Call for Papers | Rediscovering Our Sculpture

Posted in Calls for Papers by Editor on March 31, 2020

From Art UK:

Rediscovering Our Sculpture: An Art UK Symposium
Cloth Hall Court, Leeds, 18–19 September 2020

Proposals due by 10 May 2020

Anne Seymour Damer, Portrait of Mary Berry (1763–1852), based on a work from ca.1793, bronze (London: National Portrait Gallery, 6395).

Art UK is inviting submissions for papers for the conference Rediscovering Our Sculpture, which will be held on Friday 18th and Saturday 19th September 2020 at Cloth Hall Court, Leeds. This symposium will celebrate the completion of Art UK’s ambitious sculpture project. It will be an opportunity to thank the project partners and funders. We will be able to share what we have learned and provide practical guidance on using sculpture for learning and engagement and methods of digitisation.

From 2017 to 2020 Art UK has been digitising sculptures in galleries, museums and public buildings, as well as outdoors—in parks, streets, and squares across the UK. The largest sculpture cataloguing project ever undertaken in the UK will be completed as a result of the hard work of a team of dedicated and enthusiastic project staff, photographers, and volunteers. Thousands of sculptures are now free to browse and search on the site, and many more will be added by the end of 2020.

Our extensive learning and engagement programme has taken sculptures into schools, engaged people and communities with their local sculptural heritage, made a series of films with young people, and provided opportunities for blind and partially sighted people to engage with sculpture collections. Professional development training has been made available for staff and volunteers from collections to develop skills around sculpture care and digitisation.

The conference will feature a selection of papers on a wide range of sculpture-related subjects. We welcome papers on topics that may include, but are not limited to:
Sculpture in the UK – research and mapping using Art UK data; new discoveries or research on sculptors, sculptures or collections; materials of sculpture; public sculpture
Sculpture curation – contemporary curation and collections development; collecting and dealing; acquiring new works; display and exhibition; collections research
Public engagement with sculpture – how we grow public interest in sculpture; interpretation and telling stories; access; digital engagement

We welcome proposals for 20-minute presentations. We will also consider proposals for shorter 10-minute case study talks. Please send an abstract of no more than 300 words, as well as a biography of around 200 words, to katey.goodwin@artuk.org. The deadline for proposals is 9am on Monday, 11th May 2020.

Call for Articles | Visual and Material Culture across the Baltic

Posted in Calls for Papers by Editor on March 27, 2020

From ArtHist.net:

Visual and Material Culture Exchange across the Baltic Sea Region, 1772–1918
Edited by Michelle Facos, Bart Pushaw, and Thor Mednick

Proposals due by 1 June 2020; final essays due by 31 December 2020

The long nineteenth century occupies a precarious place in the history of the visual and material culture of the Baltic Sea Region, at once containing the most popular and most obscured areas of art historical investigation. Since the 1990s, the concept of a Baltic Sea Region encompassing the sea and its surrounding land has fostered transnational thinking about the region, transcending Cold War binaries of ‘East’ and ‘West’ in an effort to view the area more holistically. Yet national funding schemes in these countries—Denmark, Estonia, Finland, Germany, Latvia, Lithuania, Norway, Poland, Sweden, and Russia—continue to foster a historiographical imbalance that downplays the region’s extraordinary significance as a cultural crossroads of the world. By contrast, our publication foregrounds visual and material exchanges and the ideological or pragmatic factors that motivated them in order to frame the Baltic Sea as a nexus of entangled individuals and cultures always in conversation across the long nineteenth century (ca. 1770–1920).The volume draws from selected papers from our series of conferences in Greifswald in 2017, Berlin in 2018, Tallinn in 2019, and a final, anticipated, conference in Copenhagen.

The publication focuses on the following themes:
• Travelling Artists and Craftsmen
• Art Academies as International Hubs
• Slavery, Serfdom, and the Colonial Turn
• Relationship between Art and Science
• Art Commerce: Agents, Dealers, Collectors, Advisers
• Foreign Artists at Royal Courts
• International Constructions of ‘National’ Styles

While our volume addresses the long nineteenth century, we are especially keen to receive contributions that approach material culture of the region at the turn of the nineteenth century (ca. 1770–1820) as well as the mid-nineteenth century (1840–1870). A paper proposal of 300 words, together with an accompanying short CV (max. 5-page), should be submitted to mfacos@indiana.edu, bcpushaw@gmail.com, and tmednick@hotmail.com by 1 June 2020. We will notify you by 1 July. The deadline for completed articles/chapters of 6,000–9,000 words will be 31 December 2020.

Call for Papers | Manor House Colloquium: Portugal, Brazil, and Goa

Posted in Calls for Papers by Editor on March 26, 2020

From the Call for Papers:

7th Manor House Colloquium — Portugal, Brasil, and Goa: Cultural Interactions
Fundação Oriente, Goa, 10–13 November 2020

Proposals due by 31 March 2020

The Casa Senhorial Portugal, Brasil & Goa project, hosted at the Instituto de História de Arte, Universidade Nova de Lisboa, in partnership with Fundação Casa Rui Barbosa in Rio de Janeiro, Brasil, promotes the 7th Manor House Colloquium at Fundação Oriente in Goa, from 10 to 13 November 2020. The colloquium aims to extend the study of manor houses to Goa and its territory and share the development of this research with the Brazilian and Portuguese team. Following distinct courses, the architectures of Portugal, Brazil, and Goa nonetheless traded experiences and influenced one another, giving birth to new solutions and models that were markedly original. This call for papers invites researchers to participate in the development and broadening of the debate by submitting an original article in the four themes of the ongoing research project:

• Patrons and artists, customs and rituals
• Distributive programs and functional and symbolic nomenclatures of each space
• Study of fixed ornamentation: ceilings, tiles, carvings, plaster, textiles, floors, chimneys, windows and doors, integrated furniture
• Furniture and equipment in its specific functions

Proposals should be submitted in English, as a Word file, with the following information: paper title, author’s institutional affiliation, thematic line abstract of 250 words, 3–5 key words, biography of 150 words. Send to manorhousesGoa2020@gmail.com by 31 March 2020.

Provisional Schedule

November 10 — Official opening
November 11 and 13 — Communications at the colloquium
November 12, 14, and 15 — Technical meetings and study visits to stately homes in Goa, Palácio
Meneses Bragança in Chandor, Casa Figueiredo in Lotulim, Palácio do Deão in Quepém, Palácio Santana da Silva in Margão, Museum of Christian Art at Monicas Convent in Old Goa

Scientific Committee

Ana Pessoa – Fundação Casa Rui Barbosa, Brasil
Ana Lucia Vieira – Universidade Federal Fluminense – RJ, Brasil
Fátima Gracias – Individual Researcher, India
Helder Carita – IHA/Universidade Nova de Lisboa, Portugal
José Belmont Pessoa -Universidade Federal Fluminense – RJ, Brasil
João Vieira Caldas – Instituto Superior Técnico, Portugal
Marize Malta – Universidade Federal do Rio de Janeiro, Brasil
Pedro Pombo – Goa University, India

Executive Committee

Ana Pessoa – Fundação Casa Rui Barbosa, Brasil
Helder Carita – IHA/Universidade Nova de Lisboa, Portugal
Ana Lucia Vieira – Universidade Federal Fulminense – RJ, Brasil
Joaquim Rodrigo dos Santos – ARTIS /Universidade de Lisboa
Tiago Molarinho Antunes – DINÂMIA’CET/ISCTE-Intituto Universitário de Lisboa

Publishing norms are detailed here»

Call for Essays | Funerary Inscriptions

Posted in Calls for Papers by Editor on March 17, 2020

From ArtHist.net:

Funerary Inscriptions in Early Modern Europe
Intersections, Yearbook for Early Modern Studies

Abstracts due by 15 May 2020

In this volume of Intersections, we want to bring together studies that consider funerary inscriptions in early modern Europe within the context of a culture of commemoration and remembrance. Depending on funding, a two-day conference to prepare the volume is planned to take place in Frankfurt am Main in late August or early September 2021. Applicants will be notified before June 30, 2020.

Although funerary inscriptions from the period 1400–1800 have been collected and studied widely, they have usually been considered with a focus on their axiomatic character or the person they commemorate, or in relation to inscriptions from the same area or time period they were made in. Studies of a more analytical and comparative nature are limited, just as studies that consider funerary inscriptions for their literary components, or analyze them in a wider cultural context, questioning for instance what they reveal about belief in an afterlife and how this relates to contemporary theological notions about life after death and/or a resurrection of the dead. Also open to study are questions how funerary inscriptions for people from similar social classes or professional groups relate to each other, and how the qualities the deceased are praised for correspond to contemporary social values.

The central issue in this volume of Intersections will be the question of how funerary inscriptions were used to shape the memory of a deceased person in a specific way. How were they used to create a specific image that would determine how a deceased person would be remembered and what (s)he would be commemorated for? How would this image fit in the contemporary collective culture of remembrance or in narrower spheres, as for instance specific religious groups or denominations? Or was this image meant to function within a sphere of private commemoration? With these questions as the central issue, funerary inscriptions in Europe from the period between ca. 1400 and 1800 may be approached from various angles: their material dimension, their literary character, the content of what they are stating, their relation to portraits and (sculpted and other) decorations, and the wider cultural context in which they were created and functioned. Topics to be addressed may include:

Material aspects
• How did the persons cutting the text into the stone work together with the writers of the inscriptions, in determining such things as the length of the texts and the individual sentences, dividing lines and breaking off words, using abbreviations etc?
• How do incised funerary inscriptions relate to versions printed in (more or less) contemporary books (differences, mistakes, reductions, etc.)?
• Is there a common pattern of the arrangement of inscriptions on a monument/sarcophagus or does the arrangement of inscriptions have a symbolic character?

Literary aspects
• Epitaphs that were actually carved in the tomb stone vs. epitaphs that were written as literary exercises, never meant to be put on a grave
• Collecting, exchanging and publishing (collections of) funerary inscriptions from Antiquity and/or Christian times
• Funerary inscriptions written by the future deceased themselves as a way to secure their memory
• Funerary inscriptions written in the first person singular (‘the deceased speaking from the grave’ or the tombstone addressing the passer-by): by whom were they written, how common were they on actual tombs or were they mainly created as literary exercises?
• Mock epitaphs and funerary inscriptions for animals
• Style and language: the impact of antique formulations and traditions
• The repetition of axiomatic sayings, motto’s, texts from the Bible
• The use of example books (Ars moriendi) and/or contemporary anthologies of rhetoric and poetry
• The use of Latin, Greek or Hebrew vs. vernacular language.

• What are the qualities and characteristics for which the deceased were praised and deserved to be remembered? How do they correspond to contemporary social values?
• ‘Naming and faming’: which names of well-known people or places are included in funerary inscriptions so as to make the deceased seem (more) important?
• Pride and (false?) humility
• Self-presentation of the dedicators
• Notions about an afterlife and resurrection of the dead; predictions of (the moment or way of) having died come true (vaticinium ex eventu)
• Use of symbols or allegorical structures in the textual parts of the epitaph.

• In what respects are funerary inscriptions for women different from those for men?
• Do funerary inscriptions for specific social classes or professional groups have common characteristics?
• How do funerary inscriptions relate to portraits and to (sculpted and other) decorations of a tomb?
• Symbolism, pictorial program, emblematic structures.

Please submit a one-page abstract (ca. 300 words) and a short curriculum vitae (max. two pages) to one of the editors, before May 15, 2020.

Dr. Veronika Brandis
Institut für Klassische Philologie
Norbert-Wollheim-Platz 1
D – 60629 Frankfurt am Main

Dr. Jan L. de Jong
University of Groningen
Dept. of History of Art, Architecture and Landscape
PO Box 716
9700 AS Groningen

Prof. Dr. Robert Seidel
Institut für deutsche Literatur
Norbert-Wollheim-Platz 1
D – 60629 Frankfurt am Main

Church Monuments Essay Prize

Posted in Calls for Papers by Editor on March 12, 2020

From ArtHist.net:

Church Monuments Essay Prize
Submissions due by 31 December 2020

The Council of the Church Monuments Society offers a biennial prize of £500 called the Church Monuments Essay Prize, to be awarded with a certificate for the best essay submitted in the relevant year along with publication of the winning essay in the peer-reviewed international annual CMS journal Church Monuments. The competition is open only to those who have not previously published an article in Church Monuments. The subject of the essay must be an aspect of church monuments—of any period in Britain or abroad. The length, including notes, shall not exceed 10,000 words and a maximum of 10 illustrations, preferably in colour. The prize will be awarded only if the essay is considered by the judges to be of sufficiently high standard to merit publication in Church Monuments. The closing date for new entries is 31 December 2020. For a copy of the rules and the contributor guidelines, please see the Society’s website, or contact the Hon. Journal Editors for more details or advice on the suitability of a particular topic. For details and for submission of articles, please email the editors: Jonathan Trigg (jrtrigg@liverpool.ac.uk) and Ann Adams (cmsed.aja@gmail.com).

Church Monuments Society
Patron HRH Duke of Gloucester KG GCVO
Registered Charity 279597

Call for Papers | Antiquities and the Art Market in Britain and Italy

Posted in Calls for Papers by Editor on March 11, 2020

Postponed: It is with regret that we have decided to postpone the Antiquities, the Art Market and Collecting in Britain and Italy in the 18th Century conference at Birkbeck this year (17–18 September 2020), due to the ongoing Covid-19 health crisis. Given the current limitations on travel and the closure of university campuses, research institutions, libraries, archives and collections, as well as the obvious challenges to personal safety, the conference will not take place this year. It will instead be held on 16–17 September 2021. The Call for Papers is therefore temporarily closed. To all who have submitted abstracts so far, thank you very much for your interest; we hope that you will consider submitting an abstract again when the Call for Papers is reissued closer to the new deadline. Note added 24 March 2020.

From ArtHist.net:

Antiquities, the Art Market, and Collecting in Britain and Italy in the 18th Century
Birkbeck, University of London, 17–18 September 2020

Organized by Caroline Barron, Catharine Edwards, and Kate Retford

Proposals due by 15 April 2020

Recent years have seen a resurgence of interest in the formation and display of country house collections of art and antiquities in Britain, and particularly those created as a result of a Grand Tour to Italy in the eighteenth century. From The English Prize at the Ashmolean Museum in 2012 and the collaboration between Houghton Hall and The Hermitage State Museum, Houghton Revisited, in 2013, to The Lost Treasures of Strawberry Hill: Masterpieces from Horace Walpole’s Collection in 2018, curators and academics have sought to investigate the antiquities, paintings and collectibles that were brought to Britain in such large quantities.

However, the organisation of the art market at that time has received less attention, and far less than it deserves given its fundamental role in the processes by which objects arrived in collections at that time. New contexts for collecting have also emerged, such as the history of consumption and the economic background to the acquisition of so-called ‘luxury’ goods and prestige objects. The art market of the eighteenth century continues to play a vital role in collecting today; with so many of the objects acquired during a Grand Tour since dispersed in house sales and auctions, or bequeathed or sold to museums. The antiquities and paintings that once adorned the galleries of the cultured in Britain are also still to be found for sale, indicating the longevity of their appeal and value for collectors.

This conference seeks to explore the processes by which these collections were formed, interrogating the relationship between the Italian and British art markets of the eighteenth century, the role of the dealers in Italy, and the auction houses in Britain, through which many of the objects were later to pass, encompassing in depth discussion of the objects themselves. We invite abstracts of no more than 500 words for 30 minute papers to be submitted to the organising committee by 15th April 2020 (antiquitiesartmarketconference@gmail.com) as well as a short CV. We welcome proposals from scholars working in museums, collections, and archives, as well as from academics from across disciplines such as History, Art History, Museum Studies, and Classics. PhD students and ECRs are particularly encouraged to submit abstracts.

Topics may include, but are not limited to:
• Dealers in antiquities between Rome and Britain
• Auctions and auction houses in Britain
• Object biographies of antiquities, old master paintings, modern paintings, rare books, prints, and neo-classical sculpture circulating in the 18th-century art market
• Customers and collectors in the 18th century
• Networks and communities of dealers and collectors
• The economic history of the art market
• The afterlife of collections from the 18th century to today

Call for Papers | Angelica Kauffman Study Day

Posted in Calls for Papers by Editor on March 5, 2020

From ArtHist.net:

Angelica Kauffman Study Day
Royal Academy of Arts, London, 16 September 2020

Proposals due by 15 April 2020

On the occasion of the retrospective dedicated to Angelica Kauffman taking place in Düsseldorf and London in 2020, the Royal Academy of Arts is organising a study day on the artist on Wednesday, 16 September 2020.

A child prodigy and a respected painter famous all over Europe in her own lifetime, Angelica Kauffman (1741–1807) transcended many boundaries and conventions linked to eighteenth-century social norms. She embraced many facets of the Enlightenment beliefs, pursued a career to become a history painter following the neoclassical ideals, and worked for some of the most prominent patrons of the time. She was also one of the two female founding members of the Royal Academy of Arts in London in 1768. At her death, her sculpted bust was placed next to Raphael’s in the Pantheon in Rome thereby underlining her place in the artistic canon.

We welcome papers exploring the rich and versatile career of Angelica Kauffman with a fresh contextualisation in the broader artistic, cultural, social, and economic fabric of the eighteenth century. Topics should draw on Kauffman’s production and career and may include, but are not necessarily limited to:
• Fashion and costume
• The business of art (showroom, records, book-keeping, and clientele)
• Cosmopolitan networks
• International career
• Women patrons
• Royal patrons
• Women artists and their careers
• Artistic/Intellectual friendships and their impact on creativity
• Multiples (prints, designs for decorative arts)
• Female self-portrait and self-representation
• Display in 18th-century European art

Please send an abstract of 300 words and a short biography of 200 words to: Marie.Tavinor@royalacademy.org.uk and Will.Iron@royalacademy.org.uk. We are sorry that we cannot offer any travel bursaries on this occasion.

Call for Papers | Revivals in the Decorative Arts

Posted in Calls for Papers by Editor on March 4, 2020

From ArtHist.net:

Revivals in the Decorative Arts — Annual ICOM / ICDAD Conference
National Palace of Ajuda, Lisbon, 14–16 October 2020

Proposals due by 15 April 2020

The 2020 Annual Conference and General Assembly of ICOM International Committee for Museums and Collections of Decorative Arts and Design will take place at the National Palace of Ajuda in Lisbon, Portugal, from October 14 to 16—plus two days (17–18 October) for the post conference tour to Coimbra and Porto.

Revivals—as a socio-cultural phenomenon recurrent throughout history—seek to rescue principles and traditions of times gone by. In this conference we approach revivals with regard to decorative arts and design. Decorative arts and design are to be interpreted as any domestic or public furnishings including but not limited to textiles, silverware, furniture, wallpaper, tableware, interior decoration as a whole, graphic design, as well as personal accessories (excluding fashion). We also welcome presentations on revivals within decorative and applied art traditions (ceramics, lacquer, metalwork, textiles, woodwork, etc.) made for utilitarian or connoisseurial purposes. Hence we encourage papers proposals on a wide variety of topics including a broad array of Asian, European, or North and South American revival styles. We also include the retro design styles of the 20th and 21st centuries, referring to the resurgence of old yet relatively recent styles.

It is fascinating how heritage is being used and valued, reconsidered both from the positions of a curator, artist, or a designer. We are interested in the examples, phenomena, and notions that reflect upon the relation to the past, treating it with both unsentimental and sentimental nostalgia, introducing ways of dealing with the recent past from different periods in history.

15-minute presentations (in English) will comprise the conference sessions. Please send an abstract of 250–300 words, including your name, title, institution, and ICOM membership number to Maria José Gaivão Tavares, Curator of the Furniture Collection at National Palace of Ajuda and ICDAD Secretary, icdad.secretariat@gmail.com. Additional information is available here.

Call for Papers | Georgian London Revisited

Posted in Calls for Papers by Editor on March 1, 2020

From The Georgian Group:

2020 Georgian Group Symposium: Georgian London Revisited
Society of Antiquaries, Burlington House, London, 7 November 2020

Proposals due by 20 March 2020

The Georgian Group is organising a day-long symposium on ‘Georgian London Revisited’, to be held at the Society of Antiquaries at Burlington House, London, on Saturday, 7 November 2020. Following the successful conferences run by the Group in previous years on Women and Architecture, and on the architecture of James Gibbs and the Adam brothers, the symposium will highlight changing perspectives and new research on the architecture of London during the ‘long 18th century’ (c.1660–1830) undertaken since the publication of the 1988 edition of Sir John Summerson’s seminal Georgian London (reissued with amendments by Sir Howard Colvin, 2003). Topics may include, but are not limited to, the following:
• Housing and estate development
• Public and commercial buildings
• ‘Improvement’: infrastructure, streets, open spaces, bridges, etc
• Places of entertainment

With this in mind, proposals are invited for 15-minute papers based on original research. Please send abstracts of no more than 200 words and a copy of your CV to Dr Geoffrey Tyack (education@georgiangroup.org.uk) by 20 March 2020. Any questions regarding the symposium should be sent to the same address. Further details will be made available, and tickets will go on sale, in the Spring.

Call for Papers | Cultural Dimensions of Dutch Overseas Expansion

Posted in Calls for Papers by Editor on March 1, 2020

From ArtHist.net:

The Cultural Dimension of Dutch Overseas Expansion
Utrecht University, 28 August 2020

Proposals due by 15 March 2020

“It is only money and not knowledge that our people are seeking [in the East Indies], which is to be lamented”, complained the Amsterdam mayor and VOC governor, Nicolaes Witsen, in 1712. The Dutch trading companies may have been associated with various qualities, but an interest in culture was not one of them. None of the VOC officials even noted the presence of the world’s biggest Buddhist temple, the Borobudur, on the island of Java, leaving its re-discovery to the British in 1814. No Dutch writer tried to emulate the epic celebration of the Portuguese maritime empire by Luís de Camões. Dutch expansion had an obvious impact on the sciences and medicine, as demonstrated in Harold Cook’s Matters of Exchange: Commerce, Medicine, and Science in the Dutch Golden Age (2007). But what, if any, was its impact on culture and the humanities?

Here there is, in fact, a fruitful scholarly field that largely remains to be explored. For example, Dutch lust for money set in motion the first transfer of culture on a truly global scale, when 40 million pieces of Chinese porcelain were shipped from East Asia to Europe and the Americas. ‘Indies shops’ in different Dutch cities sold curiosities from six continents. Travelogues—even when ordered by the VOC and predominantly mercantile in outlook—offered a wealth of ethnographic knowledge for the attentive reader. Scholarly-minded individuals could break the commercial pattern, resulting in the first Western translations of a work in Sanskrit (by Abraham Rogerius, 1651), a work of Hindu iconography (by Philips Angel, 1657), and the main work of Confucius (by Pieter van Hoorn, 1675). They must have relied on the expertise of local native speakers; non-Western perspectives come into even clearer focus with at least three Chinese men who visited the Netherlands and with the Africans who sat for Amsterdam painters.

This conference brings together historians of culture, art, literature, language, philosophy, science, and religion to arrive at a fuller picture of the cultural dimensions of Dutch overseas expansion. The keynote lectures will be given by Dr. Roelof van Gelder and Dr. Mariana Françozo (Leiden University).

Possible themes include:
• Cultural topics (art, literature, language, music, mythology, religion) addressed in travelogues
• Non-Western themes in Dutch literature and drama (from ‘Moortje’ to ‘Zungchin’)
• Representations of the world’s peoples, including enslaved persons and non-Western visitors to the Low Countries
• Trade, consumption, interpretation, and imitation of non-Western material culture
• Translations, dictionaries, and grammars
• Cultural industries (print shops, painting studios, artisan’s workshops) established overseas
• Cultural education in the context of the VOC and WIC
• The impact on culture of cross-cultural encounters, slavery, servitude, and colonialism
• Challenges posed by historiographies, religions, and philosophies from beyond Europe

Working group De Zeventiende Eeuw invites all interested in this topic to send in an abstract (max. 300 words) and curriculum (max. 100 words) for a paper (in English or Dutch) of 20 minutes. Proposals for sessions, consisting of three papers, are also welcome. Deadline for abstracts: 15 March 2020, to Jaap de Haan (j.dehaan@uu.nl).

Organizing Committee: Marjolijn Bol, Surekha Davis, Jaap de Haan, Cora van de Poppe, and Thijs Weststeijn