Harvard Art Museums)
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Unboxing the Long 18th Century (American Society for Eighteenth-Century Studies)
Friday, 14 February, 4.30–6.00, Hilton Midtown, 2nd floor, Nassau East
Chairs: Dani Ezor and Jennifer Germann
• Machines for Naturalization: The Cajones of the Spanish Botanical Expeditions — Rebecca Yuste (Columbia University)
• Unveiling the Trans-regional Journey of Red Ginseng: Joseon Korea’s Commercial Expansion in the 18th Century — Jeffrey C. Youn (College of Charleston)
• ’Wat men veerst haelt, dat smaeket soetst’: The Pomander as a Miniature Cabinet of Curiosities — Jasper Martens (University of California Santa Barbara)
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HECAA@CAA Lunch
Friday, 14 February, 12.45
Join HECAA members for lunch on Friday, before the “Art of Collaboration” panel. Catch up with other HECAA members over a buy-your-own lunch at a nearby food hall. The group will meet at the lobby of the conference Hilton hotel between 12.45 and 1.00 and then head to Urban Hawker; please be in touch with Tori Champion (tc217@st-andrews.ac.uk) so we can know how many people to expect!
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On Prints: From Fragonard to the Legacy of the Harlem Renaissance
Hauser & Wirth, Thursday, 13 February, 6.30–8pm
Registration Required
HECAA members attending CAA are invited to attend an off-site gathering On Prints: From Fragonard to the Legacy of the Harlem Renaissance at Hauser & Wirth (443 W 18th Street). The event is organized by Michelle Foa, Tulane University, for the Association of Historians of Nineteenth-Century Art (AHNCA), who have generously extended the invitation to HECAA members to join. Speakers will include Ewa Lajer-Burcharth, Rachael DeLue, Ashley Dunn, Michelle Foa, Rena Hoisington, Meredith Martin, and Britany Salsbury. HECAA members can register and find more information here.
Call for Papers | Trade and Its Representations, 17th & 18th Centuries
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Gerrit Adriaensz Berckheyde, The ‘Dam’ in Amsterdam, 1668, oil on canvas
(Antwerp, Royal Museum of Fine Arts)
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From the Call for Papers and ArtHist.net, which includes the French version:
Trade and Its Representations: Commercial Activity in Art and Architecture in the 17th and 18th Centuries
Le commerce et ses representations: L’activite marchande dans ses arts t l’architecture aux XVIIe et XVIIIe siècles
Institut national d’histoire de l’art (INHA), Paris, 12–13 June 2025
Proposals due by 31 March 2025
During the seventeenth and eighteenth centuries, the many transformations and significant expansion of commercial activities led to the diversification of consumption and the expansion of commercial areas. These phenomena reflected improvements in transport conditions, better organisation of trade networks and the resources of capitalism. The images and literature related to the world of commerce diversified and transformed society’s perception of this practice and its players (pedlars, itinerant merchants, manufacturers, wholesalers, entrepreneurs, etc.). While the ideal of the mercator sapiens (Caspar van Baerle, Athenaeum illustre, 1632) gradually came to fruition, culminating in the eighteenth century, the opposition between otium and negotium continued to change, with the nobility becoming increasingly interested in the lucrative activities of commerce and industry. How did artists perceive these sociological transformations, which thrust into the spotlight characters who had hitherto often been ignored?
The development of trade in all its forms also calls for the renewal of existing types, their multiplication and the introduction of new programmes. From the shop counter to the square, from the market and the bazaar to the annual fair, from the Atlantic ports to the great Dutch and Hanseatic exchanges, to the han of the Islamic world, the places of exchange are multiple, polymorphous and hybrid. In their turn, specialised trading spaces transformed the city (major routes, storage areas, etc.), whose urban growth could no longer be confined to guild houses and market squares.
Anchored in the city, the corporate system was shaken by the transformation of trade. Although they had helped to defend and protect the interests of each profession since the Middle Ages, the arts and crafts associations in Europe were increasingly seen as restrictive. Conflicts between these different players and institutions changed the way trade was conducted in the city. How do the representations of these places of professional sociability reflect these societal changes?
The rise of commercial capitalism was accompanied by an improvement in communication routes: river navigation benefited from the expansion of canals and road links were developed and paved, supporting the development of both domestic and foreign trade. Founded in the seventeenth century, the European colonial companies underwent unbridled expansion in the eighteenth century, as trade shifted into triangular. How did artists reflect this attraction to international trade? What emblematic projects did architects undertake to establish the reputation of companies involved in transatlantic trade?
The conference is organised around the following three main themes:
• Axis 1 | Merchants’ strategies of representation
• Axis 2 | Ways in which commerce is represented ‘in action’ and places where it is practised
• Axis 3 | Commercial activity as a vector of forms, ideas and images on a European and extra-European scale
Proposals may fit into one or more of these areas, but the axes remain indicative. It should be noted that the selection committee will favour contributions that break out of the paradigm of the art dealer and the marchand mercier. The first axis looks at the merchants’ strategies of representation. In addition to the varied images of these actors—often positive, sometimes picturesque—this section will look at the artistic practices and representations they have used to develop an image of themselves, their role or their place in society. These practices include patronage, collecting, speculation and socially valued techniques such as learning and drawing. The different types of portraits, whether individual or group, can also be explored. Similarly, we could look at architectural formulas that were codified or designed to be practical in terms of the status and activity of the client. These various approaches will also provide an opportunity to question the existence of a distinctive ‘merchant taste’, whether it was voluntarily established by the merchants themselves or formed on the basis of criticism from other classes in society and disseminated through printmaking, among other means. However, the aim will not be to essentialise the bourgeois merchants, but to identify in greater detail common representations or specific features.
The second axis will explore the ways in which commerce is represented ‘in action’ and the places where it is practised. How did the visual arts and architecture reflect, accompany, frame or guide the practice of commerce? The economic upheavals of pre-industrial societies and the expansion of the field of the representable by artistic modernity have challenged the iconography of commercial practices. This focus will encourage formal and iconographic analysis of trades that are poorly represented in the arts; studies questioning the iconographic domination of certain commercial scenes; and examinations exploring the gap between the reality of practices and their representation. Alongside the study of the shop, its decorations and the art of “window-dressing”, the aim will also be to open up perspectives to European and nonEuropean ommercial architecture. How do architects design these commercial buildings? This type of architecture will be understood in its broadest sense: all buildings with a commercial purpose as well as buildings and public spaces linked to the commercialisation of pleasure and leisure.
This corpus of graphic, pictorial, sculptural and architectural works will be enriched by all the images which, without representing a specific commercial practice or location, convey a commercial discourse with political or religious connotations. What representations and iconography do artists use to evoke the idea of commerce in their work? Drawing on allegory, fable, philosophy or books of words, these discourses, often disseminated through engraving, were also displayed on façades or asserted through major building programmes. The third axis will aim to open up the subject to the various forms of commercial activity, understood as a vector of forms, images and ideas, as well as the circulation of people and materials, on a global scale. Trade between cities and nations encouraged the development of trade routes (roads, bridges, lighthouses, ports, etc.) and the production of facilities (trading posts, stock exchanges, new cities, etc.). Here we examine the impact of the development of internal and external trade on the territory, in terms of architectural and visual production.
Proposals for papers, individual or collaborative, in French or English, of approximately 300 words, may take the form of general statements or case studies. Please send proposals and a curriculum vitae, along with any questions, to asso.grham@gmail.com by 31 March 2025.
Organising Committee
Élisa Bérard (doctoral student, Sorbonne Université), Maxime Bray (doctoral student, Sorbonne Université), Justine Cardoletti (doctoral student, Université Paris 1 Panthéon-Sorbonne), Florence Fesneau (PhD, Université Paris 1 Panthéon-Sorbonne), Barbara Jouves-Hann (PhD, Université Paris 1 Panthéon-Sorbonne), Maxime-Georges Métraux (expert, Galerie H. Duchemin), Alice Ottazzi (post-doctoral fellow, Kunsthistorisches Institut in Florenz), Maël Tauziède-Espariat (lecturer, Université Paris-Nanterre), members of the board of the Groupe de Recherche en Histoire de l’art moderne (GRHAM). Clémence Pau (Phd, Sorbonne Université), Jean Potel (doctoral student, Sorbonne Université), members of the Board of Directors of the Groupe Histoire Architecture Mentalités Urbaines (GHAMU).
s e l e c t e d b i b l i o g r a p h y
ABAD Reynald, Le grand marché. L’approvisionnement alimentaire de Paris sous l’Ancien Régime, Paris, Fayard, 2002.
AGUILAR Anne-Sophie, « L’enseigne, histoires et représentations », dans Anne-Sophie Aguilar et Eléonore Challine (dir.), L’Enseigne. Une histoire visuelle et matérielles (XIXe– XXe siècles), Paris, Citadelles & Mazenod, 2020, p. 18–33.
ANGIOLINI Franco et ROCHE Daniel (dir.), Cultures et formations négociantes dans l’Europe moderne, Paris, EHESS, 1995.
BAKER Emma (dir.), Art, Commerce, and Colonialism 1600–1800, Manchester, Manchester University Press, 2017.
BENTLEY Tamara H. (éd.), Picturing Commerce in and from the East Asian Maritime Circuits, 1550–1800, Amsterdam, Amsterdam University Press, 2020.
BOUCHERON Patrick, « Espace public et lieux publics : approches en histoire urbaine », dans Patrick Boucheron et Nicolas Offenstadt (dir.), L’espace public au Moyen âge. Débats autour de Jürgen Habermas, Paris, Presses universitaires de France, 2011, p. 99–117.
BRAUDEL Fernand, Civilisation, économie et capitalisme, Paris, Librairie générale française, 1993, 3 vol.
CABESTAN Jean-François, La conquête du plain-pied. L’immeuble à Paris au XVIIIe siècle, Paris, Picard, 2004.
CASTELLUCCIO Stéphane, Le prince et le marchand. Le commerce de luxe chez les marchands merciers parisiens pendant le règne de Louis XIV, Paris, SPM, 2014.
CHRISTENSEN Stephen Turk et NOLDUS Badeloch, Cultural Traffic and Cultural Transformation around the Baltic Sea, 1450–1720, numéro thématique du Scandinavian Journal of History, n° 28, 2003, 3/4.
COQUERY Natacha (dir.), La Boutique et la ville. Commerces, commerçants, espaces et clientèles. XVIe–XXe siècles, Tours, Centre d’histoire de la ville moderne et contemporaine / Publications de l’université François Rabelais, 2000.
COQUERY Natacha, Tenir boutique à Paris au XVIIIe siècle. Luxe et demi-luxe, Paris, Éd. du CTHS, 2011.
COQUERY Natacha et VARLET Caroline, « Urbanité, rationalité, fonctionnalité : la ville des Lumières et ses boutiques (Paris, XVIIIe siècle) », Annuaire de l’EHESS, 2002.
CROUZET François et DAUDIN Guillaume, Commerce et prospérité : la France au XVIIIe siècle, Paris, Presses de l’Université Paris-Sorbonne, 2005.
CUVELIER Laurent, « Les codes de l’enseigne dans l’espace public parisien, XVIIe–XXe siècles », dans Anne-Sophie Aguilar et Eléonore Challine (dir.), L’Enseigne. Une histoire visuelle et matérielle (XIXe–XXe siècles), Paris, Citadelles & Mazenod, 2020, p. 34-37.
DAVIS Dorothy, Fairs, Shops, and Supermarkets. A History of English Shopping, Londres, Routledge & K. Paul, 1966.
DENNISON Patricia, EYDMANN Stuart, LYELL Annie et al., Painting the Town. Scottish Urban History in Art, Edimbourg, Society of Antiquaries of Scotland, 2013.
DESCAT Sophie, « La boutique magnifiée : commerce de détail et embellissement à Paris et à Londres dans la seconde moitié du XVIIIe siècles », Histoire urbaine, n°6, 2002, p. 69–86.
DESSERT Daniel, Argent, pouvoir et société au Grand Siècle, Paris, Fayard, 1984.
FINDLEN Paula et SMITH Pamela (dir.), Merchants and Marvels. Commerce, Science, and Art in Early Modern Europe, Londres, Routledge, 2002.
FOURNIER Guenièvre, « La mise en image du port méditerranéen à travers les vues et les plans de Marseille, Gênes et Barcelone », dans Lionel Dumond, Stéphane Durand et Jérôme Thomas (dir.), Les ports dans l’Europe méditerranéenne. Trafics et circulation, images et représentations, XVIe–XXIe siècles, Montpellier, Presses Universitaires de la Méditerranée, 2007, p. 359–386.
FROMONT Cécile, « The Taste of Others. Finery, the Slave Trade, and Africa’s Place in the Traffic in Early Modern Things », dans Paula Findlen (éd.), Early Modern Things: Objects and Their Histories, 1500–1800, 2e édition, Abingdon, Routledge, 2021, p. 273–292.
GARRIOCH David, « House Names, Shop Signs, and Social Organization in Western European Cities, 1500–1900 », Urban History, 1994, n°21, p. 20–48.
GAUVIN Alexander Bailey, Architecture and Urbanism in the French Atlantic Empire. State, Church and Society, 1604–1830, Montréal / Londres / Chicago, McGill-Queen’s University Press, 2018.
GOMEZ Y CACERES Georges et PIERREDON Marie-Ange de (dir.), Le Décor des boutiques parisiennes, Paris, Délégation à l’Action Artistique de la Ville de Paris, 1987.
GRANDJEAN Gilles, « Les Marchands Levantins, un décor inspiré par Claude-Joseph Vernet », dans Autour de Claude-Joseph Vernet. La marine à voile de 1650 à 1890 (cat. exp.), Rouen, Musée des Beaux-Arts, 1999, p. 69–75.
HAMON Philippe, L’or des peintres. L’image de l’argent du XVe au XVIIe siècle, Rennes, Presses universitaires de Rennes, 2010.
JACOB Margaret C. et SECRETAN Catherine (éd.), The Self-Perception of Early Modern ‘Capitalists’, New York, Palgrave Macmillan, 2008.
JEANNIN Pierre, Marchands d’Europe. Pratiques et savoirs à l’époque moderne, Paris, Éd. rue d’Ulm/Presses ENS, 2002.
LAND Jeremy, Colonial Ports, Global Trade, and the Roots of the American Revolution, 1700–1776, Leyde, Brill, 2023.
LYON-CAEN Nicolas, « Les marchands du temple. Les boutiques du Palais de justice de Paris aux XVIe‑XVIIIe siècles », Revue historique, 2015/2, n°674, p. 323–352.
LYON-CAEN Nicolas, « L’immobilier parisien au XVIIIe siècle. Un marché locatif », Histoire & mesure, 2015/43, n°2, p. 55–70.
MARGAIRAZ Dominique, Foires et marchés dans la France préindustrielle, Paris, Éd. de l’École des hautes études en sciences sociales, 1988.
MARRAUD Mathieu, Le pouvoir marchand. Corps et corporatisme à Paris sous l’Ancien Régime, Seyssel, Champ Vallon, 2021.
MILLIOT Vincent, Les Cris de Paris ou le Peuple travesti. Les représentations des petits métiers parisiens (XVIe–XVIIIe siècles), Paris, Éditions de la Sorbonne, 2014.
NÈGRE Valérie (dir.), L’Art du chantier. Construire et démolir du XVIe au XXIe siècle, Paris, Snoeck/Cité de l’architecture, 2018.
NÈGRE Valérie et VICTOR Sandrine (dir.), « L’Entrepreneur de bâtiment : nouvelles perspectives (Moyen Âge-XXe siècle) », Aedificare. Revue internationale d’histoire de la construction, no 5, février 2020, p. 23–39.
NÈGRE Valérie, « Remarques sur les entrepreneurs-architectes parisiens du siècle des Lumières », dans Thomas Kirchner et Sophie Raux (dir.), L’Art de l’Ancien régime. Sortir du rang, Paris, Heidelberg University Library / Centre Allemand d’histoire de l’art, 2022, p. 37–55.
NOLDUS Badeloch, Trade in Good Taste. Relations in Architecture and Culture between the Dutch Republic and the Baltic World in the Seventeenth Century, Turnhout, Brepols, 2005.
NOTTER Annick et METREAUX Maxime Georges (dir.), Chic et emprise : culture, usages et sociabilités du tabac du XVIe au XVIIIe siècle (cat. exp.), La Crèche, La Geste, 2019.
OTTENHEYM Koen E., CHATENET Monique et DE JONGE Krista, Public Buildings in Early Modern Europe, Turnhout, Brepols, 2006.
OTTENHEYM Koen E. et DE JONGE Krista, The Low Countries at the Crossroads. Netherlandish Architecture as an Export Product in Early Modern Europe, 1480–1680, Turnhout, Brepols, 2013.
PICON Antoine, Architectes et ingénieurs au siècle des Lumières, Marseille, Éditions Parenthèses, 1988.
PINON Pierre, « Lotissements spéculatifs, formes urbaines et architectes à la fin de l’Ancien Régime », dans Soufflot et l’architecture des Lumières, Paris, Ministère de l’environnement et du cadre de vie, Direction de l’architecture, C.N.R.S, 1980, p. 178–191.
RABREAU Daniel, « Royale ou commerciale, la place à l’époque des Lumières », Revue des monuments historiques, n°120, 1982, p. 31–37.
RABREAU Daniel, Apollon dans la ville. Essai sur le théâtre et l’urbanisme à l’époque des Lumières, Paris, Éditions du Patrimoine, 2008.
ROCHE Daniel, « Négoce et culture dans la France du XVIIIe siècle », Revue d’histoire moderne et contemporaine, t. XXV, n°3, juillet-septembre 1978, p. 375–395.
ROCHE Daniel, Histoire des choses banales. Naissance de la consommation dans les sociétés traditionnelles (XVIIe–XIXe siècles), Paris, Fayard, 1997.
SARGENTSON Carolyn, Merchants and Luxury Market. The Marchands Merciers of Eighteenth‑Century Paris, Londres, Victoria and Albert Museum Ed., 1996.
SECRETAN Catherine, Le « Marchand philosophe » de Caspar Barlaeus. Un éloge du commerce dans la Hollande du Siècle d’Or. Étude, texte et traduction du Mercator Sapiens, Paris, Champion, 2002.
STROSETZKI Christoph (dir.), El poder de la economía : la imagen de los mercaderes y el comercio en el mundo hispánico de la Edad Moderna, Madrid, Iberoamericana-Vervuert, 2018.
YAMEY Basil, Art & Accounting, New Haven, Yale University Press, 1989.
New Book | Thinking Women and Art in the Long Eighteenth Century
From Amsterdam UP:
Mechthild Fend, Jennifer Germann, and Melissa Hyde, eds., Thinking Women and Art in the Long Eighteenth Century: Strategic Reinterpretations (Amsterdam: Amsterdam University Press, 2025), 414 pages, ISBN: 978-9048558827, €153 / $168.
This collection of essays represents state-of-the-art feminist scholarship in the field of eighteenth-century French and British art and visual culture. Topics range from women and their activities in art and science, to gendered representations of childhood and animals to fashion, femininity and temporality. Some chapters center on individual genres like hunting portraits, or on specific paintings, such as David Martin’s Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray (ca. 1780) or Marie Guillemine Benoist’s Portrait of a Young Black Woman (Madeleine) (1800). Others make contributions on the work of familiar actors like Jean-Siméon Chardin or Élisabeth Louise Vigée Le Brun. The volume also brings to the fore lesser-known figures including Marie-Thérèse Reboul, Madeleine Basseporte, Marguerite Le Comte, and Gabrielle Capet. Written by eleven distinguished (art) historians, the assembled essays engage with and honor the work of the late Mary D. Sheriff, whose unpublished chapter on women artists’ self-portraiture opens the book.
Mechthild Fend is Professor of History of Art, Goethe-University Frankfurt. She specializes in French eighteenth- and nineteenth-century art, with particular interests in feminist art history and its historiography, images of the body, and medical imagery. Her books include Fleshing out Surfaces: Skin in French Art and Medicine, 1650–1850, published in 2017.
Jennifer Germann is an art historian specializing in women’s history and eighteenth-century French and British art. She has published in Eighteenth-Century Studies, American Art, and Studies in Eighteenth-Century Culture. She is the author of Picturing Marie Leszczinska (1703–1768): Representing Queenship in Eighteenth-Century France (2015).
Melissa Hyde is Professor of Art History and Distinguished Teaching Scholar, University of Florida. She publishes on gender, the visual arts, and women artists and Rococo and its afterlives in the long eighteenth century in France. Books include Becoming a Woman in the Age of Enlightenment (with Mary Sheriff) (2017), as well as numerous edited volumes.
c o n t e n t s
Acknowledgements
Preface
Introduction
Mary D. Sheriff: Charting New Possibilities for Feminist Art History — Mechthild Fend, Jennifer Germann, and Melissa Hyde
Overture
1 Women and Modes of Self-Portraiture: Fashion, Motherhood, Sensibilité — Mary D. Sheriff
Part I | Art as Social Practice
2 The Woman Artist and the Uncovering of the Social World — Lynn Hunt
3 ‘La touche d’une femme’: Women Artists in the Age of Revolutions — Paris Spies-Gans
Part II | Gender and Fashion
4 Chardin’s Girls: The Ethics of Painting — Ewa Lajer-Burcharth
5 Thinking Animals: Dogs and Men in Eighteenth-Century French Hunting Art — Amy Freund
6 Temporality and Figures de mode: Fashion, Costume, and Gender in Eighteenth-Century Drawings and Prints — Susan L. Siegfried
Part III | Women in Natural History
7 Marie-Thérèse Reboul (Mme Vien): More Than a Footnote in Art History — Melissa Hyde
8 Mlle Basseporte’s Jardin, Mlle Biheron’s Cabinet: Artist-Scientists and Their Spheres of Sociability — Nina Rattner Gelbart
Part IV | Encounters in Portraiture
9 Marguerite Le Comte’s Smile: Portrait of an Amatrice — Mechthild Fend
10 Imperial Family Portraits: Gender, Race, and Social Rank in The Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray — Jennifer Germann
11 Madeleine of the Americas: Resituating Benoist’s Portrait of a Young Black Woman in Colonial Art — Anne Lafont
Index
Call for Papers | The Business of Art, au féminin, ca. 1660s–1945
From the Call for Papers:
The Business of Art, au féminin: Women’s Enterprise in the French Art Economy, Late 1600s to 1945
Centre André-Chastel, Institut National d’Histoire de l’Art (INHA), Paris, 26–27 September 2025
Proposals due by 16 March 2025
Waldon Fawcett, U.S. Treasurey: Two Women with Stacks of Paper Money, ca. 1907 (Washington: Library of Congress, 96510963).
Bringing together the history of art, the history of women, and economic history, this colloquium will investigate women’s role in the financing of artistic production and development in France (painting, sculpture, architecture, decorative arts, engraving, photography, etc.). Embracing an extended time frame, we intend to interrogate both continuities and transformations in their roles across a significant period, starting from the policies and practices of artistic patronage initiated by Louis XIV up to the particular circumstances of the Occupation. Across this longue durée, women will be approached as agents making and moving the money required for artistic invention and production (their own as well as others’) and as integral actors in the operation of art markets, within the bounds imposed by their marital and legal status.
The colloquium will particularly focus on strategies of adapting, circumventing, and assertion deployed by French women or women working in France to negotiate masculine circuits of capital(ists)—strategies that may have gone beyond a mere male/female coexistence to include collaboration, emulation, competition, and conflict. Determined by their access to education, knowledge, and economic information, this positioning emerges clearly in discussions about the financial and legal subordination of women, whether single, married, or widowed. We will study their ability to assemble capital, invest in their own names or via proxies, operate shops, form enterprises, and organize companies. We will also interrogate the limits of their range of action and empowerment, and inquire into the possible existence of economic practices specific to women in the arts.
Contributions will take the form of individual or collective case studies addressing, but not limited to, the following topics:
• Figures and dynasties of female merchants, gallery owners, publishers, sponsors, philanthropists, entrepreneurs, investors, shareholders, and borrowers
• Collective modes of financing (religious orders, committees of female patrons, lay women’s associations) and defense of women’s economic interests (trade unions, networks of female solidarity, etc.)
• Modes of wealth accumulation (inheritance, dowry, marriage, salaries), dissolution (sales, liquidations, bankruptcy, misappropriation), and transmission (legacies, gifts, succession)
• Financing strategies (banking, personal loans, investment) and their institutional contexts (financing specific to wartime, black markets, etc.)
• The visibility or invisibility (purposeful or not) of women at the head of businesses and in financing operations
• The spectrum and specificity of artistic domains in which women invest (for instance, favored arenas like engraving and decorative arts)
Proposals (in French or English) should be sent to the three organizers Nastasia Gallian (nastasia.gallian@sorbonne-universite.fr), Elsa Jamet (elsa.jamet@hotmail.fr), and Justine Lécuyer (justine.lecuyer@hotmail.fr) by 16 March 2025. Please include a summary of the paper (500 words maximum) and a short biographical note (300 words maximum). This call is open to students holding a MA2 and to current doctoral candidates, as well as to all established researchers. Presentations can be in French or English and will last twenty minutes. This is an in-person colloquium, though in exceptional cases the organizers may be able to accommodate virtual participation. The scientific committee will inform participants of their acceptance or rejection in early April. Publishing a volume of proceedings based on the colloquium presentations is envisioned.
Scientific Committee
• Jérémie Cerman, Professor of Modern and Contemporary Art History (France, Université d’Artois, CREHS)
• Natacha Coquery, Professor Emeritus of Early Modern History (France, Université Lumière Lyon, LAHRA)
• Clare Haru Crowston, Dean of the Faculty of Artsn Professor of History (Canada, The University of British Columbia)
• Charlotte Foucher Zarmanian, Scientist, Modern and Contemporary Art History (France, EHESS, CRAL)
• Nastasia Gallian, Associate Professor of Early Modern Art History (France, Sorbonne Université, Centre André- Chastel)
• Charlotte Guichard, Professor of Early Modern Art History (France, École normale supérieure, PSL)
• Melissa Hyde, Associate School Director, Professor and Distinguished Teaching Scholar (USA, University of Florida, College of the Arts)
• Elsa Jamet, Temporary Research and Teaching, PhD in Modern and Contemporary Art History (France, Université de Lille, IRHIS)
• Justine Lécuyer, PhD in Modern and Contemporary Art History (France, Sorbonne Université, Centre André- Chastel)
• Kim Oosterlinck, General Director of the Royal Museums of Fine Arts of Belgium, Professor of Finance (Belgium, Université libre de Bruxelles)
• Anne Perrin, Professor of Early Modern Art History (France, Université de Toulouse – Jean Jaurès / FRAMESPA)
• Élodie Vaudry, Associate Professor of Modern and Contemporary Art History (France, Sorbonne Université, Centre André-Chastel)
• Alexia Yates, Professor of Modern History, historian of economic life (Italy, Florence, European University Institute)
s e l e c t i v e b i b l i o g r a p h y
D’ERCOLE Maria Cecilia et MINOVEZ Jean-Michel (dir.), Art & économie: Une histoire partagée [actes du colloque international de l’Association française d’histoire économique, Toulouse, 18–19 novembre 2016], Toulouse, Presses universitaires du Midi, 2020.
DERMINEUR Elise, Women and Credit in Pre-Industrial Europe, Turnhout, Brepols, 2018.
DOUSSET Christine, « Commerce et travail des femmes à l’époque moderne en France », Les Cahiers de Framespa, 2, 2006, en ligne : https://journals.openedition.org/framespa/57.
DUBY Georges et PERROT Michelle (dir.), Histoire des femmes en Occident, Paris, Plon, 1991–1992, vol. 3, 4 et 5.
FONTAINE Laurence, « Espaces économiques féminins et crédit », dans L’économie morale. Pauvreté, crédit et confiance dans l’Europe préindustrielle, Paris, Gallimard, 2008, p. 134–163.
GREEN David R., OWENS Alastair, MALTBY Josephine et RUTTERFORD Janette (dir.), Men, Women, and Money: Perspectives on Gender, Wealth, and Investment, 1850–1930, Oxford, Oxford University Press, 2011.
KHAN B. Zorina, « Invisible Women: Entrepreneurship, Innovation, and Family Firms in Nineteenth-Century France », The Journal of Economic History, 76, n°1, mars 2016, p. 163–195.
LABARDIN Pierre et ROBIC Paulette, « Épouses et petites entreprises: Permanence du XVIIIe au XXe siècle », Revue Française de Gestion, 188–189, 2008, p. 97–117.
LALLIARD François, « Femmes d’argent, argent des femmes: construction du genre et monétarisation de la vie sociale dans la haute société aristocratique. L’exemple des Wagram (XIXe siècle-début du XXe siècle) », dans L’argent des familles. Pratiques et régulations sociales en Occident aux XIXe et XXe siècles, (dir. Florent Le Bot, Thierry Nootens et Yvan Rousseau), Trois-Rivières et Québec, Centre interuniversitaire d’études québécoises, 2019, p. 179–192.
LANZA Janine, From Wives to Widows in Early Modern Paris: Gender, Economy, and Law, Aldershot, Ashgate, 2007.
LAURENCE Anne, MALTBY Josephine et RUTTERFORD Janette (dir.), Women and their Money, 1700–1950: Essays on Women and Finance, New York, Routledge, 2009.
MARTINEZ Cristina S. et ROMAN Cynthia E. (dir.), Female Printmakers, Printsellers, and Print Publishers in the Eighteenth Century: The Imprint of Women, c. 1700–1830, Cambridge, Cambridge University Press, 2024.
THÉBAUD Françoise, Écrire l’histoire des femmes et du genre, Paris, ENS Éditions, 2007.
TILLY Louise A. et SCOTT Joan W., Les femmes, le travail et la famille, Paris, Rivages-Histoire, 1987 (édition originale 1978).
YATES Alexia, « The Invisible Rentière: The Problem of Women and Investment in Nineteenth-Century France », Entreprises et histoire, 2, 2022, p. 76–89.
Cat. expo. [New York, Grey Art Museum ; Montréal, Musée des Beaux-arts ; Paris, Musée de l’Orangerie, 2024–2025], Berthe Weill: Art Dealer of the Parisian Avant-Garde, Paris, Flammarion, 2024.
New Book | Ornamental Blackness
Coming this spring from Yale UP, with a brilliant preview by Dr. Childs now available in the latest issue of The Magazine of the Decorative Arts Trust (Winter 2024–25) . . .
Adrienne L. Childs, Ornamental Blackness: The Black Figure in European Decorative Arts (New Haven: Yale University Press, 2025), 208 pages, ISBN: 978-0300246094, $65.
Exploring the role the decorative arts played in the representation of Black people in European visual and material culture
This revelatory look at European decorative arts addresses the long-ignored implications of the depiction of Black bodies on luxury objects from the Baroque period through the nineteenth century. Adrienne L. Childs traces the complex history of the vogue for representing the Black body as an ornamental motif throughout spaces of wealth and refinement. Objects such as furniture, porcelain, clocks, silver, light fixtures, and more conveyed the taste for exoticism and portrayed the laboring Black body in the guise of décor. These objects also express larger ideas about the concept of race, romantic notions of distant lands, the harsh realities of slave labor in the colonies, the presence of Black servants in wealthy European households, and the culture of luxury consumption.
Ornamental Blackness demonstrates how seemingly benign decorative objects can embody the complexities of race, slavery, and representation. Childs examines the tensions inherent in the system of codes in which the Black body can be enslaved, reviled, feared, subjugated, and assaulted on one hand and a symbol of opulence on the other. In this important volume she establishes a framework for understanding the racialized aesthetics of luxury.
Adrienne L. Childs is an art historian and curator and is the Senior Consulting Curator at The Phillips Collection.
The Magazine of the Decorative Arts Trust, Winter 2024–25
The Decorative Arts Trust has shared select articles from the winter issue of their member magazine as webpages for all to enjoy. The following articles are related to the 18th century.
The Magazine of the Decorative Arts Trust, Winter 2024–25
• “Written in Stone” by Catherine Carlisle Link»
• “The Rivers Collection of Charleston Furniture at the Gibbes Museum of Art” by Matthew A. Thurlow Link»
• “Carved from the Sea: The Art and History of Nantucket’s Pictorial Scrimshaw” by Keely Edgington Link»
• “Diplomatic Reception Rooms Anchor D.C. Gathering” by Matthew A. Thurlow Link»
• “Figuring the Black Body in European Decorative Arts” by Adrienne L. Childs Link»
• “Colonial Architecture, Decorative Arts, and Enslavement at the Colonel John Ashley House” by Livy Scott Link»
• “Convergence at the Market: Vernacular Artisans and Literati in Late Imperial China” by Danielle Zhang Link»
The printed Magazine of the Decorative Arts Trust is mailed to Trust members twice per year. Memberships start at $50, with $25 memberships for students.
Magazine cover: Detail of an early-17th-century table top from Villa La Pietraia, on display at the Opificio delle Pietre Dure in Florence, Italy.
Decorative Arts Trust Announces 2025 Failey Grants
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Strawbery Banke Museum in Portsmouth, New Hampshire is an outdoor history museum that preserves a neighborhood’s evolution of over 350 years, with most of the historic houses on their original sites. The Penhallow House—built in 1750 and moved to its present location in 1862—is Strawberry Banke’s only remaining ‘saltbox’. It was recently given a new foundation with a wet-proof basement to counteract rising sea and groundwater levels. In the 20th century, Penhallow House contained three apartments and the daily lives of an extended African-American family. Strawbery Banke intends to interpret the 20th-century Black experience in Penhallow House: the story of Kenneth ‘Bunny’ Richardson, a 20th-century story of Black Portsmouth and Civil Rights.
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From the December press release, with additional information available here:
Formal dress (robe à la Française), 1765–70, French or Dutch, brocaded silk with knotted silk fringe and linen lining (Historic Deerfield, HD F.355).
The Decorative Arts Trust is pleased to announce the seven 2025 Dean F. Failey Grant recipients: the Birmingham Museum of Art in Birmingham, AL, for the Silver & Ceremony from Southern Asia, 1850–1910 exhibition; Historic Deerfield in Deerfield, MA, for the Body by Design: Fashionable Silhouettes exhibition; Honolulu Museum of Art in Honolulu, HI, for quilt conservation; the Museum of the American Revolution in Philadelphia, PA, for flag conservation; Strawbery Banke Museum in Portsmouth, NH, for Penhallow House wallpaper; Telfair Museums in Savannah, GA, for The Moss Mystique: Southern Women and Newcomb Pottery exhibition; and Wyck in Philadelphia, PA, for a Chinese desk conservation.
The Failey Grant program provides support for noteworthy exhibition and object-based conservation projects through the Dean F. Failey Fund, named in honor of the Trust’s late Governor. Failey Grant applications are due October 31 annually.
New Book | The Sensory Experience in 18th-Century Art Exhibitions
The volume originated from a June 2021 conference on the topic. From the University of Heidelberg’s arthistoricum.net, where all contents are available free of charge
Gaëtane Maës, Isabelle Pichet, and Dorit Kluge, eds., L’expérience sensorielle dans les expositions au XVIIIe siècle / The Sensory Experience in 18th-Century Art Exhibitions (Heidelberg: arthistoricum.net-ART-Books, 2024 / Passages online, Volume 25), 274 pages, ISBN: 978-3985011544 (hardcover) / ISBN: 978-3985011537 (PDF).
In the 18th century, the art exhibitions organised in the Louvre in Paris by the Académie royale de Peinture et de Sculpture created an unprecedented cultural event, which quickly aroused the curiosity and envy of the public in the French provinces and other nations. A visit to the Salon du Louvre or any other art exhibition, where the desire to be entertained and to learn are intertwined, is an experience that appeals to all the senses. It is therefore possible to introduce the notion of ‘sensory experience’, since not only sight, but also hearing, touch, smell and taste are called upon in varied and complex ways at every moment of the visit. Using a variety of approaches, this book aims to capture the sensations experienced by visitors to art exhibitions in Europe during the long eighteenth century (1680–1815), drawing on visual and textual sources from the period.
c o n t e n t s
Introduction — Gaëtane Maës, Dorit Kluge, Isabelle Pichet (translated from the French by Nicole Charley)
Partie 1 | L’expérience sensorielle dans les œuvres
• Viewing Blindness at the Paris Salon — Emma Barker
• Les saisons en exposition: L’expérience des sensations à travers les sculptures de Jean-Antoine Houdon — Friederike Vosskamp
• Exhibitions of Automata in Ireland in the Age of Enlightenment — Alison Fitzgerald
Partie 2 | L’expérience sensible dans les œuvres
• Depicting identity or emotion? Clairon vs. Dumesnil at the Salon of the Louvre — Gaëtane Maës
• Ducreux’s Yawning: Attention, Sensation, and the Ambiguity of Affect — Lisa Hecht
• Les plaisirs du public: L’érotisation du regard dans les expositions de la Royal Academy au XVIIIe siècle — Jan Blanc
• The Minds and Bodies of Women in the Salon Views of Gabriel de Saint-Aubin: A ‘peintre de la vie moderne’ in the Age of Enlightenment — Kim de Beaumont
Partie 3 | L’expérience spatiale de la visite
• Une surface au service de l’expérience sensorielle: Le mur des espaces d’exposition au XVIIIe siècle — Valérie Kobi
• Le conditionnement de l’expérience du sensible — Isabelle Pichet
• L’émerveillement « rationalisé » des visiteurs des ‘country houses’ dans la Grande-Bretagne du XVIIIe siècle — Sophie Soccard
Partie 4 | L’expérience de la critique
• ‘I’m Dying up Here!’: Disappointing History Painting — Mark Ledbury
• L’aveugle aux Salons de Denis Diderot — You Gyeong Lee
• L’identité de la critique d’art allemande: Un glissement du visuel/descriptif vers l’auditif/narratif — Dorit Kluge
• Le langage du corps face à l’art: Entre affection, discussion et contemplation — Markus Castor
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