Call for Papers | The Sources of Colour: The Gobelins Dyeing Workshop

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

From ArtHist.net:

The Sources of Colour: The Gobelins Dyeing Workshop
Institut national d’histoire de l’art (INHA), Paris, 7–8 Octotber 2021

Proposal due by 12 March 2021

The National Institute of Art History (Institut National d’Histoire d’Art, INHA), in conjunction with the Archives Nationales and the Mobilier National, will be holding two study days specifically devoted to the Gobelins dyeing workshop.

Jehan Gobelin, a dyer from Reims, set up a workshop in the mid-fifteenth century not far from the Bièvre River, whose water was particularly suitable for dyeing purposes. His descendants, who were experts in the dyeing of wool in Venice scarlet, soon acquired vast stretches of land that ran alongside the Bièvre and constructed large workshops. Henri IV rented them and had tapestry workshops installed on the sites. In 1662, Colbert acquired the property for the Crown, and he brought together and placed the various workshops under the direction of Charles Le Brun. To reorganise the dyeing workshop, Le Brun solicited the help of a Dutch master dyer, Josse Kerchove. Since this time, the Gobelins dyeing workshop, which is the oldest European workshop of its kind that has been operating continuously since its foundation, has remained in the same place inside the Gobelins enclosure, to the north of the chapel.

This rich diachronic and multidisciplinary history is the topic of these study days, the first ever devoted to the Gobelins dyeing workshop, in its long history. Based on unprecedented sources or sources seen from a fresh perspective, these study days aims to focus on the latest knowledge concerning the dyeing workshop. Using new research findings and sources compiled since 2015 by the teams working at the Mobilier National and made available to researchers, various themes will be addressed during these study days:
• The role of the dyeing workshop in the evolution of regulatory texts relating to the métier of dyer, from Colbert’s reorganisation to the beginning of the twentieth century
• The contributions made by the successive directors of the dyeing workshop; generally speaking, all prosopographical research into the staff working in the dyeing workshop is welcome
• The contributions made by industrial chemistry to all of the fabric preparatory and dyeing processes
• The school of dyeing founded at the beginning of the nineteenth century by the Gobelins and the courses held by Chevreul, which were replaced by instruction in dyeing in Paris, throughout the nineteenth century (similar training was provided by Payen and Persoz at the Centre National des Arts et Métiers (CNAM), and in the 1830s in Lyon, Mulhouse, and Rouen)
• The status of national laboratory of expertise acquired by the dyeing workshop in the nineteenth century, initially during the First Empire in relation to the manufacture of Lyon silks, and subsequently in the context of the development of the dyeing industries in the colonies (madder and cochineal in Algeria; indigo in Senegal), and more generally in the Western world

For each of these themes, information about other dyeing workshops or other international experiences involving the transmission of knowledge and dyeing techniques is very welcome, from a comparative viewpoint. Likewise, the participation of researchers conducting studies into the history of the sciences, history, literature, textile design, and colour, or in the conservation sciences is particularly welcome.

The conference will be held both online and face-to-face, requiring particular care with regard to the way in which the discussions are conducted. We will ask participants to focus on their statements very precisely for fifteen minutes to optimise the discussion times. Participants may communicate in French or in English. Contributions (2,000 characters), accompanied by a short biography/bibliography, must be sent before 12 March 2021 to marie-anne.sarda@inha.fr and alexia.raimondo@culture.gouv.fr.

Sources on the Gobelins dyeing workshop
(More detailed information about the collection may be obtained from the members of the scientific and study day organisation committee)

• The Archives Nationales, the Pierrefitte-sur-Seine site:
Sub-series AF/IV (the Secretariat of State)
Sub-series F/12 (commerce and industry), here and here
Sub-series F/21 (fine arts)
Sub-series O/2, O/3, O/4, and O/5 (the Maison de l’Empereur or Maison du Roi)

• The Mobilier National, Paris (online search tools)

• Several digital sources are currently being published online

• The Bibliothèque Centrale du Muséum National d’Histoire Naturelle, Paris (online Calames union catalogue)
An inventory of the Eugène Chevreul collection is currently being compiled, so any requests for information or requests to view the archives must be sent to patrimoinedbd@mnhn.fr.

• The Manuscript Department of the Bibliothèque Nationale de France (online catalogue)

Scientific and organisational committee
Muriel Barbier (the Mobilier National)
Anne-Laure Carré (the Conservatoire National des Arts et Métiers, CNAM)
Hélène Cavalié (the Mobilier National)
Claude Coupry (the Centre National de la Recherche Scientifique, CNRS)
Joëlle Garcia (the Muséum National d’Histoire Naturelle)
Clémence Lescuyer (the Archives Nationales)
Alexia Raimondo (the Archives Nationales)
Charlotte Ribeyrol (Paris-Sorbonne University)
Marie-Anne Sarda (Institut National d’Histoire d’Art, INHA)

Call for Papers | Figures of Widows

Posted in Calls for Papers by Editor on January 26, 2021

Jean-Baptiste Greuze, The Widow Receiving Her Priest Surrounded by Her Children , 1784, oil on canvas, 50 × 63 inches
(Saint Petersburg: Hermitage Museum)

◊  ◊  ◊  ◊  ◊

The Call for Papers for this GRHAM Study Day, via ArtHist.net, where the French version is also available:

Widows in the 17th and 18th Centuries: Images of Social Status—Accepted, Hidden, Claimed?
Figures de veuves à l’époque moderne (XVIIe et XVIIIe siècles): Images d’un statut social accepté, caché, revendiqué
INHA (Institut National d’Histoire de l’Art), Galerie Colbert, Paris, 15 June 2021

Proposals due by 15 March 2021

Woman and widow under the Ancien Régime? The images defining a woman abound, should they describe a seductive woman, an influential or a common one. However, the images that could characterize the widow remain vague. As a matter of fact, the widow is defined essentially in negative terms; a widow is ‘the one who has lost her husband’ [1]. The social status imposed by widowhood is considered less favorable than that of a married woman, the Dictionnaire de Trévoux specifying that ‘a widow mourns her husband, not so much for her loss, but mostly because she is deprived of the rank she held and the consideration she benefited from’ [2]. This could lead her to condemnable behaviors: ‘The widow often subtracts and conceals her husband’s most beautiful furniture’ [3]. Opposite to this unattractive vision, however, widowhood seems then to offer to women a freedom that neither daughters nor wives experienced [4].

Several images arise from this contrasting portrait. The first one to appear is the widow seen through a state policy point of view such as Marie de Medici as Regent by Frans Pourbus (1613), Anne of Austria in Mourning Clothes with her Children by Philippe de Champaigne (1643) or Marie-Antoinette in the Conciergerie Prison by Alexandre Kucharski (1793). These portraits evoke in turn the woman in position of power, the patron, the arts and letters’ amateur, but also the grieving, lonely, old and fallen woman.

The widow can be portrayed in many other ways. Like Madame Godefroid, Keeper of the King’s Paintings by Jean Valade (1755), she could hold a position by succession to her late husband. She could also be the spokesperson for various passions highlighted by bourgeois drama: the sadness of Greuze’s Inconsolable Widow (1762), the melancholy of Reynolds’s Countess of Lincoln (1781), or the moral probity of Greuze’s Widow Receiving her Priest Surrounded by her Children (1782). These different aspects of widowhood revealed by the artists enable to question all the statutory references that define the widow: her mourning clothes, her attributes such as the faithful dog and her psychological characteristics which give great importance to sentimentality. The absence of some of these visual codes allows to question other widow figures for the young widow rarely remains inconsolable, as La Fontaine’s fable reminds us [5]. Under Choderlos de Laclos’ pen, the Marquise de Merteuil became even a manipulative libertine, taking full advantage of the financial autonomy and independence of mind that the widowhood offered her.

This brief panorama would be incomplete without mentioning the widow in religious paintings such as The Raising of the Son of the Widow of Naim, The Raising of Lazarus, or Agrippina Landing at Brindisi with the Ashes of Germanicus. The image of the widow is also endowed with a strong allegorical power that makes her one of the first figures in war memorials, such as the Monument for the Heart of Victor Thérèse Charpentier, Count of Ennery (1777–81).

This study day aims to question the identity of these widows—famous or unknown—in order to better understand their intellectual, political, and social influence, by finding out whether their widowhood proved to be an asset or a weakness. How did the image of the widowed woman develop during the 17th and 18th centuries? And how did it deal with the particular 18th-century rising value shaped by Rousseau’s representation of a woman as a mother dedicated to both her home and the education of her children?

This study day proposes several topics in order to better define and understand the image of the widow in the arts, not only in France but also in Europe:

• The image of the widow through her various portraits, emphasizing her political, economic, intellectual, and moral power. Were such portraits reserved only for influential women or for those who had famous husbands? Or, could they also depict women belonging to different social classes?

• The representation of the widow in history and genre painting: is she the main figure in these paintings or secondary one? In these paintings, which psychological characteristics are most often solicited? Do these descriptions reflect a widow’s specific identity?

• The destination of the image of the widow in the arts of the Ancien Régime. Are these representations kept within family confines or are they disseminated in a wider environment? If so, which are the reasons behind?

• Beyond the specific matter of representation, particular attention will be paid to widows who are also artists as well as artists’ widows. What is their place in society? What role do they play in the preservation of their husband’s artistic heritage?

• Finally, considering also the material culture, do external signs of mourning worn by widows—clothes and accessories—act as a testimony of constant imposed codes or, conversely, bear witness of an evolution, not only in fashion, but also in the way in which widows are represented?

We welcome proposals in French or English, of about 500 words, for papers addressing either broader analyses or specific case studies. Candidates are invited to attach a curriculum vitae. Submission and contact: asso.grham@gmail.com.

This study day is organized by GRHAM with the support of the Doctoral School of Art History of the University Paris 1 Panthéon-Sorbonne (ED 441) and the HiCSA (EA 4100).

[1] Antoine FURETIÈRE, Dictionnaire universel contenant généralement tous les mots françois tant vieux que modernes, & les Termes des Sciences & des Arts (La Haye, Rotterdam, Arnoud & Reinier Leers, 1701), III, See «Veuf, Veuve».
[2] Dictionnaire universel François et latin, vulgairement appelé Dictionnaire de Trévoux (Paris, Delaune, 1743), VI, See «Veuf, Veuve».
[3] FURETIÈRE, Dictionnaire, op. cit., See ‘Soustraire’.
[4] Françoise FORTUNET, «Veuves de guerre à l’époque révolutionnaire», PELLEGRIN, Nicole, WINN, Colette H. (dir.), Veufs, veuves et veuvage dans la France d’Ancien Régime (Paris, Champion, 2004), 138–39: ‘It has long been noted that widowhood was the most favorable status that a woman could have had in our old society, for it gave her a freedom ignored by daughters and wives. In theory it was known, but living examples are stronger proof’ (translated from French).
[5] Jean de LA FONTAINE, Fables choisies mises en vers (Lyon, Sarrazin, 1696, 1668), 140, CXXIV: «La perte d’un époux ne va point sans soupirs//On fait beaucoup de bruit, et puis on se console».

Call for Paper by GRHAM (Research Group in Modern art History) / Appel diffusé par les membres du bureau du GRHAM (Groupe de Recherche en Histoire de l’Art Moderne):
• Florence Fesneau (Université Paris 1 Panthéon-Sorbonne)
• Barbara Jouves-Hann (Université Paris 1 Panthéon-Sorbonne/ENS Paris-Saclay)
• Maxime Georges Métraux (Université Paris-Sorbonne)
• Alice Ottazzi (Université Franche-Comté)
• Marine Roberton (Université Paris 1 Panthéon-Sorbonne)
• Maël Tauziède-Espariat (Université de Bourgogne)
• Marianne Volle (Université Paris 1 Panthéon-Sorbonne et York University)

Call for Papers | The Helvetic Republic and France

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

The 2022 meeting of the Swiss Society for the Study of the Eighteenth Century addresses relations between the Helvetic Republic and France. From the Call for Papers, via ISECS:

Le Corps helvétique et la France, 1660–1792: Transferts, asymétries, et interdépendances entre des partenaires inégaux
Colloque de la Société Suisse pour l’Étude du XVIIIe Siècle (SSEDS)
Château de Waldegg, Feldbrunnen-St. Niklaus (canton de Soleure), Switzerland, 28–30 April 2022

Proposals due by 31 March 2021

Organized by Simona Boscani-Leoni, Claire Gantet, André Holenstein, Timothée Léchot, Bérangère Poulain

Si le Corps helvétique et le royaume de France n’acquirent que dans la seconde moitié du XVIIe siècle une longue frontière commune, les relations politiques, diplomatiques et économiques entre les deux pays inégaux étaient déjà très étroites depuis le début du XVIe siècle. La Paix perpétuelle (1516) et l’alliance régulièrement renouvelée de 1521 à 1777 entre les cantons et le roi de France constituèrent l’épine dorsale des relations extérieures du Corps helvétique jusqu’en 1792. Rien ne manifeste mieux l’éminent intérêt du Roi très chrétien à des relations étroites avec le Corps helvétique que la présence d’un ambassadeur permanent de la France à Soleure (à partir de 1530). L’affirmation de la France en tant que grande puissance continentale sous Louis XIV attisa une discussion de plus en plus controversée sur les relations asymétriques entre ces partenaires inégaux. Tandis que les clients de la France saluaient Louis XIV comme un protecteur bénéfique de la liberté et de l’unité confédérées, le parti antifrançais dans les Cantons helvétiques percevait dans la politique offensive d’expansion (conquête de la Franche Comté en 1668/1674 et de Strasbourg en 1681) et dans la persécution des huguenots un danger imminent pour la Confédération. Contre les intérêts des entrepreneurs de guerre, des pensionnaires et des négociants tournés vers la France, il voulait contrebalancer la forte dépendance envers la France du Corps helvétique en le rapprochant de l’Empire, de l’espace néerlandais et de l’Angleterre. Ces tensions atteignirent un apogée en 1715 lorsque le roi — à l’encontre d’une politique qui traditionnellement visait l’accord entre les partis confessionnels — ne renouvela son alliance qu’avec les cantons catholiques. En 1777 seulement, la diplomatie française parvint à inciter l’ensemble des cantons divisés à renouveler leur alliance avec le roi, en tant que leur « plus vieil ami et allié » — une alliance qui fut unilatéralement résiliée par la France républicaine révolutionnaire en 1792.

Proximité et distance, dépendance et retrait : ces traits ne caractérisèrent pas seulement les relations politiques et diplomatiques du Corps helvétique et de la France. Ils caractérisèrent aussi les arts, la littérature, l’architecture et les pratiques culturelles, jusqu’à la mode et la consommation. D’un côté, la France exerça une grande influence sur le Corps helvétique en tant que grande puissance politique mais aussi modèle culturel, comme en témoignent la langue, la littérature, les modes de vie, l’architecture et les intérieurs des élites sociales. De l’autre, la puissance politique et culturelle du voisin provoqua des réactions de défense jusque dans ces domaines. Elles se manifestèrent dans la critique de l’artificialité, de la superficialité et de la frivolité «des Français», et dans l’éloge du «bon sens» anglais (Beat Ludwig von Muralt), dans la stylisation de la simplicité et du naturel républicains en tant que contre-modèles culturels à l’affectation de la société de cour, dans le déploiement d’une littérature suisse francophone distincte qui s’émancipait de la poésie classique française, ou dans une critique de ton de plus en plus national développée par des partisans des Lumières réformatrices à l’encontre du mode de vie aulique cosmopolite des patriciens confédérés, laquelle s’exprima notamment dans le rejet des voyages à l’étranger des jeunes patriciens et dans la revendication d’institutions éducatives en Suisse.

Le colloque veut éclairer les relations franco-suisses au XVIIIe siècle compte tenu de ces tensions entre proximité et distance, admiration et rejet, dépendance et émancipation. En élargissant les notions avancées dans la recherche récente de transferts culturels (Michel Espagne, Michael Werner) et de tropisme (Wolfgang Adam, Jean Mondot) — qui analysent les relations franco-allemandes dans une perspective avant tout littéraire et culturelle —, le colloque, conformément à la vocation interdisciplinaire de la Société Suisse pour l’étude du XVIIIe siècle, envisage tant pour sa conception que pour sa thématique le spectre entier des relations franco-suisses dans le siècle et demi qui s’écoula jusqu’à la Révolution française. Il sonde les dynamiques, conjonctures et crises des relations et perceptions réciproques des deux voisins. Cette interrogation ouvre la voie à quantité de thèmes : l’entreprise de guerre et les services étrangers ; les relations diplomatiques ; les relations commerciales et la contrebande ; les mouvements migratoires ; les appropriations, transferts et les critiques des modèles culturels dans les domaines de l’art, de l’architecture, de la littérature, de la consommation et de la mode ; les contacts et relations entre les lettrés ; le vécu et les perceptions des voyageurs ; la formation et les perceptions de la frontière commune ; la constructions d’images de soi et de l’autre notamment.

Les communications individuelles seront limitées à 25 minutes, les communications collectives à 40 minutes. Les projets de communications rédigés en français ou en allemand, ou en anglais (avec un maximum de 300 mots) peuvent être adressés jusqu’au 31 mars 2021 à Claire Gantet (claire.gantet@unifr.ch) ou André Holenstein (andre.holenstein@hist.unibe.ch). Le comité scientifique du colloque se prononcera jusqu’au 30 juin 2021.

Call for Papers | Reproductive Prints in the 18th and 19th Centuries

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

From the Call for Papers:

La Storie dell’Arte Illustrata e la Stampa di Traduzione, 18 e 19 Secolo
(Online, via MS Teams) Università di Chieti Gabriele d’Annunzio, Chieti, 10–11 June 2021

Proposals due by 25 January 2021 (for papers in Italian or English)

“E per le Arti poi l’incisione è quel che la stampa è per le scienze”
–Francesco Milizia, Dizionario di Belle Arti del Disegno (Bassano: Giuseppe Remondini, 1797)

La Cattedra di Storia della Critica d’arte del Dipartimento di Lettere Arti e Scienze Sociali, Università degli Studi “G. d’Annunzio” di Chieti – Pescara terrà una giornata di studi dedicata alla stampa di traduzione e storia dell’arte. Se gli studi sugli artisti incisori e lo sviluppo di un mercato di stampe europeo vivace e ben delineato hanno visto un crescente interesse negli ultimi anni per i secoli XVII– XVIII e XIX, l’indagine rimane ancora aperta per la stampa di traduzione utilizzata a corredo della storiografia artistica di quei secoli.

Partendo dall’affermazione dell’incisione di traduzione a contorno semplice nel Dizionario di Belle Arti del Disegno di Francesco Milizia (1797), la giornata di studi si propone di presentare nuove ricerche sull’utilizzo delle incisioni e delle stampe per lo studio della storia dell’arte, esplorando le tematiche seguenti pur non limitandosi solo ad esse, anzi auspicandone un ampliamento sia in termini geografici che cronologici:
• singoli contributi su artisti, disegnatori e incisori
• singoli contributi su album o raccolte di stampe ed incisioni
• il mercato delle stampe di traduzione e dei libri d’arte illustrati: stamperie, librai, mercanti e collezionisti
• stampa di traduzione e studio dell’arte: trattati, cataloghi, recueils, quotidiani a stampa, riviste d’arte, descrizioni, letteratura periegetica illustrata
• illustrare per promuovere: i cataloghi di vendita delle collezioni
• nascita e sviluppo delle monografie d’artista illustrate
• stampa di traduzione per la storia della letteratura

Le proposte di partecipazione alla giornata di studi dovranno pervenire all’indirizzo valentina.fraticelli@unich.it in forma di abstract (350–500 parole, con titolo e parole chiave), ed essere accompagnate da CV e affiliazione accademica o breve profilo biografico (300 parole) entro il 25/01/2021. Le giornate di studio si svolgeranno sulla piattaforma Microsoft Teams; gli interventi selezionati, di cui è prevista la pubblicazione, avranno una durata di circa 20-30 minuti e verranno presentati online. Lingue: italiano, inglese. Per ulteriori informazioni contattare la dott.ssa Valentina Fraticelli all’indirizzo email valentina.fraticelli@unich.it.

Comitato scientifico: Ilaria Miarelli Mariani, Valentina Fraticelli, Tiziano Casola, Vanda Lisanti
Segreteria organizzativa: Laura Palombaro

Call for Papers | BU Graduate Symposium, Crowd Control

Posted in Calls for Papers, graduate students by Editor on December 12, 2020

From Boston University:

Crowd Control
The 37th Annual Boston University Graduate Symposium in the History of Art & Architecture
(Online) 23–24 April 2021

Proposals due by 15 December 2020

Crowd control—as both an idea and an act—raises questions about agency, authority, and influence. From ancient Rome to Boston City Hall, state-sponsored architecture has policed the body and shaped the ideal of a citizen.Yet subtler forces such as painting, prints, and photographs also exert powerful influence. The events of this past year have heightened our awareness of both the power of the people and the contours of the systems which surround them. We have seen the wide array of structures that seek to order, pacify, neutralize, inspire, repress, or control the collective. The 37th Annual Boston University Graduate Symposium in the History of Art & Architecture invites submissions examining images, objects, and structures that engage with the regulation and redirection of peoples and their social behaviors.

Possible subjects include, but are not limited to, the following: architecture, urbanism, and the organization of private and public spaces; monuments, memory, and civic structures; masquerade, carnival, and festivals; ceremonies and processions; exhibitions and viewing conditions; pilgrimage and religious institutions; protest, policing, the carceral system, and surveillance; population control, eugenics, urban growth and decline; collective and mass culture; conquest, colonialism, coloniality, xenophobia; caste, race, and social hierarchies.

We welcome submissions from graduate students at all stages of study, from any area of study. Papers must be original and previously unpublished. Please send an abstract (300 words or fewer), a paper title, and a CV to bugraduatesymposiumhaa@gmail.com. The deadline for submissions is December 15, 2020. Selected speakers will be notified by early February. Papers should be 15 minutes in length and will be followed by a question and answer session. The symposium will be held virtually on Friday, 23 April, and Saturday, 24 April 2021, with a keynote lecture by Dr. Paul Farber, Director of Monument Lab and Senior Research Scholar at the Center for Public Art & Space at the University of Pennsylvania Weitzman School of Design.

This event is generously sponsored by the Boston University Center for the Humanities; the Boston University Department of History of Art & Architecture; and the Boston University Graduate Student History of Art & Architecture Association.

Call for Papers | Art and Nature

Posted in Calls for Papers, graduate students by Editor on December 11, 2020

From ArtHist.net:

Art and Nature: 6th Conference for Doctoral and Post-Doctoral Students in Humanities and Social Sciences
Online / Center for Iconographic Studes, Rijeka, 8 October 2021

Proposals due by 15 May 2021

This conference will address how the natural world has been presented, reflected or interacted by visual artists through centuries. Papers from PhD students and recent PhD graduates will debate on various topics from the pragmatic view of the natural world, existed simply to serve society, through the idea of natural phenomena, animals, plants etc. as allegories and symbols utilized to draw morality tales or aesthetic principles, which were viewed with as much importance as scientific information, to nature as a source of inspiration for new ideas and movements reflected in the fields of arts. Specific focus is put on the modern technologies and media, as well as the artists’ addressing social and political issues relating to the natural environment.

Topics of the conference include, but are not limited to:
• Art as mirror of nature: interpretation of nature in various historical periods, artistic contexts and individual artistic opuses
• Art and nature: allegoric and symbolic representations, illustrations in the books of nature (botanical and zoological studies), flora and fauna in emblems, design and applied arts;
• Art and natural context: landscape painting, Animalists, Wanderers Art Movement, Land Art, Earth Art, Environmental Art
• Art and new technologies: biotechnological arts (BioArt), Genetic art, Evolutionary art, ethical problems considering using modern technologies and bio materials in art etc.
• Art and contemporary aspects and dilemmas: climate changes, environmental problems, ecological awareness represented through visual arts (EcoArt, Crop art, Sustainable art)

Proposals should be sent to phd.conference2020.lj@gmail.com by 15 May 2021 and should include an abstract of maximum 400 words and a short CV. More information is available here.

Call for Papers | Upcoming Issue of Perspective, On Inhabiting

Posted in Calls for Papers by Editor on December 7, 2020

From the Call for Papers (with the French version available here) .  .  .

Special Issue on Inhabiting / Habiter
Perspective: actualité en histoire de l’art (2021–22)

Proposals due by 10 January 2021; final articles due by 15 June 2021

For its coming issue, the journal Perspective asks the question of what it means to inhabit: to inhabit a space, a territory, one’s home or one’s body, whether we are dealing with far away frontiers, or the outlines of intimacy; to inhabit one’s life, one’s society/ies, one’s epoch, in what inhabiting means in terms of being present in one’s world, for and with one another, to face circumstances as they stand. In a time when, across the globe, entire populations are confined to their homes, Perspective issues an invitation to revisit the visual and imaginary plasticity of inhabiting: “to occupy a place of settled residence or habitat,” so states the dictionary, suggesting habit, repetition, regularity; but also occupying persons, inhabiting them, animating them, moving them.

Inhabiting is not only a question of space. When we speak of ‘the spirit of a place’, it opens the poetic question of being inhabited: to haunt, to be haunted, to possess a place or a being, to be possessed, as one may possess an idea, values or beliefs which, in turn, inhabit us. Thus, both time and intangibility find their way into the material world: inhabiting refers to what is built (masonry, roofs, buildings, frontiers), but it also refers to what we inherit, immaterial presences, intimate representations and mental spaces—finally, it refers to what holds us up, holds us back, or holds us together. In fine, inhabiting articulates the individual and the collective, what is shared and what is separated, what is movement and what is closure, places and non-places, and brings forth the question of the Commons: in our world, what do we share? This inevitably brings us to the question of ecology, in its original meaning; the science of the habitat (oikos, the ‘home’), to how our multiple forms of existence and coexistence interweave.

In this manner, Perspective endeavours to dedicate its coming issue to the ways in which artists, art historians, and their colleagues from various neighbouring disciplines, take on these interrogations and bring forth the multiple ways in which one can inhabit or be inhabited. This subject calls for a wide variety of approaches, both in terms of thematic and fields of study. All proposals will be studied as long as submissions remain in line with the journal’s editorial policy. Investigations into the fields of history of architecture, urbanism, landscaping, visual arts, but also museology, ethnology, anthropology, visual studies, and digital humanities, as well as decorative arts, design, fashion, performing arts and cinema shall all be welcome.

Published by the Institut national d’histoire de l’art (INHA) since 2006, Perspective is a biannual journal which aims to expose the diverse topicality of research in art history, while remaining constantly in movement, and explicitly aware of itself and of its own historicity and articulations. It bears witness to the historiographical debates within the field, while remaining in continuous relation with images and works of art themselves, updating their interpretations, and thus fostering global, intra- and interdisciplinary reflexions. The journal publishes scientific texts which offer novel perspectives on a given theme. These may be situated within a wide range, yet without ever losing site of the object of their focus ; to reach over and above any given case study, and interrogate the discipline, its methods, its history and limitations, while aligning these interrogations with topical issues from art history and neighbouring disciplines, which speak to each and every one of us as citizens.

Perspective invites contributors to update their historiographical material and the theoretical questionings from which they draw their work, to think from and around the starting point of a precise question, an assessment that will be considered an epistemological tool rather than a goal in itself. Thus, each article shall be written with a new approach, by creating links with the great societal and intellectual debates of our time.

Perspective is conceived as a disciplinary crossroad and aims to encourage dialogue between art history and other fields of research, human sciences in particular, and put into action the ‘law of the good neighbor’ developed by Aby Warburg. All geographical areas, periods, and mediums are welcome.

Please send your submissions (an abstract of 2,000 to 3,000 characters, a provisional title, a short bibliography on the subject, and a biography of a few lines) to the editorial office (revue-perspective@inha. fr) before 10 January 2021.

As Perspective will manage translations, projects will be examined by the issue’s editorial board regardless of language. The authors of selected proposals will be informed of the committee’s decision in February 2021, and articles must be submitted by 15 June 2021. Submitted articles, with a final length of 25,000 or 45,000 characters depending on the project, will be definitively accepted after the anonymous peer- review process.

Call for Papers | The Afterlife of the Mausoleum of Halicarnassus

Posted in Calls for Papers by Editor on November 30, 2020

From ArtHist.net:

Re-Conceiving an Ancient Wonder: The Afterlife of the Mausoleum of Halicarnassus, 1500–1850
RWTH Aachen University, 24–26 June 2021

Proposals due by 31 January 2021

The importance of the Mausoleum of Halicarnassus for European culture is revealed by its very name, which—in many languages—has become a noun signifying any sufficiently monumental tomb. However, the Mausoleum was destroyed during the Middle-Ages, and many aspects of its appearance remain uncertain, even since the excavation of its foundations in the 1850s. During the Early Modern Period, the main sources of information on this building were thus ancient texts, which were the only references concerning the Mausoleum’s dimensions and appearance. Accurately reconstructing architecture according to brief written descriptions, however, is an impossible task. Yet, despite this difficulty or perhaps due to the liberty it offered the imagination, numerous artists, architects and antiquaries took a keen interest in the monument during the timeframe 1500–1856, mainly using Pliny’s description to suggest reconstructions, devise pictorial representations and seek inspiration for new funerary projects or monumental public architecture.

This workshop aims to examine the afterlife of the Mausoleum during this period. Being an invisible reference, the monument left far more leeway to the imagination than other, existing ancient buildings that also attracted scholarly and artistic attention, such as the Pantheon. The Mausoleum’s invisibility entails that it is not the monument itself that will be investigated here, but rather the ensemble of texts, images and architectural projects referring to this central but unknowable model. Drawing upon recent developments in the methodologies of intermediality and temporality, the project aims to add a new dimension to this discussion by focusing on a precise case study examining the evolution of several key themes over a long period.

The following questions offer a common intellectual framework for the workshop. Further research themes suggested by participants, however, will naturally be welcomed.
• How did reconstructions engage with the Mausoleum’s invisibility and the intermedial relations that it entailed between architecture, text and image?
• What differences emerge between various groups (e.g. antiquarians, architects, painters) in their interpretations of the Mausoleum and in the motivation of their interest for this structure?
• How did the Mausoleum inspire actual buildings and serious architectural projects?
• Or, inversely, imaginary pictorial vistas and stage sets?
• How did the Early Modern reception of the Mausoleum engage with the different means of architectural quotation (shape, dimensions, ornaments)?
• Why did the Mausoleum generate particular interest within specific cultural contexts?
• How, when and to what extent was the funerary function of the Mausoleum emphasised?
• What did the Early Modern Period make of the Mausoleum’s insertion into an urban context and of its relation to the surrounding landscape?
• How is the Mausoleum discussed in general histories of architecture written during the period under consideration?

While we are interested in all proposals concerning the period 1500–1850, topics from the seventeenth and nineteenth century will be especially welcome, since they remain underrepresented amongst the several key speakers already selected.

We invite scholars to submit proposals (max. 1 page) for 20-minute talks that can later be developed into full-length book chapters. Abstracts should be sent to halicarnassus@ages.rwth-aachen.de until 31 January 2021.

The workshop will be held at RWTH Aachen University on 24–26 June 2021. Funding will be available for a partial reimbursement of participants’ expenses, thanks to a grant from the German Research Foundation (DFG).

The workshop will result in a collective publication—a coherent book, rather than a loose set of articles—retracing key issues regarding the afterlife of the Mausoleum throughout the timeframe under consideration. For this purpose, we strive for an open workshop format that fosters debate and concrete ideas for a collective publishing project. We sincerely hope that we will be able to meet in person, however, if the pandemic lasts until summer 2021 we will prepare an appropriate digital format for the workshop.

Organisational Committee
Prof. Dr. Anke Naujokat (RWTH Aachen University)
Dr. Desmond Bryan Kraege (AHO Oslo School of Architecture and Design)
Felix Martin M.Sc. (RWTH Aachen University)

Call for Papers | Food—Media—Senses

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

From ArtHist.net:

Food — Media — Senses
Philipps-Universität Marburg, 1–2 July 2021

Proposals due by 21 December 2020

The notion that eating is linked to sensuality is a commonplace. But once we take into consideration that during a meal all five senses can be involved, the relationship between eating and the senses becomes much more interesting. By eating we understand a cultural practice which includes the consumption of food as much as its preparation and presentation. Not only in the culinary art and fine dining of the last decades—for example, molecular cuisine—but also in the industrial processing of convenience food, trends of putting all five senses into relation to each other can be observed.

But this very aspect of sensuality is often ignored in the debates of the humanities or cultural science about eating and food, although aesthetics in the sense of aisthesis is one of its core subjects. Strangely enough, up until now there has been only little research on how eating relies on the interplay of the senses. This might generally be due to the fact that sensual experience has been held in high cultural regard only when initiating the creation of sense. The incorporation of the object of perception in no way seemed to be in a position to transcend the bodily, in the manner of the distanced sensory perceptions of seeing and hearing (Zechner 2013). We find here an implicit hierarchization which might be the reason for a lack of differentiated linguistic tools and of useful distinctions when it comes to tasting and smelling, the senses central to eating. While tools for capturing the visual and auditory already have been developed by scholars of musicology, art history, media studies or theater studies. A cultural science which is adequate to the cultural technique of designing food—as haute cuisine or as convenience food—is still lacking. Even the most recently booming food studies are only peripherally are concerned with the sensorially experienced aisthesis of dishes and, when concentrating on the socio-cultural functions of eating, fall back onto a wider perspective of cultural studies.

In order to acknowledge the material and media-related aspects of eating as a cultural praxis, the conference proposes to understand the various aspects of eating as a purposefully designed sensory experience. Thereby it aims to introduce, produce and discuss research tools commensurate with the sensuality of eating. First, we intend to develop ways of describing how the individual senses are addressed by food and to conceptualize their modes of interaction. As they design sensual experience the dishes prepared are to be considered as media themselves. They offer perceptive opportunities which are strongly formed by culture and in special ways address the sensory as much as sense. In addition, haute cuisine even works with textures, smells and taste nuances in an attempt to create meaning. Focusing the senses in combination with the concept of media and its heuristics is meant to permit a new perspective on dishes and eating.

The involvement of media in eating can be further differentiated. By an open concept of media—which could for instance be obtained from the ethnographic orientation of the actor-network theory—the constitutive roles of menu, cutlery, tableware and dining room can be taken into account without relegating them to the secondary role of ‘context’. In this sense, we have to describe the preparation and combination of food together with the specific choice of tableware, table decoration, furniture, interior design, music and, last but not least, the service to the table and additional media components. Also, the fine arts always have reflected on food, for example in the genre of the still life or, since Modernity, in interactive settings which take eating as a starting point for creating a Gesamtkunstwerk and reflect on the aesthetic and socio-cultural dimensions of food.

Finally, media come into play when representing and communicating eating in advance or afterwards. Under this aspect we may ask by which forms of linguistic expression, structure and imagery for example a cooking recipe is characterized, how film and television evoke the sensual experience of eating or how the oeuvre of a certain chef is represented in photo books. Complementary it has to be asked in which ways a whole media ensemble is grouped around food and its preparation, how such a media ensemble organizes perception and consequently directly feeds back onto the senses. The intrinsic logic of particular media and how it affects the presentation of food has to be taken into consideration, too.

The conference is conceived as an interdisciplinary exploration in which experts from media studies, art history, literature, sociology, ethnology, cultural studies and design studies come together for productive exchanges and share their special approaches such as gastrosophy, culinary studies and food studies. The following three thematic blocks can be defined:

1  Food as Medium

The first section focusses on the media-related qualities of eating, which is understood as a designed sensual experience. Food as a multisensory and multimodal object of perception as well as all related practices of preparation, presentation and consumption come into view. In contrast to the traditional approaches in the study of meals, we suggest an understanding of the preparation, presentation and consumption of food not as a cultural framing, but as a communicative practice which includes the meal’s design and its whole field of experience: which role is played by sensual experience when buying and preparing food? Which options are there to control the parameters of sensory experience during cooking? How is a meal arranged to let the eater have a certain experience? How is food semantically charged? Of course, specific associations are induced in food; but can we imagine other strategies as well? The analysis of happenings in the fine arts which perform and simultaneously reflect on the preparation of food as much as on its communal consumption can yield great insights. Art works not only use food and its staging as a vehicle for messages but can also convey its sociocultural implications and even reveal how the construction of culture works.

2  Food in Media

The representation of eating and the sensual experience connected to it has a long history: the interest in food’s colors and tactile surfaces is one of the major causes for the emancipation of the still life as a genre of its own. Cookbooks seek to demonstrate the preparation of meals as much as the expected pleasures by a variety of linguistic devices, specific layouts and images. Food photography in advertising and in cookbooks claims to visualize sensual experience. On product packaging, food photography can work like a serving suggestion inasmuch as it can trigger, in combination with color design etc., sensual associations. In addition, attention must be paid to the parameters of media-specific presentation and how they feed back on the cultural practice of eating. Photogenics and, recently, instagrammability highlight colorful and structured dishes. In what ways does a photogenic appearance indirectly impact on sensual experience? Visual communication as an applied science, at the service of the food industry, which deals with the relationship between packaging design and buying decisions, has to be taken into consideration.

3  Sociology and Culturality of Food

We want to explore how the sensuality of eating is treated in specific cultural contexts. It is not only about preferences—for example, for the bitter or the sour—but also about the involvement of the different senses in eating: in which cultural contexts is the sense of sight particularly emphasized? In which cultural contexts is the sense of touch addressed through texture? In addition to the findings of Claude Lévi-Strauss, not only the relation between the raw and cooked but also between the liquid, soft and solid plays a role. At this point, we would like to reflect on the sensuality of cultural and national identities. Following the discussion on a sociology of taste, as has been prominently guided by Pierre Bourdieu, we aim to identify how the relationship between sensual experience and social biography contributes to the formation of social identity. Sensual experience becomes understandable as basically socially formed; concurrently, the socio-cultural formation is recognized as a naturalized one when, for example, preferences of taste are regarded as being gender-based.

The conference is to be held July 1–2 at the Philipps-Universität Marburg in person or as a hybrid event. In view of the COVID pandemic, it is not yet possible to make definitive statements about the form of the event that can ultimately be realized. Accommodation will be financed by the organizers. Travel expenses will be covered or subsidized, depending on the cost. There are no conference fees. Proposals (of approx. 400 words) for a 25-minute presentation accompanied by a brief CV should be sent by 21 December 2020 to foodmediasenses@uni-marburg.de.

Organising committee: Christina Bartz (Paderborn), Jens Ruchatz (Marburg), Eva Wattolik (Erlangen)

Call for Papers | ECRS Series, 2021

Posted in Calls for Papers, graduate students by Editor on November 17, 2020

From ECRS:

The Eighteenth-Century Research Seminar Series
(Online) Fortnightly on Wednesdays, from 27 January to 7 April 2021

Proposals due by 15 December 2020

The Eighteenth-Century Research Seminar (ECRS) series invites proposals for twenty-minute papers from postgraduate and early career researchers addressing any aspect of eighteenth-century history, culture, literature, art, music, geography, religion, science, and philosophy. The seminar series seeks to provide a regular interdisciplinary forum for postgraduate and early career researchers working on the eighteenth century to meet and discuss their research.

ECRS will be hosted online by the University of Edinburgh. Seminars will take place on Wednesdays between 4:30 and 6:00pm on a fortnightly basis from 27 January to 7 April 2021. Each seminar will consist of two papers.

Abstracts of up to 300 words along with a brief biography and institutional affiliation should be submitted in a Word document to: edinburgh18thcentury@gmail.com. In your email, please also indicate any scheduling restrictions you may have. The closing date for submissions is Tuesday, 15 December 2020.

The Eighteenth-Century Research Seminar is kindly sponsored by the University of Edinburgh’s Eighteenth-Century and Enlightenment Studies Network.