Enfilade

Call for Papers | Goldsmiths and Bankers as Collectors

Posted in Calls for Papers by Editor on April 5, 2019

From the Call for Papers:

Goldsmiths and Bankers as Collectors
Goldsmiths’ Hall, London, 28 October 2019

Proposals due by 10 May 2019

Francis Harding and Michael Dahl, Portrait of Henry Hoare I (1677–1725), oil on canvas (National Trust, Stourhead).

2019 will see the return to Osterley Park of one of the many remarkable Old Master paintings acquired by the Child family in the throes of Britain’s late 17th-century financial revolution. The Childs are part of a long line of goldsmiths and bankers who have collected and patronised the fine and decorative arts, from the Medici in Florence to the present-day Rothschilds who continue to be highly active across the cultural sphere. As these financial dynasties interacted and integrated with ruling elites, collecting and associated displays of taste, sophistication and magnificence became a much favoured and often extremely effective route to social and cultural distinction. Financiers may be most obviously associated with an urban context, from the medieval livery company to the modern hedge fund, but the country house was and is an important venue for the display of their patronage and collecting. Among the holdings of the National Trust alone examples of estates with connections to goldsmithing and banking abound including, in addition to Osterley, Chirk Castle, Erddig, Trelissick, Stourhead, Mottisfont, Studley Royal, Waddesdon, and Ascott.

This conference will bring together academics and curators to seek patterns of patronage across this influential and diverse social grouping. It will identify the range of social, economic and political motivations for their participation in high material culture and explore case studies of particular individuals, objects and places to illustrate the sheer variety of manifestations of the goldsmith and banker as collector and patron. Papers are invited on, but by no means limited to, the following topics:
• Goldsmiths and bankers as collectors and their collections from medieval to modern
• Trends in collecting and patronage amongst goldsmiths and bankers
• Case studies of individual patrons, collectors, makers, or suppliers
• Case studies of individual objects or places
• Comparisons with collectors from other social or economic groupings
• Consumption and social mobility in banking and goldsmithing dynasties
• Perspectives of modern collectors

The conference programme will be comprised of a keynote address and a series of 20-minute papers. Proposals for panels will be accepted. We hope to publish a selection of revised conference papers in a peer-reviewed journal or as an edited collection after the conference. Please send abstracts of between 200 and 300 words along with short biographies to richard.ashbourne@nationaltrust.org.uk by Friday, 10th May 2019.

This conference is organised by the National Trust with support from the Goldsmiths’ Company. Conference convenors: James Rothwell, NT Adviser on Silver; Lucy Porten, NT Curator for Osterley; John Chu, NT Assistant Curator of Pictures & Sculpture; Pippa Shirley, Head of Collections, Waddesdon Manor (Rothschild Foundation).

Find out more about the National Trust’s research strategy here. Click here for more information about Osterley Park.

Call for Papers | At CAA 2020, Historic Libraries & Art Historiography

Posted in Calls for Papers by Editor on April 5, 2019

Dr. Musto plans to submit this proposal to CAA as a fully-formed, ‘complete session’, and she welcomes eighteenth-century submissions:

Historic Libraries and Art Historiography
College Art Association Conference, Hilton Chicago, 12–15 February 2020

Organized by Jeanne-Marie Musto

Proposals due by 22 April 2019

Currently seeking papers for a session exploring the potential of historic libraries to deepen and broaden our understanding of art historiography and its relationship to social, intellectual and geo-political currents. Such libraries include those not specifically intended for the study of art. This session will build on a theme introduced at CAA 2019, where a wide range of art-historical themes emerged from diverse libraries. These libraries range from early modern through twentieth century, across several continents, and survive intact or through inventories. Xu Bo’s library inventory, for example, offers a view into the role of art history in Ming dynasty regionalism, while the history of an individual Mexican codex within the National Library of Spain tells of the shifting winds of colonial and post-colonial cultural authority. But these libraries also tell of more than geopolitical concerns. They underline efforts to define the inchoate discipline of art history through a wide spectrum of materials. At the same time, they demonstrate active participation in art historical debates, and connections with artists and arts administrators. Papers that examine any aspect of the historiography of art emerging from the analysis of historic libraries will be welcomed. Please send proposals for a paper including title, abstract (250 words) and CV to Dr. Jeanne-Marie Musto, musto.jeannemarie@gmail.com. Additional information concerning the 2020 conference is available here.

Call for Panel Chair(s) | HECAA at ASECS, 2020

Posted in Calls for Papers by Editor on April 2, 2019

HECAA New Scholars Session at ASECS 2020
American Society for Eighteenth-Century Studies Conference, St. Louis, 24–28 March 2020

Chair nominations due by 20 April 2019

As part of its long-standing commitment to supporting the work of graduate students and younger scholars, HECAA has for many years used its panel at ASECS as a New Scholars Session. Since 2013, the session has been named in honor of Anne Schroder (1954–2010), a former HECAA president who was especially known for the interest she took in graduate students’ research. As we continue the tradition into 2020, the HECAA panel committee invites nominations (including self-nominations) for someone to chair the session (co-chairs are welcome). Please send a note of interest and a CV to Michael Yonan, convener of the HECAA panel committee, at yonanm@missouri.edu, by 20 April 2019. Questions may be directed to either Michael or Amelia Rauser at arauser@fandm.edu.

 

Call for Panel Proposals | HECAA at CAA, 2020

Posted in Calls for Papers by Editor on April 1, 2019

HECAA Panel and ASECS Panel at College Art Association, 2020
College Art Association Conference, Chicago, 12–15 February 2020

Proposals due by 10 April 2019

HECAA will submit two panels for the annual meeting of the College Art Association in 2020 (one panel belongs to ASECS but is delegated to us), and the panel committee now welcomes your proposals. Please send the title, a brief description (150–200 words), and a CV to Michael Yonan, convener of the HECAA panel committee, at yonanm@missouri.edu, by 10 April 2019. Please note if you have a preference for whether the session is assigned to HECAA or ASECS (in terms of the affiliate label); the ASECS session should—in keeping with the organization’s mission—open up broad, interdisciplinary possibilities. Questions may be directed to either Michael or Amelia Rauser at arauser@fandm.edu.

Details for submitting panel proposals for CAA 2020 as individuals (rather than with the support of an affiliate society) are available here; the due date is 30 April 2019.

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Note (added 1 April 2019) — The original posting did not include the note regarding the interdisciplinary scope of the ASECS panel.

Call for Papers | Above and Beyond: Ceiling Painting in the History of Art

Posted in Calls for Papers by Editor on April 1, 2019

From the Call for Papers:

Above and Beyond: Ceiling Painting in the History of Art
The Frick Collection, New York, 27 June 2019

Proposals due by 2 May 2019

The Frick Collection is pleased to invite submissions for Above and Beyond: Ceiling Painting in the History of Art, a public symposium organized in conjunction with the special exhibition Tiepolo in Milan: The Lost Frescoes of Palazzo Archinto (April 16 to July 14, 2019). Tragically destroyed during World War II, Giambattista Tiepolo’s ceiling paintings for Palazzo Archinto (1730–31) represented allegorical and mythological scenes in magnificent, light-filled skies. The in situ effects of these grand frescoes may forever be lost, but the related oil sketches and drawings assembled for the exhibition provide insight into the absent originals—and into the particular challenges the ceiling poses as a site for painting.

Ceiling paintings tested early modern artists’ abilities to realize complex projects, demanding collaboration among painters, architects, carpenters, and legions of assistants on some of the largest paintings ever created. Seen from below, subjects such as triumphs and apotheoses required artists to resolve tensions between naturalism and abstraction in picturing the firmament, and to engage space in ways wholly foreign to easel painting.

An heir to the illusionistic tradition of Correggio, Charles Le Brun, and Baciccio, Tiepolo has long been recognized for his ‘pictorial intelligence’. Yet the practice of ceiling painting has an even longer history—from the miniaturist figuration of the Alhambra’s Sala de los Reyes to the historiated ceiling of the ex-monastery at Tecamachalco in Puebla to Yoko Ono’s Ceiling Painting, Yes Painting of 1966. Inspired by this expansive history, we welcome proposals for twenty-minute papers on the making and reception of ceiling paintings across time and place. Please send a CV and 250-word abstract by Thursday, 2 May 2019, to academic@frick.org. Submissions from emerging scholars, including early-career university and museum professionals and advanced doctoral students, are encouraged.

Possible topics and lines of inquiry include, but are not limited to:
• Issues of site and execution, from technologies of transfer to the collaborations and workshop models that facilitated projects of such a large scale and long duration
• Often-vexed connections between ceiling painting and theatricality, trompe l’oeil and architecture
• Modes of spectatorship; the impact of light and movement and liturgical or court activities on the viewer’s perception and circulation
• The sky as subject in both ecclesiastic and secular contexts
• Ceiling sculpture, particularly the role of stuccowork and coffering
• Ceiling painting’s place in art-critical discourse and treatises (Bosse, Lomazzo, de Piles); its status vs. that of easel painting
• Perspectival theories and techniques
• Ceiling paintings as vehicles for glorification of absolute rule, familial pride, the divine
• Challenges to the critical fortune of ceiling paintings, such as the difficulty of reproduction

Call for Papers | Ceramics as Sculpture

Posted in Calls for Papers by Editor on March 19, 2019

Pierre Giovanni Volpato, Personification of the River Nile, ca. 1785–95, hard-paste biscuit porcelain, Giovanni Volpato’s Factory Rome, 30 × 59 × 30 cm (New York: The Metropolitan Museum of Art; Purchase, The Isak and Rose Weinman Foundation Inc. Gift, 2001.456).

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From the Call for Papers:

Ceramics as Sculpture, French Porcelain Society
Study Day, with Journal Issue to Follow
Masterpiece London, 28 June 2019

Abstracts for the Study Day due by 1 May 2019

Article Proposals for the Journal due by 24 May 2019, with finished drafts due by 30 September 2019

The French Porcelain Society is pleased to announce that it will be holding a study day entitled Ceramics as Sculpture, celebrating figurative art, at this year’s Masterpiece London, on Friday, 28 June 2019, 10:00–1:30. This conference aims to open up wider discussion about the contemporary and historical contexts for ceramic sculpture and its place within art history. It also seeks to underline the primacy of sculpture in all the decorative arts, bringing together scholars, curators, artists, and dealers working in the interconnected fields of ceramics and sculpture. The subject will be explored in more depth in The French Porcelain Society’s 2020 journal, the leading academic, peer-reviewed English-language publication on European ceramics and their histories, illustrated in full colour.

The Society invites submissions for 20-minute conference papers and/or 6,000-word journal articles. Topics for consideration may include, but are not limited to the following:
• Replication as a craft strategy
• Intersections between ceramics and sculpture
• Sculptors: Della Robbia, Kaendler, Bustelli, Falconet, Willems, Gricci, Carrier-Belleuse, Scheurich, et al.
• Collectors of porcelain sculpture and methods of display
• Curation and museum presentations or exhibitions of ceramic sculpture
• Impact of material on sculpture, i.e. biscuit porcelain
• Production techniques
• Silver, porcelain, and gilt bronze: a joined-up art
• Contemporary ceramics as sculpture, including practice-led approaches
• Sculpture in the digital age

Call for Papers for Study Day
Deadline: 1 May 2019, with successful notification by 7 May 2019
Please submit a summary of no more than 300 words with a short biography to Caroline McCaffrey-Howarth c.mccaffrey-howarth@leeds.ac.uk.

Call for Articles for Journal
Deadline: 24 May 2019, with successful notification by 7 June 2019
Submissions in the first instance should be a summary of no more than 500 words, with a brief description of the argument, a historiography and a note of the research tools and sources used. Please include a brief biography. The journal accepts articles in French as well as in English. The volume will comprise about 15 articles which will be peer reviewed by the editorial board and the FPS council of academic and museum specialists which includes: Dame Rosalind Savill, DBE, FBA, FSA (Curator Emeritus, The Wallace Collection, London); Oliver Fairclough, FSA; John Whitehead, FSA; Errol Manners, FSA; Patricia Ferguson; Dr. Diana Davis; and Caroline McCaffrey-Howarth (University of Leeds). Articles should be no more than 6,000 words in length excluding endnotes. Up to 15 high-resolution images per article will be accepted. Please send abstracts as an email attachment to Patricia Ferguson patricia.f.ferguson@gmail.com, Caroline McCaffrey-Howarth c.mccaffrey-howarth@leeds.ac.uk, and Diana Davis diana_davis@hotmail.co.uk, by 24 May 2019. If your abstract is accepted, articles and images will be due by 30 September 2019.

For more details about the Study Day and to book a place at £45, please visit the Society’s website.

Call for Papers | Embodying Romanticism

Posted in Calls for Papers by Editor on March 11, 2019

From the conference website:

Embodying Romanticism: Romantic Studies Association of Australia 2019 Conference
University of New South Wales Canberra, 21–23 November 2019

Proposals due by 30 June 2019

Although the body has preoccupied literary scholarship for some time, there has been a renewed attention in Romantic studies to the complex ways in which literature encodes and reproduces our awareness of embodied experience. Challenging views of Romanticism as bounded by visionary and idealist expression, such work reflects a reorientation of criticism around the materiality of Romantic culture, whether configured as part of the age of sensibility or in relation to the era’s natural and social sciences. The Romantic period was, moreover, a time when control of the body emerged as a key political issue in workshops, homes, battlefields and colonies, when bodies were subject to rapidly evolving ideas of gender, class and race, while new bodies of knowledge and corporate political bodies emerged to regulate the affairs of nations and empires. This was a period when bodies were subject to ever more intensive modes of analysis and management, at the same time that bodies imposed their transgressive physicality through new understandings of environments, vitalism, trauma, slavery, disease and taste. Attentive to such developments, Romantic studies in turn dovetails with a broader materialist emphasis that explores how bodies are shaped in relation to affect, biopolitics, speculative realism, post-humanism and eco-criticism. Alain Badiou has recently proposed that our modern, liberal ideology can today only perceive two objects: bodies and language. Aligning itself at the conjuncture of these two terms, this conference invites papers that broadly consider how embodiment was evoked, challenged and understood in Romantic cultural life.

We invite proposals for 20-minute papers on any aspects of Romanticism and embodiment. Proposals may be for individual papers or for panels of 3–4 papers. Papers might consider such topics as:
• Affects and embodied emotions
• Sensibility and materialist epistemologies
• Materials, objects, things
• Life, organicism, vitality
• Theatre, bodies on stage, celebrities
• Spaces, environments, atmospheres
• Architecture, buildings and the body
• Medicine, surgery
• Slavery and transportation
• Biopolitics/biopower and the body politic
• Labour, work, maternity
• Sexuality and gender
• Corpses, death, graves
• Race, empire, colonialism
• Disabled bodies, monsters, illness
• Planetary bodies, heavenly bodies, cosmology
• Texts and paratexts
• Bodies of knowledge
• Animals and humans
• Organisations and institutions

Abstracts of approximately 250 words are due by 30 June 2019. Please send abstracts to the conference convenor, Neil Ramsey, at n.ramsey@unsw.edu.au. Postgraduate bursaries are available. See the conference website for details.

Call for Essays | Enslavement and Material Culture

Posted in Calls for Papers by Editor on March 4, 2019

From the Amart-l listserv:

Special Issue of Winterthur Portfolio: Enslavement and Material Culture
Edited by Jennifer Van Horn and Catharine Dann Roeber

Proposal due by 15 April 2019; draft manuscripts due summer 2019

Twenty years ago, Winterthur Portfolio published a special issue: Race and Ethnicity in American Material Life, which has become a standard source for scholars and students. In the decades since, race—in particular slavery—has emerged as an ever more vital subject of inquiry. Scholars have recognized slavery as a fundamental force in shaping not only North America’s past, but also its present and future.

We seek essays that examine how materiality was critical in the development, spread, and rejection of enslavement, as well as the vital role artifacts played for enslaved people of African and/or indigenous descent. We ask how material and visual artifacts used or produced in North America, including the Caribbean, have been instrumental in forging slavery and its afterlives. We question how objects participated in the rejection of slavery and the material expression of freedom. We are also interested in articles about object interpretation by museums, archives, and historical sites and in archaeological collections, buildings, or spaces associated with enslavement.

Our goal is to explore how slavery informs American material culture study today. We will consider essays that are case studies of individual artifacts, buildings, or makers, studies of collections of artifacts, or historiographical pieces, but are especially eager to see work that engages with current theoretical perspectives on materiality and slavery. We are also interested in research that responds to a broad notion of ‘America’, the Atlantic World, and the African Diaspora.

250–500 word proposals are due by April 15, 2019. Proposals should be submitted to guest editors Jennifer Van Horn and Catharine Dann Roeber at jvanhorn@udel.edu. Please also direct inquiries to jvanhorn@udel.edu. Draft manuscripts of approximately 10,000 words from selected authors will be due late summer 2019. Guest editors will provide comments for authors, and the resulting revised essays will be submitted by guest editors for peer review as a proposed special issue of Winterthur Portfolio.

Additional information is available here»

Call for Papers | Cardinal Alessandro Albani

Posted in Calls for Papers by Editor on February 18, 2019

From the Call for Papers:

Cardinal Alessandro Albani: Collecting, Dealing, and Diplomacy in Grand Tour Europe
Collezionismo, diplomazia ed il mercato nell’Europa del Grand Tour
British School at Rome / Centro di Studi sulla Cultura e l’Immagine di Roma, 11–13 December 2019

Organised by Clare Hornsby and Mario Bevilacqua

Proposals due by 1 April 2019

This conference aims to bring together an international range of art historians alongside scholars of related humanistic disciplines to open a new chapter on the multifaceted life and career of Cardinal Alessandro Albani (1692–1779), ‘The Father of the Grand Tour’. Albani operated in many different spheres of Roman society in a variety of roles: antiquarian, collector, art dealer, political agent, spy. It is time to make a reassessment of his life and of his activities.

There is a close connection between Britain and the study of Cardinal Albani, reflecting the central role that the British played in the art market in Rome, as entrepreneurs and purchasers. This subject—which casts valuable light on the political and diplomatic networks in mid-eighteenth-century Europe—needs to be revisited, particularly in the light of the many books, conferences, and exhibitions on collecting and the art market that have appeared in the last 25 years. It is appropriate that this conference should have as one of its venues the British School at Rome [BSR], which has, over this period, hosted many scholarly events connected with the Grand Tour.

For many years European scholars have examined aspects of the life of Cardinal Alessandro Albani, particularly in respect of his magnificent collections of ancient sculpture—of central importance in artistic and museological culture in Rome—as well as in the family archives and European correspondence. His relationship with major figures in eighteenth-century European art such as Winckelmann and Piranesi remains a fruitful area of study.

The second venue of the conference—the Centro di Studi sulla Cultura e l’Immagine di Roma [CSCIR—is an institution renowned for its commitment to a deeper understanding and reflection on Roman historical and artistic life. By this British and Italian collaboration we hope not only to build new networks of scholarship but to focus international attention on the Albani collections at a key moment.

The role of Alessandro Albani is key in eighteenth-century Rome, both as a patron of the arts and in the wider political life of the European courts. This conference is designed to be multi-disciplinary and international, reflecting the life and career of Albani himself. Proposals for talks might address the following themes:

Albani in the Grand Tour
The Roman art market
Albani and Vatican diplomacy
His correspondents and social networks
The Stuart court in Rome
Philipp von Stosch, Horace Mann, and spying
Albani the archaeologist
The drawings collection of Cassiano dal Pozzo and their sale to King George III
Winckelmann and Albani
Albani as taste-maker
The collections — sculpture, drawings, and the libraries
Albani and Piranesi
The Albani archives
Villa Albani

The languages of the conference are English and Italian, and the event will be open to the public. We invite doctoral students, postdoctoral researchers, established scholars, and members of the foreign academies in Rome to submit proposals for papers which will fall into two groups:

(1) 15-minute presentations on one event, object, or discrete theme
(2) 30-minute presentations on collections or connected themes

Please send an abstract of either 500 words (for a 15-minute talk) or 1000 words (for a 30-minute talk) with a 200-word CV to albaniconvegno@gmail.com by 1 April 2019.

We plan to publish a volume of essays based on this conference.

Scientific Committee
Mario Bevilacqua (Università degli Studi di Firenze, CSCIR), Amanda Claridge (Royal Holloway University of London, Cassiano del Pozzo project), Clare Hornsby (Research Fellow, BSR), Ian Jenkins (Dept. of Greek and Roman Antiquities, British Museum), Harriet O’Neill (Assistant Director, BSR), Susanna Pasquali (La Sapienza Roma), Jonny Yarker (Libson and Yarker Ltd., London)

Call for Content | Instagram Series, Furniture History Society

Posted in Calls for Papers by Editor on January 31, 2019

From the Call for Content:

#CuratorsChoice
A Furniture History Society Instagram Series

The Furniture History Society has recently joined Instagram, @furniturehistorysociety. Following the success of our ongoing Instagram series #ChippendaleTuesday we will shortly launch another titled #CuratorsChoice. This series will highlight the work of curators engaged in the research of decorative arts, specifically furniture, interiors and archives relating to such. This platform will provide a conversational way for curators to highlight objects in their collections, exhibitions they are preparing or indeed discoveries they have made.

Getting involved is simple:
1. Choose your topic.
2. Write approximately three short sentences about it. Feel free to use a more casual and conversational style than one might for an article or talk.
3. Pick your image or images.
4. Send us the above and, if you have one, your Instagram handle. We will take care of weaving the information together and posting to our account.

No matter if you have a fully formed idea or post, or indeed are interested in this project and would like to know more, please feel free to contact, Natalie Voorheis on natalievoorheis@gmail.com. We look forward to hearing from you.

The Furniture History Society (FHS) was founded in 1964 to study furniture of all periods, places and kinds, to increase knowledge and appreciation of it, and to assist in the preservation of furniture and its records.