Call for Papers | New Scholarship in British Art History
From the conference website:
New Scholarship in British Art History: Discoveries at the NCMA
North Carolina Museum of Art, Raleigh, 27–28 January 2017
Proposals due by 15 September 2016
Attributed to John Hoppner, The Honorable Sherson (Raleigh: NCMA, G.28.2.43).
A two-day symposium, in collaboration with the University of North Carolina at Chapel Hill, hosted alongside the upcoming exhibition History and Mystery: Discoveries in the NCMA British Collection.
The question of what makes the British Isles ‘British’ is particularly relevant given recent political events, such as the United Kingdom’s exit from the European Union. Using the North Carolina Museum of Art’s British collections as inspiration, this New Scholars Conference explores the ways in which we can examine ‘English’ and ‘British’ works of art. Particularly, this topic raises questions about the ways Britain can be viewed, either as inward looking and/or in dialogue with the wider world.
We encourage topics ranging from traditional categories of British art, such as portraiture, to new investigations into the mobility of artists and styles, as well as issues of race, class, and gender. The aim of this conference is to explore how innovative scholarship and new narratives can help expand the larger discipline of British studies. This conference is intended for graduate students, recent doctoral graduates, and post-doctoral scholars. We strongly suggest that speakers consider their papers in relation to the British collections at the NCMA, whose works of art range from 1580 to 1850.
We invite 20-minute papers on topics including (but not limited to) the following:
• English Portraiture
• Britain’s Relationship to the World
• Post-Reformation Effects on the Arts
• Influence of Sir Joshua Reynolds
• British Notions of Territory
• Architecture in the English Context
• Race, Gender, and Class in Art
• Formation of the British Academy
• The Immigrant Artist
• The British Family in Art
• Foreign Influences in British Art
• Imagery of Travel and Exchange
Please send an abstract (250 words) and a CV to Miranda Elston (mlelston@email.unc.edu) by 15 September 2016 with the email heading ‘NCMA New Scholarship in British Art History’ and your Name, Affiliated Institution, and Paper Title in the email. Speakers will be informed via email by October 1, 2016.
Exhibition | History and Mystery: The NCMA British Collection
Opening next week at the NCMA:
History and Mystery: Discoveries in the NCMA British Collection
North Carolina Museum of Art, Raleigh, 6 August 2016 — 19 March 2017
Attributed to Nathaniel Dance, Oldfield Bowles, ca. 1775–80 (Raleigh: NCMA, 52.9.87)
History and Mystery showcases the best of the NCMA’s permanent collection of Old Master British paintings and sculpture from 1580 to 1850. The exhibition is anchored by an extraordinary group of nine Elizabethan and Jacobean aristocratic portraits from about 1580 to 1620 that has been the focus of an ongoing research project involving the NCMA Conservation and Curatorial departments and students and faculty from UNC–Chapel Hill and Duke.
The exhibition also provides the opportunity to reexamine familiar favorites in the collection from new perspectives and to display a few ‘hidden treasures’ that have rarely—or never before—been on public view. History and Mystery is one in a series of permanent collection focus exhibitions highlighting the work of the NCMA’s Conservation Department.
Exhibition | 300 Years of the Cemetery for Foreigners in Rome
Rudolph Müller, The Protestant Cemetery in Rome with the Tomb of Julius August Walther von Goethe (1789–1830), ca. 1840s
(Klassik Stiftung Weimar)
◊ ◊ ◊ ◊ ◊
From Rome’s Non-Catholic Cemetery for Foreigners:
At the Foot of the Pyramid: 300 Years of the Cemetery for Foreigners in Rome
Ai piedi della Piramide, Il cimitero per gli stranieri a Roma – 300 anni
Am Fuße der Pyramide: 300 Jahre Friedhof für Ausländer in Rom
Casa di Goethe, Rome, 23 September — 13 November 2016
Curated by Nicholas Stanley-Price
“The most beautiful and solemn cemetery I have ever beheld” declared the poet Percy Bysshe Shelley. Since the height of the Grand Tour, non-Catholic foreigners dying in Rome have been buried in front of the pyramid-tomb of Caius Cestius. In 2016 the Protestant Cemetery (now officially the Non-Catholic Cemetery for Foreigners) in Rome will celebrate its 300th anniversary. For this occasion the Cemetery, in partnership with the Casa di Goethe, has planned an exhibition of paintings, drawings and prints from the 18th to early 20th centuries to illustrate the history of this place dedicated to citizens of Protestant faith who died in papal Rome.
The curator of the exhibition is Dr Nicholas Stanley-Price. It is sponsored by the 15 embassies that administer the Cemetery (Australia, Canada, Denmark, Finland, Germany, Greece, Ireland, Netherlands, Norway, Russia, South Africa, Sweden, Switzerland, the United Kingdom and the United States of America), under the Presidency of H.E. Peter McGovern, Ambassador of Canada in Italy.
The area of today’s cemetery was made available in 1716 by Pope Clement XI, initially to serve as a burial-ground for members of the Stuart court in exile from Britain. After a few decades, permission was given to erect funerary monuments to those buried there. The first such monument, which survives today, is to Georg Anton Friedrich von Werpup from Hanover, who died in 1765. His grave and that of the chamberlain to the Marquis of Ansbach, Wolf Carl Friedrich von Reitzenstein († 1775), are depicted in a drawing by Jacob Philipp Hackert (Vienna, Albertina).
They were followed by many others. It is the last resting-place not only of August von Goethe, son of the poet, but also numerous painters, sculptors, architects, as well as poets and scholars who lived in Rome or nearby. Among others, we mention Christopher Hewetson († 1799), the sons of Wilhelm von Humboldt († 1803 e 1807), John Keats († 1821) and Percy Bysshe Shelley († 1822), John Gibson († 1866), Gottfried Semper († 1879), Antonio Gramsci († 1937) and Gregory Corso († 2001).
Famous artists such as Giovanni Battista Piranesi, Bertel Thorvaldsen, William Wetmore Story and John Gibson designed funerary monuments for the Cemetery. Their fascination with the place has in turn inspired other artists to produce paintings, poems or monuments: from Goethe to Schinkel, from Oscar Wilde to d’Annunzio, and from Turner to Munch. The exhibition will, for the first time, provide a panorama of how European and American artists of different periods have depicted the Cemetery in paintings, drawings and prints, documenting at the same time the gradual changes in the appearance of the Cemetery. Some of the exhibits will be overall views of the area adjacent to the Pyramid and others of individual tombs. Various depictions of night-time funerals illustrate the difficult conditions in which the Protestants had to be buried. In addition to works by the artists already mentioned, there will be works by Jacques Sablet, Bartolomeo Pinelli, Salomon Corrodi, Walter Crane and others. The loans, already confirmed, come from different European museums and from private collections in Germany, Italy, Scandinavia, and the United States of America. The exhibition catalogue will be published in three different editions (English, German and Italian).
Exhibition | Of Beauty and Grandeur: Roman Portraits in the Baroque
From the Staatliche Kunstsammlungen Dresden:
Of Beauty and Grandeur: Roman Portraits and their Baroque Appropriation
Von Schönheit und Größe: Römische Porträts und ihre barocke Aneignung
Skulpturensammlung at the Albertinum, Dresden, 22 July — 6 November 2016
The Dresden Antiquities Collection is one of the oldest collections amassed in Dresden by the kings and prince electors, and one of the oldest large collections of antiquities presented in a museum outside Italy. The items, on view behind glass in storage depots at the Albertinum, are currently waiting to be presented again in the eastern gallery of the Semperbau at the Zwinger. The sculptures from classical antiquity and the Baroque period have not been presented to the public in a fitting manner since 2002, the year of a major flood on the Elbe, followed by the reconstruction of the Albertinum and its reopening as a museum for modern art.
The collection displays a selection of some 50 classical and Baroque portraits and portrait statues. These portraits—sculptures combining authenticity and idealisation—played a crucial role in defining and communicating political, social and communal identities, sending out various messages to their audience in ancient times. One of the most important art genres of classical antiquity, portraits of children, women, politicians, military commanders and the ruling elite were a ubiquitous element of everyday Roman life. They were erected on public squares, influencing broad swathes of the public as a kind of mass media. In the 16th and 17th centuries, the works, which had often survived only as fragments, were elaborately and splendidly completed with busts made of coloured stone or reworked in the classical style. At the start of the 18th century, they came to Dresden from the Brandenburg Collection built up by Friedrich Wilhelm I (1688–1740) and the Roman Collection assembled by the House of Chigi.
This presentation shines the spotlight on the sculptures which make up the heart of the collection and which stand out in terms of their quality and quantity. Among the items there are some unusual works, such as the statue of the Roman Emperor Antoninus Pius (150–160 AD), the portrait of his wife Faustina (around 140 AD) on a magnificent Baroque bust of coloured marble, or the porphyry bust of the emperor known as Caligula (17th century), whose acquisition was of particular value to Augustus the Strong because of its precious material. Loans from the Grünes Gewölbe (Green Vault) include a showpiece by Johann Melchior Dinglinger and Balthasar Permoser: a cameo of a Roman emperor from classical antiquity set in a precious frame. In the 18th century this portrait was seen as that of the first Roman emperor, Augustus. Augustus the Strong saw himself as linked to his namesake by his own fame as a ruler and a patron of the arts.
New Book | Klassizismus in Aktion: Goethes ‘Propyläen’
Published by Böhlau with details from De Gruyter:
Daniel Ehrmann and Norbert Christian Wolf, eds., Klassizismus in Aktion: Goethes ‘Propyläen’ und das Kunstprogramm der Weimarer Klassik (Vienna: Böhlau Verlag, 2015), 458 pages, ISBN: 978-3205201540, 59€ / $83 / £45.
Der Band setzt sich mit der von Johann Wolfgang Goethe von 1798 bis 1800 herausgegebenen Kunstzeitschrift Propyläen auseinander und nimmt dabei nicht nur bekannte Essays des Herausgebers, sondern auch Beiträge Friedrich Schillers, Johann Heinrich Meyers und Wilhelm von Humboldts in den Blick. Erstmalig wird so eine zentrale Programmschrift des deutschen Klassizismus in ihrem inneren Zusammenhang gemustert und in ihren zeitgenössischen Kontexten interdisziplinär untersucht. Dadurch kann die literaturhistorische und ästhetikgeschichtliche Bedeutung des publizistischen Projekts neu ermessen werden. Der Forschung soll so ein vertiefender Einblick in das innere Gefüge und die spannungsreiche Beschaffenheit des klassizistischen Weimarer Kunstprogramms eröffnet werden.
◊ ◊ ◊ ◊ ◊
I N H A L T S V E R Z E I C H N I S
EINLEITUNG
• Daniel Ehrmann / Norbert Christian Wolf, Klassizismus in Aktion. Zum spannungsreichen Kunstprogramm der Propyläen
KULTUR UND AUTONOMIE
• Sabine Schneider, »Ein Unendliches in Bewegung«. Positionierungen der Kunst inderKultur
• Hans-Jürgen Schings, Laokoon und La Mort de Marat oder Weimarische Kunstfreunde und Französische Revolution
• Daniel Ehrmann, Bildverlust oder Die Fallstricke der Operativität. Autonomie und Kulturalität der Kunst in den Propyläen
NATUR UND DIE KÜNSTE
• Elisabeth Décultot, Kunsttheorie als Übersetzung. Goethes Auseinandersetzung mit Diderots Versuch über die Mahlerey
• Dieter Borchmeyer, Weimarer Opernästhetik. Goethes Essay Ueber Wahrheit und Wahrscheinlichkeit der Kunstwerke
• Ernst Osterkamp, Das Drama und die Kunst des Klassizismus in den Propyläen
NORMATIVITÄT UND VIELSTIMMIGKEIT
• Johannes Grave Natur und Kunst, Illusion und Bildbewusstsein. Zu einigen Bildern in Goethes Beiträgen für die Propyläen
• Norbert Christian Wolf, Vielstimmigkeit im Kontext. Goethes ›kleiner KunstRoman‹
Der Sammler und die Seinigen in entstehungsgeschichtlicher und gattungstheoretischer Perspektive
• Martin Dönike, »Antike Kunstwerke«. Johann Heinrich Meyers altertumskundliche Beiträge zu den Propyläen
KLASSIZISTISCHE UND ANTIKLASSIZISTISCHE KUNSTPRAXIS
• Frank Büttner, Die Weimarischen Kunstfreunde und die Krise der Kunstakademien um 1800
• Johannes Rössler, Über das Helldunkel. Re exionen zu Druckgraphik und Reproduktionsmedien in den Propyläen
• York-Gothart Mix, ›Das Unendliche und das Endliche‹. Die Propyläen und die kunstphilosophische Debatte über die Arabeske als romantisches Erkenntnisbild
VOR UND NACH DEN »PROPYLÄEN«
• Gerrit Brüning, Glückliches Ereignis im Zeichen der Kunst. Die Propyläen als Frucht der Zusammenarbeit Goethes und Schillers
• Claudia Keller, Die ungeschriebenen Propyläen – Klassizismus im Experiment
• Peter Sprengel, Goethe-Nachfolge als Architekturphantasie. Zum Motiv der Propyläen im Werk Gerhart Hauptmanns
Abbildungen
Siglenverzeichnis
Verzeichnis der Beiträgerinnen und Beiträger
Personenregister
Inaugural Getty Rothschild Fellowship Goes to David Saunders
Press release (11 July 2016) from The Getty:
The Getty and the Rothschild Foundation today announced the creation of the Getty Rothschild Fellowship, which will support innovative scholarship in the history of art, collecting, and conservation, using the collection and resources of both institutions. The fellowship offers art historians, museum professionals, or conservators the opportunity to research and study at both the Getty in Los Angeles and Waddesdon Manor in Buckinghamshire, England. The inaugural fellow is Dr. David Saunders, a foremost expert in the area of conservation science who will work on museum and gallery lighting during the fellowship.
“The Getty and the Rothschild Foundation hold similar values regarding the understanding and conservation of visual art around the world, and it is only appropriate that we would work together to support individuals who demonstrate these values through their research,” says Jim Cuno, president and CEO of the J. Paul Getty Trust. “We are pleased to award the inaugural Getty Rothschild Fellowship to Dr. Saunders, whose work in museum lighting has been of long-standing interest to the Getty Conservation Institute and the Getty Museum.”
Dr. Saunders is a former principal scientist at The National Gallery and keeper of conservation, documentation, and research at the British Museum. Now an independent researcher, Saunders is writing what will be a seminal book about museum and gallery lighting. Waddesdon is an ideal place to advance his research, as it will serve as a case study for the upcoming publication. The Flint House, the RIBA award-winning Rothschild Foundation property, will provide an exceptional environment in which the fellow will stay while working at Waddesdon.
“The Rothschild Foundation and Waddesdon Manor are delighted to be collaborating with the Getty on this Fellowship, which will nurture high-level scholarship on subjects which are close to the hearts of both institutions, whether in the fields of art and art history, collecting, conservation or the application of new technologies to the museum and heritage worlds. I am particularly pleased that our first Fellow will be David Saunders, whose work is of the greatest possible relevance to Waddesdon, as a historic house seeking to present itself in innovative ways,” says Lord Rothschild, OM GBE.
The selection process for the Getty Rothschild fellowship includes a number of criteria, including whether the applicant’s work would benefit from proximity to the Getty and Rothschild collections. Fellowships will be for up to eight months, with the time split equally between the Getty and Waddesdon Manor. Dr. Saunders will be at the Getty from January to March 2017 and at Waddesdon Manor from April to June 2017. Fellows will also receive a stipend during their time at both locations. The fellowship is administered by the Getty Foundation.
In 2014, Lord Jacob Rothschild received the Getty Medal for his contributions to the practice, understanding, and support of the arts.
AAMC Foundation Engagement Program for International Curators
From The Association of Art Museum Curators:
AAMC Foundation Engagement Program for International Curators
Applications due by 15 October 2016
Applications are now open for the inaugural term of the AAMC Foundation Engagement Program for International Curators, made possible with major support from the Terra Foundation for American Art. The two-year Program will accept three non-US based curators and three US Liaisons working on or having worked within exhibitions and projects that explore historic American Art (c. 1500–1980), including painting; sculpture; works on paper, including prints, drawing and photography; decorative arts; and excluding architecture; design; and performance. Applications are now open for International Awardees and US Liaisons, and are due by October 15, 2016.
Through fostering international relationships between curators, the Program aims to not only provide opportunities for professional development and exchange within our field, but also to expand and strengthen the international curatorial community and give primacy to the curatorial voice in the international dialogue between museum professionals. The Program will be an active part of building international partnerships, leading cross-border conversations, and spearheading international representation within AAMC’s membership & AAMC Foundation’s efforts.
The first year of the Program pairs an International Awardee with a US Liaison for a direct partnership, during which time the pair will conduct ongoing discussions on the area sought by the International Awardee. The Liaison will offer insight into the International Awardee’s desired focus of advancement, which could include leadership, research, creating cross-border exhibitions, loan development, understanding US fundraising models, marketing initiatives, navigating galleries in the US, and so on. The International Awardee will also be part of AAMC’s Curator’s Circle donor group, allowing for interaction with leaders at this level and bringing their voice and experience to our supporters.
The second year of the Program provides the International Awardee with a travel stipend and complimentary registration for AAMC & AAMC Foundation’s Annual Conference & Meeting. Gathering together on average 350 curators from around the country, AAMC’s largest annual event provides attendees with a unique opportunity to network across borders, fields and institution type, while attending panels and sessions on leading issues facing the profession. Year two also includes placement on an AAMC Committee to add another international voice within our leadership base, and to assist in advancing AAMC’s initiatives. The Program will conclude with an International Awardee-led webinar presented to the full AAMC membership on a topic relevant to the Program or a current project of the individual International Awardee.
Follow-up beyond the two years would continue with access to the virtual chat space for current, past and incoming classes, an alumni reception every other year and review of initial Program goals.
Visit the program page to learn more about the program’s components, and to download US Liaison and International Awardee application forms.
Exhibition | Versailles: Treasures from the Palace
Hall of Mirrors (Galerie des Glaces), 1678–84
(Château de Versailles)
◊ ◊ ◊ ◊ ◊
Press release (18 July 2016) from the NGA:
Versailles: Treasures from the Palace
National Gallery of Australia, Canberra, 9 December 2016 — 17 April 2017
The NGA has revealed details of the sumptuous treasures from the Palace of Versailles, which will be on show in Canberra this December. Versailles: Treasures from the Palace is a once-in-a-lifetime chance to see and experience a mesmerising period in French history in Australia. For the first time ever, the treasures will travel from France to entice visitors into a world of power, passion and luxury through this epic exhibition. More than 130 paintings, intricate tapestries, gilded furniture, monumental statues and other objects from the Royal gardens, and personal items from Louis XIV to Marie-Antoinette, will bring to life the reigns of three kings, their queens and mistresses in a fascinating and tumultuous period of French history. The exhibition will celebrate the lives, loves, and passions of the people of Versailles through a full program of activities including music performances, children’s programs, and public events.
François Hubert Drouais, The Sourches Family (‘Le Concert Champêtre’), 1756, oil on canvas (Château de Versailles, Dist. RMN-Grand Palais / Christophe Fouin)
“We are delighted to bring the grandeur of the culture of Versailles exclusively to Canberra and make it possible for all Australians to access and appreciate the social, political and cultural aspects of this unique phenomenon. If ever absolute power can be expressed through unbridled opulence, this is it,” said Gerard Vaughan, NGA Director.
“Along with astonishing treasures, like the marble bust of Louis XIV, or the glamorous formal portrait of Marie- Antoinette, we are bringing to Australia the entire 1.5 tonne statue of Latona and Her Children from one of the main fountains of the Palace of Versailles,” said Dr Vaughan. “The authenticity of this cultural experience will leave a lasting imprint on all our visitors.”
The exhibition contrasts small personal items, such as the precious golden reliquary which belonged to Louis XIV’s mother, or Marie-Antoinette’s hand-crafted chair and harp, with huge works including six-metre tapestries from the most important Gobelins series ever produced for Louis XIV, and a monumental conversation piece of the Sourches family which requires individual freight.
“Versailles is at the heart of French cultural expression as much as the NGA is the heart of Australian visual expression and we are very excited to bring this historic exhibition to Australia,” said Catherine Pégard, President of the Public Establishment of the Palace, Museum and National Estate of Versailles.
“The opportunity to send such important French treasures has been made possible because of the major restoration program at Versailles, and we are thrilled to see that the outcome of the work will be the enjoyment of thousands of Australians,” said Christophe Lecourtier, Ambassador of France to Australia.
“The NGA is bringing to Canberra yet another spectacular show, which will attract people from all over the country and the world this summer,” said Andrew Barr, ACT Chief Minister. “These shows are important to the local tourism sector and I’m confident that this show will be another success for the Gallery.”
Exhibition | The Artistry of Outlander: Costumes and Set Designs
From The Paley Center:
The Artistry of Outlander: Costumes and Set Designs
The Paley Center for Media, Los Angeles, 8 June — 14 August 2016
The Artistry of Outlander takes visitors into the world of the critically acclaimed STARZ and Sony Pictures Television series Outlander, showcasing many iconic costumes designed by Emmy-winning costume designer Terry Dresbach. Fans can step into 18th-century Parisian society, where they will be able to view actual set pieces from Outlander production designer Jon Gary Steele, life-size episodic photography, and behind-the-scenes video segments.
An extended description, with photographs, is provided by Amy Ratcliffe, writing for Nerdist (8 June 2016).
During a panel after the exhibit preview, Dresbach and Steele revealed they’ve been wanting to tackle 18th-century Paris for practically their entire careers. In fact, they longed to specifically work on Outlander. “Gary and I have been planning to do this show for about 25 years,” Dresbach said. She joked that she had to marry somebody (Outlander executive producer Ronald D. Moore) to make it happen, “It was all to get to Outlander.” Dresbach introduced Steele to Gabaldon’s book in the early ’90s, and they’ve been dreaming about it since. . . .
The sets in 18th-century France were so opulent and vivid, you’d think they were shot on location. That wasn’t the case. Most sets were built in a stage—including Claire and Jamie’s apartment, Master Raymond’s apothecary, and King Louis’ star chamber. They shot some exteriors in Prague, but for the most part, Steele got to dream the world into creation. “As designers, we want to build. It’s all from the ground-up. You create the whole thing. You control the color, the floor, the walls, the ceiling. That is so much more fun. It’s on stage, so it’s better in many ways for all of production,” Steele said. . .
Ratcliffe’s full piece is available here»
New Book | Artistes, savants et amateurs: Art et sociabilité
A collection of essays that emerged from the conference Art et Sociabilité au XVIIIe siècle
(Paris, 23–25 June 2011) is now available from Mare et Martin:
Jessica Fripp, Amandine Gorse, Nathalie Manceau, and Nina Struckmeyer, eds., Artistes, savants et amateurs: Art et sociabilité au XVIIIe siècle (1715–1815) (Paris: Les Éditions Mare et Martin, 2016), 296 pages, ISBN: 979-1092054422, 35€.
La notion de sociabilité a fait l’objet, depuis quelques années, d’un renouvellement historiographique important. La complexité de cette notion impose pour son étude une approche pluridisciplinaire qui fasse appel aussi bien à la sociologie qu’à la philosophie, à l’anthropologie qu’à l’histoire de l’art.
Ce volume rassemble des études de spécialistes internationaux et explore la diversité des échanges sociaux dans le monde artistique du XVIIIe siècle. En examinant la sociabilité des divers acteurs de la création artistique, ces textes analysent les réseaux formés par le commerce des objets matériels, à travers l’étude des collections, du marché de l’art ou des expositions, et par le commerce des idées, à travers l’étude des écrits sur l’art et de l’art de la conversation. Le rôle des pratiques sociales au sein de la sphère publique dans l’évolution de la production artistique et des échanges matériels, économiques et intellectuels constitue donc l’objet de cet ouvrage collectif.
◊ ◊ ◊ ◊ ◊
T A B L E D E S M A T I È R E S
Préface, Étienne Jollet
Introduction: La sociabilité, une notion équivoque, Jessica L. Fripp, Amandine Gorse, Nathalie Manceau et Nina Struckmeyer
I. LA SOCIÉTÉ DES ARTISTES
• Le peintre-gentleman : un modèle de sociabilité et ses variations dans l’Angleterre du dix-huitième siècle, Elisabeth Martichou
• Entre hommage et parodie : une conversation graphique entre Watteau et Oppenord, Jean-François Bédard
• Behind Closed Doors: Charles-Antoine Coypel and le théâtre de société, Esther Bell
II. LA COMMUNAUTÉ PROFESSIONNELLE
• A case study in sociabilité: Bachelier’s École royale gratuite de dessin, Reed Benhamou
• La sociabilité à l’Académie de France à Rome sous le directorat de Charles-Joseph Natoire (1752–1775), Susanna Caviglia
• Les cercles des artistes allemands à Paris autour de 1800, Frauke Josenhans / Nina Struckmeyer
• Painters and Parish Life in Eighteenth-Century Paris: Art, Religion, and Sociability, Hannah Williams
III. LES REPRÉSENTATIONS DE LA SOCIABILITÉ
• Friendship at the Salon, Jessica L. Fripp
• Fêting the Hunt in Eighteenth-Century Painting, Julie Anne Plax
• Le tableau de mode et Hogarth – la peinture de genre dans la première moitié du XVIIIe siècle : entre autodérision et critique sociale, Jörg Ebeling
IV. LES LIEUX DE LA SOCIABILITÉ
• Les chimères de la République des Arts. Fonction et expérimentation du fac-similé scientifique dans la première moitié du XVIIIe siècle, Valérie Kobi
• Les dictionnaires des Beaux-Arts au XVIIIe siècle : pour qui et pourquoi ?, Gaëtane Maës
• Le commerce de la peinture dans les Salons de Diderot, Stéphane Lojkine
• L’œil du spectateur : incarnation d’une nouvelle sociabilité, Isabelle Pichet
• Des hommes et des œuvres : sociabilités et associations dans le musée parisien autour de 1800, Noémie Étienne
V. LES MODÈLES DE LA SOCIABILITÉ
• Paris/Provinces : une sociabilité savante et artistique au XVIIIe siècle vue au travers des correspondances privées, ou les échanges épistolaires comme instruments de la sociabilité, Patrick Michel
• Les classiques de Weimar en dialogue avec la culture parisienne, Boris Roman Gibhardt
• Les Souvenirs d’Élisabeth Vigée Le Brun : distinction et sociabilité dans une Vie d’artiste, Bernadette Fort
Illustrations
Bibliographie générale
Auteurs Remerciements
Index
Enfilade 
leave a comment