Call for Papers | Ordering Colours

Posted in Calls for Papers by Editor on November 17, 2019

From ArtHist.net:

Ordering Colours in 18th- and Early 19th-Century Europe
Technische Universität Berlin, Chair for the History of Science, 13–14 March 2020

Proposals due by 30 November 2019

The question of how to order colours reaches far back, but in the 18th century, particularly in its second half, we see a steeply increasing number of studies that indicates a broad and urgent interest in classifying colour. Quite diverse contributions from the sciences, arts, crafts, and trade created a diverse field of colour order research in the 18th century. The workshop will explore, examine, and discuss those efforts and hereby contribute to the history of color in 18th- and early 19th-century Europe. Proposals from other epochs are welcome when focussing on or crossing substantially the 18th or early 19th centuries; for instance the revival of antique knowledge/ ideas. While focussing on Europe, the workshop also welcomes studies of other cultural regions. The workshop will be opened by a keynote talk by Jose Luis Caivano (Buenos Aires).

According to the multidisciplinary historical approaches, we invite contributions from the history of arts, artisanry, economy, technology, science as well as scholars from restoration, cultural, and material studies. Work in progress contributions are as welcome as finalized results. There might be detailed case studies, but also comparative, long-term and cross-sectional studies on the history of materials, objects, practices, theories, or ideas. Through all the bewildering variety of colour research of that period, the focus of the workshop will be on the attempts of ordering or even systematizing colours.

Topics might include, among others
• Colour samples, colour ordered objects, colour selections, colour collections, and colour atlases
• Colour diagrams: illustrations, papertools
• Colour codes, colour nomenclatures, colour references, and colour systems
• Colour experiments
• Early colour print and the trichromatic idea
• Discussion about colour primaries
• Natural history and colour
• Mining, chemistry, and colour knowledge
• Colour materials: porcelain, dyes, Indian / inks
• Commercial and theoretical interest in colour orders: developers, producers, traders
• Exchange of colour knowledge and objects in Europe: networks, connectors, translators, hotspots, and peripheries.

Please send your proposal in English (up to 350 words) before 30th November 2019 to tanja.kleinwaechter@tu-berlin.de. Notification of acceptance will be given by 22nd December.

Call for Essays | Thomas Aquinas and His Images

Posted in Calls for Papers by Editor on November 12, 2019

Thomas Aquinas and His Images
Edited by Claire Rousseau and Émilie Roffidal

Proposals due by 15 June 2020

Michel Serre (1658–1733), Thomas Aquinas Trampling Heresy, Basilica of Mary Magdalene, Saint-Maximin-la-Sainte-Baume, Var.

On the occasion of the double centennial of Thomas Aquinas (1225–1274)—with 2023 marking the 7th centennial of his canonization and 2025 the 8th centennial of his birth—and in parallel with events pertaining to the philosophical and theological approach of the ‘angelic doctor’, this publication aims at questioning pictorial representations of the saint. Thomas Aquinas’s innovative work is a link in the transmission of ancient philosophy and early theology’s heritage and has marked European intellectual thought throughout the centuries (with the Summa Theologiae and Summa contra Gentiles, to name just the most famous of his works). The numerous depictions of this extraordinary Dominican answer various purposes: glorification of the Order founded by Saint Dominic through one of its most remarkable figures, hagiographic processes, bringing the devotion of the Blessed Sacrament to the fore via the composer of the Roman office of Corpus Christi, particular devotions, etc.

The proposed publication addresses three themes:
• the doctor: the figure of the intellectual, of the theologian
• the depiction of his virtues
• his canonization

We expect papers offering cross-cutting approaches as well as case studies (paintings, sculptures, or engravings) highlighting the specific features of the iconography proper to Thomas Aquinas, or on the contrary its inscription in traditional schemes of representation (inspired writer, ecstatic saint, etc.). The envisioned chronology covers the long period stretching from the 15th to the 20th century, as well as areas as diverse as Europe or South America (and more).

• 15th of June 2020 at the latest: proposals due with title, summary, and bio-bibliographical presentation of the author.
• November 2021: final essays due (35,000 characters at most, 3/4 free of rights photos). The text can be written in French, English, or Italian.

Proposals are to be sent to: Claire Rousseau ParisIV-Sorbonne (maison.seilhan@gmail.com) and Émilie Roffidal CNRS-UT2J (emilie.roffidal@univ-tlse2.fr)

Publisher: Angelicum University Press Roma

Call for Papers | Prints in Their Place

Posted in Calls for Papers by Editor on November 7, 2019

From The Courtauld:

Prints in Their Place: New Research on Printed Images in Their Places of Production, Sale, and Use
Research Forum, Courtauld Institute of Art, Vernon Square, Kings Cross, London, 19–20 June 2020

Proposals due by 15 January 2020

Organized by Sheila McTighe, Paris Spies-Gans, and Anita Viola Sganzerla

Jacques Callot, Title page to Varie figure, etching, ca. 1621/22 (Washington, DC: National Gallery of Art).

We solicit papers that address printed images in relation to their early modern and modern contexts in the broadest sense. We hope to include papers that cover the full span of the history of prints, and the range of disciplines in which print is now studied, from art history, the history of the book and print culture studies, to the history of science and ideas.

We open up the terms ‘place’ or ‘context’ to include a variety of approaches to the study of prints and of print. To look at prints in their place might concern the relation between prints and their place of production—how did the spaces and formats of artists’ workshops shape their creative process and affect the prints produced? How did the entrepreneurship of print producers in workshops and publishing houses affect the print materials that were bought by their customers? How were the places in which cheap prints were sold—on the street, in the piazza, the book fair, the market table—reflected in their format, imagery, and functions? Equally rich contexts include the places in which printed materials were collected, stored, and used: how did the formats and conventions for looking at prints, pamphlets and books, in libraries, kunstkammer, galleries, chapels, schools, kitchens, laboratories, bedrooms, coffee shops and salons, affect the way prints were made as well as what they portrayed? More broadly, when print shops and book shops were clustered into certain streets or districts in the city, and/or when a locality became associated with the print trade, what effects did the character of this site have on the culture of print in that place? We also encourage topics that consider gender as well as women artists—Were these places gendered? Did women cultivate their own spaces of print production? When and where did women actors navigate the spaces above? What was the place of print, literally or figuratively, for aspiring or established women artists or publishers? The places for prints might also be considered as metaphoric or imagined spaces, such as the international arena for news and political debate. Finally, we invite studies of such real or imagined places for prints that extend beyond western Europe.

If you are interested in presenting a paper at this conference, please send a proposal with your name and institutional affiliation (if you have one), your paper’s title, an abstract of no more than 200 words, and a brief cv, to sheila.mctighe@courtauld.ac.uk. Deadline for submissions is 15 January 2020.

Organizers: Dr. Sheila McTighe (Senior Lecturer, Courtauld Institute), Dr. Paris Spies-Gans (Harvard University Society of Fellows), Dr. Anita Viola Sganzerla (Independent scholar)

Call for Essays | The Enlightened Nightscape, 1700–1830

Posted in Calls for Papers by Editor on October 26, 2019

From the Call for Proposals:

The Enlightened Nightscape, 1700–1830
Edited by Pamela Phillips

Proposals due by 20 December 2019; completed essays due by 30 June 2020

Traditional timelines divide the past into the ‘Dark Ages’ and the ‘Enlightenment’, with their corresponding associations with ignorance, the irrational, and superstition in opposition to light, clarity, and reason. In recent years numerous academic disciplines have challenged this black and white view, converging in and on the night to study the many dimensions of the other half of our daily twenty-four-hour cycle. The emerging field of Night Studies has examined the evolution of the meaning of night since the Middle Ages, its representation in different national literatures and art, and the impact of street illumination in the creation of nightlife, especially in urban centers, among other topics. This line of research is particularly relevant to eighteenth-century studies, as the Enlightenment’s embrace of light and reasoned knowledge makes it easy to overlook that night and darkness held both physical and metaphorical importance. The invention of lighting technology and economic growth, along with the rise of social infrastructures like cafés and the fascination with graveyards and other dark spaces, brought life and light to the eighteenth-century nightscape. The night became a source of inspiration for many writers and artists, and philosophers explored its hidden meanings.

The objective of this edited collection is to present a cross-disciplinary discussion on the thinking about the concept of night through examples from the global and long eighteenth century. The Enlightened Nightscape 1700–1830 seeks to bring together case studies that address how the night became visible in the eighteenth century through different mediums and in different geographical contexts. The proposed study of the representation, treatment, and meaning of the night in the long and global eighteenth century also contributes to an on-going exercise that questions the accepted definitions of the Enlightenment. By bringing Eighteenth-Century Studies into dialogue with Night Studies, The Enlightened Nightscape 1700–1830 enriches the critical conversation on both lines of research.

Contributions may consider, but are not limited to, the following topics:
• Night, dusk, and dawn as periods and spaces of the daily cycle
• Darkness and the (in)visible world
• Nocturnal landscapes and architecture (cemeteries, forests, etc.)
• The unknown, uncertainty, and obscurity
• Urban and rural night culture
• Blindness and sight
• Public spaces and sociability
• Gender and mobility
• Astrology and astronomy
• Shadows in art and life
• Chiaroscuro and nocturne painting
• Sleep and dreams
• Nighttime animals (wolves, bats, etc.)
• Evening customs (witchcraft, storytelling, crime, etc.)
• Literary and artistic representations

In its embrace of the global turn in eighteenth-century studies, The Enlightened Nightscape 1700–1830 welcomes multidisciplinary topics, analysis of literary, visual, aural, and material texts, and considerations of nightscapes that extend beyond the traditional European canon.

Please submit a 300-word abstract and an abbreviated CV to Pamela Phillips (phillips.pamela@gmail.com) by December 20, 2019. Authors will be notified by January 31, 2020. Complete, original, and not previously published essays of 6,000–8,000 words will be due by June 30, 2020.

The editors of the Routledge Studies in Eighteenth-Century Cultures and Societies series have expressed an initial interest in the collection and a full proposal will be submitted to the publisher once the abstracts have been selected. Please send all proposals and inquiries to Pamela Phillips: phillips.pamela@gmail.com.

Pamela Phillips, PhD
Department of Hispanic Studies
University of Puerto Rico, Río Piedras

Call for Papers | Making a Case for Cases

Posted in Calls for Papers by Editor on October 14, 2019

From ArtHist.net:

Making a Case for Cases: The Furniture of Display
The Bowes Museum, County Durham, 10–11 January 2020

Proposals due by 22 November 2019

This conference aims to explore the furniture used by collectors, museums and institutions for displaying artefacts. Spanning diverse functions and definitions, objects known as display cases, showcases, china cabinets, vitrines, specimen tables, or even trophy cabinets, are ubiquitous in the home and museum. However, there remains a lack of scholarly engagement with cases in the writing on and about museums, demoting them as merely utilitarian or secondary to the objects they contain. This conference aims to shift the focus from the contained to the container.

From the earliest wunderkammer, treasure houses, and royal palaces, collectors and institutions have purchased, or commissioned craftsmen to make furniture to hold possessions or artefacts. With the rise and development of public art museums and large-scale international exhibitions in the nineteenth century, display cases became increasingly central to the aesthetics and practicalities of exhibiting art. As more people jostled to see or touch objects, cabinets were redesigned to fit with new techniques of preservation and display. We might consider the boom in the luxury furniture trade that offered private collectors from a range of social backgrounds the opportunity to decorate their homes and show off their prize pieces. How did public and private display cases mould forms of class and gender identity? How did they balance the need for access with the claims of distinction?

The display case was an invitation to close-looking and even scientific investigation. Types of visual scrutiny were inherently bound up with technological advances and this was mediated through shifts in case design. What were the power dynamics at work when something was placed inside a case, particularly in the imperial context of the nineteenth century, as foreign cultures were subject to study and objects were displaced from their original locations. Which histories do display cases speak to? This event will open a discussion around the topic between historians of any discipline who examine display cases and their role in presenting art and material culture.

The organisers invite abstracts for 20-minute papers and also shorter, in-focus presentations of around 5–8 minutes in length. We welcome papers on topics engaging with, but certainly not limited to:
• Cases in domestic or historic interiors, c.1750–1950
• The different taxonomy of cases: for porcelain, jewellery, taxidermy, documents, coins and medals, natural history and botanical specimens.
• Uniformity and difference in display cases
• Case design and architecture
• The impact of curators, collectors, artists or dealers on display case design.
• The criteria of cases; for study, classification or aesthetics?
• Display cases and preservation/conservation
• Display cases and Empire
• Display cases in commercial spaces.

Please direct all submissions to casesconference2020@gmail.com by noon on Friday 22 November 2019. The organisers will be in touch with the outcome of applications the following week.

The conference will take place in The Bowes Museum on Friday, 10 January and the morning of Saturday 11 January, allowing time for speakers and delegates to arrive via Darlington train station on Friday morning and to leave on Saturday after lunch. With its important collection of furniture used for display purposes, The Bowes Museum offers the ideal venue for this conference. We warmly invite all participants to join us on the afternoon of Saturday, 11 January at the museum for extra discussion and activities. Information on arrangements for accommodation will be available in due course.

This conference is generously supported by the Collaborative Doctoral Partnership Consortium and The Bowes Museum.

We look forward to receiving your abstracts. With thanks from the organisers:
Charlotte Johnson (The University of Birmingham and Kedleston Hall, National Trust),
Lindsay Macnaughton (Durham University and The Bowes Museum),
Simon Spier (The University of Leeds and The Bowes Museum)

Call for Papers | Animaterialities

Posted in Calls for Papers by Editor on October 13, 2019

From ArtHist.net:

Animaterialities: The Material Culture of Animals (including Humans)
Sixteenth Material Culture Symposium for Emerging Scholars
University of Delaware, 24–25 April 2010

Proposals due by 5 December 2019

The Center for Material Culture Studies at the University of Delaware invites submissions for graduate student papers that examine the relationship between material culture and animal studies for its biennial Emerging Scholars Symposium (April 24–25, 2020). This symposium merges the interdisciplinary study of animals—and the related critical conversations surrounding animality, species, agency, objectivity, and subjectivity—with material culture studies.

Five years after the Audubon Society’s startling Birds and Climate Change Report, we continue to hear about the prices non-human animals pay for human choices: extinction, loss of habitat, and poisoned food sources. The present moment begs, more than ever, critical questions about the intersections between the material world and the (fellow) animals with whom we share it. We thus propose the theme ‘animaterialities’, a term which acknowledges the constant presence of other-than-human animals as physical bodies entangled in various anthropocentric systems, whether political, economic or cultural. Animaterialities encourages participants to consider animals not as passive forms of matter for human use, but as active beings capable of resilience in the face of humans’ material domination and exploitation. Finally, it recognizes the necessary turn material culture studies must take when applied to other-than-human animals, as opposed to artificial, vegetal, or mineral subjects/materials.

Generative questions might include:
• How do material objects define or challenge the boundaries between humans, animals, and objects?
• How are animals transformed into material forms?
• How are animals made visible or invisible in the built environment, text, image, material goods, the archive, and the museum?
• How do animal materialities cut across, complicate, and generate global, hemispheric, and imperial worlds?
• How can we re-conceptualize materialities and animalities as active agents in their worlds, rather than passive participants?

Contributions to this theme may take, but are not limited to, the following forms:
• The production and conservation of animal materials
• Materials that imitate animals
• Animals as objects, the “thingness” of animals, and defying objective treatment
• The materialities of animal labor
• Experimentation with animals and animal materials
• Animal classification, collecting, and display
• Material culture of living history farms, zoos and zoological gardens, and preserves
• Visual culture and representation of animal materials
• The social life of animals
• The material aspects of animal abuse

Submissions: Proposals by current graduate students and recent graduates (May 2019 or later) should be no more than 250 words. Up to two relevant images are welcome. Send your proposal and a current c.v. (two pages or fewer) to emergingscholars2020@udel.edu.

Deadline: Proposals must be received by December 5th, 2019. Speakers will be notified of the committee’s decision by the end of January 2020. Confirmed speakers will be asked to provide digital images for use in publicity and are required to submit their final papers and presentations/slide decks ahead of the conference. Travel grants will be available for participants.

Call for Papers | ‘Dark Enlightenments’

Posted in Calls for Papers by Editor on October 12, 2019

From the conference website:

‘Dark Enlightenments’: David Nichol Smith Seminar in Eighteenth-Century Studies XVII
Adelaide, Australia, 2–4 December 2020

Early proposals due by 1 November 2019; regular proposals due by 1 March 2020

The Australian and New Zealand Society for Eighteenth-Century Studies (ANZSECS), Flinders University, and the University of Adelaide invite you to the 17th David Nichol Smith (DNS) Seminar for Eighteenth-Century Studies. Inaugurated in 1966 by the National Library of Australia, the DNS is the leading forum for eighteenth-century studies in Australasia. It brings together scholars from across the region and internationally who work on the long eighteenth century in a range of disciplines, including history, literature, art and architectural history, philosophy, theology, the history of science, musicology, anthropology, archaeology, and studies of material culture.

The theme for this conference is ‘Dark Enlightenments.’ We ask delegates to consider the dark, shadowy aspects of enlightenment processes of the eighteenth century. When broadly conceived, the theme is open to numerous up-to-the-minute, interdisciplinary possibilities, including (for example):
• the dark side of the public sphere, such as expressed in satire and polemic
• Empire and enlightenment
• critiques of empathy and humanitarianism
• negative emotions
• crime, conflict and violence
• the use and abuse of the past
• progress and ethics (political, social, scientific)
• war
• romanticising death
• the Gothic
• the numinous eighteenth century
• the transformation of night-time
• developments in notions of privacy, secrecy and the hidden self
• the ‘shady’ moralities of libertinism
• the aesthetics of darkness and light

This, we believe, is a particularly timely theme, partly owing to the nationalist turn in global politics, and the recent controversy stirred in Australia by the proposed Ramsay Centre for Western Civilisation. It offers both sides of the political spectrum the opportunity to interrogate and fully understand the costs, benefits, and legacies of eighteenth-century ‘progress’. It is also a theme designed to emphasise the Enlightenment in its moral complexity and richness, and the wide range of domains (from the everyday to philosophical thought) that contributed to its production.

We also welcome papers for subjects that fall outside the main conference theme. Proposals for 20-minute papers should consist of a title, 250-word abstract, and short bio sent via email as a pdf attachment to DNS2020@flinders.edu.au. We also accept proposal for panels of three papers, which should include all the above for each presenter, a panel title, and if possible, the name and short bio of the panel chair.

Deadlines for submissions
For early deliberation: 1 November 2019. A first round of acceptances will be made shortly after this date to facilitate international attendance.
Final deadline: 1 March 2020

Associate Professor Kate Fullager (Macquarie)
Professor Sasha Handley (Manchester)
Associate Professor Eugenia Zuroski (McMaster)

◊   ◊   ◊   ◊   ◊

Attention Early Career Researchers!

Aspiring to deliver a keynote lecture at a major international conference? Here’s your chance! We’d like to invite early career researchers to propose a keynote lecture addressing the conference theme. This scheme is open to all topics and areas of expertise in literary/humanities studies broadly defined, and to researchers who are in regular university employment as well as those who are not. Applicants must:
• have an outstanding research track record relative to opportunity;
• be within 5 years after award of the PhD (extended to 7 if not in stable university employment or with a significant career interruption).

To apply, please submit a proposed title, 300–400 word abstract, a bio, and a CV (3 pages max) to DNS2020@flinders.edu.au.

In making a selection diversity and the presence of under-represented groups will be recognised, as well as the spectrum of existing keynotes at the conference. We also reserve the right to seek third-party testimony as to the researcher’s capacity to speak and deliver scholarly presentations. The winner will deliver the proposed keynote lecture, with flights, accommodation, and registration covered. The deadline for early career researcher keynote proposals is 1 November 2019.

Call for Papers | Sensory Experience in 18th-Century Art Exhibitions

Posted in Calls for Papers by Editor on October 10, 2019

From ArtHist.net:

Sensory Experience in 18th-Century Art Exhibitions / L’expérience sensorielle dans les expositions d’art au XVIIIe siècle
Musée du Louvre, Paris, Autumn 2020; Louvre-Lens Museum, Spring 2021

Proposals due by 15 December 2019

Throughout the 18th century, the exhibitions of the Royal Academy of Painting in Paris—by setting the horizon of expectation—have created a habitus among European visitors and especially Parisians. Moreover, they have aroused the curiosity and the desire of the French public and of other nations who where inspired by the Salon. During this period, the Salon du Louvre became a highly popular event, where crowds gathered to see, be seen and to learn. Hence, the Salon embodied without any doubt the image of the Parisian social theatre and thus also indirectly that of the pleasure of the senses for educated European audiences. In other words, visiting the Salon or any other art exhibition in the 18th century, where the desire to be entertained and to learn was intertwined, presented itself as an experience in which the various senses were invoked and stimulated. The notion of a ‘sensory body’ becomes relevant: not only sight, but also the senses of hearing, taste, touch, and smell were interpolated in a varied and complex manner at various moments during the visit.

The conference will focus on the sensations that visitors felt during their experience of art exhibitions. The latter are to be understood in their broadest sense during the long 18th century (1665–1815). The starting point is the moment when the Salon du Louvre became the role model for a growing number of temporary exhibitions, in Paris and in French provinces, at the Royal Academy in London, and, more broadly in Europe. All other spaces of sociability where works of art were subjected to the critical gaze of the public must be taken into account: galleries and private art collections, royal collections, temporary exhibitions, auction rooms, museums… In the context of research about the history of sensibilities and senses, this conference thus aims at defining the new perceptions that flourish in the Age of Enlightenment by questioning the sensory experience and the constitution of the sensory body in the specific context of exhibition spaces.

The understanding of this sensory body in its entirety implicates numerous elements that play an essential role in its constitution. Given the richness of the topic related to the sensory experience in 18th-century art exhibitions, the conference will be divided into two sessions that will take place a few months apart, and in two different locations.

Session 1
The Experience of the Visit: From Spectator to Critic

This first session focuses on the sensory experience of the public when visiting an exhibition – whether it is a collection, a museum, or a temporary presentation of works of art. While 18th century art exhibitions in Europe contributed to urban identity, they also helped to define the identity of the larger public, as well as the single spectator, and the critic. It will be a question of capturing these actors, their visits to exhibitions, their sensory impressions, and the emergence of feelings as they developed along an exhibition tour, likewise further encounters with other visitors, with the spatial context and display of art. In order to encourage comparative research, we call for proposals on various exhibition spaces in various European cities, relating to the following two axes:

• The public, an individual or a group of individuals visiting the exhibition, engaged in the activity and experiences emotional, sensory and physical effects during the whole visit of the exhibition. The presence of other visitors, this more or less colourful crowd that implied a perpetual body interaction, as well as the view of the exhibition played a central role on the senses, the sensitivity and the body of each visitor. Within this audience, the writers that appear at the time of the exhibitions related these experiences to their readers, qualifying and theorizing them. Art criticism is thus no longer simply a primary source for art history, the history of the senses, and questions of reception, but becomes also a research subject by itself. How, in other words, did the sensations, emotions and feelings experienced by critics stimulate and transform art criticism itself? The reality and the sensory experience of the visitor are not necessarily the same in Paris as elsewhere in Europe: Hence, we would like to discover and understand these differences and similarities.

• The space and the exhibition, meaning the immediate environment, the exhibition design, but also the geographical territory with which the individual and its senses are engaged, play a central role in the experience of the spectator’s sensory body. By providing stimuli, they cause sensations and an intense and specific cognitive activity. What kind of effects did the dimensions of the room(s), the movements of the body in the space, the encounter with the art and the exhibition design, the lighting as well as the symbolic aspects of the space have on visitors’ sensory experiences, both in their expectation and during the visit of the exhibition? We will therefore focus on the different affects and effects that this experience catalyzed for each of the senses, sensations, and emotions that inhabited the spectator during and beyond the visit. An experience that is constituting an important part of the horizon of expectation for exhibitions. We can ask ourselves about the different approaches to installation and hanging, but also about the extent to which these approaches had an impact on visitors’ sensations, their perceptions, and their feelings, whatever nature they are, and on the evolution and constitution of their sensibility, of their sensitive body. What role do the symbolic and physical aspects of space play in this experience? How are these effects translated through the written word?

Session 2
The Experience of the Work of Art: From Emotion to Sensation

The second session is intended to invite reflection on the representation of emotions and human sensorium as well as on the reception of these elements when works of art were exhibited publicly in 18th-century Europe. The objective is to study how artists express their perception of the sensitive and the sensory, and how the spectator’s senses react while looking at the works. We will take into account all aspects of the Fine Arts (painting, sculpture, drawing, engraving) and consider also different genres (history, portrait, genre scene, landscape, still life). For this session, we call for proposals around two axes:

• The works, these modes of representation of feelings and the sensory, evoke the sensitivity of the artist as well as that of the human being in general. According to what theoretical and practical criteria did artists translate the spectrum of emotions, but also that of sensory perceptions through the represented body, its gestures, its personality traits or its staging? We are obviously thinking of the rules governing the representation of passions such as those of the ‘ut pictura poesis’, but especially of the attempts to renew them during the 18th century. It is not only a question of revisiting the interactions between theatrical staging and pictorial composition, but also of exploring all the components of mimesis, that is common to the Fine Arts and the performing arts, in order to reinforce the sensory and sensitive delight of art: expression, gestures, costume, decor, colour.

• The senses, (inter)linked with the organs of perception (sight, taste, hearing, smell and touch), are defined by and react to the contact with context, the exhibition as a whole, other individuals, and specific works of art. We would like to understand how the spectator’s senses apprehend, perceive—or even feel—the encounter with a particular work or with the ensemble of works. According to which criteria does sensory perception stop at the level of analysis and reasoning? When and how does this experience lead to a true reaction, whether it is sensitive, sensory or physical? We know that in the 18th century, the research on perception and cognition led to numerous publications on sensualist philosophy, physiology and physiognomy. How did artists consider these new contributions to the history of medicine, science and technology, and how did they translate them within their works? This axis will explore the boundaries between the experience of each of the senses and the relationships that emerge between them in order to get an overall picture of all the sensations and feelings provoked by specific works, particularly by those representing feelings, emotions and allusions to the senses. In this axis, priority will be given to proposals based on sources from various fields (history, literature, philosophy, but also science and medicine) in order to renew the reflection on the phenomenon of exhibitions.

Proposals for original contributions in English or French (title and abstract of up to 300 words and short CV of up to 250 words) should be sent by 15 December 2019 to corps.sensoriel@gmail.com
Response from the Scientific Committee: January 2020
Conference dates: Autumn 2020 and Spring 2021
Selected papers will be published after the conference.

Scientific Committee
Markus A. Castor (German Center for Art History, Paris)
Guillaume Faroult (Louvre Museum, Painting Department)
Dorit Kluge (hwtk, Berlin)
Gaëtane Maës (Université de Lille, IRHiS)
Françoise Mardrus (Louvre Museum, Dominique-Vivant Denon Center, Research and Collection Director)
Isabelle Pichet (UQTR, Québec)
Luc Piralla (Louvre-Lens Museum)

Call for Papers | Durham Early Modern Conference 2020

Posted in Calls for Papers by Editor on September 21, 2019

From Durham:

Durham Early Modern Conference 2020
Durham, 8–10 July 2020

Submissions for panels and strands due by 11 November 2019

We welcome proposals for panels and strands from scholars interested in any aspect of the early modern period, ca. 1450 to 1800. The conference committee encourages panels that include papers from participants at a range of career stages. The deadline for submissions of panels and strands is Monday, 11 November 2019.

Panel Proposals should comprise at least three papers. The usual panel structure is three papers, each lasting 20 minutes, with thirty minutes dedicated to discussion (90 minutes in total). Panels may also consist of four papers, each lasting 15 minutes, with the whole session being delivered within the 90-minute slot.

Strand Proposals: The conference organisers strongly encourage the submission of proposals for strands that will run through the conference. These should generally comprise at least two and no more than five related panels.

Call for Papers | Seventh Feminist Art History Conference

Posted in Calls for Papers by Editor on September 17, 2019

From Amart-l (9 September 2019) . . .

The Seventh Feminist Art History Conference
American University, Washington, D.C., 25–27 September 2020

Proposals due by 1 December 2019

The Feminist Art History Conference was established in 2010 to celebrate and build on the legacy of feminist art-historical scholarship and pedagogy originated by Norma Broude and Mary D. Garrard at American University in Washington, D.C. In September 2020 this international conference will convene for the seventh time. The core principles of a feminist art history have long included the goals of reclaiming the place of women artists and patrons within the history of art and visual culture, and of describing and elaborating how gendered ideologies have framed the structure of both artistic practice and the writing of art history over the centuries. In recent years feminist art history has also become increasingly intersectional and interdisciplinary, dialoguing with race, class, geography, and environmental and architectural issues, to name but a few.

In the spirit of bringing together the diverse strands of thought and practice that feminist art history now embraces, this conference will feature papers spanning a wide range of chronological, geographic, intersectional, and interdisciplinary topics. These may include (but are not limited to) artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual and material cultures. At this year’s conference, underrepresented art-historical periods (ancient, medieval, Renaissance), cultures and traditions beyond the Western world, and issues of race and ethnicity are especially encouraged. We welcome submissions from established and emerging scholars of art history as well as advanced graduate students.

To be considered for participation, please provide a single document in Microsoft Word. It should consist of a one-page, single-spaced proposal of unpublished work up to 500 words for a 20-minute presentation, followed by a curriculum vitae of no more than two pages. Please name the document “[last name]-proposal” and submit with the subject line “[last name]-proposal” to feminist.ahconference@gmail.com.

Invitations to participate will be sent by 1 February 2020.

Keynote Speaker
Kellie Jones, Professor in Art History and Archaeology and the Institute for Research in Aftrian American Studies (IRAAS), Columbia University

Organizing Committee
Joanne Allen, Jordan Amirkhani, Juliet Bellow, Norma Broude, Kim Butler Wingfield, Nika Elder, Mary D. Garrard, Andrea Pearson, Ying-chen Peng and Anne Nellis Richter (coordinator)
Sponsored by the Art History Program in the Department of Art, College of Arts and Sciences, American University, with the generous support of Robin D’Alessandro and Dr. Jane Fortune