Enfilade

Call for Essays | Forms and Genres of Book Illustration

Posted in Calls for Papers by Editor on November 18, 2018

From the Call for Essays:

Forms and Genres of Eighteenth-Century Book Illustration
Edited by Leigh G. Dillard and Christina Ionescu

Proposals due by 1 December 2018; completed chapters due in January 2020

Proposals are invited for a collection of essays designed for students and established researchers seeking an introduction to the field of eighteenth-century illustration, with special attention to its forms and genres. We invite proposals on a wide variety of topics, with particular interest in the following to fill gaps in our existing commitments:
• ballads
• broadsides
• children’s books
• criminal histories
• ephemera
• the epistolary tale
• funerary elegies
• the fantastic
• the historical romance
• literary almanacs
• literary galleries
• the philosophical tale
• songbooks

When possible, examples should be chosen from more than one national tradition. Please send 300–500 word proposals to Christina Ionescu (cionescu@mta.ca) and Leigh Dillard (leigh.dillard@ung.edu) by 1 December 2018. The deadline for the submission of completed chapters will be January 2020.

Call for Essays | Terra Foundation for American Art Essay Prize

Posted in Calls for Papers, opportunities by Editor on November 12, 2018

Terra Foundation for American Art International Essay Prize
Submissions due by 15 January 2019

The Terra Foundation for American Art International Essay Prize recognizes excellent scholarship by a non-U.S. citizen working in the field of historical American art. Manuscripts should advance the understanding of American art by demonstrating new findings and original perspectives. The prize winner will be given the opportunity to work toward publication in American Art, the peer-reviewed journal copublished by the Smithsonian American Art Museum and the University of Chicago Press. The winner will receive a $1,000 cash award and a travel stipend of up to $3,500 to give a presentation in Washington, D.C., and meet with museum staff and research fellows.

Authors must be non-U.S. citizens who have achieved doctoral candidacy or completed a doctoral degree (or the equivalent), and have not previously had a manuscript accepted for publication in American Art. Essays may focus on any aspect of historical (pre-1980) American art and visual culture; however, architecture and film studies are not eligible. Essays may be submitted in any language; abstracts must be submitted in English.

Submissions for the 2019 prize must be sent to TerraEssayPrize@si.edu by January 15, 2019. For information on the prize, available in Chinese, English, French, German, Italian, and Spanish, please consult AmericanArt.si.edu/research/awards/terra.

Call for Papers | MAHS 2019, Cincinnati

Posted in Calls for Papers by Editor on November 11, 2018

Cincinnati Art Museum, with Pinocchio (Emotional) by Jim Dine.

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From the MAHS Fall 2018 Newsletter:

46th Annual Conference of the Midwest Art History Society
Cincinnati Art Museum and Taft Museum of Art, 21–23 March 2019

Proposals due by 14 December 2018

The Midwest Art History Society (MAHS) will hold its 46th Annual Conference in Cincinnati, Ohio 21–23 March 2019, with sessions hosted by the Cincinnati Art Museum (CAM) and Taft Museum of Art and with a reception hosted by the Contemporary Arts Center.

This year’s keynote lecture will be given by Dr. S. Hollis Clayson, Bergen Evans Professor in the Humanities at Northwestern University, in association with CAM’s exhibition Paris 1900: City of Entertainment. Special behind-the-scenes programs at partner museums will make this conference a particularly memorable experience, including tours of the newly renovated Union Terminal, an iconic Art Deco train station now home to the Cincinnati Museum Center.

The following is a selection of sessions potentially relevant for eighteenth-century studies; please see the newsletter for the full listing.

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Does Size Matter?
Chair: Marjorie Wieseman (Paul J. and Edith Ingalls Vignos Curator of European Paintings and Sculpture, 1500-1800, Cleveland Museum of Art), bwieseman@clevelandart.org
This session invites papers that consider issues of scale in a work of art. How does the relative size of a work of art impact our understanding of it and our response to it? What are the artist’s considerations in determining the scale of a particular work? Proposals from all eras, media and cultures will be considered.

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In a New Context: The Movement and Reinterpretation of South and Southeast Asian Art
Chair: Kimberly Masteller (Jeanne McCray Beals Curator of South and Southeast Asian Art, The Nelson-Atkins Museum of Art), kmasteller@nelson-atkins.org
This session examines shifting functions and meanings of works of art and architecture from South and Southeast Asia. Papers may address the re-contextualizing of works of art and architecture in many ways, such as explorations of works that have shifted collections or are now in museum settings, to studies of architectural structures that were repurposed to serve di erent communities and functions. Paper proposals from students as well as from junior and senior scholars and museum professionals are encouraged.

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It’s All Academic: Reassessing Academies and Their Place in the Ecology of Art
Chair: Cheryl Snay (Curator of European Art, Snite Museum, University of Notre Dame), csnay@nd.edu
This session invites papers that investigate historical, pedagogical or theoretical aspects of art academies from their inception in the Renaissance through today in an effort to further the discussion on their (continued?) relevance and role in forming artists and producing art.

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Revising Architectural History in the Age of Globalization
Chair: Edson Cabalfin (Associate Professor, University of Cincinnati), edson.cabalfin@uc.edu
This panel explores new approaches in the historiography of architecture particularly in the age of globalization and neoliberalization. The panel seeks papers that address challenges and issues brought about by recent discussions on the engagement of local and regional histories with global architecture histories especially within the context of transnational flows and exchanges. Some possible questions that can be addressed include: How are local and regional architectural histories positioned in relation to larger global stories? What are possible new approaches in addressing diversity in architectural histories? How do you incorporate interdisciplinary and transnational approaches in architecture histories? How do you teach local architecture histories in relation to larger global architectural history surveys?

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Black Visual Networks: African American and Diasporic Art
Chair: Theresa Leininger-Miller (Professor of Art History, University of Cincinnati), theresa.leininger@uc.edu
Linking to ‘Spaces of Exchange’, this session concerns art by people of African descent that expresses connectivity. Papers might examine collaboration between artists, patronage, or work inspired by specific sites, concepts, visual images, or people. In what ways are artists of the African diaspora connected to each other or places outside the spaces where they live? How does that art serve/speak to varied communities? Topics from all periods are welcome.

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Textiles and Trade
Chair: Erica Warren (Assistant Curator of Textiles, Art Institute of Chicago), ewarren2@artic.edu
This session invites papers from all areas and periods of art history and will consider textiles as objects of global trade. Presentations might examine textiles and their role in transmitting information about design and technology between cultures or the way in which imported textiles informed domestic production.

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Europe in the 17th and 18th Centuries
Chair: Emily Everhart (Assistant Professor of Art History, Art Academy of Cincinnati), eeverhart@artacademy.edu
This session seeks papers on any topic in the history of art, architecture, and visual culture in seventeenth- or eighteenth-century Europe. Papers addressing intersections and exchanges between European and global art also are welcome.

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Decorative Arts and Design
Chair: Amy Dehan (Curator of Decorative Arts and Design, Cincinnati Art Museum), amy.dehan@cincyart.org
This session invites papers on topics of American or European decorative arts and design ranging from the eighteenth century to the present.

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East Asian Art
Chair: Miki Hirayama (Associate Professor, University of Cincinnati), miki.hirayama@uc.edu
This session welcomes papers on East Asian art from any time period in any medium.

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Gender and Identity in Art and Art History
Chair: Cynthia Amneus (Chief Curator/Curator of Fashion Arts and Textiles,
Cincinnati Art Museum), cynthia.amneus@cincyart.org
Gender and identity issues are top-of-mind today but certainly relate to art of the past as well. This session invites new research that explores gender and identity in a historical context or as these concepts relate to present social discussions. Papers addressing LGBTQ concerns including dress, male/female equality, sexuality or related topics are welcome.

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New Research on Midwestern Collections
Chair: Tamera Lenz Muente (Associate Curator, Taft Museum of Art), tmuente@taftmuseum.org
This session will feature research that sheds new light on objects in Midwestern public or private collections. Papers may focus on specific works in a collection, examine a collection in its entirety, or explore the collecting habits or history of an institution or individual.

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Prints and Drawings
Chair: Kristin Spangenberg (Curator of Prints, Cincinnati Art Museum), kristin.spangenberg@cincyart.org
This session invites new research or perspectives on American and European prints and drawings from the fifteenth century to the present. A focus on Midwestern artists, collectors, or collections is welcome.

Call for Articles | Boletín de Arte, Special Issue on Animals

Posted in Calls for Papers by Editor on November 9, 2018

From H-ArtHist:

Boletín de Arte 40 (2019), Special Issue: Animals and Art History
Edited by Reyes Escalera Pérez and Concepción Cortés Zulueta

Articles due by 28 February 2019 (in Spanish, English, French, or Italian)

As humans, we live surrounded by animals that we often ignore, or that we tend to substitute with or filter through our meanings, perceptions and symbolism. However, in recent decades animals have been increasingly present among the concerns and interests of our societies not just through their representations, but also as subjects and agents whose perspectives are worth considering. In parallel, animal studies (or human-animal studies) have reclaimed animals as a field of inquiry of the humanities and social sciences, including art history. This transversal approach is usually acquainted with biology and other related disciplines, interacts with other area studies (gender, postcolonial, queer, etc.), and is reinforced and may be accompanied by frameworks like posthumanism, or by environmental concerns.

This Animals and Art History issue of Boletín de Arte is open to address the subject of non-human animals from all periods, methodologies and approaches of art history. Possible topics include, but are by no means limited to, the following:
• Representations of animals (portraits, photographs, scientific illustrations, etc.)
• Biographies of historical or artistic animals
• Emblems and treaties on animals
• Museums and animals, animals inside the white cube
• Nature and symbology of animals
• Artistic genres or topics about animals
• Artists and their animals
• Artists who collaborate with other animals
• Animals as creators or artistic agents
• Cinema and animals
• Videos of animals on the Internet
• Animals, art and gender
• Animal activism and art
• Eco-art and animals
• Art or designs for other animals
• Animals and aesthetics

In order to be accepted for consideration and double blind peer reviewed evaluation, the articles have to address the topic of Animals and Art History with a maximum of 31,500 characters (including spaces) and with no more than 10 images. The submission has to be made on-line, by registering through the on-line platform of the Boletin. Please find detailed submission guidelines at the Boletín’s website (scroll down for the guidelines’ English version).

Boletín de Arte, an open access journal edited since 1980 by the Department of Art History, University of Málaga, proposes a special thematic issue commemorating its 40th anniversary. This special issue will focus on the representation, presence, and agency of non-human animals in art history and visual culture.

Please note that this CFP and special thematic issue affects only the ‘Articles’ and ‘Varia’ sections, not the sections of ‘Book Reviews’ and ‘Exhibition Criticism’. For any queries, contact Reyes Escalera (drescalera@uma.es) and Concepción Cortés (ccorteszulueta@uma.es).

Call for Session Proposals | EAHN 2020, Edinburgh

Posted in Calls for Papers by Editor on November 8, 2018

From EAHN:

European Architectural History Network Sixth International Meeting
University of Edinburgh, 10–13 June 2020

Proposals due by 31 December 2018

EAHN2020 takes place at the University of Edinburgh. The call for sessions and roundtable proposals is now open, with details available here.

A UNESCO World Heritage Site since 1995, Edinburgh has a well-preserved Medieval Old Town, a New Town built in the early 19th century on Enlightenment principles, and some of the UK’s best examples of post-war modernism. Edinburgh is also the seat of the remarkable Scottish Parliament designed by Miralles Tagliabue EMBT, which opened in 2004. Edinburgh is a city in which questions of architectural history are unusually live: What to build, what not to build, and what to preserve are questions at the centre of both local and national political debate. EAHN2020 will be based in the central George Square campus and will make use of the extraordinary Playfair Library, amongst other notable buildings. Join us for an extensive programme of architectural tours, of the city and the region. EAHN2020 promises to be an outstanding conference. It will be accompanied by an exhibition at the Talbot Rice Gallery, with four specially commissioned works of art on an architectural theme.

Proposals are sought in two basic formats: (1) a session and (2) a roundtable debate. A session should consist of 4–5 paper presentations, with a respondent and time for dialogue and discussion at the end. A roundtable debate should be an organised as a discussion between panel members, and the format would suit topics of particular urgency or contemporary relevance. Roundtables should also aim to activate audience discussion as far as possible. Sessions and roundtables may be chaired by more than one person.

Anyone wishing to chair a session or a roundtable debate is invited to submit proposals by 31 December 2018. Chairs should make clear whether their proposal is a session or a roundtable. Please note that EAHN is self-funding, and chairs are expected to provide all their conference expenses, including travel and accommodation.

Key Dates
September 2018 Call for Sessions and Round Table Proposals opens
December 2018 Call for Sessions and Round Table Proposals closes
April 2019 Final selection of sessions and round tables
May 2019 Call for Papers opens
September 2019 Call for Papers closes
October 2019 Final selection of abstracts by chairs
December 2019 Draft Programme Available
January 2020 Early bird registration opens
February 2020 Registration Deadline for all chairs and speakers
March 2020 Comments on papers by chairs
April 2020 Submission of final version of papers
10–13 June 2020 EAHN International Conference

Call for Papers | Period Rooms as Hubs of Cultural Transfer

Posted in Calls for Papers by Editor on October 30, 2018

From H-ArtHist:

Period Rooms as Hubs of Cultural Transfer
Kunstgeschichtliches Institut, Ruhr-Universität Bochum, 23 May 2019

Proposals due by 25 November 2018

“Und gewiss wird man museologische Selbstverständlichkeiten und Tabus infrage stellen müssen […].” [1]

The period room is an international phenomenon that originated in 19th-century European museums and came to the USA at the beginning of the 20th century. The installation and furnishing of these “theaters of memory” [2] is possible only through networks of museum directors, curators, collectors, art dealers, and monument conservators. After a long time of neglect, the period room has recently regained its popularity among curators and artists due to its immersive and narrative potential.

As furnished interiors that combine the most diverse object types creating seemingly inhabited living rooms, period rooms provide an illusion of the lifestyle, the taste and thus the culture of an epoch or region. The demand to visually reconnect the exhibit to its history and origin—especially in terms of displaced cultural artifacts—entails a critical debate on established forms of museum presentation. Concerning the period room, the challenge of reconstructing the circumstances of the displacement of objects and the question how these objects are displayed arises in a special way. The object’s biography is neglected in favor of a homogenous image. How can this immersive display strategy meet the recently increasing demand to reveal the provenance of the single object?

This one-day workshop in Bochum is dedicated to these networks and the various forms of cultural exchange and transfers, particularly regarding the period room. The workshop will explore the structures and actors within the museum networks and the connections to the art market as well as the displaced objects, their provenance and their display. Workshop papers can deal with the following aspects, but do not have to be limited to them:
• Under which conditions does the displacement of objects (both national and international) take place?
• How can the museum networks and their connections to the art market be described? How are the networks organized and who has authority?
• Which arguments (e.g. by monument conservators) are put forward against the displacement of objects?
• What challenges do museums with period room collections face today with regard to uncertain provenance?
• To what extent is the presentation of period rooms used to stage ‘the familiar’ and ‘the foreign’? Which concepts of ‘the familiar’ and ‘the foreign’ are transported by period rooms?
• What concept of culture or cultural identity is pursued with the installation of period rooms?
• What are the conditions of acquiring and installing modern period rooms today?

The workshop is part of the research project Period Rooms: Between Exhibition Space and Living Room, Negotiating Past and Present (Period Rooms: Museale Verhandlungsräume zwischen Gegenwart und Vergangenheit, Ausstellen und Wohnen) funded by the German Research Foundation (DFG) and it is organized in cooperation with Dr. Andrea Meyer (Technische Universität Berlin).

Participants are asked to give a paper of about 30 minutes that will serve as the basis for the discussion in Bochum on 23 May. Please send an abstract (300 words) and a short CV by 25 November 2018 to Stefan Krämer (stefan.kraemer-b1c@rub.de), subject: Workshop Period Room. Travel and accommodation costs will be covered.

Notes
1  Bénédicte Savoy, Die Provenienz der Kultur: Von der Trauer des Verlusts zum universalen Menschheitserbe (Berlin 2018), 58.
2  Dominique Poulot, Abstract zum Aufsatz, “Asmodée au musée: Exposer les décors de l’intimité,” in Sandra Costa, Dominique Poulot, Marcedes Volait, eds., The Period Rooms: Allestimenti storici tra arte, collezionismo e museologia (Bologna 2016), 294.

Call for Papers | Social Technologies and Global Knowledge Economies

Posted in Calls for Papers by Editor on October 17, 2018

From Lichtenberg-Kolleg, the Göttingen Institute for Advanced Study:

Social Technologies and Global Knowledge Economies, 1750–1850
Lichtenberg-Kolleg, Göttingen, 4–6 April 2019

Proposals due by 15 November 2018

The remarkable density of connections that characterized knowledge production between 1750 and 1850 has long figured in definitions of the ‘rise of modernity’. The commerce of ideas through correspondence networks and print as well as manuscript circulation in salons, learned societies, and other institutions has been celebrated as foundational to modernity’s more conspicuous highlights, from the Scientific Revolution and the Enlightenment to the political articulation of universal human rights. Indeed, the circulation of ‘useful knowledge’—or, in today’s phraseology, the ‘knowledge economy’—remains integral to the modern concept of progress, formulated and adopted during the brief period between 1750 and 1850.

This interdisciplinary workshop, organized by Lichtenberg-Kolleg, the Göttingen Institute for Advanced Study, will focus on interrogating these narratives of modernity in the context of the emergence of an array of ‘social technologies’ that enhanced networks of knowledge production and circulation at the turn of the nineteenth century. From communication, transmission, and circulation, to innovations that enabled, impinged upon, or otherwise shaped social relations, we welcome papers on all aspects of socio-technological change and their relation to the development of global economies of knowledge production and circulation from 1750 to 1850.

Topics of interest include (but are not restricted to) the role of media (including paper, ink), technologies (including manuscript, print, electric impulses), and practices (including translation and taxonomy) in knowledge production; the role of collaboration and infrastructure in the circulation of knowledge; the changing roles of institutions (including schools, hospitals, prisons, universities, libraries, collections and gardens) in the wider knowledge economy; social environments and their relation to bodily technologies; and the development of revolutionary technology and radical media in this period.

We invite proposals for 20-minute presentations in English. To apply please email a title and abstract (no more than 300 words) along with a one-page CV in either MS Word or PDF format to the conference organizers (lichtenbergkolleg@zvw.uni-goettingen.de). Please include ‘Social Technologies’ in the subject line. Applications are due 15 November 2018. Applicants will be notified by 15 December 2018. Accommodation and travel will be provided to all confirmed participants. Please contact the conference organizer with any questions.

Call for Articles | Printing Things, 1400–1900

Posted in Calls for Papers by Editor on October 16, 2018

From the Abstract Submission Form:

Printing Things: Blocks, Plates, and Stones, 1400–1900
Edited by Giles Bergel and Elizabeth Savage

Abstracts due by 1 November 2018 (extended from 15 October); completed chapters due by 15 May 2019

In all fields based on historical printed material, research conventionally focuses on the text, images, and other information that was printed. The objects used to produce that information (including cut woodblocks, engraved metal plates, and cast metal sorts) have been neglected. Many hundreds of thousands of these historical printing surfaces survive today. The vast majority are inaccessible to researchers because they are uncatalogued and often considered ‘uncatalogue-able’. However, as individual objects and as an untapped category of cultural heritage, these artefacts of printing offer a great deal of information that the finished prints, books, fabrics, and other printed materials do not.

As relics of historical crafts and industry, these objects fall outside the modern disciplines. This edited volume will respond to the need for a multidisciplinary introduction to what image-based fields calls ‘print matrices’ and text-based fields call ‘printing surfaces’. Following from the conference Blocks Plates Stones (London, 2017), the first facilitated discussion of the use of such objects in research, Printing Things will represent the state of research in this new and developing field. It will bring together object-based research, collection-level surveys, historical printing practices, ethical considerations of their storage and use (or non-use) today, methods for multiplying the originals (e.g. dabs, stereos, electros), and methodological studies. By doing so, it will offer frameworks for describing, conserving, curating, presenting and understanding these objects using new and existing paradigms. It aims to facilitate their introduction into historical research across the disciplines.

Contributions are sought from art historians, book historians, cultural historians, musicologists, science and medicine historians, typographers, and researchers in other fields based on historical printed material; material scientists and conservators; historically informed printers and printmakers; curators, cataloguers, librarians, and printing museum managers who care for these objects; and digital humanities specialists who are creating a new generation of tools for culling information from these objects. The book will focus on handpress work.

In addition to object- and collection-based case studies, theoretical perspectives might include:
• What can print matrices/printing surfaces teach us that printed materials cannot, and vice versa?
• How should they be regarded: as artists’ tools, intermediary states of works of art, or works of art in themselves?
• Is there a value in considering woodblocks, metal plates, and litho stones together as a single category?
• What lies behind the sudden and recent increase in interest in these objects, and how can these objects inform those emerging research trends?
• How are they to be conserved, curated, presented, and understood?
• Does the recent turn to object-centered cultural criticism (‘thing theory’) provide useful paradigms for their study?
• What are the ethical and critical issues around bringing them back into use as printing surfaces?
• What is their place within the systems of digital remediation and knowledge within which art and book history is increasingly practiced?

Abstracts must be submitted by 15 October 2018. Chapters of 4,000–5,000 words (*including notes and captions*) with up to 10 illustrations will be due 15 May 2019 for publication in mid-2020. The book will be peer-reviewed and published in full colour. Contributors will be responsible for sourcing images and copyright for their contributions, but they will qualify for fee waivers from many heritage collections because the publisher is a charitable academic press. Please send queries to Gemma Cornetti at printingcolourproject@gmail.com.

Editors
Giles Bergel (Oxford), Elizabeth Savage (Institute of English Studies)

Advisory Board
Sven Dupré (Utrecht), Caroline Duroselle-Melish (Folger), Maria Goldoni (‘Xilografie modenesi’), Paul Nash (Printing Historical Society), Marco Mozzo (Polo museale della Toscana)

Call for Papers | Printmaking in Sulzbach

Posted in Calls for Papers by Editor on October 6, 2018

From the Book History and Print Culture Network:

Printmaking in the Residential Town of Sulzbach in Historical Context
Sulzbach-Rosenberg, 5–6 July 2019

Proposals due by 31 October 2018

The history of printing and bookselling in the 17th century is a first-rate research desideratum. While the Reformation as an incubation period and the 18th century as a turning point towards books as a mass medium can be regarded as fundamentally researched, especially from the point of view of economic history, little attention has been paid to the time in between. The specific situation in the Pfalzgrafschaft Sulzbach in the second half of the 17th century can be an impulse to examine the printing press guided by current approaches of cultural studies in media historiography and the history of science.

In the last third of the 17th century several printers worked in the residence town of Sulzbach, which—favoured by the tolerance policy of Palatine Count Christian August—produced books and other printed products of all kinds, partly in cooperation with publishers in Nuremberg, but also beyond that. Notable printshops included those of Abraham Lichtenthaler (1621–1704, from 1664 in Sulzbach), Georg Abraham Lichtenthaler (1684–1736), and Georg Abraham Lorenz Lichtenthaler (1711–1780), as well as that of Johann Holst (1648–1726). Above all, however, the founding of a Hebrew printing house in 1684, led by Moses Bloch, was based on the sovereign’s interest in Jewish culture on the one hand and can be regarded as a mercantilist project on the other—the success of which can be seen from the fact that it quickly became one of the leading Jewish printing houses in Europe.

There are some general remarks on the history of book printing in Sulzbach, but they do not take a closer look at the publisher’s programmes or address special features such as cooperation among publishers. For this reason, the Christian Knorr von Rosenroth Society is focusing its 2019 Annual Conference on letterpress printing in the residential town of Sulzbach in a historical context. The Society invites interested scholars from the fields of book science, history of science, theology, medicine, law and history, but also from philology, to participate in its interdisciplinary orientation. Contributions are welcome which help to classify the Sulzbach printshops and the printed products produced there historically, but also those which place the regional events in a larger context.

Already a first bibliographical indexing shows that the printers in Sulzbach did not least fall back on successful titles whose sales seemed to be secured. There are indications that the ‘Simultaneum’ decreed by the sovereign offered ideal conditions for the printing trade at the intersection between the Protestant territories of the imperial city of Nuremberg and the Franconian margraves on the one hand and the Catholic Amberg on the other. Finally, the establishment of the Hebrew printshop is the result of a sovereign intervention, from which synergies resulted; the Sulzbach printshops were obviously able to produce even complex and extensive prints. Blochsche Druckerei achieved a leading position in the production of Hebrew prints, which was preserved well into the 18th century, but Lichtenthaler Druckerei also continued to flourish among the following generations, so that the printing trade remained of great importance for the city even after the extinction of the dynasty and the associated loss of the residence until the 19th century (the history, however, of the Sulzbach printing works after the early modern period will not be the subject of the conference).

Based on the indexing of the preserved books from Sulzbach printing works in VD 17 (printing place: Sulzbach, Sultzbac*, Sulzbac*, Sulbac*, Solisbac*, Zûlṣbʾaḵ) and partly also in VD 18, potential subjects of lectures are:
• Book censorship in Sulzbach in historical comparison, the Sulzbach renewed censorship order 1669
• The relations of the Nuremberg publishers Endter and Hoffmann with printers in Sulzbach
• Questions on Hebrew printing
• Catholics in the printing house of a Protestant (e.g. Florentius Schilling, Georg Mentzius)
• Legal manuals, guides and case collections (Franz Friedrich von Andlern, Octavio Pisani)
• Travel literature, country descriptions, especially Turcica (Johann Sigmund Wurffbain, Johann Heinrich Seyfried, Caspar Bruschius)
• Medical literature (including publications by Georg Bartisch, Elias Beynon, Jan Baptista van Helmont)
• Individual authors (Michael Münchmeyer, Andreas Lazarus von Imhof, Johann Hieronymus Imhof, Adam Contzen, Clamerus Florinus)
• The equipment of the books (numerous prints contain copper)
• The card game as a medium (Andreas Strobl)
• Sulzbach calendars

The above topics are not meant to be exhaustive. The organisers are happy to receive suggestions for contributions with some characterising remarks on the subject of the study until 31.10.2018. Please email ernst.rohmer@ur.de or rosmarie.zeller@unibas.ch. The conference takes place in Sulzbach-Rosenberg on 5./6.7.2019. The conference papers will be published in Morgen-Glantz. Yearbook of the Christian Knorr von Rosenroth Society for the year 2020.

For speakers, the Society will raise subsidies to cover the costs of travel and accommodation in Sulzbach-Rosenberg. The conference starts on Friday at 2pm and ends on Saturday at 6pm. Sulzbach-Rosenberg is located on the A 6 (Nuremberg-Prague) or can be reached from Nuremberg and Regensburg by regional express trains every hour.

Prof. Dr. Ernst Rohmer
Universität Regensburg
Institut für Germanistik
Universitätsstraße 31
D-93053 Regensburg

Prof. Dr. Rosmarie Zeller
Universität Basel
Deutsches Seminar
Nadelberg 4
CH – 4051 Basel

Call for Papers | After the Grand Tour

Posted in Calls for Papers by Editor on October 5, 2018

From H-ArtHist:

After the Grand Tour: References, Revisions, Returns
Accademia Nazionale di San Luca, Rome, 12 April 2019

Proposals due by 15 November 2018

Ninth edition of the international symposium Grand Tour del Terzo Millennio: Researches on Art and Architectural History by Foreign Scholars and Artists in Rome. Previous editions were held at the University of Rome – Tor Vergata; this year’s symposium will be curated by the Rome Art History Network (RAHN) with the generous support of the Accademia Nazionale di San Luca and the Bibliotheca Hertziana – Max Planck Institute for Art History (Rome). It is organized by Iacopo Benincampi and Arianna Carannante, in collaboration with Anne Scheinhardt.

Between the eighteenth and the first half of the nineteenth century, Rome represented the main international cultural center of Europe. Consequently, many young and passionate ‘amateurs’ continued to go there, just to get closer to art as well as to specialize in their profession as artists. However, due to the political weakness of the Papal government, travelers did not set a permanent base in the city. They went back home with the certainty that their acquired knowledge would confer them a favorable advantage in the exercise of their profession. After all, the repertory of Roman sources remained an essential point of cultural reference for the construction, completion, and legitimation of modern identities in Europe. These were translated in an open-air catalogue of themes, formal models, and technical solutions with the power to inspire innovative elaborations, and to catalyze new compositional and constructional experiments.

Rome’s distinctiveness in this regard fostered its international significance and acted as an incentive for the foundation of foreign academies. To this day these institutions are a cultural compass for the scientific and artistic exploration of the city of Rome. The objective of this conference is to reflect on the inheritance of the experience of the Grand Tour, especially within the realm of the figurative arts and architecture. Our aim is to create a platform for comparing and reflecting on models of research by foreigners and Italian scholars in Rome.

Which instances of Rome’s artistic output—from contemporary and/or previous times—captured the interest of visitors and artists between the eighteenth and nineteenth centuries? What were the privileged mediums of their documentation (sketches, drawings, and so forth)? Once they returned home, which Roman works did Grand Tourists take as models for local experimentation, and how did these references come to be developed? What role did religious and lay patrons play in this regard? What social networks did they form during their Roman sojourn? What contacts did they maintain? Did anyone stay or return at a later point?

These themes will be addressed during the conference which will be held on 12th of April. Especially fellows, doctoral students, postdoctoral scholars, and professors in history of art and architecture from foreign institutions are invited to send proposals related to these themes.

Please send an abstract in Italian or English of 2,500 characters max (spaces included) and a bio of 1,500 characters max (spaces included) to convegno.grandtour@gmail.com by the 15th of November 2018. We will consider the possibility of publishing the conference proceedings.