Enfilade

Call for Papers | Close Encounters: The Low Countries and Britain

Posted in books, Calls for Papers, resources by Editor on January 9, 2022

Jacob Jordaens, A Maidservant with a Basket of Fruit, and Two Lovers, detail, 1629–35
(Glasgow: Kelvingrove Art Gallery and Museum)

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From the RKD:

Close Encounters: Cross-Cultural Exchange between the Low Countries and Britain, 1500–1800
RKD – Netherlands Institute for Art History, The Hague, 22 September 2022

Proposals due by 1 March 2022

The risks and challenges of migration are of compelling interest today. Over the last thirty years, research on early modern artists’ migration and on cultural exchange between the Low Countries and Britain has advanced rapidly, and has addressed many themes. The Dutch and Flemish artists’ communities in London, and the careers of individual artists at the English/British and Scottish courts, in particular, have received attention, as has the history of the collecting of Netherlandish art in the UK.

Gerrit van Honthorst, King Charles I, 1628 (London: NPG).

On 22 September 2022, a symposium at the RKD – Netherlands Institute for Art History will mark the launch of the heavily annotated and illustrated digital English language version of Horst Gerson’s chapter on ‘England’ from his Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts of 1942 (The Dispersal and Legacies of Dutch 17th-Century Painting). For historians of Dutch 17th-century painting, in 1942, Gerson’s study of the integration of Dutch art in Britain was largely uncharted territory, although earlier British art historians, including Horace Walpole and C.H. Collins Baker, had been well aware of the involvement of Netherlandish migrants and visitors in art in the British Isles. The launch of the translated and annotated version of Gerson’s text marks the perfect occasion to discuss, contextualize, and rethink his original ideas in the light of present and developing knowledge.

The organizers welcome unpublished contributions on a broad range of areas relating to Dutch and Flemish artists, artisans and art production in Britain. These include: painting, drawing, graphic arts, tapestry, sculpture and architecture, collecting and the art market, as well as the contribution of Dutch and Flemish migrants to many forms of material culture.

Papers will be 20 minutes long, and might address the following themes and questions:
• Fresh approaches to the careers of practitioners from the Low Countries at the English/British and Scottish courts, and in UK urban centres (including monographic studies).
• How did those courts and urban centres function as hubs of cross-cultural exchange between individuals, and of production?
• Less-studied works by Dutch and Flemish artists and artisans who were active in Britain between 1500 and 1800.
• What were the workshop practices and techniques employed by Dutch and Flemish artists and artisans in Britain, and how did these inter-act with local artistic traditions and impact on technical and art literature?
• What were the social networks and professional relationships that linked and supported Netherlandish and British makers, art dealers and collectors?
• What was the market for Dutch and Flemish artistic goods in Britain, and how did it develop over time?

Please submit a preliminary title, abstract (max. 300 words) and a short CV to Angela Jager (jager@rkd.nl) and Rieke van Leeuwen (leeuwen@rkd.nl) before 1 March 2022. Speakers will be notified by 1 April 2022. Selected presentations will be considered for publication.

Close Encounters will be a hybrid symposium to allow for national and international COVID-19 restrictions. Speakers and attendees may choose whether to participate in person or online. For those presenters who decide to come to The Hague, travel and accommodation expenses will be covered (in consultation with the organization).

Academic Committee
Karen Hearn (University College London), Angela Jager (RKD), Sander Karst (University of Amsterdam), Rieke van Leeuwen (RKD), David A.H.B.Taylor (Independent; previously National Trust and National Galleries Scotland) and Joanna Woodall (Courtauld Institute of Art, London)

Call for Papers | Reception of Art in 18th- and 19th-C Mantua

Posted in Calls for Papers by Editor on January 7, 2022

From ArtHist.net:

Opere in Viaggio: Reimpieghi, collezionismo, e nuove committenze a Mantova tra XVIII e XIX secolo
Istituti Santa Paola, Mantua 18-19 May 2022

Organized by Gabriele Barucca, Gigliola Gorio, and Debora Trevisan

Proposals due by 15 January 2022

Through the analysis of significant and unpublished case studies, this conference will explore issues and dynamics related to the collecting and reuse of art objects in and around Mantua in the 18th and 19th centuries, during the crucial period between the fall of the Gonzaga and the beginning of Austrian domination. Proposals can be sent by art historians, numismatists, palethnologists, archaeologists, naturalists, and archivists—at any stage of their careers. Submissions should be sent to Gigliola Gorio (gigliola.gorio@unicatt.it) and Debora Trevisan (debora.trevisan@beniculturali.it) by the 15th of January 2022.

Organized by Gabriele Barucca, Gigliola Gorio, and Debora Trevisan, the conference is supported by the Soprintendenza Archeologia Belle Arti e Paesaggio per le province di Cremona, Lodi and Mantova in collaboration with the Catholic University of Milan and with the support of Istituti Santa Paola (Mantua).

More information, in Italian, is available here»

Call for Papers | Art and Friendship

Posted in Calls for Papers by Editor on January 6, 2022

Eustache Le Sueur, Réunion d’amis, ca. 1640, oil on canvas, 136 × 195 cm
(Paris: Musée du Louvre)

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From the Groupe de Recherche en Histoire de l’Art Moderne (GRHAM), where readers will find the French version of the Appel à communication:

Art et amitié aux XVIIe et XVIIIe siècles en Europe
Art and Friendship in 17th- and 18th-Century Europe
Salle Vasari, Institut national d’histoire de l’art (INHA), Paris, 14 June 2022

Organized by GRHAM and Charlotte Rousset

Proposals due by 31 March 2022

Following the pandemic which isolated all of us, magazines such as Courrier international and Philosophie magazine have dedicated their publications to friendship. This workshop intends on discussing this topical notion through the prism of cultural and social history in art. How did 17th– and 18th-century artists live and conceive friendship?

In her recent publication L’Amitié en France aux XVIe et XVIIe siècles: Histoire d’un sentiment[1], Aurélie Prévost reminds us that the term friendship for Modernists entails a large polysemy. It can refer to a feeling of benevolence, erotic love, harmony, or even a filial, marital, charitable, or religious affection. Furetière in his Dictionnaire even applies it to meat, stating “q’u’une viande n’a point d’amitié, pour dire, qu’elle est dure, infipide, ou degouftante”[2] [“A piece of meat is said to lack friendship when it is hard, flavourless or disgusting”].

Friendship is at the origin of many texts and maxims that constitute our cultural heritage today. Descartes, Kant, the Marquise de Sablé, Spinoza, Jean de La Fontaine, and the philosophers of the Enlightenment have all treated the notion of friendship in literature and philosophy. It can be passionate, like the one maintained by La Boétie and Montaigne, immortalized by the quote “Parce que c’était lui, parce que c’était moi” [“Because it was him, because it was me”], or experienced as a betrayal like the one that tore Diderot, Rousseau, Voltaire and D’Alembert when they were writing the Encyclopédie.

What about the art sector? What sort of relationship, whether friendships or rivalries, did 17th– and 18th-century painters, sculptors, architects, engravers, goldsmiths, miniaturists, medalists, and weavers have? What consequences did these have on their contemporary productions? Is it possible to map out united networks of artists through the link of friendship and joint creations?

Many artists made friendship the main subject of their work. Rembrandt van Rijn[3] depicted the story of David and Jonathan from the Book of Samuel in the 17th century. Arnold Houbraken, a Dutch engraver, depicted a personification of friendship[4] at the start of the 18th century. In France, in 1753, Jean-Baptiste Pigalle produced an allegory of friendship to mark the evolution of the relationship between Louis XV and the Marquise de Pompadour and to emphasize that she remained a beloved friend of the king after having been his mistress[5]. The painter François Boucher produced l’École de l’amitié[6] in 1760. One must also question the importance of portraits of friends and the character of these friendships. These can be between a painter and his patrons such as Antoine Watteau and Jean de Julienne[7] or between artists such as Jean-Honoré Fragonard and Marguerite Gérard[8].

How to make visible the feeling of friendship in a visual art piece? Is it possible to ‘read’ the emotions uniting loved ones through the medium of painting, engraving, or sculpting? How do gazes, gestures, and attitudes express this feeling? What visual devices does the artist use to convey this feeling of sincerity, trust, and commitment?

With this in mind, this workshop intends on exploring a wide variety of themes, such as:
• The cultural history of friendship/friendships
• Sociability (on the individual scale)
• Networks (on the collective scale)
• Quarrels and rivalries, even lawsuits created by a deteriorating friendship
• Friendships leading to artistic collaborations
• The representation of friendship in religious iconography
• Portraits of friends or patrons, conversation pieces, genre scenes, and allegories
• Patterns, symbols, gestures, and positions associated with the representation of friendship
• Objects representing friendship
• Letters of artists
• The fringes of friendship: hidden or forbidden love experienced through a friendship displayed in the eyes of all

Abstracts (up to 500 words, either in French or English), presenting a case study or a general discussion, together with a CV, should be sent to asso.grham@gmail.com and charlotte_rousset@hotmail.com by the 31st of March 2022. The workshop is organized by GRHAM and Charlotte Rousset (doctoral candidate at Lille University, laboratory IRHiS).

Notes

[1] Prévost, Aurélie, L’Amitié en France aux XVIe et XVIIe siècles : Histoire d’un sentiment, Louvain-La-Neuve, UCL, Presses Universitaires de Louvain, 2017, p. 17.
[2] Furetière, Antoine, « Amitié », Dictionnaire universel, La Haye et Rotterdam, Arnout & Reinier Leers, 1690.
[3] La Réconciliation de David et d’Absalon ou Les dieux de David et Jonathan, 1642, Huile sur bois, 73 × 62 cm, Saint-Pétersbourg, musée de l’Ermitage.
[4] Arnold Houbraken, Personnification de l’amitié, v. 1710–1715, gravure sur bois, 18 × 9 cm, Amsterdam, Rijksmuseum.
[5] Jean-Baptiste Pigalle, L’Amitié sous les traits de Madame de Pompadour, 1753, marbre, Paris, musée du Louvre.
[6] François Boucher, L’École de l’Amitié, 1760, huile sur toile, 113 × 146 cm, collection particulière.
[7] As illustrated by the work of François de Troy representing a portrait of Jean de Julienne holding a pencil holder and a portrait of his friend Watteau (1722, huile sur toile, 93 × 73 cm, Valenciennes, musée des Beaux-arts).
[8] Marguerite Gérard is portrayed several times by her brother-in-law Jean-Honoré Fragonard. He represents her at least twice (Jean-Honoré Fragonard, Portrait de Marguerite Gérard, v. 1778, dessin, plume, encre et lavis, 18 × 13 cm, Besançon, musée des Beaux-arts et d’Archéologie et Jean-Honoré Fragonard, Portrait de la belle-sœur du peintre, 2ème moitié du XVIIIe siècle, pierre noire, 13 cm de diamètre, Paris, département des Arts graphiques du musée du Louvre).

Selective Bibliography

• Alberti, Alessia, Rovetta, Alessandro, Salsi, Claudio, D’après Michelangelo, Venise, Marsilio, 2015.
• Cazes, Hélène (dir.), Topiques, Études Satoriennes – Topique de l’amitié dans les littératures françaises d’Ancien régime, Victoria, SATOR, 2015, vol. 1.
• Chapman, H. Perry, Jorink, Eric, Lehmann, Ann-Sophie, Ars Amicitiae: The Art of Friendship in the Early Modern Netherlands, Boston, Brill, 2020.
• Chittister, Joan, The Friendship of Women: The Hidden Tradition of the Bible, Saint-Laurent, Bellarmin, 2007.
• Florensky, Pavel, L’Amitié, Paris, Éditions Mimésis, 2018.
• Fripp, Jessica L., Portraiture and Friendship in Enlightenment France, Newark, University of Delaware Press, 2020.
• Goedt, Michel de, L’Amitié divine à l’école de Thérèse d’Avila, Toulouse, Éditions du Carmel, 2012.
• Heacock, Anthony, Jonathan Loved David: Manly Love in the Bible and the Hermeneutic of Sex, Sheffield, Sheffield Phoenix Press, 2011.
• Hoare, Alexandra, Salvator Rosa, Friendship and the Free Artist in Seventeenth-Century Italy, London, Turnhout, Harvey Miller, Brepols, 2018.
• Nardelli, Jean-Fabrice, Classical and Byzantine Monographs – Le motif de la paire d’amis héroïque à prolongements homophiles. Perspectives odysséennes et proche orientales, Amsterdam, Hakkert, 2004, n° 56.
• Olyan, Saul, Friendship in the Hebrew Bible, New Haven, Yale University Press, 2017.
• Petit, Jean-François, Saint Augustin et l’amitié, Paris, Desclée de Brouwer, 2007.
• Prévost, Aurélie, L’Amitié en France aux XVIe et XVIIe siècles : Histoire d’un sentiment, Louvain-La-Neuve, UCL, Presses Universitaires de Louvain, 2017.
• Rievaulx, Aelred de, Briey, Gaëtane de, L’Amitié spirituelle, Paris, Les Éditions du Cerf, 2019.
• Schnackenburg, Bernhard, Jan Lievens: Friend and Rival of the Young Rembrandt, with a Catalogue raisonné of his Early Leiden Work, 1623–1632, Petersberg, Michael Imhof Verlag, 2016.
• Vesely, Patricia, Friendship and Virtue Ethics in the Book of Job, New York, Cambridge University Press, 2019.
• Williams, Hannah, Académie Royale: A History in Portraits, Farnham, Ashgate, 2015.

Laura Macaluso on Benedict Arnold’s House

Posted in Calls for Papers, journal articles by Editor on December 22, 2021

We’re used to thinking about how the persistence of artifacts and architecture—especially elite forms of material culture—attest to the social and cultural status of individuals long after their deaths. With a growing scholarly appreciation for how the lack of an enduring material record also speaks to historical priorities, many readers will find this essay by Laura Macaluso interesting. And I would draw your attention more generally to Commonplace, edited by Joshua Greenberg; see the ongoing Call for Submissions below. –CH

From Commonplace:

Laura A. Macaluso, “Benedict Arnold’s House: The Making and Unmaking of an American,” Commonplace: The Journal of Early American Life (October 2021).

Arnold’s unceasing efforts to elevate himself in society through marriage and professional work can be viewed through the lens of the houses he bought or built throughout his life.

Benedict Arnold’s Shop Sign (New Haven Museum). ‘Sibi Totique’ (‘For himself and for everyone’).

Historians have examined the many aspects, both positive and negative, of Arnold’s impact on the course of events leading to the establishment of the United States. Yet the largely unanalyzed material culture of his existence—the objects he acquired and the buildings in which he and his family resided—can offer us much more about the contours of his life as he fashioned it, and how others crafted his historical memory. Arnold’s unceasing efforts to elevate himself in society through marriage and professional work can be viewed through the lens of the houses he bought or built throughout his life. This essay looks at the cultural landscape of one of his homes, the New Haven, Connecticut, house he built and resided in from 1769 until wartime. Through an analysis of the choices Arnold made in location, size, and architectural style, I identify how Arnold began to construct his identity not only as a member of the urban merchant class, but also as a gentleman. The building of the home reads as material evidence of his desire to establish his identity and place in society, but equally the abuse and destruction of Arnold’s house is a parallel to the untimely end of a life and career he worked hard to obtain.

The full essay is available here»

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Commonplace: Call for Submissions

Commonplace is now accepting submissions of approximately 2000 words that analyze vast early America before 1900. We seek a diverse range of articles on material and visual culture, critical reviews of books, films, and digital humanities projects, poetic research and fiction, pedagogy, and the historian’s craft. We are especially interested in deep reads of individual objects, images, or documents (including in the collection of the American Antiquarian Society). Submissions should be written in an accessible style and crafted for a wide audience. Inquiries and submissions can be made to commonplacejournal@gmail.com.

About Commonplace:

A bit less formal than a scholarly journal, a bit more scholarly than a popular magazine, Commonplace speaks—and listens—to scholars, museum curators, teachers, hobbyists, and just about anyone interested in American history before 1900. It is for all sorts of people to read about all sorts of things relating to early American life—from architecture to literature, from politics to parlor manners. It’s a place to find insightful analysis of early American history as it is discussed in scholarly literature, as it manifests on the evening news, as it is curated in museums, big and small; as it is performed in documentary and dramatic films and as it shows up in everyday life. . . .

Commonplace originally launched in 2000 as Common-Place: The Journal of Early American Life and has now been reimagined with a cleaner, more accessible interface. Our articles appear on a rolling basis and are arranged by category instead of being organized by issue and volume. . . .

Sponsored by the American Antiquarian Society, founded by editors Jane Kamensky and Jill Lepore, and designed by John McCoy, Common-Place: The Journal of Early American Life is the product of an amazing team of editors and institutions. Over nearly two decades, the journal has been published in partnerships with Florida State University, the University of Oklahoma, the Gilder Lehrman Institute of American History, and the University of Connecticut. Past editors have included Ed Gray; Catherine Kelly; Anna Mae Duane and Walt Woodward. Past contributors and guest editors have included: Joanna Brooks, Robert A. Gross, Gary B. Nash, Megan Kate Nelson, Mary Beth Norton, and Alan Taylor.

In 2019, the Omohundro Institute of Early American History and Culture joined the AAS in a new partnership to redesign and reinvigorate the site.

Call for Papers | The Theatines and Architecture

Posted in Calls for Papers by Editor on December 21, 2021

From ArtHist.net, which includes the Italian and Spanish versions:

‘Circa vestimenta’: i Teatini e l’architettura, XVI–XVIII secolo
The Theatines and Architecture, 16th–18th Centuries
International Conference on the Architectural History of the Order of Clerics Regular Theatines
Sant’Andrea della Valle, Rome, 22–23 March 2022

Proposals due by 7 January 2022

First among the religious orders born in the climate of the Catholic Reformation and rooted in the sensibility of Devotio moderna, the order of Clerics Regular Theatines was officially founded in 1524 by Gian Pietro Carafa (1476–1559, Pope Paul IV from 1555), Gaetano Thiene (1480–1547), Bonifacio de’ Colli (ϯ 1558), and Paolo Consiglieri (1499–1557). After settling in Venice (from 1527), Naples (from 1538), and finally in Rome (from 1555), between the end of the Council of Trent and the middle of the seventeenth century the order became widespread in Italy, at the same time as it began expanding in Europe and evangelizing in non-Christian territories, mainly in the Caucasus and the East Indies.

In spite of the importance of Theatine houses and places of worship, and the relevance of Theatine patrons and architects, the order has not enjoyed the kind of critical reception enjoyed by other early modern orders, such as the Jesuits, the Barnabites, or the Oratorians. The dispersion of a large part of the order’s documentary heritage and, in particular, the scarcity and unevenness of the drawings and other architectural evidence held in the Theatine general archives at Sant’Andrea della Valle in Rome have certainly been among the reasons that have hindered attempts to produce synthetic studies of Theatine architecture.

In recent years new data and questions have emerged from an increasing amount of research, partly published in the journal of the order, Regnum Dei: Collectanea Theatina, and discussed in specific, limited forums, such as a first international conference dedicated to the Theatine foundations in Sicily (2003) and a study day on the history of the Venetian church and house of San Nicolò da Tolentino and the alterations that have affected it (2017). Today it finally seems possible to think of a scholarly gathering in which to relate some of the many histories regarding the Theatines and architecture.

Starting from the architectural enterprises and evidence associated with the order of Clerics Regular Theatines between the sixteenth and the eighteenth centuries, this conference intends to create an initial framework within which to investigate the urgent issues and historiographic problems facing historians today. Namely:
• the settlement strategies of the Theatines in relation to urban context, to economic choices, and to the process of reuse and appropriation of sites
• the particular role of great promoters, financial backers, and patrons in respect to the expansion of the order and their effects on the development of the order’s sites for churches and houses, with particular reference to sacred space
• the role of Theatine priests as patrons or architects of buildings outside the order
• the circulation and migration of models, techniques, and architectural experts and amateurs among Theatine building sites and/or Theatine commissions
• the dynamics of the ‘center-periphery’ relationship, understood as the relationship between the Roman mother house and the other foundations of the order, through investigation of the genesis and design process of Theatine buildings
• the knowledge, skills, and theoretical and scientific debates regarding architecture in the Theatine context, also considering the books held in Theatine libraries and the publications of the order’s priests
• the effects of the order’s spirituality on the selection of building materials, on architectural and decorative solutions, and on the relation of these to antiquity
• the relationship between tradition and experimentation (typological, architectural and in relation to construction techniques) in Theatine buildings
• the differences and distinctive features in design approach, in functional organization, in management of the building sites, and in the choices of material and manner of construction when comparing the houses for religious, buildings intended for teaching, and those destined for worship
• when and how celebrations, processions and ephemeral apparatuses transformed Theatine sacred space and its relation to the urban context.

The possibility of researching and identifying any unique characteristics of the architecture of the Clerics Regular Theatines—both going back to the problems they faced as the first order founded in the early modern era, and in relation to the production of other orders founded around the same time—certainly invites wider reflection than themes strictly related to architecture. One of the keys to understanding this could be found in the ‘arma apostolica’ that Carafa requested from Clement VII in 1533, ‘tam circa vestimenta quam circa alias cerimonias’, with which the first Theatines, anticipating the difficulties related to evangelizing in distant lands, had the opportunity to flexibly adapt to different, geographically distant cultural realities.

The conference will be hosted by the Generalate of the Theatine order at the church of Sant’Andrea della Valle in Rome and will take place 22–23 March 2022. Given the uncertainty of the evolving public health situation, the organizers plan to hold the event in hybrid format, both in-person and online. The proceedings of the conference will be published in a special issue of the journal Lexicon: Storie e Architettura in Sicilia e nel Mediterraneo, a biannual periodical of studies in architectural history, classified as class A for the assessment sectors 08/C1, D1, E1, E2, F1 of the Italian national agency for the evaluation of universities and research institutes (Anvur). Those interested in participating should send a biography of approximately ten lines and a long abstract of no more than 700 words, accompanied by a reference bibliography of no more than ten items, to convegno.architetturateatina@gmail.com by 7 January 2022. Abstracts will be accepted in Italian, English, French, and Spanish. No registration fees are required. For clarification of any questions, please contact convegno.architetturateatina@gmail.com.

Timeline
1 November 2021 — Call for papers
7 January 2022 — New deadline for submission of biography and long abstracts
15 January 2022 — Notification of acceptance
22–23 March 2022 — Conference

Scientific Committee
Richard Bösel (Universität Wien)
Beatriz Blasco Esquivias (Universidad Complutense de Madrid)
Susan Klaiber (indipendente)
Fulvio Lenzo (Università Iuav di Venezia)
Carmine Mazza, C.R.
Marco Rosario Nobile (Università di Palermo)
Edoardo Piccoli (Politecnico di Torino)
Francesco Repishti (Politecnico di Milano)
Augusto Roca De Amicis (Università La Sapienza, Roma)

Conference Organizers and Editorial Committee
Marco Capponi (Università Iuav di Venezia)
Gaia Nuccio (Università di Palermo)

Organizing Committee
Marco Capponi (Università Iuav di Venezia), Gaia Nuccio (Università di Palermo), Mariana Méndez Gallardo (Universidad Iberoamericana Ciudad de México), Padre Marcelo R. Zubia, C.R., Padre Diego Doldan, C.R.

Call for Articles | Mobility, Art and Religion in the Hispanic World

Posted in Calls for Papers by Editor on December 8, 2021

From the Call for Articles:

Special Issue of Religions (2023), Mobilization of Art and Religion in the Hispanic World: The Intersections of Race, Religion, Gender, and Objects c. 1500–1800
Guest edited by C. Cody Barteet and Alena Robin, with Iraboty Kazi

Proposals due by 1 May 2022; completed manuscripts due by 1 February 2023

In recent years, academic interest in the movement of people, objects, and ideas has risen significantly, driven by the desire to develop a fuller understanding of history and our current globalized world (Beaudry and Paron 2013, Corcoran-Tadd, Hung et. al. 2021). These interests have forced us to reconsider knowledge, art, spatial, religious, and historical formations, prior to, during, and after the colonial era, as we have recognized for several decades now that colonialism was formalized and transgressed by virtually all peoples involved (Hofman and Keehnen 2018). Further, objects, styles, concepts, and other material artifacts traversed oceans and continents (Callligaro, Chiappero et. al. 2019, Hamann 2010, Hyman 2017). We look to consider the intersections of Hispanic cultural traditions with European (whether Jewish, Islamic, Catholic, or Protestant), Indigenous/First Nations, Afro-Latin American/Afro-Caribbean, and Asian-Latin American in a developing global world. By considering the mobility of peoples, objects, themes, and other social constructs throughout the global Spanish territories, we explore the intersection of disparate religious traditions to consider the formation of new cultural knowledges and practices through the appropriation, assimilation, commodification, fetishization, marginalization, and hybridization of objects and practices.

We invite contributors to submit their research in English for consideration for publication in a special issue of the journal Religions. Please note that there is a two-stage submission procedure. We will first collect a title and short abstract (maximum 250 words), 5 keywords, and a short bio (150 words), by 1 May 2022, via email to Dr. Cody Barteet (cbarteet@uwo.ca), Iraboty Kazi (ikazi3@uwo.ca), and Dr. Alena Robin (arobin82@uwo.ca). Before 30 May 2022, we will invite selected abstracts to be submitted as 7000- to 9000-word papers for peer review by 1 February 2023. Journal publication is expected in mid- to late 2023, depending on the revision time needed after peer review. Each article will be published open access on a rolling basis after successfully passing peer review.

C. Cody Barteet
Guest Editor
Associate Professor, Department of Visual Arts, Western University, London, ON N6A 3K7, Canada
Interests: Hispanic American art and architecture; early modern visual culture; race, gender, religious art and architecture

Iraboty Kazi
Guest Editor Assistant
Department of Visual Arts, Western University, London, ON N6A 3K7, Canada
Interests: Spanish American colonial art; New Spain; religious art; heritage protection; Latin American art in Canada

Alena Robin
Guest Editor
Associate Professor, Department of Visual Arts, Western University, London, ON N6A 3K7, Canada
Interests: Spanish American colonial art; New Spain; religious art; heritage protection; Latin American art in Canada

Call for Papers | Thinking Europe Visually

Posted in Calls for Papers by Editor on December 7, 2021

From ArtHist.net (6 December 2021), which includes the CFP in French . . .

Thinking Europe Visually / L’Europe par l’image et en images
IMAGO Center at the Ecole Normale Supérieure, Paris, 9–10 June 2022

Organized by Béatrice Joyeux-Prunel and Léa Saint-Raymond

Proposals due by 15 March 2022

“If I had to do it again, I would start with culture”: this statement, often erroneously attributed to Jean Monnet, suggests that Europe as a political and economic construct remains, in the absence of a shared culture, nothing but a hollow shell, empty and soulless. This conference aims to question the disillusioned position which holds that there is no meaningful common European culture, and to do so through images.

One way to visualize the potential existence and limits of a European cultural base is indeed to trace the circulation of images—be they works of art, press images, posters, photographs, or even motifs and patterns—in the region, from antiquity through to the present day. What are the images that have circulated most widely in Europe? Are they specific to Europe or are they already globalized? What was their visual and symbolic impact? Is there a ‘visual culture’ specific to Europe and, if so, what might be its distinctive ‘patterns’? This conference will attempt to question the existence, history, contours, and impact of this ‘Europe of images’—from an art historical and visual studies perspective, as well as in historical, anthropological, and geopolitical terms.

Interested contributors are invited to send proposals (400 words maximum) for a 20-minute presentation, along with a short CV in the same document. Proposals should be sent to Prof. Béatrice Joyeux-Prunel (Beatrice.Joyeux-Prunel@unige.ch) and Dr. Léa Saint-Raymond (lea.saint-raymond@ens.fr) by 15 March 2022. The conference will take place 9–10 June 2022 in Paris (France) and will be hosted by the Imago Center at the Ecole normale supérieure, 45 rue d’Ulm, in collaboration with the project Visual Contagions at the University of Geneva (Switzerland).

Call for Papers | Midwest Art History Society 2022, Houston

Posted in Calls for Papers by Editor on December 4, 2021

Work at the MFAH Sarofim Campus concluded with the opening in November 2020 of the Nancy and Rich Kinder Building (shown above). Designed by Steven Holl Architects, the structure houses art produced after 1900 and moves the MFAH up to the twelfth largest art museum in the world (in terms of gallery space). Photo: Richard Barnes, Museum of Fine Arts, Houston.

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From the Call for Papers:

48th Annual Conference of the Midwest Art History Society
Museum of Fine Arts, Houston and Menil Collection, 10–12 March 2022

Proposals due by 15 December 2021

Head south to Bayou City for the 48th annual conference of the Midwest Art History Society. The conference will be held in Houston, Texas, in close proximity to world-class art collections and cultural sites. Participate in engaging sessions at one of the most impressive art institutions in the nation, the Museum of Fine Arts, Houston (MFAH), on Thursday and Friday, March 10 and 11, with special sessions and visits to the Menil Collection and other area institutions on Saturday, March 12.

On Thursday evening, MAHS members are invited to a keynote lecture, “Re-presenting Afro-Atlantic Histories,” presented by Kanitra Fletcher, Associate Curator, African American and Afro-Diasporic Art, Modern and Contemporary Art at the National Gallery of Art in Washington, DC. Dr. Fletcher will examine Afro-Atlantic Histories, the largest international exhibition effort to date to treat the Black Atlantic as an area of cultural exchange and transformation between Africa and the Americas (MASP, São Paulo and MFAH).

Established in 1900, the Museum of Fine Arts, Houston holds a growing encyclopedic collection of more than 70,000 objects spanning from antiquities to the present. The museum’s Susan and Fayez S. Sarofim main campus comprises a number of important museum buildings and their collections, including the newly opened Nancy and Rich Kinder Building designed by Steven Holl Architects (2020) to house 20th- and 21st-century collections. The MFAH is also home to two house museums, a repertory cinema, two libraries, public archives, and facilities for conservation and storage, as well as the International Center for the Arts of the Americas (ICAA), a leading research institute for 20th-century Latin American and Latino art.

Conference attendees are encouraged also to explore the Lillie and Hugh Roy Sculpture Garden and the beautiful works in the Brown Foundation, Inc, Plaza, which provides views of downtown Houston. Just across the street, the Contemporary Arts Museum, Houston offers visitors an opportunity to view exemplary work by living artists. Established in 1948 and housed today in a space designed by Gunnar Birkerts in 1972, the museum exhibits work by local and global living artists and organizes thought-provoking arts programming to educate and inspire audiences.

Close to the Museum District are spectacular sites of downtown architecture and green spaces, interspersed with a vibrant collections of museum spaces including the Asia Society Texas Center, the Buffalo Soldiers National Museum, the Czech Center Museum Houston, Diverseworks, Holocaust Museum Houston, Houston Center for Contemporary Craft, Houston Museum of African American Culture, Lawndale Art Center, the Jung Center, Children’s Museum of Houston, Houston Museum of Natural Science, the Houston Zoo, and the Health Museum.

The Houston skyline is distinguished by a host of striking buildings, varying from the Houston City Hall, constructed by the Works Progress Administration following the Great Depression in the 1930s, to the 1999 postmodern ‘Skyscraper of the Century’ Williams Towers designed by Philip Johnson. Green spaces include the Discovery Green, an area famous for its restaurants, food trucks, and free community events varying from yoga to concerts and arts shows; and Herman Park, home of the Houston Zoo and trails leading to a small lake with pedal boats and a Japanese Zen Garden.

Beyond the Museum District, the nearby Montrose neighborhood developed in 1911, offers visitors diverse dining and shopping options. In the 1980s, it was the center of the gay community and today is a demographically diverse area with renovated mansions, bungalows with wide porches, and cottages located along tree-lined boulevards. More recently (in 2009), Montrose was named one of the ‘ten great neighborhoods in America’. The world-class art collections of Dominique and John de Menil are housed in the Menil Collection in the heart of Montrose. The impeccable Renzo Piano building features matchless galleries of Surrealist art, as well as later modern and contemporary art, arts of Africa, Oceania and Latin America, and important temporary exhibitions. The Menil campus also contains the Rothko Chapel, a museum building dedicated to the art of Cy Twombly, and the new Menil Drawing Institute with its own display and study spaces.

Conference presentations are expected to be under twenty minutes. Proposals of no more than 250 words and a two-page CV should be emailed to the chairs of individual sessions by Friday, 15 December 2021. Chairs are to submit finalized panels for their sessions by 10 January 2022.

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A selection of sessions of potential interest for eighteenth-century scholars is listed below (with the full listing available here).

Drawings and Prints, I
Chair: Cheryl Snay (Curator of European Art, Snite Museum of Art, University of Notre Dame), csnay@nd.edu
This session invites new research or perspectives on early modern American and European drawings and prints from the fifteenth to the nineteenth century.

Graduate Student / Early Career Workshop: Museum Work — Skills, Applications, Opportunities
Chairs: Rex Koontz (University of Houston) and Christine Bentley (Missouri Southern State University), rkoontz@uh.edu and bentley-c@mssu.edu

Provenance Studies
Chair: Jon Evans (University of Houston), jevans@uh.edu

Textiles / Fashion
Chair: Erica Warren (The Art Institute of Chicago), ewarren2@artic.edu

Decolonizing Art History
Chair: Lauren DeLand (Savannah College of Art and Design), delan104@umn.edu

Art History Pedagogy
Chairs: Beth Merfish and Sarah Costello (University of Houston-Clear Lake), merfish@uhcl.edu

Socially Engaged Art History Round Table
Chairs: Cindy Persinger (California University of Pennsylvania) and Azar Rejaie (University of Houston Downtown), persinger@calu.edu and rejaiea@uhd.edu

African Art and Art of the African Diaspora
Chair: Felicia Mings (Curator, Art Gallery of York University), mings@yorku.ca

Art of the Indigenous Americas: Ancient and Modern
Chair: Rex Koontz (University of Houston), rkoontz@uh.edu

Between the Local and Global: Art of the Americas
Chair: Cristina Gonzalez (Oklahoma State University), cristina.gonzalez@okstate.edu

Asian Art
Chair: Jennifer Lee (School of the Art Institute of Chicago), jlee241@saic.edu

Early Modern Art (15th–18th Centuries)
Chair: Elizabeth Carroll (San Jose State University), elizabeth.carroll@sjsu.edu

Recent Acquisitions in the Midwest
Chair: Cheryl Snay (Snite Museum of Art, University of Notre Dame), csnay@nd.edu

Technical Art History
Chair: Amy Morris (University of Nebraska at Omaha), ammorris@unomaha.edu

Undergraduate Art History Session
Chair: Paula Wisotzki (Loyola University), pwisots@luc.edu
Faculty members who have received outstanding research papers from undergraduate students within the past two academic years are invited to submit them for inclusion in our eighth annual Undergraduate Research Session. These papers should explore specific art historical research questions. In all cases, a faculty member (usually the submitter) must serve as a mentor and accompany the undergraduate student to the annual conference. Submissions should include the complete paper of no more than 2500 words, a 250-word abstract, and the student’s resume. In the event that the paper is accepted, undergraduate student presenters and faculty mentors are expected to pay membership and conference fees.

Call for Papers | English and Irish Crystal Drinking Glass, 1640–1702

Posted in Calls for Papers by Editor on November 14, 2021

From ArtHist.net:

English and Irish Crystal Drinking Glass, 1640–1702
Victoria and Albert Museum, London, 6 October 2022

Proposals due by 1 March 2022

Writing the translation of Neri’s The Art of Glass in 1662 Christopher Merret declared that English glassmakers had “these twenty years last past much improved themselves.” Similarly, in 1672 the glass-seller John Green claimed that “we now make very good drinking glasses in England.” Undoubtedly, the latter half of the seventeenth century was a period of material, technical, and aesthetic development, which saw the vessel-glass industry in England and Ireland reach maturity. The V&A Museum in partnership with the Association for the History of Glass is delighted to announce a conference entitled Celebrating the Birth of English and Irish Crystal Drinking Glass, 1640–1702 as part of the UN International Year of Glass to be held at the V&A on Thursday, 6 October 2022. This study day aims to explore the evolving story of the birth of these sophisticated products a century before the ‘industrial revolution’ began. We invite contributions that draw on a range of methodological perspectives including art history, history, archaeology, science technology, conservation, curatorial praxis, and historic making practices.

2022 has recently been designated by the United Nations as International Year of Glass. 2022 also marks 125 years since the publication of Albert Harshorne’s Old English Glasses, the first serious study of the history of English and Irish glass, and additionally represents 350 years since 1672, a pivotal year in the development of crystal glass. Thirty years earlier had seen the closure of the only crystal glass factory in these isles, but twenty years later there were approximately thirty glasshouses producing flint and crystal glass and the industry was the envy of our continental rivals. Such a growth rate was probably unprecedented, yet it was encouraged by a range of key events including: the publication of Merrett’s translation of Neri’s Art of Glass at the request of the newly-formed Royal Society (1662); the establishment of The Worshipful Company of Glass Sellers of London, who received their Royal charter which, among other things, enabled them to assume responsibility for drinking glass designs (1664); and the decision taken by the King to allow saltpetre imported from India to be sold at public auctions, removing the last barrier to the economic production of a high-quality British flint glass (1672). By the 1670s, the quality and value of English crystal drinking glass was even acknowledged by the Venetian secretary in London, to have exceeded that from Venice. During this time two significant patents were also given, the first a seven-year patent to George Ravenscroft to produce a “glass resembling rock crystal,” and the second an almost identical patent which was granted in Ireland to the Altarese glassmaker Jon Odacio Formica and two others, but for a duration of fourteen years. Odacio had worked previously in Nijmegen, the Netherlands. It is important to emphasise the European context at play here. For example, we know that many Italian glassmakers played key roles in the development of our industry, and several worked for Ravenscroft in the 1670s.

Frequently, this area of study in historical glass has been dominated by attributions based solely on aesthetic appearance and an overemphasis on the singular figure of Ravenscroft. However, more recent research including that by Mike Noble, Colin Brain, David Dungworth, Peter Francis, and Franc Myles has confirmed that the development of lead crystal glass vessels in England and Ireland was a much more multifarious and complex process. Furthermore, there is currently an exciting field of emerging research which brings together documentary and visual evidence, along with non-destructive analysis (XRF, PXRF, UV-Fluorescence, etc). As such, this study day seeks to bring together scholars, curators, makers, and collectors to explore crystal glass vessels and review previous historiographical assumptions.

We invite submissions for 20-minute or 30-minute illustrated papers on any aspect of the supply, design, production, consumption, and analysis of British and Irish crystal glass drinking vessels, 1642–1702

Topics could also include:
• Museum display and interpretation
• Documentary evidence of crystal glass vessels
• Studies of non-destructive analysis for crystal drinking vessels
• Influence of alchemy and scientific discovery
• Difference between English and Irish production
• Design, consumption patterns, dining culture
• Influence of the European glass vessel industry
• Historiography of the crystal glass vessel industry, especially how the story of the birth of English and Irish crystal glass has been told previously

Please send your submission, of no more than 300 words, together with a brief biography to: Colin Brain (cjsm132@gmail.com); Reino Liefkes (r.liefkes@vam.ac.uk); Dr Caroline McCaffrey-Howarth (c.mccaffreyhowarth@vam.ac.uk) by 1 March 2022.

Call for Papers | Gender and the Hunt

Posted in Calls for Papers by Editor on November 13, 2021

From ArtHist.net:

Hunting Troubles: Gender and Its Intersections in the Cultural History of the Hunt
Flüchtige Identitäten: Jagd als Schauplatz geschlechtlicher Phantasien
Online, Bremen, 12–14 May 2022

Proposals due by 31 December 2021

Hunting has always been an arena of gender fantasies. Its function as a social practice and aesthetically orchestrated event far outweighed its significance in terms of food procurement or defense against wild animals—this was not only the case in European cultural history. The pursuit and killing of animals were above all an area where physical, cognitive, and social superiority were demonstrated. Hunting therefore created and reinforced images of the ‘masculine’ as well as the ‘feminine’. Countless ancient myths focus on male heroes whose political and sexual violence is linked to images of the hunt. At the same time, however, hunting is not always and unquestionably associated with masculinity. The same myths are also populated by hunting women—such as the Greek goddess Artemis, her nymphs Daphne, Kalisto and Echo, and mortals such as Atalante, who, after gaining access to a male hunting party through her lover, decisively wounds the Calydonian boar. Later on, in the Minnelieder songs of the Middle Ages, lovers engage in an erotic chase during which the role of the hunter and the hunted seem—at times—interchangeable. And the carefully orchestrated portraits of early modern princesses in hunting costumes bear as much witness to the subversion of gender roles as the (self-) representations of colonial huntresses since the nineteenth century.

As a symbol and technique that—in itself—seemed to gesture towards asymmetrical power structures, hunting has always served to naturalise gender difference and binarity. However, hunts and their representations always seem to open up spaces in which gender and other boundaries are not only established and consolidated, but also unsettled and blurred. Both the young man Leukippos in the ancient myth who disguises himself as a woman in order to gain access to the virgin nymph’s hunting party and the male animal in Ernst Jünger’s short story “Die Eberjagd” (“The Boar Hunt”) (1952) that is, at the moment of the kill, are transformed and can be read as ‘female’. There is an—albeit temporary—ambiguity of gender boundaries, a floundering, which seems—if not inevitably but repeatedly—to go hand in hand with the principal liminality of the hunting situation and its stagings.

These ambivalences of hunting as a cultural and symbolic practice as well as its aesthetic (literary, artistic, performative) stagings are the starting point of the conference and the publication project, which is designed to give an extensive overview of the interrelations between gender and the hunt in European cultural history. From a historical as well as intersectional perspective, we wish to examine how the interplay between actual hunting and its representations reinforced and/or destabilized certain gender images. The focus will be on the following intersecting approaches:

Hunting practices
What role did different hunting practices and their stagings play in the construction of gender identities? When and why were which hunting practices considered specifically ‘male’ or ‘female’? Which historical caesurae inform the history of gender images when it comes to hunting: are there historical constants, epochal changes and regional differences that can be identified?

Men’s Worlds
Which concepts of masculinity have been produced through the practice and representation of the hunt? Which customs, techniques and laws made hunting an effective means of demonstrating and narrating virility? Are these narratives tied to specific artistic genres? How were notions of gender difference naturalised through hunting? Which homoerotic constellations did hunting produce and sublimate?

Women on the Hunt
Which concepts of femininity were produced through hunting, its performance and aesthetic representation? Under what social and political conditions could women reinterpret hunting semantics or subvert heteronormative relations? Are narratives of female hunting bound to certain artistic genres, genres, etc. or excluded from them, and, if so, why? What needs (or fears) were expressed by narratives of mythical female hunters and the omnipresence of Artemis/Diana in images, buildings or festivals of hunting?

Female, Male, and Other Animals
How did the relationship to wild or domestic animals such as horses and dogs affirm or subvert heteronormative gender notions? How was the pronounced sexual dimorphism reflected – especially in cases where the larger females were the preferred hunting animals, such as in the case of the goshawk or sparrowhawk? Which role did the gender of hunted animals play in empathic descriptions of the hunter’s desire and identification with the pursued animal?

Intersectional Perspectives
To what extent is the relationship between ‘human’ and ‘animal’, ‘nature’ and ‘culture’ as well as ‘foreign’ and ‘familiar’ in literary and artistic representations of hunting gendered and to what extent is this subject to historical change? In which constellations did hunting as a technique of demonstrating superiority in terms of gender, class and race reach its limits? Did hunting also produce non-binary (gender) constellations and/or transcultural situations? To what extent are these also partly intertwined with the transgression or consolidation of social boundaries?

For these and related questions, we especially ask for suggestions for topics in literature, art and cultural studies, history, and other fields. To submit send a 250-word abstract for a 20- or 30-minute paper (English/German) and a short bio to Dr. Laura Beck (laura.beck@uni-bremen.de) and Prof. Dr. Maurice Saß (Maurice.Sass@alanus.edu) before December 31, 2021. Please name one of the approaches above (hunting practices, men‘s worlds, etc.) to which you would assign your proposal. Partial reimbursements of travel and/or stay may be offered. After the conference we would like to publish the results in an anthology as soon as possible.

Schedule
Deadline for submissions: 31 December 2021
Applicants will be notified by 10 January 2022
Date of the conference (online or presentational in Bremen, Germany): 12–14 May 2022
Deadline for submission of manuscripts: 1 November 2022

 

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