Enfilade

From the Call for Papers posted at the Bibliotheca Hertziana:

Prime Minister and Patron: Heinrich Count von Brühl (1700–1763)
Dresden and Rome, March 2014

Proposals due by 15 October 2013

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After attaining the Polish Crown, the Wettin Elector pursued the expansion of Dresden in order to transform it into a prestigious residence. Dresden evolved in the 18th century as a cultural centre of the Reich with outstanding art collections and a particular concentration of artists, architects, composers and singers.

The Saxon Prime Minister Heinrich Count von Brühl (1700–1763) was a key figure in this development: he has been responsible for the art collections, including the purchase of works of art, as well as the Court Theatre, the Court Opera and of the Meissen porcelain factory. He was also a close advisor of the Elector and King – and thus as “the second man in the state” – responsible for all domestic, foreign and financial matters at the Dresden court. Using the nearly unrestricted freedom of choice associated with this position for his own gain, he also built up a considerable personal fortune, which was made up of capital, farms, factories, works of art and luxury goods. (more…)

I’m posting this particular call for panel proposals while wearing my hat as vice-president of the Historians of British Art. The announcement also serves as a general reminder, however, that all session ideas (in addition to those from affiliates) are due to CAA by 3 September 2013. HBA’s internal due date is Monday, 26 August. -CH

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HBA Session Proposals for the 2015 College Art Association Conference
New York, 11–14 February 2015

Proposals due by 26 August 2013

The Historians of British Art, an affiliate society of the College Art Association, welcomes proposals from members for its main session at the annual CAA conference in 2015 (February 11–14). Ideally, the session will accommodate a range of interests and multiple periods within the larger field of British art. Once HBA’s selection committee decides on a proposal, the individual(s) proposing the topic will need to follow the regular CAA procedures for panel submissions. Feel free to contact Craig Hanson with any questions, CraigAshleyHanson@gmail.com.

From Fairfax House:

Symbolic Visual Cultures of Jacobitism, 1688–1800
Fairfax House and The Hilton Hotel, York, 15 November 2013

Proposals due by 30 September 2013

Jacobitism remains among the most evocative of British historical movements, associated with powerful currents of romanticism and nostalgia. It owes this place in the historical imagination not least to the richness of the symbolism to which this essentially covert political movement gave rise. The symbols of Jacobitism – the rose and rosebud, white ribbons and cockades, the butterfly, the sunflower, oak trees and oak leaves – have great historical and emotional significance and act as a potent focus of sentiment.

The symbolic language of the Jacobite cause is at the heart of the most significant public display of Jacobite material culture to take place for many years: the exhibition In the Name of the Rose: The Jacobite Rebellions, Symbolism & Allegiance, to be held at Fairfax House between August and December 2013. In association with this exhibition, Fairfax House will be hosting a one-day colloquium exploring the symbolic cultures of Jacobitism on Friday November 15, 2013.

The aim of this colloquium is to bring together interested parties from academic institutions, museums, libraries and other backgrounds who share an interest in the symbols associated with the Jacobite movement from its origins in the late seventeenth century to the end of the eighteenth century. Relevant topics may include (but would certainly not be limited to) the culture of Jacobite objects and images; the iconography of Jacobite symbols and emblems; the role of specific categories of material culture such as jewellery, glassware, clothing, architecture or weaponry in conveying Jacobite messages, either overt or covert; Jacobite symbols in art, music or literature. Established authorities on Jacobitism will be participating in the colloquium.

This full-day colloquium will be followed by a special guest lecture by Prof. Murray Pittock and launch of his new book at an evening reception at Fairfax House including the opportunity to see the exhibition, In the Name of the Rose.

Contributions are invited from scholars, graduate students, museum and library professionals and others, for papers not to exceed 20 minutes in length that explore any topic relevant to the field of Jacobite visual symbolism from the late seventeenth century to the end of the eighteenth century. Please submit proposals for papers (synopsis not to exceed 200 words) to: jacobitecolloquium@fairfaxhouse.co.uk

Historians of British Art Young Scholar Session
College Art Association, Chicago, 12–15 February 2014

Proposals due by 15 August 2013

The Historians of British Art, a CAA-affiliated society, seeks papers for an upcoming mini-session of work by emerging scholars to be held during the HBA Business Meeting at CAA in Chicago (February 12–15, 2014). Current or recent graduate students are invited to submit proposals (if a Ph.D. recipient, the degree must have been earned within the past three years). Papers may address any topic related to British art, architecture, and visual culture and should be limited to fifteen minutes. This is an opportunity for informal presentations of new or ongoing research followed by open discussion.

To submit a paper for consideration, please send the following items to Jongwoo Jeremy Kim, HBA 2nd Vice President, at jongwoo.kim@louisville.edu: (1) a one page abstract; (2) a C.V. (limited to two pages).; and (3) a brief cover letter explaining interest in the field. The deadline for submission is August 15, 2013. Upon selection, each presenter will be requested to join HBA if not already a member.

From the conference website:

Museum Metaphors
University of Nottingham, 20 November 2013

Proposals due by 9 September 2013

Organised by Lucy Bradnock and Briley Rasmussen

Throughout the relatively short history of the art museum, metaphorical constructs have often been used to explain the museum’s social and cultural role, as well as to define its various protagonists. Through the metaphorical language of the museum as, for example, temple (Duncan), tomb (Adorno), laboratory (Barr), or supermarket (Warhol), artists, curators, critics, philosophers and historians have sought to read the institution of the museum as symbolic of particular cultural and social ideologies.

Against the backdrop of a growing current interest in institutional and exhibition histories, this symposium will consider the many metaphors that have been used to describe, define and theorise museums. We will also address how changes in the metaphorical language of the museum might indicate broader discursive shifts. In addition, it will ask what metaphorical constructs shape our conception of museums today. We seek proposals that address examples of museum metaphors from a range of historical, geographic, and theoretical perspective. Topics might include, but are not limited to:

• The museum metaphor in museological discourse
• The museum as metaphor in artistic practice
• Metaphor, behaviour and the museum’s publics
• Museum metaphor, modernism and postmodernism
• Metaphor and museum architecture and/or design
• Social and spatial metaphors in the museum context
• Museum metaphors in film, literature and popular culture

Please submit proposals of up to 250 words to Lucy Bradnock (lucy.bradnock@nottingham.ac.uk).

James Logan and the Networks of Atlantic Culture and Politics, 1699–1751
Philadelphia, 18–20 September 2014

Proposals due by 30 September 2013

The home of James Logan, Stenton was built between 1723 and 1730 in the (then) countryside near Philadelphia.

The McNeil Center for Early American Studies, The Library Company of Philadelphia, The Historical Society of Pennsylvania, and Stenton Museum invite proposals for an international interdisciplinary conference in Philadelphia reconsidering early Pennsylvania culture in an Atlantic World context. James Logan (1674–1751), Provincial Secretary to the Penn family, and his vast political, trade and knowledge networks provide a lens for examination of the Atlantic World in the first half of the eighteenth century. This conference is an effort to consider Logan’s milieu in the widest possible way. James Logan studied the sexuality of plants, mentored Benjamin Franklin and John Bartram, served as Mayor of Philadelphia and Chief Justice of Pennsylvania, shaped his province’s relationships with Native Americans, traded furs, owned slaves, was a gentleman-merchant, book collector, and scholar. His nearly 3,000-volume library remains intact at the Library Company of Philadelphia. The Historical Society of Pennsylvania archives include numerous papers collections related to his activities, and The National Society of The Colonial Dames in America in the Commonwealth of Pennsylvania preserves his house, Stenton.

Committed participants include Anthony Grafton of Princeton University, Bernard Herman of the University of North Carolina, Chapel Hill, and Gary B. Nash of the University of California, Los Angeles. Among possible themes for paper proposals are intellectual history, knowledge networks, natural and moral philosophy; books, poetry and literature, collecting, and botany; religion, in particular Quakerism; material culture, archeology, architecture, houses, foodways, landscapes, land acquisition and urban development; economics, industry, commerce; gender, servitude, enslavement and social structure; and politics, imperialism, and European-Native American interactions.

This conference aims to engage an interdisciplinary dialog. Proposals are encouraged from literary scholars, historians, archeologists, material culture studies, and other disciplines. The organizers will consider both individual papers and panel submissions. Papers for many of the panels will be pre-circulated. PowerPoint presentations, especially those relating to visual and material culture, may also be pre-circulated. Non-traditional panels and presentations (such as tours, workshops, brief papers or demonstrations) will be considered.

Please submit 250-word proposals and a one-page c.v. via e-mail no later than 30 September 2013; proposals should be headed with the title of the paper and the presenter’s name, affiliation, and contact information. Submissions and queries may be directed to mceas@ccat.sas.upenn.edu.

From the Call for papers:

The Early Modern Villa: The Senses and Perceptions versus Materiality, 1450–1800
Wilanów Palace, Warsaw, 15–17 October 2014

Proposals due by 30 October 2013

Convenors: Barbara Arciszewska (Warsaw University) and Paweł Jaskanis (Wilanów Palace Museum)

Enhanced interest in sensual perception was one of the mainstays of early modern culture. The development of new visual conventions (most notably the linear perspective) and ‘ocularcentric’ character of early modern science has long focused scholarly attention on the contemporary obsession with sight and with optical illusion. Yet sight, although privileged as a nucleus of artistic theory and analytical instrument in natural philosophy, was but one of the senses which were to be attracted, and then gratified by the display of early modern art and architecture. The complex discourse of sensual perception and gratification embraced all senses, although their role depended on the comparative value assigned to the senses themselves, on their abilities to provoke desire, provide delight, and grant access to knowledge. The diversity of sensual stimuli was perhaps most evident in the villa estate – its architecture and landscape design. The role of the senses and sensual perception in the planning, design, as well as functioning and reception of the villa (c. 1450-1800), will be the focus of this conference, set against the essential materiality of architecture and nature, understood as the framework of reference for the sensual experience rooted in pre-modern concepts of the corporeal sensorium. (more…)

Call for Papers from The Journal of Early Modern Studies (JEMS) . . .

JEMS 4 (2015) | Service and Servants in Early Modern Culture, 1500–1750
Proposals due by 1 October 2013, Final Drafts due by 31 January 2014

The Journal of Early Modern Studies (JEMS) is an open access peer-reviewed international journal that promotes interdisciplinary research and discussion on issues concerning all aspects of early modern European culture.

We are now inviting contributions for volume 4, to be released online in March 2015. Jointly edited by William C. Carroll (Boston University) and Jeanne Clegg (Università Ca’ Foscari, Venice), JEMS 4, entitled Service and Servants in Early Modern Culture, 1500-1750, aims to bring together scholars from across a wide disciplinary spectrum to inquire into differences and similarities, continuities and changes in the ethics, representation and practice of service and servitude in different countries and contexts. The issue will be open to contributions on oral and visual forms of cultural expression as well as textual, and we invite studies of emerging voices and works intended for and by, as well as about, servants and service. Contributions addressing issues of class, gender, and ethnic/national representations are particularly encouraged.

Main deadlines
• 1 October 2013: adhere to project and send working title and short abstract to William Carroll (wcarroll@bu.edu) and Jeanne Clegg (jfclegg@unive.it).
• 31 January 2014: finalize paper for submission to referees. Articles must comply with the editorial norms and must not exceed 12,000 words, including endnotes and bibliography.

All articles are published in English. Please be so kind as to have your paper revised by a native speaker.

From the Call for Papers (the PDF includes the French version) . . .

Workshops and Manufactures in the Years between the
French Revolution and the Napoleonic Empire (France, 1789–1815)
Institut national d’histoire de l’art and Centre allemand d’histoire de l’art, Paris, 13–14 June 2014

Proposals due by 30 September 2013

The twenty-five years between the assembly of the États généraux and the end of the Napoleonic Empire saw political, social, cultural and economic changes that created a context of instability for the luxury industries and fine arts in France. Workshops and manufacturers were confronted with material and logistical challenges. The shortage of materials, the collapse of the financial system and the loss of a significant number of skilled workmen to the army, had a direct impact on French productivity. In spite of these difficult conditions, the insecurity and instability of social upheaval and war in this period, creativity and the invention of new trends and fashions were by no means halted in Paris. New markets quickly offered plenty of opportunities for inventive craftsmen to extend and diversify their activities.

Up until now the revolutionary period has mainly been considered as a period of disruption, especially in the field of luxury industries, which were considered to be at odds with the values of the new emerging social system. It is now possible to show that contrary to this general assumption, continuity can be found in this pivotal period between the eighteenth and nineteenth centuries. The quick re-awakening of the production of luxury goods followed the establishment of the Directoire and its flowering during the Napoleonic years is proof of great flexibility and adjustment to social change and the new paradigms of labor. A number of questions emerge from these observations: what events and changes confronted former royal and later national manufacturers, famous workshops and regional producers in the years between the Ancien Régime and the Bourbon Restoration? In what ways were artists and artisans able to adapt or resign themselves to the new challenges? But also – to what extent did these events stimulate new modes of creativity and production which would have an impact on the development of industrialization in France?

This symposium aims to shed light on a pivotal period in the history of material culture and the decorative arts in France. One of its goals is to provide a better understanding of and insight into what exactly happened during these years and into the impact of the transformation of every aspect of civil and industrial life on Parisian and regional production in this period, which is generally recognized as one of cataclysmic change. Organized as an interdisciplinary event, this symposium will study the period from the point of view of art, social, economic and technological histories. Its main objectives are to define and shed light on the specific characteristics of the period and its production, in order to generate new insights and conclusions which complement the field’s well-established stylistic analyses, while also providing new tools for the broader analysis of objects.

Contributions of 20 minutes should approach the following pivotal points:

The Organization of Production: Actors and places of production – The management of workshops before and after the abolition of the guilds in 1791 – The institutional and legal context for production – Creators and makers in different trades linked to the luxury industries – Supply and suppliers of materials – Competition between national and private industries.

Forms and Materials: Tools, techniques and materials – Fashion and trends – The relation of stylistic evolution and industrialization- Professional schools and academic institutions for the industries – Iconographies and style for manufactured goods – Know-how and the evolution of style

Distribution: Industrial exhibitions from 1798 onwards – Methods of distribution – Producers of manufactured goods – Commercial networks – Press and publicity – Franchising and dealers – Places of sale – Diplomatic gifts – Commercial challenge and competition

Papers may be given in French or English language. Proposals for papers of one A-4 side length and a short biography in French or English should be sent to the following address before Monday, September 30th 2013: AteliersManufactures1789-1815@dt-forum.org.

Organisational Board
Natacha Coquery (université Lumière Lyon 2, LAHRA)
Jörg Ebeling (Centre allemand d’histoire de l’art, Paris)
Anne Perrin-Khelissa (université de Toulouse 2 Le Mirail)
Philippe Sénéchal (Institut national d’histoire de l’art)

Scientific Board
Marc Bayard (Mobilier national, Paris) ; Jean-Francois Belhoste (École Pratique des Hautes Études, Paris) ; Andreas Beyer (Centre allemand d’histoire de l’art) ; Philippe Bordes (université Lumière Lyon 2) ; Anne Dion (musée du Louvre) ; Daniela Gallo (université Pierre Mendès France Grenoble 2) ; Liliane Hilaire-Pérez (université Paris 7) ; Ulrich Leben (Bard Graduate Center, New York) ; Lesley Miller (Victoria & Albert Museum, London) ; Jean-Michel Minovez (université de Toulouse 2) ; France Nerlich (université de Tours) ; Odile Nouvel (Paris) ; Jean-Michel Olivier (université de Toulouse 2) ; Hans Ottomeyer (Berlin) ; Daniel Roche (Collège de France, Paris) ; Bénédicte Savoy (Technische Universität, Berlin) ; Patrick Verley (Geneva).