Enfilade

Call for Papers | G.L.F. Laves and Colleagues, 1770–1860

Posted in Calls for Papers by Editor on July 1, 2022

From the Call for Papers:

G.L.F. Laves and Colleagues: Architects as Designers of Interiors and Furniture, 1770–1860
Museum August Kestner, Hanover, 17–18 March 2023

Proposals due by 12 September 2022

Georg Ludwig Friedrich Laves (1788–1864), among the most important representatives of classicism in Germany, decisively shaped the image of the city of Hanover with his urban-planning designs and structures. Numerous secular buildings, including the Leineschloss in the city centre—the residence of the kings of Hanover from 1837 to 1866 and today the seat of the Landtag of Lower Saxony—as well as the reconstructed Schloss Herrenhausen and private palace, are reminders of this court architect of the Kingdom of Hanover. Building alterations and new constructions based on his designs have survived in various places in what is now Lower Saxony, including Schloss Derneburg and the Schloss Celle. As part of these projects, Laves also designed the corresponding interiors, which put him in line with his famous contemporaries Karl Friedrich Schinkel (Berlin), Leo von Klenze and Jean-Baptiste Métivier (Munich), and Johann Conrad Bromeis (Kassel). A majority of the interiors designed by Laves were destroyed in World War II—such as the representative halls of the Leineschloss (1834–36) and the living quarters of the royal family in the Palais an der Leinstrasse (ca. 1818 and later)—and the furniture scattered. Based on the research project of Thomas Dann, who has a comprehensive view of designs for furniture and interiors thanks to his many years of archival work and research around surviving furniture, the Museum August Kestner is showing the exhibition G. L. F. Laves—ein Hofarchitekt entwirft Möbel from 6 November 2022 to 26 March 2023. For the first time in Hanover, a selection of Laves’s drawings for furniture and interiors will be on view, together with examples of furniture created according to his designs.

Parallel to the exhibition, mobile – Gesellschaft der Freunde von Möbel- und Raumkunst e.V., the Museum August Kestner, and the Deutsches Forum für Kunstgeschichte Paris are organizing an international conference that seeks to place Laves’s furniture and interior designs in a larger historical and cultural context. Among the well-known architects who were frequently encountered in the 19th century and who—like Laves in Hanover—designed interiors as well as furniture were the English architects Jeffry Wyatville, John Nash, and Thomas Hope, along with Charles Percier, Pierre François Léonard Fontaine, and Jakob-Ignatz Hittorff in France, and Pelagio Palagi in Italy. It is this special aspect of his work that is the focus of the conference Georg Ludwig Friedrich Laves and Colleagues: Architects as Designers of Interiors and Furniture, 1770–1860, with particular emphasis on the furniture designs. From an expanded European perspective, the question of the defining characteristics of architects’ furniture will be taken up.

Further themes and questions might include:
• What sources of inspiration/role models are called upon and what materials are preferred for the execution?
• What role do surrogate materials play, such as decoration in stucco or sheet iron and zinc?
• How did the transfer of knowledge transnationally between the architects and craftsmen work?
• What is the relationship between architect and client when it comes to the design of interior spaces?
• What sources are there on the collaboration between designers and the executing tradesmen?

The conference will take place on 17–18 March 2023 in the Museum August Kestner in Hanover and is geared towards junior and early career scholars. Proposals for a 20-minute presentation (abstract of 300 words maximum; the conference languages are German and English) together with a short biography (including email and physical address as well as institutional affiliation) should be emailed to the following address by 12 September 2022: laves@dfk-paris.org. You will be informed of the outcome of your submission by the beginning of October 2022 at the latest.

Conference Organizers
Mirjam Brandt (Museum August Kestner, Hanover), Andreas Büttner (Städtisches Museum Braunschweig), Jörg Ebeling (Deutsches Forum für Kunstgeschichte Paris), Martin Glinzer (art historian, Berlin), Henriette Graf (Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg), Petra Krutisch (Germanisches Nationalmuseum, Nuremberg), and Sally Schöne (Museum August Kestner, Hanover)

Call for Papers | Variety, Variation, Multiplication

Posted in Calls for Papers by Editor on June 24, 2022

From ArtHist.net, which includes the German version:

Variety, Variation, Multiplication: Imaging Techniques in Premodern Art and Their Products
Die Vielfalt des Vervielfältigten: Bildgebende Verfahren in der Kunst der Neuzeit und ihre Produkte
Institut für Kunstwissenschaft und Historische Urbanistik, Technische Universität Berlin, 13–15 April 2023

Organized by Magdalena Bushart, Livia Cárdenas, and Andreas Huth

Proposals due by 1 August 2022

Interdependencies VII – Seventh international conference of the research project Interdependencies: Arts and Artistic Techniques at the Department for Art History, Institut für Kunstwissenschaft und Historische Urbanistik, Technische Universität Berlin

Printed images and moulded artworks have one thing in common: they refer to an ‘original form’ to which they stand in a complex relationship. Produced in a mechanical process with the help of a (negative) form—a casting mould, a printing block, or a printing plate—they assert a reference of similarity both to their model and each other. Nevertheless, they are not reproductions that are largely identical to their ‘prototype’. After all, the transfer of the original is done in a different technique and usually also in a different material than that of the ‘prototype’. Thus, each is produced in its medium which influences the form with its technical requirements. From a technical, material, and formal point of view, they rather represent variants than precise reproductions of the initial work. And even the reproduced works do not look the same. Although they are based on a common casting or impression mould, they are subject to the conditions and contingencies of the production process, as well. In addition, these products were often further processed, i.e. ‘varied’. This is particularly the case in the 15th and 16th centuries, the period in which the techniques of printmaking and moulding were redefined through the innovative use of materials, the opening up of new markets, and the development of a specific aesthetic: Three-dimensional objects—such as sculptures made of terracotta or plaster—were reshaped in parts and individually polychromed, while two-dimensional works—mainly woodcuts and copper engravings—were coloured, trimmed, or silhouetted. This raises the question of the relationship of the artefacts to each other or their individuality: Were the works understood as individual pieces, as part of a series, as repetitions? Or did the attraction lay precisely in the knowledge of the singularity of the pieces despite their obvious similarities?

Variety, Variation, and Multiplication in the Art of the 14th to 18th Centuries shall be the subject of the seventh conference in the series Interdependencies: The arts and their techniques. Instead of focusing on the standardising effect of reproduced artworks and printed images (e.g. through the establishment of certain types of images and the standardisation of knowledge), we want to question the variants and their variances arising through printing and moulding processes or further processing. On the one hand, we are interested in the differences between the originals and the repetitions. On the other hand, we want to explore the margin opened up by the respective production process as well as by the possibilities of further handling: How do the products relate to their ‘prototype’ and each other? Do the variances result from intentional interventions or, the production process? What is the function of the medium of transfer? What is the effect of the change in materiality? What forms of further processing can be observed? How can common and singular characteristics of the reproduced works be described? What connects two- and three-dimensional reproductions and how do they differ? And last, but not least: How has the tension between similarity and deviation been received? Did it play a role in the perception of contemporaries or was it ignored?

All those interested in the conference are invited to submit an abstract of no more than 5,000 characters together with a short CV. Please send your proposal by 1 August 2022 to Prof. Dr. Magdalena Bushart (magdalena.bushart@tu-berlin.de) and Dr. Andreas Huth (andreas.huth@tu-berlin.de).

Call for Papers | UAAC/AAUC 2022

Posted in Calls for Papers by Editor on June 23, 2022

From UAAC/AAUC:

Universities Art Association of Canada / l’association d’art des universités du Canada
In person, University of Toronto, 27–29 October 2022, and online, 4 November 2022

Proposals due by 30 June 2022

Each fall, UAAC-AAUC hosts Canada’s professional conference for visual arts-based research by art historians, professors, artists, curators, and cultural workers. This year’s conference includes three days of in-person meetings at the University of Toronto and one day of online panels.

Submit proposals by using the Call for Papers Proposal Form. Proposals are sent directly to the chair(s) of the session. The deadline for submission is 30 June 2022.

A very limited selection of sessions potentially related to the eighteenth century, including the HECAA panel, is provided below. The full listing is available here.

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26  Made Up: An Art History of Cosmetics (in person)
Hana Nikcevic (University of Toronto) and Tara Allen-Flanagan (Independent scholar), hana.nikcevic@utoronto.ca and tara.allen-flanagan@mail.mcgill.ca

Art has been acknowledged for centuries as the business of deception and artifice—spanning trompe l’oeil to parafiction—but it shares this storied past with a less-celebrated, heavily-gendered counterpart: cosmetics. Fascination with feminine art/artifice underpins the corpus of toilette paintings, but in these portrayals as in later iterations—from Boucher’s Pompadour to Vogue Beauty Secrets—the face-painter’s agency has been, through analogy with the artist, variably recouped and contested. Cosmetics likewise represent the spoils and vectors of globalization and imperialism; if Queen Elizabeth I’s chalky visage, asserted through portraiture, already reflected and advanced England’s imperial efforts, Angela Rosenthal confirmed the eighteenth-century coalescence of racial theory and complexion. This session interrogates cosmetics’ aesthetics, asking after global and historical conflations of and disparities between art and make-up; cosmetics’ conflicting capacities to subjugate and subvert; the entwined histories of beauty, complexion, racialization, imperialism, and oppression; and, most broadly, the understudied visual and material cultures of cosmetics.

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27  Monuments and Their Futures in North America (in person)
Cody Barteet (Western University), cbarteet@uwo.ca

Recently, monuments have received significant attention. Whether connected to their removal, conservation, and construction, individuals and organizations have used monuments to promote varying ideological concepts. In Canada, most of this conversation has been limited to the removal and vandalism of monuments associated with the long colonial legacy and its impact on Indigenous peoples. However, this conversation changed radically in late January 2022 when the so-called Freedom Convoy descended upon Ottawa to protest existing COVID-19 policies. During the occupation, several of Ottawa’s monuments were vandalized including those to Terry Fox and to fallen Canadian soldiers. Unlike previous vandalisms in Canada, the backlash against their defacement was immediate and universal. Informed by this shifting context concerning monuments, this panels queries the future and purposes of monuments through diverse methodologies: nationalism, racism, environmentalism, etc. In so doing this panel analyzes the current “monument discourse” and queries the needs and purposes of monuments.

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28  ‘My Strength, My Comfort, My Intense Delight’: Women, Art, and Lifewriting in the Eighteenth and Nineteenth Centuries (in person)
Charles Reeve (OCAD University), creeve@ocadu.ca

Like her contemporary Eugène Delacroix, British watercolourist Elizabeth Murray left the ‘West’ in the early 1800s for the ‘Orient’, recording her adventures in extensive writings and images. However, while Delacroix’s journals and notebooks became widely celebrated, Murray’s account slid into obscurity—even though Delacroix’s journey lasted only six months and generated two articles, while Murray’s time in the region prompted her two-volume autobiography Sixteen Years of an Artist’s Life in Morocco, Spain, and the Canary Islands. Moreover, accounts by other women from that century—Élisabeth Vigée Le Brun and Elizabeth Butler—similarly languished, creating the sense that this era’s female artists neither left home nor published autobiographies. This panel aims to explode this misapprehension by convening discussions of lifewriting by women artists of the 1800s and earlier. We welcome proposals regarding all lifewriting forms (e.g. diaries, letters), with particular interest in accounts originating outside normative ‘Western’ narratives, and/or regarding now-obscure autobiographies.

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54  HECAA Open Session (online)
Christina Smylitopoulos (University of Guelph), csmylito@uoguelph.ca

HECAA works to stimulate, foster, and disseminate knowledge of all aspects of eighteenth-century visual culture. This open session welcomes papers that examine any aspect of art and visual culture from the 1680s to the 1830s. Special consideration will be given to proposals that demonstrate innovation in theoretical and/or methodological approaches.

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63  Women and the Arts in the Early Modern Period (online)
Andrea Morgan (Independent scholar), 14acm5@queensu.ca

Women have long faced challenges in pursuit of their engagement with the visual arts. While upper-class and aristocratic early modern women were often encouraged to dabble in or have some familiarity with the arts to make them amiable and polite companions, they were rarely afforded the same opportunities as their male counterparts. Yet, women such as Artemisia Gentileschi and Angelica Kauffmann excelled in their professional practice; still others persisted but remain relegated to the realm of the ‘amateur’. This panel seeks papers that highlight the life and work of both professional female artists as well as those lesser known, including women who worked in media other than painting. This session also encourages explorations of alternative ways women engaged with the art world in the early modern period, whether that be through art collecting or curating, broadly defined, and women in the commercial world who worked as art dealers or suppliers.

Call for Papers | Engraving Dance, Music, Science, and Geography

Posted in Calls for Papers by Editor on June 17, 2022

From ArtHist.net:

Engraving Dance, Music, Science, and Geography: Crafts, Trades, and the Dissemination of Knowledge in the 18th Century
INHA, Paris, 21–22 November 2022

Organized by Pauline Chevalier and Johanna Daniel

Proposals due by 1 July 2022

The expression danse gravée has long designated the dance notation practices of the 18th century, since the diffusion of the Feuillet notation from 1700. The repertoire of engraved contredanses, published and distributed in the form of collections, small notebooks or booklets, notably from the 1760s and the Répertoire des bals by de La Cuisse, is relatively well known. However, the technique itself, the networks of collaboration between engravers and dance masters remain little studied: engravers in music, in mathematics, in geography, masters in writing, are also engravers in dance, when it is not the dance masters themselves who practice intaglio. The place of women engravers, editors, and booksellers (Mme Castagnery) will be widely discussed during these days. The aim here is to understand the way in which choreographic practices in the 18th century fit into a network of printmaking know-how, professional and amateur practices, by questioning the modalities of dance engraving in a wider field of technical engraving, in geography, in science, or in music. The commissions made by dance masters to certain engravers also indicate a desire to move from a technical image to an artistic one, shaping works with sometimes very different costs and uses. Particular attention will be paid to the French and British contexts and to the circulation of plates and models from one side of the Channel to the other.

These days intend to bring together scholars from different disciplines who share the same field of research around printmaking, beyond the choreographic field. As there are very few works on printmaking in dance, these two days will also be considered as moments of collective reflection to which researchers not working specifically on choreographic practices are warmly invited.

We would indeed like to cross the experiences related to the following fields (for the 18th century):
• Dance and Music: musical scores, engraved dances, music, and movement notation
• Geography: engraving and editing of maps
• Science, mathematics: illustration of scientific books
• Writing, calligraphy: engraved books of writing patterns
• and more broadly everything related to the transmission of technical knowledge through images
• Techniques of printmaking and typography

The contributions may thus relate to one or more of the following areas (non-exhaustive):

The techniques of engraving in geography. Several engravers in dance in the second half of the 18th century were first engravers in maps and plans. The engraving in geography responds to precise stages of production (engraving of figures, before the letter) which seem to have been taken up again for a part of the engraved dances of the 18th century. In addition to a terminology that sometimes designates the figures drawn by the ‘plans of the dance’, it will be a question of analyzing the specific relationship maintained between printmaking in geography and printmaking in dance.

The networks of engravers in science and especially in mathematics. The development of manuals and works of physical or mathematical ‘recreation’ required the use of engravers whose expertise sometimes extended beyond technical engraving. We will try to understand the processes of specialization of certain engravers who also contributed to dance engraving, bringing with them a way of drawing and arranging the scores.

Engravers. Dance collections from the second half of the 18th century frequently mention engravers (sometimes the engraver of the figures is not mentioned, only the engraver in writing is indicated). Contributions on the status and techniques of engraving in script are highly desirable.

Music engraving in France and in England, and its technical evolution. The use of tin and punches for engraving in music seems to have inspired technical evolutions in dance engraving. It may be useful to revisit this English innovation of the 1730s in order to understand how the techniques (and costs) of choreographic printmaking benefited from the expertise of musical printmaking.

Preparatory drawings. Very few preparatory drawings for engraved scores have been preserved, for many reasons. However, the collaboration between dance masters and engravers may have necessitated the transmission of drawings for the ‘traits’ of the dance when a distinction is regularly made between the author of the dance, the author of the notation and the engraver. Working from other examples, outside of the choreographic field, we would like to examine the intermediate sources and materials for the creation of technical prints.

The networks of collaborations between actors. The sheets of engraved dances are the fruit of collaborations of a quite important number of actors (master of dance and musicians, amateur and professional dancers, engravers specialized in writing or in music printmaking), publishers, printers, and merchants-bookshops. Some publishing companies are the subject of a company creation. Contributions highlighting the networks of collaborations mobilized for the production of scientific works, musical collections or geographical maps are particularly welcome.

The amateur practices of engraving and the training of engravers. The analysis of dance scores from the 1770s and, for example, the collections of contredanses published by Bouin attest to the technical progress of Mlle Bouin, the publisher’s daughter, whose first creations proved to be very clumsy. Some dance masters, like Landrin or Rameau, ensure themselves the execution of the engravings of their works, without being professional engravers. The analysis of the biographical paths and of the modalities of learning engraving also allows us to shed light on the exponential development of a publishing enterprise that required the rapid publication (sometimes weekly) of scores.

The place of women printmakers. If we know relatively well the important feminization of engraving practices in music, the more general share of women in the printmaking world, in France and in England, is the subject of very recent works questioning both the training networks and the mechanisms of emancipation according to family contexts. The case of female printmakers shows quite different biographical paths: daughters, wives or widows of printmakers and/or publishers, they can also have an independent activity, emancipated from the family framework. Particular attention will be paid to this particular place of women in fine and technical printmaking.

The status of the print and the relationship to the printer-bookkeepers. The full use of copperplate printing for the publication of an edition of Raoul-Auger Feuillet’s Chorégraphie, taken up by Malpied, for example, seems to bypass the corporation of printer-booksellers by proposing works that do not use the letterpress. The cost and technical difficulties of such undertakings (numerous pages of text directly engraved on copperplate), question the motivations of the authors, the bypassing of publishing practices and auctoriality.

The phenomena of series in the publishing and engraved cartography. In the second half of the 18th century, dance engraving developed through the publication of single scores, gathered in collections and volumes, with tables sold independently, bound series and is a phenomenon that is not specific to the choreographic field. The cheap publication of series and collections of prints outside of choreographic scores will be analyzed through specific examples (booksellers, publishers…)

The use of renowned engravers and the production of fine images. The publication of Kellom Tomlinson’s The Art of Dancing in 1735, or Guillaume’s Almanach dansant in 1769, reveals practices that go beyond technical printmaking by using renowned engravers and sometimes by assuming the production of images whose aesthetic quality exceeds their didactic virtues. This practice thus makes it possible to shed light on the editorial (and even financial) stakes of such publications.

Proposals for papers, not exceeding one page, followed by a brief bio-bibliographic presentation, should be sent before 1 July 2022 to the following email addresses: pauline.chevalier@inha.fr and johanna.daniel@inha.fr. For accepted proposals, travel, and accommodation expenses will be covered by INHA.

Organization
Pauline Chevalier (INHA) Johanna Daniel (INHA)

Scientific Committee
• Ilaria Andreoli (INHA)
• Mathias Auclair (BnF)
• Laurent Barré (CND)
• Pascale Cugy (University of Rennes 2)
• Marie Glon (University of Lille)
• Joël Huthwohl (BnF)
• Sandrine Nugue (ENSBA Lyon)
• Juliette Robain (INHA)
• Laurent Sebillotte (CND)

This conference is part of a wider research program on dance drawings and notations — Chorégraphies: Écriture et dessin, signe et image dans les processus de création et de transmission chorégraphiques, XVe–XXIe siècles

Indicative Bibliography

BOUCHON, Marie-Françoise, “La Contredanse comme jeu social au XVIIIe siècle”, Analyse musicale, n°69, 4e trimestre 2012, p. 80–86.

CLAYTON Tim, COOK Karen Severud, and KRETSCHMER Ingrid, “Reproduction of Maps,” in Matthew H. Edney and Mary Sponberg Pedley (eds.), Cartography in the European Enlightenment , 4, Chicago, University of Chicago Press, coll. “The history of cartography,” 2020, vol. 2/2, p. 1238–1265.

DEVRIES-LESURE, Annik, Dictionnaire des éditeurs de musique français, vol.1 : Des origines à environ 1820, Geneva, Minkoff, 1979.

DEVRIES-LESURE, Annik, L’édition musicale dans la presse Parisienne au XVIIIe siècle, catalog des annonces, Paris, CNRS Editions, 2005.

FAU, Elisabeth, La gravure de musique à Paris, des origines à la Révolution (1660–1789), Paris, Ecole des Chartes, 1978.

GLON, Marie, “Inventing a Scriptural Technique in the Eighteenth Century: ‘Choreography or the Art of Describing Dance’,” Artefact [Online], 4 | 2016, online 7 July 2017.

GLON, Marie, Les Lumières chorégraphiques. Les maîtres de danse européens au cœur d’un phénomène éditorial (1700–1760), history thesis, ed. Georges Vigarello, EHESS, 2014.

GLON, Marie. “The materiality of theory. Print practices and the construction of meaning through Kellom Tomlinson’s The Art of Dancing Explain’d (1735). Re-thinking practice and theory, Jun 2007, Pantin, France. pp. 190–195.

GRANGER, Sylvie, Dancing in Enlightenment France, Rennes, Presses universitaires de Rennes, 2019.

GUILCHER, Jean-Michel, La Contredanse et les renouvellements de la danse française, Paris / La Haye, Mouton, 1969, republished under the title La Contredanse, Un Tournant dans l’histoire française de la danse, text corrected and completed by Naïk Raviart, preface by Yves Guilcher, Brussels, Complexe / CND, 2003.

LANCELOT, Francine (dir.), La Belle Dance, Catalogue raisonné des chorégraphies françaises en notation Feuillet fait en l’an 1995, Paris, Van Dieren, 1996.

MILLIOT, Sylvette, “Marie-Anne Castagneri. marchand de musique au XVIIIe siècle (1722–1787)”, Revue de Musicologie, vol. 52, no 2, 1966, p. 185–195. Online: https://www.jstor.org/stable/927569

NORDERA, Marina, “La réduction de la danse en art (XVe–XVIIIe siècle)”, in Hélène Vérin and Pascal Dubourg Glatigny (dir.), Réduire en art : La technologie de la Renaissance aux Lumières, Paris, Éditions de la Maison des sciences de l’homme, coll. ” Hors collection “, 2018, p. 269–291. Online: http://books.openedition.org/editionsmsh/10161

Pedley Mary Sponberg, “The map trade in Paris, 1650–1825,” Imago Mundi, vol. 33, no 1, January 1981, p. 33–45. Online: https://doi.org/10.1080/03085698108592513

Pedley Mary Sponberg, The commerce of cartography: making and marketing maps in eighteenth-century France and England, Chicago, University of Chicago Press, series “The Kenneth Nebenzahl, Jr. lectures in the history of cartography,” 2005, vol. 1/.

SMITH, Marc, “Les modèles d’apprentissage de l’écriture en France depuis la Renaissance”, Apprendre, 2020, p. 167–179.

STEIN Perrin (ed.), Artists and amateurs: etching in eighteenth-century France, New York, MET, 2013. Online: https://www.metmuseum.org/art/metpublications/The_Art_of_Etching_in_Eighteenth_Century_France

Call for Articles | Fall 2023 Issue of J18: Cold

Posted in Calls for Papers, journal articles by Editor on June 10, 2022

Victor Marie Picot, after Philippe de Loutherbourg, Winter, 1784, stipple and etching
(London: The British Museum)

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From the Call for Proposals for J18:

Journal18, Issue #16 (Fall 2023) — Cold
Issue edited by Michael Yonan, University of California, Davis

Proposals due by 15 September 2022; finished articles will be due by 31 March 2023

Feeling cool is increasingly a great privilege in our warming world. Cold weather arrives later each winter and departs sooner, lengthening warm seasons across the globe and reducing the cooler periods necessary to the planet’s healthy functioning. One need not be terribly old to have recollections of cooler times. Accompanying changes to global mean temperatures are erratic and often dangerous weather patterns, melting icecaps, rising seas, stronger storms, droughts, and other environmental transformations that, in sum, represent an existential problem for humankind.

The cause of these changes is the consumption of fossil fuels, which transformed human life profoundly in the pursuit of modernity. The origin of this transformation falls squarely in the eighteenth century; indeed the terminus post quem for measuring human effects on global temperatures is the year 1800. Recognizing this draws attention to a truth little noticed in art-historical scholarship: eighteenth-century art was made for a colder world than the one we now inhabit.

This special issue of Journal18 invites contributions that address the relationship between temperature and the art of the long eighteenth century. It seeks to insert eighteenth-century visual and material culture into the growing literature on historical climatology. The 1700s are the final century of the Little Ice Age, a climatological phenomenon characterized by lower global mean temperatures that took place between the late sixteenth and early nineteenth centuries. What are the implications of this climatological context for the narratives we tell about eighteenth-century art? How did an Enlightenment understanding of temperature inflect the period’s art? And do the conditions of eighteenth-century life, as filtered through the period’s artistic production, help us understand why the world became warmer?

Potential topics include the relationship between architecture and temperature, including the technologies used to keep buildings warm or cool; the material culture of gauging temperature (thermometers, barometers, hygrometers, etc.); pictorial representations of extreme climates, e.g., the tropics or the Arctic; the relationship between theories of climate and the representation of peoples; clothing and body temperature; the sub-Arctic north as a cultural space; and the visualization of industrialization. Particularly welcome are essays from a technical art history perspective that address challenges to conserving eighteenth-century things in a warming world.

To submit a proposal, send an abstract (250 words) and brief biography by 15 September 2022 to the following two addresses: editor@journal18.org and meyonan@ucdavis.edu. Articles should not exceed 6000 words (including footnotes) and will be due by 31 March 2023 for publication later that year. For further details on submission and Journal18 house style, see Information for Authors.

Call for Articles | William Hogarth and Cinema

Posted in Calls for Papers, journal articles by Editor on June 4, 2022

Paul Sandby, Satire with Hogarth as a Magic Lantern Projecting a Parody of his ‘Paul before Felix’, 1753, etching
(London: British Museum, Cc,3.12)

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From the Call for Papers:

William Hogarth and Cinema
Special issue of Ecrans (Spring 2024), edited by Marie Gueden and Pierre Von-Ow

Abstracts due by 5 September 2022; drafts due by 30 March 2023

According to Sergei Eisenstein, “Diderot talked about cinema.” It could likewise be suggested that the eighteenth-century artist William Hogarth (1697–1764) inaugurated cinematic discourse. Through his visual and theoretical work, Hogarth offers a crucial contribution to the narrative and aesthetic reflections that predate—and somehow anticipate—the invention of cinema. Eisenstein did indeed comment upon and commend Hogarth’s visual productions (praising in particular his stage-like compositions and visual narratives articulated in sequences of images). The Russian filmmaker admired his English predecessor’s artistic theory, preoccupied with the movement of bodies and gazes: Eisenstein appropriated the idea of a “line of beauty” developed in Hogarth’s The Analysis of Beauty in his directing and editing. Yet, the filmic potentialities of Hogarth’s work and ideas still await extended critical and scholarly attention. The artist’s name appears sporadically in film studies that mention his influence for set designs—especially in Hollywood where Fritz Lang, Mark Robson, and Stanley Kubrick, among others, drew from Hogarth’s works to stage their historical films—and on the legacy of his artistic writings in film theory and criticism. The abundant art historical literature devoted to Hogarth, however, rarely evokes the artist’s cinematographic legacy. A special issue of the peer-reviewed journal Ecrans (No. 20, Spring 2024), to be published in French and English, seeks to explore the largely understudied connections between William Hogarth and global and expanded cinema.

We invite papers on topics that may include (but are not limited to):
• Pre-cinema, with particular emphasis on magic lanterns and early cinema, for example, filmed tableaux vivants
• William Hogarth in Hollywood, especially in the studios’ archives
• The temporality of images and sequencing of visual narratives
• Graphic novels, illustrated journals, and cartoons
• Adaptations of literary ‘Progresses’ between prints, paintings, theatre, performance, film, TV series, etc.
• Case studies from global cinema, including art documentaries
• Experimental cinema, particularly the challenging of narrative linearity
• The legacy of Hogarth’s satirical work in comedy, including productions featuring Hogarth as a character of fiction
• The legacy of Hogarth’s artistic theory and his “line of beauty” in film theory (for example through various visual shorthand systems) and criticism
• Marxist, feminist, and post-colonial currents in the reception of Hogarth’s work

Please submit a proposal by 5 September 2022 in English or French (up to 400 words), as well as a short bio, to the guest editors of this special issue: Marie Gueden (marie.gueden@univ-lyon2.fr) and Pierre Von-Ow (pierre.von-ow@yale.edu). Final papers should not exceed 8000 words. First drafts expected on 30 March 2023 for publication in April 2024. Feel free to contact us if any questions should arise before submitting your proposal. More information about Ecrans is available here.

Call for Papers | Fashioning Masculinities: The Art of Menswear

Posted in Calls for Papers by Editor on May 26, 2022

From ArtHist.net:

Fashioning Masculinities: The Art of Menswear
Victoria and Albert Museum, London, 13–14 October 2022

Proposals due by 19 June 2022

The exhibition Fashioning Masculinities: The Art of Menswear (V&A, 19 March — 6 November 2022) serves as a catalyst for a two-day symposium exploring how masculinity has been fashioned and refashioned from Renaissance Europe to the global contemporary.

The symposium—organised by the V&A Research Institute in collaboration with the Centre for Fashion Curation and the Masculinities Research Hub at London College of Fashion, University of the Arts London— invites scholars, curators, and practitioners from the fields of fashion, art history, performance, material culture, and gender studies to propose papers that respond to the themes and key concepts addressed in the exhibition. We welcome proposals from researchers at all stages of their career and practitioners engaging with the themes expressed in the call. Proposals comprising a 250-word abstract and 150-word biography should be sent to m.franceschini@vam.ac.uk by 19th June 2022.

Call for Papers | Early Modern Women on Politics and Ethics

Posted in Calls for Papers by Editor on May 21, 2022

From ArtHist.net:

Early Modern Women on Politics and Ethics
University of Gothenburg, Sweden, 5–7 October 2023

Proposal due by 1 February 2023

In Nicomachean Ethics and Politics, Aristotle conceived ethics and politics to be both interrelated and exclusively male endeavors. This notion continued to be influential in the early modern period (c. 1500–1800). Yet in recent decades, feminist scholarship has showed that throughout the early modern world numerous women nonetheless discussed, developed, and challenged politics and ethics in profound and often surprising ways.

The conference Early Modern Women on Politics and Ethics is organized by the Early Modern Seminar and the research network Philosophy in Other Words, at the University of Gothenburg, Sweden. It is dedicated to early modern women’s engagement with politics and ethics as philosophers, authors, critics, translators, editors, artists, patrons, salonnières, pamphleteers, political agents, letter writers, etcetera. Multidisciplinary in scope, the conference will bring together scholars working in various scientific fields. We especially welcome contributions that concern underexplored geographical contexts, languages, and traditions.

Suggested topics include, but are not limited to
• Marginalized voices in politics and ethics
• Genres of political and ethical writing
• Representations of political and moral authority
• Subversive political and ethical thought
• Global perspectives on politics and ethics
• Public and private agency
• Material aspects of politics and ethics
• Reception and circulation of political and ethical thought
• Ethics and politics of sexuality
• Politics and ethics in religious contexts

Confirmed Keynotes
• Unn Falkeid, University of Oslo
• Carin Franzén, Stockholm University
• Dena Goodman, University of Michigan
• Marie-Frédérique Pellegrin, Jean Moulin Lyon 3 University
• Melissa E. Sanchez, University of Pennsylvania

To submit, please send a 300-word proposal for a 20-minute paper and a brief biographical note to earlymodern@lir.gu.se by 1 February 2023. Notice of acceptance will be given by 1 March 2023.

Organizing Committee
Maria Johansen, Cecilia Rosengren, Matilda Amundsen Bergström, Alexandra Herlitz, Philip Lavender

Call for Articles | Thresholds 51: Heat

Posted in Calls for Papers, journal articles by Editor on May 4, 2022

From Thresholds:

Thresholds 51: Heat
Edited by Hampton Smith and Zachariah DeGiulio

Submissions are due by 1 June 2022

Thresholds is the annual peer-reviewed journal produced by the MIT Department of Architecture, held in over 150 university art & architecture libraries around the world. Content features leading scholars and practitioners from the fields of architecture, art, and culture.

Heat is elusive: always on the move, always fugitive. Though we have many signs of its presence—sweating, ‘hot’ and ‘cool’ media, sitting under the shade, catching fire—heat itself largely evades conventional forms of representation. As the transference of energy from one system to another, heat radiates and penetrates. Immanent and intense, heat binds and nourishes as much as it reshapes or destroys. While helping us navigate the material world as tool, medium, and affect, heat forces us to come to terms with the fragility of the systems in which we take part. And though temperature is regularly mapped across graphs and thermometers, the feeling of heat is often so localized and so personal that it evades historic perception altogether. Even if we know things are hotter now than they were yesterday, where is heat within art and architecture practice?

Thresholds 51: Heat takes enthalpy—the thermodynamic property that comprises heat, pressure, and volume to effect chemical state change—as its guiding principle. We seek scholarly writing, artistic interventions, and criticism from art, architecture, and related fields to apply pressure within the volume to effect disciplinary state change. We aim to discover the ways art and architecture have historically navigated, wielded, and avoided heat.

Courtyard buildings across the Islamic world produce thermal delight; Mande blacksmiths carefully wield heat to make iron tools for repairing and nourishing communities; museum conservators curate temperature-controlled environments for artworks; Yurok practices of fire stewardship regulate natural rhythms of growth and decay. And though thermodynamic flux underlies such practices of making and maintenance, heat just as frequently effaces or prevents knowledge production—think of the conflagration of the University of Cape Town’s special collections or mold consuming boxes of archival material.

Recognizing that heat has never been evenly felt, from the violently racialized fictions of the ‘torrid zone’ to the lack of adequate shade in urban communities, we are particularly invested in alternative architectural or aesthetic mobilizations of heat—in the contestation of thermal violence, in the activation of ritual, or in the warmth of community, desire, and lust. A critical account of heat within art and architecture must attend to its use as a medium and structure of violence, while nevertheless exploring how ‘feeling the heat’ productively links scales of being, practices, and types of labor.

Please send all submissions to the editors via email at thresh@mit.edu with the subject heading THAT’S HOT. Essay submissions should be in English, approximately 3000 words, and formatted in accordance with the Chicago Manual of Style. Submission should include a brief cover letter, contact information, and bio of 50–75 words for each author. Text should be submitted in MS Word. Images should be submitted at 72 dpi as uncompressed TIFF files. Other creative proposals, including, but certainly not limited to, performances, poetry, and film are not limited in size or medium. All scholarly submissions are subject to peer review.

Call for Papers | Shipwrecks in Art, History, and Archaeology

Posted in Calls for Papers by Editor on May 4, 2022

From ArtHist.net:

Resurfacing: Shipwrecks in Art, History, and Archaeology
The Warburg Institute, The Royal Museums Greenwich, London, 11–12 November 2022

Proposals due by 27 May 2022

Organized by Caspar Pearson, Johannes von Müller, Andrew Choong Han Lin, and Imogen Tedbury

Every sea voyage entails the possibility of disaster. This makes the motif of the shipwreck a highly significant symbol, to which its popularity as an artistic subject in the early modern period attests. Today, the potential symbolism of a shipwreck and its contents remains key to marine archaeology. Since Plato, the ship can act as a metaphor for a state and consequently a state can also invest itself into its ships—and its shipwrecks. Examples like the Mary Rose (1545) or the Titanic (1912) demonstrate how these structures can, in the public imagination, become era-defining symbols of certain technological or social achievements. Archaeology can reveal wondrous relics of a wreck’s active life, a snapshot of the past frozen in the moment of the vessel’s abrupt end.

The shipwreck, already a versatile metaphor, can therefore also serve as a figure for history itself. In his architectural treatise, Alberti, who dabbled in nautical archaeology when he attempted to raise an ancient ship from the bed Lake Nemi, discusses Vitruvius as one of the few survivors of a shipwrecked antiquity. In turn, Winckelmann likens the ruins of classical artworks to the fragments of a ship that can never be seen in its entirety. In these two key moments in the history of art history, the figure of the ship signifies the suspension of time, and the shipwreck, in consequence, marks the end of an era. Perhaps it is for this reason that Jacob Burckhardt would eventually conceive of the scholar drifting upon vast seas of past and present turmoil.

As the horizons of art history have expanded beyond their former Eurocentric focus, increasing interest in processes of exchange, trade and migration have also led to the discovery of sunken treasures that are now claimed as objects of study. In this context, the shipwreck may eventually reveal itself as a guiding principle for art history written on the fragmented grounds of surviving data. This conviction, however, demands to take into account the systemic suppression of marginalised histories, gradually resurfacing and challenging scholars to review their standpoint.

Considerations like these spark a variety of questions. What meaning does the figure of the shipwreck hold for art history, archaeology and related disciplines? Are the vessels lost at sea merely shattered cabinets of forgotten wonders that are now resurfacing? Or does the interest in them which art historians and archaeologists share with maritime historians, literary scholars and artists hold the potential to recalibrate an understanding of the knowledge produced in confrontation with material objects of both past and diverse aesthetics? And how do questions such as these resonate in a moment in which the dangers of the voyage by sea are very real and not metaphorical at all for hundreds of thousands who desperately try to cross the bodies of water separating the Global South from the Global North?

This two-day conference, held on 11 and 12 November 2022 in London at the Warburg Institute and the Royal Museums Greenwich, invites scholars from a variety of fields—art history, archaeology, history of ideas, literary studies, and others—in order to discuss the following topics and more:
a) material and epistemic cultures of shipwrecks
b) the shipwreck as a subject in the arts of the past and the present alike
c) the shipwreck as a metaphor as which it runs through histories of both literature and scholarship
d) the shipwreck as a potential paradigm for an expansion of subject areas in art history, archaeology and related fields.

Please send a proposal of 300 words max. together with a short CV to caspar.pearson@warburg.sas.ac.uk by 27 May 2022.

Organisers
Dr Caspar Pearson (The Warburg Institute), Dr Johannes von Müller (Christian-Albrechts-Universität Kiel), Andrew Choong Han Lin, and Dr Imogen Tedbury (The Royal Museums Greenwich)

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