Symposium | Taking Exception: Women, Gender, Representation
From the symposium announcement:
The 2018 Bettie Allison Rand Symposium in Art History
Taking Exception: Women, Gender, Representation in the Eighteenth Century
A Symposium in Honor of Mary D. Sheriff
Ackland Art Museum, University of North Carolina at Chapel Hill, 1–3 February 2018
The 2018 Bettie Allison Rand Symposium will take place in tandem the Ackland Art Museum exhibition, Becoming a Woman in the Age of Enlightenment: French Art from the Horvitz Collection (open in Chapel Hill from 26 January until 8 April 2018). The exhibition is curated by Melissa Hyde, Professor of Art History, University of Florida Research Foundation Professor, University of Florida, and the late Mary D. Sheriff, W.R. Kenan Jr. Distinguished Professor of Art History, The University of North Carolina at Chapel Hill. It is organized by Alvin L. Clark, Jr, Curator, The Horvitz Collection and The J.E. Horvitz Research Curator, Harvard Art Museums/Fogg.
Through a generous gift to the UNC Arts and Sciences Foundation, William G. Rand established this lecture series in memory of his late wife, Bettie Allison Rand. This funding allows the Department of Art to bring one or more eminent art historians to UNC-CH every other year for residencies of various lengths. While they are in Chapel Hill, these scholars present a series of lectures and interact with undergraduate and graduate art history and studio art students. More information about the series can be found here.
Speakers will include
• Vivian Cameron, Independent Scholar
• Susanna Caviglia, Assistant Professor of Art, Art History & Visual Studies, Duke University
• Melissa Hyde, Professor of Art & Art History, University of Florida
• Anne Lafont, Director of Studies, L’Ecole des Hautes Etudes En Sciences Sociales
• Christopher Johns, Norman L. and Roselea J. Goldberg Professor of History of Art, Vanderbilt University
• Dorothy Johnson, Roy J. Carver Professor of Art History, University of Iowa
• Kathleen Nicholson, Professor Emerita of the History of Art and Architecture, University of Oregon
• Suzanne Pucci, Professor of Modern & Classical Languages, Literatures, & Cultures, University of Kentucky
• Abigail Solomon-Godeau, Professor Emerita of the History of Art & Architecture, University of California Santa Barbara
• Susan Taylor Leduc, Independent Scholar
• Michael Yonan, Associate Professor of Art History and Archaeology, University of Missouri
A memorial for Mary D. Sheriff will be held on Saturday, February 3rd at 1:00pm.
For more schedule details and to register to attend, visit the symposium website.
Contact: Tania C. String, tcstring@email.unc.edu
New Book | The Gardens of La Gara
Distributed by ACC Publishing and The University of Chicago Press:
Anette Freytag, ed., The Gardens of La Gara: An 18th-Century Estate in Geneva with Gardens Designed by Erik Dhont and a Labyrinth by Markus Raetz (Zurich: Scheidegger and Spiess, 2017), 272 pages, ISBN: 978 38588 18027, $99 / £85.
La Gara is an 18th-century country estate in Jussy, a village near Geneva, Switzerland. The buildings have been carefully restored by Swiss architect Verena Best, who also added inspired touches to the interior design. The renowned Belgian landscape designer Erik Dhont reinterpreted and subtly redesigned the gardens and surrounding grounds, completed by a palindrome-like labyrinth designed by Swiss artist Markus Raetz. This new book tells the story of the La Gara estate and illustrates its beauty. The essays investigate its preservation and restoration of buildings and gardens and the contemporary interventions. They highlight features such as the historic watering system for the gardens and the fishponds and look at the specific Genevan garden tradition and characteristics of the rural landscape around Jussy with its biodiversity. Moreover, they contextualise La Gara with the ‘ferme ornée’, a villa with agricultural and ornamental features following ancient Roman models. The beautiful volume is rounded out with newly commissioned photographs by renowned Swiss photographer Georg Aerni.
Anette Freytag is Professor of Landscape Design at Rutgers University in New Brunswick, New Jersey.
New Book | Joseph Banks’ Florilegium
From Thames & Hudson:
David Mabberley, Mel Gooding, and Joe Studholme, Joseph Banks’ Florilegium: Botanical Treasures from Cook’s First Voyage (London: Thames & Hudson, 2017), 320 pages, ISBN: 978 050051 9363, £65, $85.
This is the first full-colour publication of some of the most extraordinary botanical prints of the 18th century. Banks’ Florilegium is not only a great scientific record, but also a major achievement of collaborative Enlightenment art and a work of botanical illustration of outstanding beauty.
Joseph Banks accompanied James Cook on his first voyage around the world between 1768 and 1771. A gifted and wealthy young naturalist, Banks collected exotic flora from Madeira, Brazil, Tierra del Fuego, the South Pacific, New Zealand, Australia and Java, bringing back over 1,300 species hitherto unknown to science. On his return, Banks commissioned over 700 superlative engravings as a scientific record. Known collectively as Banks’ Florilegium, they are some of the most precise and exquisite examples of botanical illustration ever made—yet they were never published in Banks’s lifetime.
The present selection has been made from a unique limited colour edition of the prints, with expert botanical commentaries provided by Professor David Mabberley. Mel Gooding describes the Endeavour voyage and the making of the Florilegium. An afterword by Joe Studholme outlines the history of the modern printing.
David Mabberley has served as Executive Director of the Royal Botanic Gardens and Domain Trust in Sydney. He is an Emeritus Fellow at Wadham College, Oxford, Adjunct Professor at Macquarie University, Sydney, and Professor Extraordinary at the University of Leiden, The Netherlands.
Mel Gooding is an art historian, writer and curator. He has taught at Edinburgh and Wimbledon Schools of Art, among others, and contributes regularly to the art press.
Joe Studholme co-founded Editions Alecto and undertook the printing of Banks’ Florilegium from the original copper plates between 1980 and 1990.
C O N T E N T S
• The Making of Banks’ Florilegium I: The Voyage of Endeavour, Mel Gooding
• The Plates, David Mabberley
• The Making of Banks’ Florilegium II: The Florilegium, 1772–1990, Mel Gooding
• The Modern Printing of the Florilegium, Joe Studholme
Call for Papers | Museums, Collections, and Conflict, 1500–2010
From the Museums and Galleries History Group:
MGHG Biennial Conference | Museums, Collections, and Conflict, 1500–2010
National Maritime Museum, Greenwich, 13–14 July 2018
Proposals due by 1 March 2018
Museums have been profoundly shaped by war and armed conflict, and have also played a significant part in shaping understandings and memories about them. Yet there has been little sustained examination of the way museums in war and war in museums has played out. Since Gaynor Kavanagh’s foundational study Museums and the First World War in 1994 and with the publication this year of Catherine Pearson’s similarly ground-breaking Museums in the Second World War, it is clear that museums have played and can play an important role in helping society address such crisis situations. On the home front, for example, museums have helped society prepare for war and armed conflict. In leading commemoration in the aftermath of war and armed conflict, museums have helped society come to terms with what happened, understand why it happened, and remember sacrifices. Yet museums have equally served as arenas where issues such as commemoration have been contested and negotiated and where particular narratives legitimising war and conflict have been developed. This conference hopes to address a broad range of questions, including on collecting (in) war and armed conflict, on the deliberate targeting and destruction or safeguarding of museums and cultural property, and the broader range of institutions brought forth or which are strongly influenced by war and armed conflict.
Keynote speaker: Annie Coombes, Professor of Material and Visual Culture, Birkbeck, University of London
We seek papers which particularly address but are not restricted to the following questions over a period from the early modern to the end of the twentieth century:
• What have museums done during periods of conflict and what has happened to them? Have they been responsible for morale, have they been targets of attack, have they physically moved and how has their staffing been affected?
• How have museums and collections acted to commemorate conflict?
• In what ways have wars and other conflicts affected museums’ and collectors’ collecting activities, positively or negatively? How have wars and conflicts been collected, and by whom?
• How have museums represented war, civil war and other conflicts such as rebellions? Have museums promoted peace by interpreting war?
• How have museums OF conflict, of the armed forces and of weaponry/armouries developed historically?
We welcome proposals for papers which deal with the history of museums and collecting in a British, European, or wider context or which address the relationships between different geographical areas.
Paper proposals should be for papers of 20 minutes’ length. Proposals should be 250 words max and include the name, contact details and affiliation (if applicable) of the speaker. Panel proposals are strongly encouraged and should consist of a panel title, proposals for 3 papers, along with a rationale for the panel theme, and contact details and affiliations (if applicable) of all participants. Please indicate whether you will provide a chair for your session or not (it does not matter which). Poster proposals are also welcomed. Please contact Kate Hill (khill@lincoln.ac.uk) for more information. All proposals should be sent to contact@mghg.info by 1 March 2018. Please note that all speakers and poster presenters will be expected to pay the conference registration fee.
The Museums and Galleries History Group (MGHG) was founded in 2002 and inaugurated in 2003 with the symposium Museums and their Histories, held at the National Gallery in London. The MGHG provides a platform for debate and contact among all those who seek to understand museums and galleries from historical and theoretical perspectives. The interests represented are wide-ranging, interdisciplinary and international and the Group also acts as a forum for considerations of the place of museum history within academic discourse and its importance for current museum practice.
Call for Papers | British Art and the Global
From the Call for Papers:
British Art and the Global
University of California, Berkeley, 17–18 September 2018
Organized by Imogen Hart and David Peters Corbett
Proposals due by 15 April 2018
What is the role of art history in the Brexit era? In the wake of the UK’s decision to leave the European Union, the history of Britain’s relationships with the rest of the world takes on renewed significance. This conference explores how art history today can shed light on the history of Britain’s interaction with other countries and cultures. Among other questions, the conference asks: How have institutions of display and education provided frameworks that have articulated and/or obscured global contexts for British art? How can the traditions of art history, including concepts of national schools, movements, modernisms, periods, originality and imitation, aesthetic judgment, and hierarchies of media be exploited and/or critiqued by scholars of British art and the global?
We invite papers that illuminate global contexts for the history of British art by considering works of art (including painting, sculpture, architecture, the decorative arts, photography, and other forms of visual and material culture) as sites and tools of international cooperation, conflict, and exchange. Potential papers may address the global history of British art in relation to topics that include, but are not limited to:
• International artistic collaborations and organizations
• Artistic movements and their international legacies
• International modernisms
• Aesthetic theory across national boundaries
• Contexts of display including museums, collections, and exhibitions
• Institutions of artistic training and education
• The international art market
• Reproduction and circulation
• Periodicals
• Art and empire
• Travel and tourism
• Immigration
• Art and war
Keynote speakers: Tim Barringer (Yale University), Dorothy Price (University of Bristol), and Mary Roberts (University of Sydney).
This two-day, international conference is sponsored by the Center for British Studies at the University of California, Berkeley. The conference is co-organized by Imogen Hart (History of Art Department, UC Berkeley) and David Peters Corbett (Courtauld Institute of Art, London). Please submit abstracts of no more than 250 words plus a brief biographical note to imogenhart@berkeley.edu by April 15, 2018. Limited funds may be available to assist with travel expenses for speakers who do not have institutional funding.
Exhibition | Luigi Valadier: Splendor in Eighteenth-Century Rome
Looking ahead to the fall, from the press release:
Luigi Valadier: Splendor in Eighteenth-Century Rome
The Frick Collection, New York, 31 October 2018 — 20 January 2019
Galleria Borghese, Rome, 30 October 2019 — 2 February 2020
Curated by by Alvar González-Palacios and Xavier Salomon
Luigi Valadier, Herma with Bacchus for the Palazzo Borghese, alabaster and glazed bronze with traces of gilding, 1773, 69 inches (Rome: Galleria Borghese; photo by Mauro Magliani).
Of the many artists who flourished in Rome during the eighteenth century, the silversmith Luigi Valadier (1726–1785) was among those particularly admired by popes, royalty, and aristocrats. Luigi was born in Rome in 1726, about six years after his parents emigrated from France. His father, Andrea, established a silversmith workshop that quickly captured the attention of the wealthiest Roman aristocrats. Heir to his father’s business, Luigi had an unsurpassed technical expertise, which, combined with his avant-garde aesthetic, resulted in extraordinary works in silver and bronze. Well aware of the evolution of artistic taste throughout Europe, he had an impressive ability to reframe examples of ancient Roman art and architecture within the context of contemporary Rome. Sculptures in private collections, cameos, architectural details, and ruins of ancient monuments served as his inspiration for candelabra, tableware, altars, and centerpieces in both silver and bronze. Luigi’s fame and influence spread beyond the borders of Italy, and he received commissions from patrons in France, England, and Spain. He was, however, burdened by debts for commissions undertaken but never paid for, and, in 1785, he committed suicide, drowning himself in the Tiber. Following this tragic event, his workshop passed to his son Giuseppe.
Illustrating the uncommon versatility of Luigi Valadier, who produced everything from large altar pieces to intricate works of jewelry, the Frick’s fall 2018/winter 2019 exhibition will include more than sixty works carefully selected from the vast production of the Valadier workshop. Preparatory drawings of both sacred and profane subjects will be displayed alongside finished works. . One of the highlights of the exhibition will be a full centerpiece, or deser (from the Italianization of the French word dessert), created around 1778 for the Bali de Breteuil, Ambassador of the Order of Malta to Rome. Atop a gilt-bronze base inlaid with precious stones, Valadier has re-created temples, triumphal arches, columns, and other miniature representations of ancient Roman monuments. The multiple elements of the Breteuil deser are today separated between two museums in Madrid (the Museo Arqueológico Nacional and the Palacio Real), but will be reunited for this special exhibition at the Frick. It will therefore be possible to admire this masterwork in its entirety, as nobles and cardinals did in 1778, when it was displayed for a few days in Valadier’s workshop in a candle-lit room specially decorated for the occasion.
The exhibition will also feature finely worked silver plates, tureens, salt cellars, and other pieces of tableware. The juxtaposition of these individual works with the complete centerpiece will illustrate the evolution of the Valadier workshop. While the earliest pieces presented are distinctly in the Baroque style, Valadier’s work becomes more refined in the Rococo style, before becoming neoclassical by the late-eighteenth century. The monochrome silver objects will be contrasted with polychrome works in gilt-bronze, marble, and precious stones, such as the Egyptian clock, a table from Villa Borghese, and extraordinary mounts for two antique cameos once in the Vatican collections and now at the Musée du Louvre.
One section of the exhibition will be devoted to reproductions in bronze of famous antique sculptures in Roman collections, such as the Apollo Belvedere and the Ares Ludovisi.
Luigi Valadier: Splendor in Eighteenth-Century Rome is co-curated by Professor Alvar González-Palacios, considered the world’s authority on Valadier, and Xavier F. Salomon, Peter Jay Sharp Chief Curator of The Frick Collection. It is part of a series of monographic exhibitions that focus on remarkable decorative arts artists and follows the ground-breaking and critically acclaimed Pierre Gouthière: Virtuoso Gilder at the French Court, organized by the Frick, where it was on view in fall 2016 before traveling to the Musée des arts décoratifs, Paris, in spring 2017.
Accompanying the exhibition will be the first complete monograph on Luigi Valadier. Written by González-Palacios, the book will shed new light on the provenance and dating of some works. It also identifies the exact roles performed inside the workshop by Andrea, Luigi, and Giuseppe Valadier, tracing the genesis of inventions and the authorship of models. The monograph also details the Valadier family’s collaborations with other workshops and artists. Typically, works in various materials such as bronze, marble, and precious stones were realized not by one person but by many artisans working together. The decoration of both sacred and private buildings likewise involved outside artisans and architects. This will be the only comprehensive publication on Valadier in English and, lavishly illustrated, it will feature much-needed new photography.
Together, the monograph and exhibition at the Frick will reconstruct the artistic endeavors of one of the most important silversmith families, shedding new light on the cultural life of Rome and, more broadly, Europe, during the eighteenth century. Following the presentation of this show in New York, a related exhibition will be on view later in 2019 at the Galleria Borghese, Rome.
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Note (added 20 December 2019) — The posting was updated to include specific dates for the Galleria Borghese.
Conference | Telling Her Story
From the Women’s History Network:
Telling Her Story: Women’s History, Heritage, and the Built Environment
Wrest Park, Bedfordshire, 19 March 201
Organized by Megan Leyland, Roey Sweet, and Andrew Roberts
Telling Her Story will bring together heritage professionals and academics to explore the diverse roles and experiences of women at historic sites. Whether in country houses or castles, women have played a pivotal role in shaping the built environment and in influencing the course of history. Yet, more often than not, their voices are marginalised or missing from the historical record and from interpretation at heritage sites.
This conference seeks to uncover the many and varied experiences of women at historic properties in the care of English Heritage and other heritage organisations. It aims to move beyond stock biographies of famous and extraordinary women to discover the many diverse stories of women from all walks of life, to offer new perspectives on better-known individuals and to critique narratives and interpretations which continue to be constructed principally around the experiences of men.
This conference is being jointly organised by English Heritage and the University of Leicester, and has been generously supported by the Women’s History Network Small Grant Scheme. Dr. Megan Leyland (English Heritage), Prof. Roey Sweet (University of Leicester), Dr. Andrew Roberts (English Heritage).
Tickets, £30, are available by calling our dedicated ticket sales team on +44(0) 370 333 1183. A limited number of free tickets for students / unwaged are available; to apply, please contact megan.leyland@english-heritage.org.uk with why the conference is relevant to your research, interests, or work. Tickets will be allocated on a first come first serve basis. Please note, this programme is subject to change.
P R O G R A M M E
9:30 Coffee
10:00 Welcome and Introduction
10:10 Castles and Warfare
• Rachel Delman (University of Oxford), Writing medieval women back into castle narratives
• Karen Dempsey (University of Reading), Outside the can(n)on: Telling inclusive stories of the medieval past
• Jessica Malay (University of Huddersfield), Anne Clifford’s transformation of Westmorland through the construction of households
• Emma Turnbull (University of Oxford), Remembering resistance: Female activism during the English Civil Wars
10:10 Silent Voices
• Helen Bates (University of Leicester), The truth, the whole truth and nothing but the truth? New interpretations of women at Lincoln Castle Victorian Prison
• Nigel Cavanagh (Network Archaeology), An alternative focus for industrial heritage: Women’s lives in Elsecar, ca. 1780–1870
• Kate O’Neill (RCA/ V&A), Capturing the invisible? Photography and female domestic servants in the country house, 1850–1920
• Elena Settimini (University of Leicester), Demeter’s daughters: The representation of women within a vineyard landscape
12:00 Lunch
1:00 Eighteenth-Century Female Patronage
• Ruth Larsen (University of Derby), Beyond the withdrawing room: Exploring notions of gendered spaces in the eighteenth-century country house
• Lydia Hamlett (University of Cambridge), Revealing women’s stories through mural painting, 1680–1720
• Amy Boyington (University of Cambridge), Female architectural patronage in eighteenth-century Britain
1:00 Written out of History
• Judith Phillips (Bowes Museum/ Teesside University), Mrs. Bowes’s mansion, museum, and galleries: Joséphine Bowes and The Bowes Museum
• Louise Devoy (Royal Observatory, Greenwich), Observatory life: Adding domestic history and female voices to the story of the Royal Observatory
• Eleanor Sier (Toynbee Hall), Kate Bradley (University of Kent), and Lucinda Matthews-Jones (Liverpool John Moores University), Toynbee Hall: Mother of settlements
2:15 Coffee
2:30 Connecting People, Space, and Place
• Hannah Worthen (University of Hull), Gender and the hidden histories of English landed estates
• Emma Purcell (University of Leicester), The impact of heiresses on the Montagu property network, ca. 1749–1827
• Jon Stobart (Manchester Metropolitan University), Housekeeper, correspondent and confidante: The under-told story of Mrs Hayes of Charlecote Park, ca. 1740–60
2:30 Heritage Industry Approaches
• Rachael Lennon (National Trust), Challenging histories: Women and power
• Morvern French and Stefan Sagrott (Historic Environment Scotland), Telling their stories: From warriors to witches, and everything in between
• Megan Leyland (English Heritage), Telling the story of England: Women’s history at English Heritage
4:00 Closing Discussion / Tour
Exhibitions and Posters
Exhibition material on display throughout the conference includes The Women of Wrest Park (the Wrest Park Volunteer History Group, English Heritage), Uncovering Women’s Voices in the Richmond Castle Cell Block (the Richmond Castle Cell Block Project volunteers, English Heritage), and Marble Hill Revived (English Heritage), as well as academic posters.
J18 | Mary Sheriff on Casanova, Art, and Eroticism
Jean-Marc Nattier, The Lovers, detail, 1744, oil on canvas
(Munich: Alte Pinakothek)
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Trusting that readers regularly visit J18 (always available through the link to the right), I only occasionally note content here at Enfilade. But this contribution from Mary Sheriff is worth highlighting. It’s also worth noting, incidentally, that Journal18 and HECAA are mentioned in the editorial of the January 2018 issue of The Burlington Magazine! I imagine Mary would have been thrilled. –CAH
From Journal18:
Mary D. Sheriff, “Casanova, Art, and Eroticism,” Journal18 (January 2018).
Mary D. Sheriff, one of the most brilliant and beloved scholars of eighteenth-century European art, died on October 19, 2016. Among her last essays was a playful and erudite encounter with Casanova’s memoirs, seen through the prism of eighteenth-century European painting. She originally wrote it for the catalogue to the exhibition Casanova: The Seduction of Europe, connecting paintings in the show with episodes from Casanova’s erotic intrigues. This explains the choices behind some of the artworks she discusses. Due to late changes in the exhibition’s checklist, however, Mary’s essay did not appear in the catalogue. We wanted to publish it in Journal18 so that her vivid insights into Casanova’s libertine text and like-minded artworks could be shared with our scholarly community. The essay is yet another testament to Mary’s unique talent for bringing eighteenth-century art to life and for making us think about it in a new way, as well as her own seductive powers of analysis and wordplay. We are grateful to Keith Luria and Melissa Hyde for making final revisions to the essay and for permitting us to publish it in Journal18.
The essay is available here»
Exhibition | Pastels in Pieces
Maurice-Quentin de La Tour, Portrait of Gabriel Bernard de Rieux, 1739–41; pastel and gouache on paper mounted on canvas, 201 × 150 cm (Los Angeles: The J. Paul Getty Museum).
On view through the summer at The Getty Center:
Pastels in Pieces
Getty, Los Angeles, 16 January — 29 July 2018
Curated by Emily Beeny
European paper was not manufactured in giant sheets until the nineteenth century. Competing with painters who worked on monumental canvases, eighteenth-century pastellists joined together multiple sheets of paper in order to create large, continuous surfaces. The piecing together of pastels, however, also served other purposes, allowing artists to paper over their mistakes or paste the heads of important sitters onto bodies posed by models. Matching each exhibited pastel with a map of its component sheets, this installation encourages visitors to consider how these objects were made.
Exhibition | Oser l’Encyclopédie: Un combat des Lumières
Now on view at the Mazarin Library (with the full press release available as a PDF file here)
Oser l’Encyclopédie: Un combat des Lumières
Bibliothèque Mazarine, Paris, 20 October 2017 — 19 January 2018
L’Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers (1751–1772), codirigée par Diderot, D’Alembert et Jaucourt, constitue la plus vaste entreprise éditoriale du 18e siècle, par le nombre des forces humaines mobilisées, l’étendue des savoirs convoqués, et son retentissement en Europe. La publication de cet « ouvrage immense et immortel » (Voltaire), dont la première édition rassemble 28 volumes, quelque 74 000 articles et près de 2 600 planches, s’étend sur plus de 25 ans. Autorisée par un privilège de librairie (1746), elle est censurée alors que deux tomes sont déjà imprimés (1752), puis tolérée (1753), à nouveau interdite et condamnée à la destruction (1759), et enfin poursuivie grâce à une permission tacite (1759–1772). Et, parce qu’elle constitue une entreprise commerciale à succès, elle connaît immédiatement réimpressions et contrefaçons.
Pour la première fois, une édition critique de l’Encyclopédie voit le jour. Réalisée au format numérique et menée de façon collaborative par plus de 120 chercheurs de tous horizons, elle vise l’annotation progressive des articles et des planches, en mobilisant l’ensemble des connaissances sur l’ouvrage. Soutenue par l’Académie des sciences, l’Édition Numérique Collaborative et CRitique de l’Encyclopédie (ENCCRE)1 s’appuie sur un exemplaire exceptionnel du premier tirage de la première édition, conservé par la Bibliothèque Mazarine qui en a fait l’acquisition au 18e siècle, volume après volume.
L’exposition met en relation cet exemplaire original et l’édition numérique. Elle montre ce que fut le travail de l’Encyclopédie au 18e siècle, et ce que représente son édition critique au 21e. De l’architecture complexe de l’ouvrage à son histoire éditoriale, on y découvre matériellement et numériquement l’intérieur de l’œuvre, ses enjeux et ce qui fut une de ses ambitions fondamentales : « changer la façon commune de penser ». (Diderot).
Organisation et commissariat
Alain Cernuschi (Université de Lausanne)
Alexandre Guilbaud (Institut de mathématiques de Jussieu) Marie Leca Tsiomis (Université Paris Ouest, Société Diderot) Irène Passeron (Institut de mathématiques de Jussieu)
Yann Sordet (Bibliothèque Mazarine)
Anne Weber (Bibliothèque Mazarine)
Alain Cernuschi, Alexandre Guilbaud, Marie Leca-Tsiomis, Irène Passeron, with Yann Sordet, preface by Cathérine Bréchignac, Oser l’Encyclopédie: Un combat des Lumières (Paris: EDP Sciences, 2017), 120 pages, ISBN: 978 27598 21389, 15€.
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