Call for Papers | Built Environments and Performances of Power
From H-ArtHist:
Built Environments and Performances of Power
44th Annual Cleveland Symposium
Cleveland Museum of Art, 26 October 2018
Proposals due by 15 July 2018
The Art History Department at Case Western Reserve University invites graduate students to submit abstracts for its 2018 Annual Symposium Built Environments and Performances of Power. We welcome innovative research papers that engage with the concept of built environments and their performative spaces, both within and without.
Architecture creates narratives, while simultaneously shaping the identities of builders and users. Monumental architecture conveys stability, which allows its patrons to emphasize authority. At the same time, occupants transform spaces through their physical presence and social dynamics. How do we engage with architectural locations and the objects found within them? How do patronage, artistic intent, and pre-existing power structures complicate the ways in which audiences connect with their environments? How does social performance vary within constructed spaces? How can architecture—and the spatial distribution of artifacts within it—complicate ideas of centrality and periphery?
Presentations may explore aspects of this theme across any time period, medium, or geographical region. Potential topics may include, but are not limited to:
• Social performance and movement within built environments
• Material spatiality
• Constructed spaces and ideas of comportment
• Interactions between loci memoriae, geography, and architecture
• Space as experienced by architects, engineers, institutions, and audiences
• Viewership, liminal spaces, or construction of memory within museums
• Reconstruction of space through (re)moveable objects and their functions
• Reception within a built environment
• Theatricality and performance
Current graduate students and recent graduates in art history and related disciplines are invited to submit a 350-word abstract and a CV for consideration to clevelandsymposium@gmail.com by the extended deadline of July 15, 2018. Selected participants will be notified by the end of July. Paper presentations will be 20 minutes in length. Please direct all questions to Angelica Verduci and Jacob Emmett at clevelandsymposium@gmail.com. The three most successful papers will be awarded prizes.
Exhibition | Pastels at the Louvre
Now on view at the Louvre:
Pastels in the Musée du Louvre: The 17th and 18th Centuries
Musée du Louvre, Paris, 7 June — 10 September 2018
Curated by Xavier Salmon
The Louvre holds an unrivaled collection of European pastels from the 17th and 18th centuries. Mostly dating from the reigns of Louis XV and Louis XVI, these extremely fragile works, created with a colored powder that has often been compared to that of a butterfly’s wings, introduce us to Enlightenment society and illustrate the genius of its most celebrated artists: Rosalba Carriera, Maurice Quentin de La Tour, Jean-Baptiste Siméon Chardin, Jean-Baptiste Perronneau, Jean Étienne Liotard, Jean-Marc Nattier, and Élisabeth Louise Vigée Le Brun, together with lesser known artists such as Marie-Suzanne Giroust, Adélaïde Labille-Guiard, Joseph Boze, and Joseph Ducreux.
These pastels illustrate the genius of the artists who produced them as artworks in their own right rather than preparatory studies enhanced with color. Many of them still have their original frame, and sometimes their original glass.
Thanks to the support of American Friends of the Louvre and Joan and Mike Kahn, the more than 150 works in the collection were systematically conserved and remounted to protect them from dust—a long-term project which provided an opportunity for new research on the collection. The results are included in a comprehensive annotated inventory, published in French and English with the support of the Joan Kahn Family Trust.
The exhibition takes a new look at masterpieces such as Maurice Quentin de La Tour’s Portrait of the Marquise de Pompadour and features new acquisitions such as Simon Bernard Lenoir’s portrait of the actor Lekain. It is also an opportunity to compare these works by French artists with others by eminent international pastel artists such as Rosalba Carriera in Venice, Jean-Étienne Liotard in Geneva, and John Russell in London.
The exhibition is curated by Xavier Salmon, director of the Départment des Arts Graphiques and general heritage curator at the Musée du Louvre.
The catalogue, in French and English editions, is published by Hazan and distributed by Yale UP:
Xavier Salmon, Pastels du musée du Louvre, XVIIe XVIIIe siècle (Paris: Hazan, 2018), 384 pages, ISBN: 978-2754114547 (French) / ISBN: 978-0300238631 (English), €59 / $75.
Call for Papers | Painting Childhood
From H-ArtHist:
Painting Childhood
Compton Verney Art Gallery & Park, 29 March 2019
Proposals due by 29 October 2018
Children have long fascinated artists and have been captured in images ranging from formal portraits to humorous genre scenes and intensely personal family sketches. These diverse works will be the subject of two exhibitions at Compton Verney from 16 March until 16 June 2019. Painting Childhood: Hans Holbein to Lucian Freud will present a survey of some of the most iconic paintings of children produced over the past 500 years, with sections devoted to the royal portrait, play and learning, and the fantasy and reality of children’s lives. Childhood Now will explore contemporary representations of children in the work of the painters Chantal Joffe, Matthew Krishanu, and Mark Fairnington.
To coincide with these exhibitions we invite proposals for an interdisciplinary study day on the subject of childhood from 1500 to today. The study day will enable us to interrogate the key themes and issues of the exhibitions in more detail, contributing to the field of childhood studies through fruitful cross-disciplinary discussions. Painting Childhood will include select examples of children’s costumes, toys, and schoolbooks. As such we welcome contributions from speakers with a range of disciplinary backgrounds and research perspectives (History, Literature, Sociology, Anthropology, and History of Art). To facilitate meaningful debate papers will be grouped thematically and may address, but are not limited to, the following topics: Intimacy and family ties; dynasty, duty and privilege; play, fantasy and children’s worlds; the material culture of childhood; the appropriation and commercialisation of childhood; memories and memorials; childhood today and the future of childhood.
Keynote speaker: Dr Martin Postle
Please send a 300-word abstract for a 20-minute paper to art@comptonverney.org.uk by Monday 29 October 2018. We welcome applications from emerging and established scholars. Please include a short professional biography. Travel bursaries will be available for speakers covering reasonable expenses incurred within the UK.
Organising committee: Amy Orrock (Compton Verney), Emily Knight (V&A), and Penelope Sexton (Compton Verney)
Symposium | Court Ceiling Painting around 1700
Galeriegebäude Hannover-Herrenhausen, Decke im Frühlingszimmer
© Bildarchiv Foto Marburg/CbDD/C. Stein/ T. Scheidt
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rom H-ArtHist (with a conference flyer available as a PDF file here). . .
Connecting across Europe? Ceiling Painting and Interior Design at the Courts of Europe, ca. 1700
Eine gemeinsame europäische Sprache? Deckenmalerei und Raumkünste an den europäischen Höfen um 1700
Gallery Building, Herrenhausen Gardens (Galerie Herrenhausen), Hanover, 13–15 September 2018
Registration due by 10 August 2018
International Symposium organized by the Corpus of Baroque Ceiling Painting in Germany (CbDD) based at the Ludwig-Maximilians-Universität in Munich (LMU); the German Documentation Centre for Art History – Bildarchiv Foto Marburg (DDK); and the Bavarian Academy of Sciences and Humanities (BAdW)—in cooperation with the City of Hanover, Herrenhausen Gardens; the Institute of History for Art and Musicology – IKM of the Austrian Academy of Sciences (ÖAW); and the Research Group for Baroque Ceiling Painting in Central Europe (BCPCE).
Project directed by Stephan Hoppe (LMU, Munich), Heiko Laß (LMU, Munich), Herbert Karner (ÖAW, Vienna)
The Corpus of Baroque Ceiling Painting in Germany (Corpus der barocken Deckenmalerei in Deutschland) regards painting on walls and ceilings as a medium of pictorial representation. In a courtly context, mural painting would serve the sovereign to define his status within the court society, just as he did otherwise in the fields of architecture or interior design.
Around 1700, a formal and thematic change can be observed in the choice of these media of social distinction, especially at the courts north of the Alps. In the field of mural painting, it is striking in which way the ceiling was no longer divided into multiple fields, but preferably dominated by one single monumental painting. In this way, mural painting was able to define the room. Monumentality resided in scale, and a new form of illusionism became important. The inganno degli occhi, a highly sophisticated form of illusionism prevailed. Mural painting on ceilings gained autonomy, and as a medium, it followed its own logic. Furthermore, walls and ceiling could be integrated into one overarching decorative scheme. This change was not just a matter of form, but also a matter of content: glorifications and personifications were no longer represented in the old-established way and subject to dynastic formulas, but became more and more individualized and tailored for a specific patron.
Moreover, within the larger European context, mural painting should not be misunderstood as exclusively made in fresco or secco technique, or studied in isolation. The decision for oil painting on canvas or on walls or ceilings was for a longer period of time not only a question of quality or of the possibility to hire a specialist, but also a question of aesthetics. A large part of mural painting in Western, Central, and Northern Europe was painted on canvas and was adjusted onto ceilings and walls. Stucco did also play an important role and seems to have been applied especially in rooms of ‘higher rank’.
The symposium will link the described change to political, social, and cultural shifts in Europe around 1700. This artistic change occurred in parallel to a new position of power established by the monarchs, princes, and their states. The sovereigns were striving for an acknowledgment of their newly achieved status. Numerous territories and new princes within the Holy Roman Empire wanted to position their new rights of sovereignty, just as the kingdoms of England and Sweden or the court of the House of Orange in the Netherlands and, later, in England. Religious denomination played a marginal role in painting as opposed to politics. Despite their basically anti-Catholic orientation, motifs once established to mark protestant ideals, vanish, and patterns, before decidedly perceived as catholic, could be taken over generally. In this way, new forms of a supranational and trans-confessional culture of the courts and higher nobility developed in large parts of Europe.
Apparently, the rise of new dynasties and powers was responsible for the developments described above. The rise of the house of Bourbon and the house of Savoy and the descent of the Spanish Habsburgs in parallel are the most striking examples. An independent trend was the decline of artistic influence from the Netherlands in Northern Europe, giving way to a new influx of aesthetic ideas from France and Italy. This change turned out to be a cultural adjustment process that became apparent in almost all over Europe. Italy and France set the standard, and the Habsburgs did not succeed in gaining artistic dominance.
In addition to general overviews, the symposium will discuss examples from Austria, the Czech Republic, Denmark, England, France, Germany, Italy, the Netherlands, Poland, Spain, and Sweden. In this way, an attempt will be made to highlight connections and comparisons across Europe for the first time. The focus is exclusively on sovereigns and their courts. Sovereigns are understood as the monarchs and princes of Europe and the rulers over imperially immediate territories of the Holy Roman Empire. The States General of the Netherlands and the Republic of Venice were also sovereigns.
Numerous artists were active around 1700 and will be considered during the symposium. These include Jacques Foucquet, Luca Giordano, Daniel Marot, Sebastiano Ricci, Giuseppe Roli, Jerzy Eleuter Szymonowicz-Siemiginowski, Carpoforo Tencalla, Matthäus Terwesten, and Antonio Verrio. The aspect of cultural transfer and the import of artists initiated by clerical and secular clients will also be of interest. Mural painting is intended to be embedded into the development of the spatial arts in general.
The symposium will take place at the so-called Galeriegebäude in Hannover-Herrenhausen. This festive building of the Electors of Hannover is an outstanding example for the change in court culture around 1700. It was erected 1694/98 in the course of a rise in status of the patron and decorated with mural paintings by Tommaso Giusti.
The CbDD has reserved a room contingent for the conference participants until 31 July 2018, because two fairs and an additional conference are going to take place during our symposium. You can use this website for your booking.
The conference languages are German and English. Please keep in mind that it is not common practice in Germany to pay by credit card; take cash with you. The symposium fee is 20€ and will be paid in cash at the venue before the beginning of the symposium. Coffee/Tea and the visit to the Great Garden are included.
Please register until 10/08/2018 at
Corpus der barocken Deckenmalerei in Deutschland
Dr. Heiko Laß
Institut für Kunstgeschichte
Ludwig-Maximilians-Universität München
Zentnerstr. 31
D-80798 München
heiko.lass@kunstgeschichte.uni-muenchen.de
Symposium participants have the opportunity to purchase up to two tickets of the reduced price of 10€ each for the International Fireworks Competition, which will take place in the Great Garten at the night of 15 September, the final day of the symposium. The tickets must be reserved with the registration and paid in cash together with the conference fee.
T H U R S D A Y , 1 3 S E P T E M B E R 2 0 1 8
14:00 Opening of the Galeriegebäude
15:00 Introduction and Welcome
15:30 Session 1
• Steffi Roettgen (Munich), Götterhimmel und Theatrum sacrum – zur Erfolgsgeschichte der Deckenmalerei im barocken Italien
• Thomas Wilke (Stuttgart), Französisch – die gemeinsame europäische Sprache!? – Innendekoration und Deckenmalerei am französischen Hof um 1700
16:45 Coffee/Tea
17:15 Session 2
• Ulrike Seeger (Stuttgart), „weil es dauerhaffter ist und lufftiger aussiehet“. Die gänzlich freskierte Zimmerdecke um 1700 – Modus oder Medium?
• Heiko Laß (Munich), Das Galeriegebäude in Herrenhausen, die Stellung des Hannoverschen Hofs um 1700 und seine Wand- und Deckenmalerei
19:30 Dinner
F R I D A Y , 1 4 S E P T E M B E R 2 0 1 8
8:00 Opening of the Galeriegebäude
9:00 Session 3
• Sara Fuentes (Madrid), The Works of Luca Giordano to the Service of Charles II around 1700
• Herbert Karner (Vienna), Austria vor Jupiter: Deckenbildnerei in Schloss Schönbrunn um 1700
10:15 Coffee/Tea
10:45 Session 4
• Werner Telesko (Vienna), Thematische Multiperspektivität. Die Grazer Katharinenkirche und das Haus Habsburg um 1700
• Martin Mádl (Prague), The Palace of Prince Bishop Carl II of Lichtenstein-Castelcorn in Olomouc and its Decoration
• Andrzej Kozieł (Wrocław), A Jesuit Academy as a Symbol of Habsburgian Power: The Building of the University of Wrocław and its Fresco Decoration
12:40 Lunch
14:00 Session 5
• Ute Engel (Munich), Deckenmalerei und ‘Schönbornscher Reichsstil’? Lothar Franz von Schönborn als Auftraggeber in Bamberg, Mainz und Pommersfelden
• Konrad Pyzel (Warsaw-Wilanów), King Jan III Sobieski’s Wilanów Residence: Universal Patterns, Universal Stories — Unique Iconographical Message?
15:15 Coffee/Tea
15:45 Session 6
• Doris Gerstl (Erlangen/Regensburg), Aristokratie versus Monarchie? Zu Klöcker von Ehrenstrahls Deckenbild im Stockholmer Riddarhuset
• Martin Olin (Stockholm), War and Peace: Jacques Foucquet’s Paintings in the State Apartment of the Royal Palace in Stockholm
17:00 Coffee/Tea
17:20 Session 7
• Thomas Lyngby (Hillerød), The Audience Chamber of Frederiksborg Palace
S A T U R D A Y , 1 5 S E P T E M B E R 2 0 1 8
8:30 Opening of the Galeriegebäude
9:00 Session 8
• Margriet van Eikema Hommes (Delft), The Oranjezaal in Huis ten Bosch
• Alexander Dencher (Leiden), Daniel Marot as a Designer of Wall and Ceiling-Painting in the Age of William and Mary
10:15 Coffee/Tea
10:45 Session 9
• Lydia Hamlett (Cambridge), Mural Cycles of the Later Stuart Courts: Continental Influences and British Reception
• Christina Strunck (Erlangen), Flammende Liebe, höfische Intrigen und internationale Politik. Antonio Verrios Ausmalung des Queen’s Audience Chamber in Windsor Castle
13:00 Lunch
14:00 Session 10
• Elisabeth Wünsche-Werdehausen (Munich), Genealogie versus Mythologie: Die Galleria di Daniele im Palazzo Reale und die Tradition savoyischer Raumausstattung in Turin
• Martina Frank (Venice), Neue Decken für neue Räume. Der Wandel im venezianischen Palast- und Villenbau
15:15 Heiko Laß (Munich), Summary and final comments
18:00 Opportunity to visit the International Fireworks Competition in the Great Garden
Exhibition | Cozens and Cozens
The exhibition closed earlier this month:
Cozens and Cozens
The Whitworth, University of Manchester, 16 June 2017 — 24 June 2018
Father and son, Alexander and John Robert Cozens, were influential watercolour painters of the 18th century. Alexander was a drawing master who dedicated his career to teaching young men and the aristocracy how to create landscapes without needing to attend the Royal Academy. This resulted in the publication of multiple guides demonstrating how to create the ideal landscape from a catalogue of features, such as clouds, mountains and trees. Consequently, many of Alexander’s surviving works are fictional landscapes. Alexander argued that landscape images could evoke particular states of mind or moral feelings in the viewer. He became known as the ‘blot master’ for creating improvised compositions from random markings, an idea first suggested by Leonardo da Vinci. His theories elevated the status of landscape painting in the 18th century and helped propel art practice towards the freedom that resulted in Abstract Expressionism.
Visually John Robert inherited the skill of his father, but by contrast his works were honest accounts of his travels. The Romantic painter John Constable declared that John Robert ‘was the greatest genius that ever touched landscape’ as his work ‘was all poetry’. Painting a landscape with watercolours was traditionally for topography, mapping landscapes. Watercolour was ideal as it was portable and could be used to ‘tint’ or ‘stain’ a map within the lines without distorting it. John Robert revolutionized landscapes by painting with watercolour to create mystery and emotion in the places he depicted.
The Whitworth owns nineteen watercolours and a rare oil by Alexander, one of only five known to exist. The gallery owns seventeen watercolors and thirteen soft-ground etchings by John Robert. Seven sketchbooks from his Grand Tours of Europe in 1782–83 have been digitized allowing visitors to see every page for the first time. They are unique in the world and were copied by JMW Turner and Thomas Girtin in the 1790s. This exhibition showcases the Whitworth’s collection of works by father and son, the largest outside of London. By drawing on their uniting elements of trees and European exploration, visitors will gain a rare insight into the practices of 18th-century artists.
Exhibition | Japanese Arms and Armor
Now on view at The Met Fifth Avenue:
Japanese Arms and Armor from the Collection of Etsuko and John Morris
The Metropolitan Museum of Art, New York, 25 January 2018 — 6 January 2019
Armor (Gusoku), Helmet signed by Bamen Tomotsugu (Japanese, Eichizan province, Toyohara, active 18th century); iron, lacquer, copper-gold alloy (shakudō), silver, silk, horse hair, ivory (New York: The Metropolitan Museum of Art, 2001.642).
Presenting a wide array of samurai armor, blades, and accoutrements dating from the fifteenth to the nineteenth century, this exhibition celebrates the promised gift of thirty-seven objects from the collection of Etsuko and John Morris, as well as other important gifts made by Mr. and Mrs. Morris to The Met’s Department of Arms and Armor over the past seventeen years.
The collection was originally assembled in the early twentieth century by Dr. Frederick Malling Pedersen (1869–1947) of New York. It later passed by descent to Mr. and Mrs. Morris, who have seen to its care and restoration. Key works include a rare complete armor (gusoku) by Bamen Tomotsugu (active eighteenth century); a blade attributed to Fusamune of Sōshū (active late fifteenth–early sixteenth century) with mounting; and a helmet (kawari-kabuto) in the shape of a wave (seventeenth century, restored 2015). The gift of choice objects from the collection represents a significant addition to the Museum’s holdings of Japanese arms and armor, which are the most comprehensive of their kind outside of Japan.
Grey Room, Recent Issues
Some of the articles addressing the eighteenth century in recent issues of Grey Room:
Grey Room
Editors: Zeynep Çelik Alexander, Lucia Allais, Eric C.H. de Bruyn, Noam M. Elcott, Byron Hamann, John Harwood, and Matthew C. Hunter
Grey Room brings together scholarly and theoretical articles from the fields of architecture, art, media, and politics to forge a cross-disciplinary discourse uniquely relevant to contemporary concerns. Publishing some of the most interesting and original work within these disciplines, Grey Room has positioned itself at the forefront of current aesthetic and critical debates. Featuring original articles, translations, interviews, dossiers, and academic exchanges, Grey Room emphasizes aesthetic practice and historical and theoretical discourse that appeals to a wide range of readers, including architects, artists, scholars, students, and critics.
No. 71 (Spring 2018) The Costs of Architecture
• Jason Nguyen, “Building on Credit: Architecture and the Mississippi Bubble (1716–1720),” pp. 40–67.
No. 69 (Fall 2017) Liquid Intelligence
• Jennifer L. Roberts, “The Veins of Pennsylvania: Benjamin Franklin’s Nature-Print Currency,” pp. 50–79
• Matthew C. Hunter, “The Cunning of Sir Sloshua: Reynolds, the Sea, and Risk,” pp. 80–107.
Call for Proposals | History of Collecting Seminars
Seminars in the History of Collecting
The Wallace Collection, London, 2019
Proposals due by 7 September 2018
The seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. In 2019, as in previous years, we plan to organise a series of 10 seminars. We are keen to encourage contributions covering all aspects of the history of collecting, including
• Formation and dispersal of collections
• Dealers, auctioneers, and the art market
• Collectors
• Museums
• Inventory work
• Research resources
The seminars, which are normally held on the last Monday of every month during the calendar year, excluding August and December, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists, and all those with an interest in the subject. Papers are generally 45–60 minutes long, and all the seminars take place at the Wallace Collection between 5.30 and 7pm. If interested, please send a short text (500–750 words), including a brief CV, indicating any months when you would not be available to speak, by Friday 7 September 2018. For more information and to submit a proposal, please contact: collection@wallacecollection.org.
Please note that we are able to contribute up to the following sums towards speakers’ travelling expenses on submission of receipts:
• Speakers within the UK – £80
• Speakers from Continental Europe – £160
• Speakers from outside Europe – £250
New Book | Jean-Baptiste-Pierre LeBrun (1748–1813)
From Rowman & Littlefield and available from Artbooks.com:
Bette Oliver, Jean-Baptiste-Pierre LeBrun (1748–1813): In Pursuit of Art (Hamilton Books, 2018), 108 pages, ISBN: 978-0761870272, $65 / £45
Jean-Baptiste Pierre LeBrun’s life was marked by his intense interest in art, first as an artist, and then from 1770 until his death in 1813, as an art dealer/connoisseur and as a participant in the transformation of the Louvre into a national museum during the French Revolution. He managed to accommodate whichever regime assumed power, from monarchy to republic to empire. He married the artist Elisabeth Vigée in 1776, and together they figured prominently in the pre-revolutionary cultural world of Paris. LeBrun travelled widely, buying art for his gallery and contributing to a number of aristocratic collections. His expertise in attributions of 17th-century Dutch and Flemish paintings was acknowledged internationally, while his reference work on the subject was considered the most comprehensive ever written.
LeBrun, the grand-nephew of the illustrious artist Charles LeBrun, became one of the most successful art dealers in Paris. He played an active role in the politics of art between 1789 and 1802, serving as an expert-commissioner in restoration at the national museum. His inventories of artworks, confiscated from all over Europe by Napoleon’s armies, have provided a valuable record of the development of the French national museum. In addition, his inventories have been useful in the identification and recovery of Nazi confiscations during World War II. LeBrun’s accomplishments during a tumultuous period of political and artistic change present evidence of his contributions to the concept of the modern art museum, notably in the areas of conservation, restoration, and arrangement.
Bette W. Oliver of Austin, Texas, is an independent scholar and editor with a PhD in modern European history from the University of Texas at Austin. A specialist in the period of the French Revolution, she is the author of five books focusing on that pivotal period, as well as eleven volumes of poetry.
2016 Dissertation Listings from CAA
My apologies for not posting this much sooner (the listings used to come out in August, and I wasn’t looking for them in December). –CH
From caa.news (11 December 2017) . . .
Once a year, each institution granting the PhD in art history and/or visual studies submits dissertation titles to CAA for publication. caa.reviews has now published the authors and titles of doctoral dissertations in art history and visual studies—both completed and in progress—from American and Canadian institutions for calendar year 2016. You can browse by listing date or by subject matter. Each entry identifies the student’s name, dissertation title, school, and advisor.
The index for 2016 lists four ‘eighteenth-century art’ dissertations completed:
• Joshua D. Hainy, “John Flaxman: Beyond the Line” (Iowa, D. Johnson)
• Stephanie O’Rourke, “Bodies of Knowledge: Fuseli and Girodet at the Turn of the Nineteenth Century” (Columbia, J. Crary)
• Amanda K. Strasik, “Reconceiving Childhood: Women and Children in French Art, 1750–1814” (Iowa, D. Johnson)
• Aaron Wile, “Painting, Authority, and Experience at the Twilight of the Grand Siècle, 1688–1721” (Harvard, E. Lajer-Burcharth)
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and thirty-six ‘eighteenth-century art’ dissertations in progress, including:
• Daniella Berman, “Aesthetics of Contingency: History and the Unfinished Paintings of the French Revolution” (IFA/NYU, T. Crow)
• Christine Brandner, “Addressing another Body in Jean-Etienne Liotard’s Portraiture” (Yale, N. Suthor)
• Alexandra Cardon, “Circa 1700: Royal Retreats, Academic Unrest and the Roots of Rococo” (CUNY, J. Sund)
• Alicia Caticha, “Étienne-Maurice Falconet and the Matter of Sculpture: Marble, Porcelain, and Sugar in Eighteenth-Century Paris” (Virginia, S. Betzer)
• Elizabeth Gebauer, “The Art of Speech: Flemish Baroque Pulpits, 1627–1794” (Princeton, T. DaCosta Kaufmann)
• Sandra Gomez Todo, “Abandoned Schools of Pleasure: Unmasking Gender and Identity in the Visual Culture of the Georgian Masquerade” (Iowa, D. Johnson)
• Christine Griffiths, “From Garden to Toilette: Cultivating Perfume in Early Modern England” (Bard Graduate Center, D. Krohn)
• Rachel Harmeyer, “After Angelica Kauffman” (Rice, L. Costello)
• Julia K. McHugh, “Dressing Andean Spaces: Textiles, Painting, and Architecture in the Colonial Imagination” (UCLA, C. Villaseñor-Black)
• Isabel Oleas-Mogollón, “Jesuit Missionary and Visionary Experiences in Quito: La Compañía Prophet Paintings” (Delaware, M. Domínguez Torres)
• Emily Spratt, “Byzantium not Forgotten: Constructing the Artistic and Cultural Legacy of an Empire between East and West in the Early Modern Period” (Princeton, P. Brown)
• Amy Torbert, “Dissolving the Bonds: Sayer & Bennett, Print Publishers in an Age of Revolution” (Delaware, W. Bellion)
• Linda Zajac, “Miniature Worlds of Age and Masculinity in the Eighteenth-Century English Domestic Interior” (University of Victoria, E. Campbell)
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