Call for Papers | Altarpieces in the Ibero-American Context
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From the conference website:
O Retábulo no espaço Iberoamericano: forma, função e iconografia
Faculdade de Ciências Sociais e Humanas, UNL, Lisbon, 26–27 November 2015
Proposals due by 30 April 2015
O Instituto de História da Arte da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa encontra-se a organizar o I Simpósio de História da Arte—O Retábulo no espaço Iberoamericano: Forma, função e iconografia, que terá lugar na Faculdade de Ciências Sociais e Humanas, a 26 e 27 de Novembro de 2015.
O Simpósio O Retábulo no espaço Iberoamericano: forma, função e iconografia pretende divulgar a recente investigação desenvolvida em Portugal, Espanha, Brasil, México, Uruguai, Perú e Colômbia. Neste encontro de carácter científico, a eleição das três vertentes de análise—forma, função e iconografia—constituirá o mote para a abordagem histórico-artística da arte retabular. Quem eram os artistas ou oficinas capazes de idealizar as imponentes ‘máquinas’ retabulares que adornam todo o espaço iberoamericano? Quais foram os principais mecenas e agentes do mercado artístico intervenientes na execução das obras? Que materiais estavam disponíveis para a conceção dos retábulos? Que leituras podemos construir perante a complexidade dos seus programas iconográficos? Por conseguinte, o debate contemplará a caracterização da dimensão arquitetónica, ornamental e simbólica do retábulo, procurando salientar as especificidades autóctones e as divergências sócio-culturais, a fim de aferir as transferências artísticas operadas durante o período compreendido entre os séculos XVI–XVIII. (more…)
Plans for a Reader on Eighteenth-Century Book Illustration
Dear Colleagues,
We—Christina Ionescu and Leigh Dillard—are engaged in the planning stages of a reader on eighteenth-century book illustration that would encompass various traditions (English, French, German, Spanish, etc.). In order to best position the reader, we would be most grateful if those of you who work on book illustration (and perhaps also teach courses on the subject) could provide some feedback on our preliminary ideas. You could write to us directly (cionescu@mta.ca and Leigh.Dillard@ung.edu).
1) Would you use such a reader in a course? What type of course would you consider using it in? Would your library be interested in purchasing it?
2) Would you be interested in contributing a chapter? The deadline for submission of chapters will likely be December 2016.
3) Do you have any suggestions about its contents? Any specific texts that you believe should be included? Any translations of seminal texts that we should commission?
This is what is currently on our list:
• Relevant excerpts from nineteenth-century texts (Dibdin, the Goncourt brothers, etc.)
• Reprints and translations of key chapters from important 1980s/1990s studies on eighteenth-century book illustration (Edward Hodnett, Philip Stewart, etc.)
• Theoretical approaches to book illustration as it pertains to the chosen time frame (e.g. book illustration and word and image, book illustration and book history)
• The mechanics of book illustration (etching, woodcut, copperplate engraving, frontispieces, colour plates, etc.)
• Illustrators (Stothard, Marillier, Chodowiecki, Gravelot, Hogarth, Cochin, etc.)
• Genres (illustrated travelogues, gothic novels, sentimental fiction, erotica, etc.)
• Examples of eighteenth-century illustrated bestsellers (The Sentimental Journey, La Nouvelle Héloïse, etc.)
• Overviews by geographical region (illustration in England, France, Spain, etc.)
Many thanks,
Christina and Leigh
Christina Ionescu (Associate Professor of French, Mount Allison University)
Leigh Dillard (Assistant Professor of English, University North Georgia)
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Note (added 14 December 2016) — The call for proposals was advertised on the SHARP listserv.
Proposals are invited for the first installment in a multi-volume collection, titled A Companion to Eighteenth-Century Literary Illustration. The first volume is designed for students and established researchers seeking an introduction to approaches in this field; it can also be used for book illustration scholars seeking to extend their theoretical and methodological tool kit. Contributions should provide an introduction to pertinent theoretical terms and concepts, a practical demonstration, and suggestions for further reading. When possible, examples should be chosen from more than one national tradition. We invite proposals on the following topics to fill gaps in our existing commitments:
• Book illustration and consumer culture
• Book illustration and post-colonial theory
• Book illustration and fashion studies/costume studies
• Book illustration and visual rhetoric
• Book illustration and art history
• Book illustration and literary history
Please send 300–500 word proposals to Christina Ionescu (cionescu@mta.ca) and Leigh Dillard (leigh.dillard@ung.edu) by January 20, 2017. The deadline for the submission of completed chapters will be December 15, 2017.
New Book | British Models of Art Collecting and the American Response
From Ashgate:
Inge Reist, ed., British Models of Art Collecting and the American Response: Reflections Across the Pond (Aldershot: Ashgate, 2014), 282 pages, ISBN: 978-1472438065.
British Models of Art Collecting and the American Response: Reflections Across the Pond presents 14 essays by distinguished art and cultural historians. Collectively, they examine points of similarity and difference in the approaches to art collecting practiced in Britain and the United States. Unlike most of their Continental European counterparts, the English and Americans have historically been exceptionally open to collecting the art made by and for other cultures. At the same time, they developed a tradition of opening private collections to a public eager for educational and cultural advancement. Approximately half the essays examine the trends and market forces that dominated the British art collecting scene of the nineteenth century, such as the Orléans sale and the shift away from aristocratic collections to those of the new urban merchant class. The essays that focus on American collectors use biographical sketches of collectors and dealers, as well as case studies of specific transactions to demonstrate how collectors in the United States embraced and embellished on the British model to develop their own, often philanthropic approach to art collecting.
Inge Reist, PhD Columbia University, is Director of the Center for the History of Collecting, The Frick Collection and Frick Art Reference Library, New York.
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C O N T E N T S
Introduction, Inge Reist
Part I—Reflections Across the Pond
1 Pictures across the Pond: Perspectives and Retrospectives, Sir David Cannadine
2 The Revolving Door: Four Centuries of British Collecting, James Stourton
Part II—The British Model: Conversing with History
3 The Orléans Collection arrives in Britain, Jordana Pomeroy
4 James Irvine: Picture Buying in Italy for William Buchanan and Arthur Champernowne, Hugh Brigstocke
5 Aristocrats and Others: Collectors of Influence in 18th-Century England, Arthur MacGregor
6 A Decade of Change and Compromise: John Smith (1781–1855) and the Selling of Old Master Paintings in the 1830s, Julia Armstrong-Totten
7 ‘Le Goût Rothschild’: The Origins and Influences of a Collecting Style, Michael Hall
8 The 4th Marquess of Hertford and Sir Richard Wallace as Collectors: Chalk and Cheese? Or Father and Son?, Jeremy Warren
9 Collecting and Connoisseurship in England, 1840–1900: The Case of J. C. Robinson, Jonathan Conlin
Part III—Americans Embrace and Embellish the British Model
10 British Aspirations on the Chesapeake Bay: Robert Gilmor, Jr (1774–1848) of Baltimore and Collecting in the Anglo-American Community of the New Republic, Lance Humphries
11 The London Picture Trade and Knoedler & Co: Supplying Dutch Old Masters to America, 1900–1914, M. J. Ripps
12 The One That Got Away: Holbein’s Christina of Denmark and British Portraits in The Frick Collection, Ross Finocchio
13 The Long Good-bye: Heritage and Threat in Anglo-America, Neil Harris
14 Henry E. Huntington: An American Model for Collecting Art and Instituting Cultural Philanthropy, Shelley Bennett
Bibliography
Index
Call for Papers | Printmaking in Scotland in the 18th Century
From H-ArtHist:
Printmaking in Scotland in the 18th Century
University of St Andrews, 4 December 2015
Proposals due by 1 June 2015
This conference will explore the rich world of printmaking and its development in Scotland in the 18th century. While a good deal of research exists on printmaking in England there is very little on the relationships between artists, printmakers, publishers and collectors in Scotland.
Besides contributions on the work of individual artists, we seek in particular to explore the development of a market for prints. We invite papers on all aspects of the subject, but we are especially interested in contributions that will address the following questions:
• Who were the engravers and etchers, the teachers, publishers, dealers, collectors of prints and suppliers of materials?
• How was the print trade between Scotland, London, and the Continent supported?
• Were there printmakers working outside Edinburgh and Glasgow?
• Where could artists see the work of other printmakers?
• What kind of prints were they making: landscapes and prospects, antiquities, portraits, satires, drawing manuals, book illustrations and book plates, trade cards?
• In what ways did prints contribute to the ‘discovery’ of Scotland, the Jacobite cause?
To submit a proposal for a 20-minute presentation, please send an abstract not exceeding 300 words and a one-page CV to avg1@st-andrews.ac.uk. A selection of papers will be edited for publication by the conference organisers. For further details, contact: Ann Gunn, School of Art History, University of St Andrews: avg1@st-andrews.ac.uk.
New Book | The Portrait Bust and French Cultural Politics
From Brill:
Ronit Milano, The Portrait Bust and French Cultural Politics in the Eighteenth Century (Leiden: Brill, 2015), ISBN: 978-9004276246 / E-ISBN: 978-9004276253, 125€ / $174.
In The Portrait Bust and French Cultural Politics in the Eighteenth Century, Ronit Milano probes the rich and complex aesthetic and intellectual charge of a remarkably concise art form, and explores its role as a powerful agent of epistemological change during one of the most seismic moments in French history. The pre-Revolutionary portrait bust was inextricably tied to the formation of modern selfhood and to the construction of individual identity during the Enlightenment, while positioning both sitters and viewers as part of a collective of individuals who together formed French society. In analyzing the contribution of the portrait bust to the construction of interiority and the formulation of new gender roles and political ideals, this book touches upon a set of concerns that constitute the very core of our modernity.
Ronit Milano is a faculty member in the Department of the Arts, Ben-Gurion University of the Negev, Israel. She has published several articles on the French pre-Revolutionary portrait bust and is currently writing a book on contemporary art installations in eighteenth-century sites.
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C O N T E N T S
List of Illustrations
Acknowledgments
Introduction
1 ‘He is a Philosopher’: Individual versus Collective Identity
2 Decent Exposure: Bosoms, Smiles and Maternal Delight in Female Portraits
3 Between Innocence and Disillusion: Representations of Children and Childhood
4 Transitional Identities: Family Structure, the Social Order, and Alternative Masculinities at the Dawn of Modernity
5 The Face of the Monarchy: Court Propaganda and the Portrait Bust
Conclusion
Bibliography
Index
Exhibition | Asia in Amsterdam
From the Rijksmuseum:
Asia in Amsterdam: The Asian Culture Shock of the Golden Age
Rijksmuseum, Amsterdam, 16 October 2015 — 17 January 2016
Peabody Essex Museum, Salem, Massachusetts, 2016
At the start of the Golden Age, Dutch merchants used their business acumen to establish lucrative trade agreements with Asia. This trade saw all sorts of exotic treasures, such as porcelain, lacquerware, ebony, ivory and silk, arriving in the Dutch Republic, where no one had ever seen such design and materials before. Asia in Amsterdam shares the sensation that these luxury items caused, while also presenting the history behind this first global market. When Dutch ships sailed the entire globe, when young men risked their lives to become rich in Batavia, and when the phrase Made in China meant something else altogether. Amsterdam plaid a central role in the story: the capital city became the marketplace for Asian luxury goods. And not just for the Republic, but for all of Europe. The Peabody Essex Museum in Salem, Massachusetts has one of the most beautiful Asian export art collections in the world and is the Rijksmuseum’s partner for this exhibition.
Call for Papers | The Japanese Palace in Dresden
From H-ArtHist:
Das Japanische Palais in Dresden: Vom Porzellanschloss Augusts des
Starken zum Museumsschloss des frühen Bildungsbürgertums
Dresden, 9–10 October 2015
Proposals due by 26 April 2015
Tagung an der TU Dresden, Fritz-Thyssen-Projekt zur Baugeschichte des Japanischen Palais
Die Tagung hat das Japanische Palais in Dresden-Neustadt zum Gegenstand, das heute etwas abseitig gelegen kaum in seinem wahren Wert wahrgenommen wird. Es handelt sich bei diesem Bau um eines der Hauptwerke des Dresdner Barocks und stellte in seiner ursprünglichen Planung ein absolutes Unikat in der europäischen Architektur des 18. Jahrhunderts dar. 1729 bis 1734 zu großen Teilen aufgeführt, sollte es die reiche Sammlung Augusts des Starken an ostasiatischem Porzellan und die neu geschaffenen, kostbaren Porzellanstücke der Meißner Manufaktur aufnehmen und so Sachsens Glanz eindrücklich präsentieren. Das heutige Schattendasein des Bauwerks liegt wohl auch darin begründet, dass der Tod Augusts des Starken seine Fertigstellung vereitelte und somit das Gebäude nie auf spätere Schlossbauten ausstrahlen konnte.
An der Planung des Japanischen Palais war der König selbst rege beteiligt: Vielfältige regionale, überregionale und internationale Inspirationen und Gedankenansätze flossen hier zusammen und ließen ein einzigartiges Bauwerk entstehen. So ist neben vorbildhaften Bauten, Konzepten und zeremoniellen Eigenheiten auch nach den Erfahrungen der Architekten sowie den politischen Rahmenbedingungen zu fragen.
Nach dem Paradigmenwechsel des späten 18. Jahrhunderts hin zu einer Kultur der Aufklärung und des breiter zugänglichen Wissens sind die Umbauten der Jahre 1786 und 1835 insbesondere vor dem Hintergrund des sich entwickelnden europäischen Bibliotheks- und Museumswesens sowie des Bildungsbürgertums zu würdigen. Die nicht unbedeutenden Zeugnisse der Semperschen Neugestaltung werfen nicht zuletzt auch Fragen zu dessen Italienforschungen und seiner Polychromieschrift auf.
Geplant ist ein anderthalb tägiges Tagungsprogramm mit einer Exkursion ins Japanische Palais und in die Dresdner Porzellansammlung. Sie sind eingeladen, sich mit einem Beitrag an der Tagung zu beteiligen. Die Vorträge sollten die Länge von 20 Minuten nicht überschreiten. Bitte senden Sie bis zum 26. April 2015 einen Vortragsvorschlag von maximal 400 Wörtern sowie einen Kurzlebenslauf, ggf. mit den wichtigsten Publikationen. Die finalen Einladungen ergehen Ende Mai.
Zu den möglichen Themen zählen:
Block 1 – Barock
Europäischer Schlossbau
• Vorbildhaftigkeit bedeutender europäischer Residenzschlösser (v. a. Versailles, Stockholm, Berlin, Escorial)
• Architekten am sächsischen Hof (v. a. Zacharias Longuelune, Matthäus Daniel Pöppelmann und Jean de Bodt)
• Galerie- und profane Zentralbauten in Europa
• Kapellen und Paradeschlafzimmer in barocken Residenzschlössern
Politik
• Sachsen und Habsburg
• Sachsen und Preußen: Konkurrenz und Vorbildhaftigkeit
Städtebau
• Integration von Schlossbauten in bestehende und neu zu schaffende Strukturen
• Achsbildung im Schlossgelände und der Umgebung
• Der Alterswert bestehender Residenzen versus repräsentative Neubauten
Porzellan und Chinoiserie
• Porzellansammlungen an den europäischen Fürstenhöfen
• Porzellan als Prestigegut und seine räumliche Präsentation
• Asien in der europäischen Wahrnehmung
Gartenbaugeschichte
• Gartenkultur in Sachsen, Frankreich und Holland
• Einbeziehung natürlicher Gegebenheiten in die Planungen
Block 2 – Klassizismus und Historismus
Bibliotheken
• Vorbildhafte Architekturen im 18. Jh.
• Von der privaten Sammlung zur öffentlichen Bibliothek
Gottfried Semper
• Antikensammlungen in Europa
• Die Polychromieschrift und Italienforschungen Gottfried Sempers
• Begriff des Gesamtkunstwerks bei Semper
Rahmenbedingungen: Seitens der Tagung werden die Kosten für die Anfahrt und die Unterkunft getragen. Eine Publikation der Tagungsbeiträge ist nicht vorgesehen.
Organisatoren: Dr. Stefan Hertzig (stefan.hertzig@mailbox.tu-dresden.de); Dr. Kristina Friedrichs (kristina.friedrichs@mailbox.tu-dresden.de).
Conference | Challenging Materials: Joshua Reynolds
From The Paul Mellon Centre for Studies in British Art:
Challenging Materials: Joshua Reynolds and Artistic Experiment in the Eighteenth Century
The Wallace Collection, London, 15 May 2015
Organized by The Paul Mellon Centre for Studies in British Art and The Wallace Collection
Joshua Reynolds, Portrait of Mrs Mary Robinson, ‘Perdita’ , 1783–84 (London: The Wallace Collection)
This on-day conference, which accompanies the exhibition Joshua Reynolds: Experiments in Paint at the Wallace Collection, is designed to investigate and contextualise the artist’s famously experimental practice. Building upon the technical findings of the Reynolds Research Project at the Wallace Collection, and also on a range of recent conservation projects on Reynolds’s paintings, it will explore his distinctive manipulation of paint as a medium. Papers will explore new perspectives on Reynolds’s experimental forms of pictorial composition, narrative and allusion, and to look afresh at the dynamic interactions between the artist, his sitters and his models in the studio. As well as focusing on Reynolds’s own art in detail, the conference seeks to place his experimental activities within the context of wider artistic, cultural and scientific practices of the eighteenth century.
Confirmed Speakers: Mark Aronson, Helen Brett, John Chu, Cora Gilroy-Ware, Matthew C. Hunter, Rica Jones, Andrew Loukes, Martin Myrone, Marica Pointon, Martin Postle, Sophie
Reddington, Lisa Renne and Iris Wien.
The conference will take place on 15th May 2015 in London at The Wallace Collection. Tickets can be purchased via Eventbrite. General Admission: £65 (+ admin fee) / Concession Ticket: £45 (+ admin fee).
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F R I D A Y , 1 5 M A Y 2 0 1 5
9.00 Private view of Joshua Reynolds: Experiments in Paint
10.00 Introduction: Mark Hallett and Christoph Vogtherr
10:15 Session 1
• Marcia Pointon (Professor Emeritus in History of Art, The University of Manchester), Known Knowns, Known Unknowns and Unknown Unknowns: Finish and unfinish, in a portrait by Reynolds from the 1750s (?)
• Helen Brett (Painting Conservator, Tate and Martin Postle, Deputy Director, The Paul Mellon Centre), ‘New Light on an old Warhorse’: Joshua Reynolds’s portraits of Lord Ligonier
11:15 Coffee Break
11:45 Session 2
• John Chu (Research Cataloguer, Tate Britain), Experiment, Excess, Patronage: Joshua Reynolds and the 3rd Duke of Dorset
• Iris Wien (Marie Curie/IPODI Fellow, Technical University Berlin), Character as experiment: Reynolds’s A Strawberry Girl and his Boy Holding a Bunch of Grapes
• Rica Jones (Conservator of Paintings, formerly at Tate Gallery), ‘I can vouch for them to be authentick and just, either from my own experiments and observations, the information of persons of undoubted veracity who have practised them, or clear deductions from unquestionable principles’: An appraisal of Robert Dossie’s ‘Handmaid to the Arts’ and the climate in which it was produced in the 1750s
13:15 Lunch Break
14:15 Session 3
• Sophie Reddington (Paintings Conservator, Private Studio and Andrew Loukes, Curator of Exhibitions and Collections, Petworth House, National Trust), Toil and Trouble: The history, materials and restoration of Reynolds’s largest work
• Mark Aronson (Chief Conservator, Yale Centre for British Art), Canvas, a Time Based Media: Joshua Reynolds’s portraits revealed through X-radiography
• Elizaveta Renne (Keeper of British and Scandinavian Paintings at the State Hermitage Museum in St Petersburg), The painting which ‘might be called great if it were more correct: it might perhaps have been correct had it not attempted to be great’
16:00 Coffee Break
16:30 Session 4
• Matthew Hunter (Assistant Professor and Graduate Program Director, Department of Art History and Communication Studies, McGill University), ‘The Unique Art of Hightening and Preserving the Beauty of Tints to Futurity without a Possibility of Changing’: William Birch’s Chemical Gambits
• Cora Gilroy-Ware (from September 2015, Huntington Library/California Institute of Technology), ‘Her swelling breast palpitates’: Life and death in the works of William Hilton
• Martin Myrone (Lead Curator for Pre-1800 British Art, Tate Britain), Painting after Reynolds (around 1820)
18.00 Drinks Reception
Call for Papers | Animating the Georgian London Town House
From The Paul Mellon Centre for Studies in British Art:
Animating the Georgian London Town House
London, 17 March 2016
Proposals due by 8 May 2015
Organised by The Paul Mellon Centre, The National Gallery, and Birkbeck College, University of London
Eighteenth-century country houses loom large in the British national consciousness. Yet, for every great country house from this period, there was usually also a town house. Wilton is much visited and discussed, but we know so much less about its counterpart in London: Pembroke House. Chatsworth has officially been recognised as one of the country’s favourite national treasures, but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including both Pembroke House and Devonshire House, no longer exist, having been demolished in the early twentieth century.
Following on from the Animating the Eighteenth-Century Country House conference in March 2015, this related event will seek to resurrect the lost town houses of the eighteenth and early nineteenth centuries, exploring the position they once occupied in the lives of families and the nation as a whole. Some—such as Spencer House—have survived; others have left fragmentary traces; others have been completely destroyed and can only be recreated on the basis of inventories and descriptive accounts. There is much still to be uncovered about the collections of paintings, sculpture and decorative arts which these buildings once housed as well as about their furnishing, their architecture and gardens, and what refashioning occurred over time.
What was the significance of the town house for families such as the Devonshires and Pembrokes? How much time did they spend in London, relative to their sojourns in the country, and was one home considered more important? How did this vary between families? How did owners arrange their possessions between their houses? London town houses were often the setting for elite socialising, so is it the case that they would house their owners’ most impressive works of art? Was Joshua Reynolds right to bemoan in 1787, on learning that the Duke of Rutland was to keep Poussin’s Seven Sacraments at Belvoir Castle, that ‘the great works of art which this nation possesses are not (as in other nations) collected together in the capital, but dispersed about the country’? When and why were items moved between town and country, and are there discernable patterns over the period? Were London town houses opened to the public in the same way as country houses, and what did visitors say about what they encountered?
As well as mapping the relationship between the town house and the country house, this conference will also explore the geography of London: the location of these properties (especially within the West End), the most important estates (such as the Bedford or Grosvenor estates), and the reputations which various areas accrued. How did these houses position their owners in the complex social and political milieu of Georgian London, and what roles did they play in the lives and activities of those who owned, leased and inhabited them? How was this different for men and for women? And what was the significance of owning a town house freehold, leasehold—or just renting one for a season?
Proposals for contributions are welcomed from art historians and historians working on all aspects of eighteenth and early nineteenth-century town houses, including architecture, painting, sculpture, the decorative arts and garden history. Abstracts for 25-minute conference papers should be no longer than 300 words in length, and should be accompanied by a short biography (of no more than 100 words) detailing any work or recent publications of particular relevance. Please send abstracts and biographies by FRIDAY 8th MAY 2015 to Ella Fleming at the Paul Mellon Centre: efleming@paul-mellon-centre.ac.uk.
Exhibition | Paper Architectures
Filippo Juvarra, Premier projet pour la chapelle Saint Hubert à la Venaria Reale, Turin, vers 1716. Plume et encre brune, 15,9 x 31,3 cm, inv. CD 73 (Paris: Les Arts Décoratifs).
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From the Musée des Arts décoratifs:
Paper Architectures: Drawings from Piranesi to Mallet-Stevens
Architectures de Papier: Dessins de Piranèse à Mallet-Stevens
Musée Nissim de Camondo, Paris, 26 March — 21 June 2015
Curated by Basile Baudez
For the first time at the Musée Nissim de Camondo, in conjunction with the Salon du Dessin, the theme of which this year is architecture, the Musée des Arts décoratifs Graphic Arts Department is featuring a selection of its finest works. They give an idea of the wealth and diversity of architectural drawings, ranging from those that record a key phase in the creative process or a highly finished drawing for a client to a architectural ‘tableau’ painted for the Salon, a sketchbook fantasy or a visual compendium compiled for architectural students. Architectural drawings show the diversity of their purposes: the solving of a structural problem, the reinterpretation of archeological decoration, a description of an industrial process or the design of a garden. All these drawings, acquired or donated to the Musée des Arts décoratifs since its founding, plunge us into the heart of a strange, fascinating and highly varied world.
Enfilade 
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