Call for Papers | Piranesi @300

Posted in Calls for Papers by Editor on April 28, 2020

From the updated Call for Papers, which also includes Italian and French versions:

Piranesi @300
Rome, 27–30 January 2021
Proposals due by 31 July 2020 (extended from the original April deadline)

Organized by Mario Bevilacqua and Clare Hornsby

Concluding the year celebrating the 300th anniversary of the birth of Giovanni Battista Piranesi (1720–1778), this conference aims to reveal new aspects of his life and works, their contexts, and critical fortune, and we are seeking proposals for a comparison of interdisciplinary themes and innovative methodologies.

In the light of current uncertainties, we plan to host the conference both live in Rome and via online platforms to facilitate international participation.

Some ideas of themes that could be addressed:

Piranesi as Artist, Theorist, Entrepreneur, and Merchant
Many aspects of Piranesi’s life and work still remain in the shadows: we hope to discover new documentary data, new drawings, new interpretations, new networks.

Piranesi and History
The Mediterranean civilizations, the fall of the Empire, the Middle Ages and the Renaissance. Egypt, Etruria, Greece, Rome. From the fall of the Empire to the Renaissance. Piranesi and the texts of his books, the birth of archaeology, the philosophy of history in 18th-century Europe.

Piranesi: Europe, America, the World
Piranesi as ‘global’ artist. His lasting reputation—from Rome across 18th-century Europe—takes on different aspects in different European contexts: England, France, Germany, Russia—and in the more distant United States and Latin America, Australia and Japan, maintaining close yet changing relationships with art, literature, photography, and cinema.

Piranesi as Architect: Monument, City, Utopia
Though constantly designing, he was the architect of only one building, S. Maria del Priorato on the Aventine hill yet Piranesi always signed himself ‘architect’. His vision of Roman architecture and of the ancient metropolis states certainties and raises concerns about the dystopian future of the global city.

Piranesi in the Global 21st Century: New Methods for New Paths of Research
We can ask questions about Piranesi in the context of contemporary scenarios. His work continues to provoke reflection, inspire new projects and interpretations.

The languages of the conference are English, Italian, and French, and the event will be open to the public. We invite doctoral students, postdoctoral researchers, established scholars to submit proposals for papers that contain new research or use new approaches. These will fall into two groups:
1) 15-minute presentations on one event, object, or discrete theme
2) 30-minute presentations on wider issues

Please send a 250-word CV and an abstract in English, French, or Italian of either 500 words (for a 15-minute talk) or 1000 words (for 30-minute talk); the abstract should make clear the new content of the contribution. Submissions should be sent to Piranesi300@gmail.com by July 31st 2020. We plan to offer accommodation in Rome to speakers at the conference though we are not able to assist with travel costs. We propose to publish a volume of the papers of the conference.

Supporting Institutions
Centro Studi Cultura e Immagine di Roma / Biblioteca Nazionale Centrale
Istituto Centrale per la Grafica
The British School at Rome
Académie de France à Rome – Villa Médicis

Conference Organisers
Mario Bevilacqua and Clare Hornsby

Scientific Committee
Francesca Alberti (Académie de France à Rome), Fabio Barry (Stanford University), Mario Bevilacqua (Università degli Studi di Firenze, CSCIR), Clare Hornsby (British School at Rome), Giorgio Marini (Ministero Beni Culturali), Heather Hyde Minor (Notre Dame Rome), Susanna Pasquali (Sapienza Università di Roma), Frank Salmon (Cambridge University), Giovanna Scaloni (Istituto Centrale per la Grafica).

Call for Papers | Virtuosity: Ethics and Aesthetics of the Technical Gesture

Posted in Calls for Papers by Editor on April 13, 2020

From ArtHist.net (where the posting also includes the French version) . . .

Virtuosity: Ethics and Aesthetics of the Technical Gesture from the Middle Ages to the 19th Century
Virtuosités. Éthique et esthétique du geste technique du Moyen Âge au XIXe siècle
Institut national d’histoire de l’art, Paris, 14–16 January 2021

Proposals due by 30 May 2020

Technical skills and gestures have already been the subject of collective work aimed at studying them in their ethnological, anthropological, economic, technical or sociological dimension [Brill 2002, De Beaune 2013B, Bouillon, Guillerme Piernas 2017, Joulian, D’Onogrio 2006]. On one hand, industrial procedures for the most recent periods have been well studied by contemporary historians who have examined in particular their constitution, their dissemination and, more generally, the technical or cultural history of these industrial procedures [for instance Baudet 2004 or journals like the Revue d’histoire de la sidérurgie published in Nancy since 1960]. For earlier periods, on the other hand, the point of view most often adopted by historians and art historians to deal with the history of technology since the 1950s in particular was first that of historians of work and production [for instance Coquery, Hilaire-Perez, Sallmann, Verna 2004]. Few of them have considered technical gestures and know-how as historical objects, submitted to various cultural regimes.

This situation is all the more damaging as recent research trends are increasingly focusing on the material and physical constraints of production processes. This is the case of the history of medieval art, in which the growing number of works claiming to be based on the archéologie du bâti has contributed to reconfiguring the historiographical panorama of the discipline by introducing—or at least displaying—a renewed interest in the processes [Hartmann-Virnich, Boto-Varela, Reveyron 2012]. This is just as much the case for the history of 17th- and 18th-century architecture, about which research prospects have been broadened by the development of the history of construction [for instance Carvais, Guillerme, Nègre, Sakarovitch 2012]. However, despite these recent developments and even if art historians can only consider it necessary to summon the material constraints of artistic and craft production, the work of historians, philosophers, anthropologists or sociologists who have taken an interest in gesture and technical practices is only marginally taken into account.

Therefore, the ambition of this conference is to provoke the meeting and dialogue of different approaches to the technical gesture, departing from a category of gestures that one can call virtuoso. This refers to the attitude of discreetly drawing the attention to the act itself of the production; virtuosity being considered as the primacy given to a metatechnique («the technique of producing forms that produce effects») [Klein 1970, 393, note 1 and Klein 1960-62, 152, 154 et 215, chapter «La Maraviglia»]. The phenomenon will be examined in the field of the construction studies, but also in all the arts and crafts of pre-industrial times (from painting to music and dance, through the art of gardens, cabinet work, goldsmith or textile). One hope to see whether, for example, the remarks and observations gathered on this phenomenon by cognitive or anthropological sciences can be historicized in order to shed light on our knowledge of the virtuoso technical gesture, its status and its social or cultural value and, thus, in order to nurture the historian’s reflection.

Different converging themes could be used to develop an exchange on these issues:

• Discourses and rhetoric on technical virtuosity and virtuoso craftsmanship practices [Suthor 2010, Nègre 2019a]. What do theorists, critics and the public in general think about the demonstrations of skill and the resulting artefacts? How do practitioners talk about it themselves?
• The definitions and the different aspects of these preindustrial virtuoso practices (creation, restoration); the types of virtuosities (perfection of execution, search for complexity, search for variety, mastery of extreme scales, speed of execution, etc.) [Kris, Kurz 2010, 95-101. Nègre 2019B. Guillouët 2019] ; the characteristics of the objects.
• The cultural and social consequences as well as the effect of «address» of the virtuoso technical gesture, for «internal» or «external» use [De Beaune 2013a].
• The transmission of «incorporated» know-hows [as defined by Barel 1977] or formalized through drawings and models. What role does the technical challenge play in the training curriculum of the craftsmen (through provocations, competitions, masterpieces, etc.)? And in innovation? How studio/workshop secrets and formalized know-how interact or clash (or not)?
• The practical conditions for the dissemination of these skills as well as the cultural constraints of their transmission (normalization of the gesture, mediation through processes…) and the criteria for virtuoso distinction [Metzner 1998]; the representations of virtuosity in manuals, collections and prints such as the ones collected by Jacques Doucet now held at the INHA. These last questions raise the role of technical perfection in aesthetic delight [Gell 1992] like did André Leroi-Gourhan’s idea of a «functional aesthetics» [Gell 1992. De Beaune 2013a].
• Case studies: some papers could also focus on the analysis of technical gestures through specific objects and their material and archival study (for instance in the case of some conservation–restoration case studies).

Proposals for papers should be sent by May 30th to Jean-Marie Guillouët (jmguillouet@gmail.com) and Valérie Nègre (valerie-negre@wanadoo.fr) in the form of a summary of a maximum of 2,000 characters. They must be accompanied by a short one-page CV.
The conference will be held at the Institut national d’histoire de l’art with the support of the INHA, the Institut d’histoire moderne et contemporaine (Paris) and the Centre François Viete (Nantes)

Organizing committee // Comité d’organisation
Jean-Marie Guillouët (Université de Nantes) Valérie Nègre (Université Paris 1 Panthéon- Sorbonne)
Pauline Chevalier (INHA)
Sigrid Mirabaud (INHA)

Scientific Committee // Comité scientifique
Nicolas Adell (Université Toulouse Jean Jaurès) Gil Bartholeyns (Université de Lille 3 – IRHiS) Philippe Bernardi (Lamop)
Anne-Laure Carré (Cnam)
Sven Dupré (Utrecht University)
Patricia Falguières (Ehess)
André Guillerme (Cnam, chaire unesco)
Liliane Hilaire-Pérez (Université de Paris, Ehess) Antoine Picon (Harvard University)
Pamela Smith (Columbia University)
Victor A. Stoichita (Centre de recherche en ethnomusicologie)
Nicola Suthor (Yale University)

Call for Papers | Cultures visuelles des spectacles marginaux

Posted in Calls for Papers by Editor on April 11, 2020

From ArtHist.net:

Représentation(s): Cultures visuelles des spectacles marginaux, XVIIIe–XIXe siècles
Université de Lausanne, 12–13 November 2020

Proposals due by 31 May 2020

Le XVIIIe et le XIXe siècle ont connu un développement jusqu’alors inédit dans la multiplication et la diversification des spectacles. En parallèle et parfois en concurrence avec les théâtres institutionnels voient le jour et se développent un grand nombre d’autres formes non institutionnelles et marginales de spectacles: petits théâtres contournant avec inventivité les limitations et interdictions imposées par le système des privilèges, spectacles hybrides, «spectacles de curiosités», c’est-à-dire tous les spectacles «mineurs» qui ne sont pas considérés par l’autorité publique comme du théâtre, ou encore théâtres de société, organisés par des particuliers et soustraits aux circuits commerciaux et à l’industrie du spectacle.

Les recherches récentes ont redonné une dignité à ces formes marginales de spectacle, mettant en lumière leur intérêt pour l’histoire culturelle, mais également pour l’évolution du goût et de l’esthétique qui touchent toute la production des époques concernées. Ces recherches se sont principalement orientées d’une part sur l’étude de répertoires, formes et auteurs, d’autre part sur la nature des lieux investis par les représentations, dans leur double dimension d’espace scénique et d’espace social.

Ce colloque veut proposer une nouvelle approche, transversale et interdisciplinaire, à ces formes de spectacle en interrogeant la notion de représentation dans sa matérialité concrète et visuelle et dans le double sens qu’historiens et philosophes s’accordent pour donner au terme.

Premièrement, dans son acception plus spécifiquement liée au monde du théâtre, la représentation sera envisagée au sens de «fait de donner un spectacle, plus particulièrement de jouer une pièce de théâtre devant un public» (TLF) et par extension au sens de spectacle lui-même dans toutes ses composantes qui tombent sous les sens, comme «monstration d’une présence», et «présentation publique d’une chose ou d’une personne (1)».

Deuxièmement, la représentation sera considérée comme «présentification d’une absence au moyen d’un langage» littéraire ou pictural chargé de faire «apparaître une absence par le recours à des signes qui en tiennent lieu (2)». Cette deuxième approche permettra de compléter et d’interpréter la première, car, comme le rappelle le sociologue Alex Gagnon, «c’est parce que les représentations ne sont pas ce qu’elles représentent (les langages ne se confondent jamais avec les réalités qu’ils cherchent à décrire) qu’elles peuvent contribuer, précisément, à façonner et à construire ce dont elles tiennent lieu (3)».

(1) Roger Chartier, «Pouvoirs et limites de la représentation. Marin, le discours et l’image» [1994], dans Au bord de la falaise. L’histoire entre certitudes et inquiétude (Paris: Albin Michel, «Histoire», 1998), p. 174
(2) Alex Gagnon, «Représentation», dans Anthony Glinoer et Denis Saint-Amand (dir.), Le lexique socius.
(3) Ibid.

La réflexion embrassera donc les axes suivants:

1. Matérialité des spectacles

C’est entre XVIIIe et XIXe siècle que commence lentement à émerger une idée de mise en scène (4). De nombreux aspects matériels qui restent largement à cataloguer et à analyser témoignent de ce mouvement également sur les petites scènes non institutionnelles: les costumes, les décors — ou éventuellement leur absence, dont la signification sera à interpréter — les tentatives d’effets d’éclairages, les objets de scène, les accessoires et éventuels «effets spéciaux» y sont d’autant plus significatifs qu’ils sont en général artisanaux, bricolés, inventifs. Cet aspect de création «avec les moyens du bord», de flexibilité et d’hybridité des scènes et des effets spectaculaires rapproche et réunit théâtres de société, spectacles de curiosités et «petits théâtres» publics. Il est donc intéressant de les analyser en parallèle, en faisant émerger similitudes, différences, jeux d’inspirations mutuelles et éventuellement différences avec l’esthétique et les pratiques des théâtres institutionnels (5). Quels sont les éléments et les pratiques communes? Comment ces spectacles contournent-ils le manque de moyens? Réprésentent-ils un terrain favorable à l’innovaton et à l’expérimentation? Il sera ainsi question d’étudier les conditions matérielles et les contraintes concrètes auxquelles les promoteurs des petits théâtres ou les organisateurs de spectacles de société doivent faire face pour l’établissement de leurs projets. La mise en place d’une représentation théâtrale fonctionne d’une certaine manière comme une petite entreprise dans laquelle les tâches sont réparties, standardisées et hiérarchisées. Il s’agira donc d’étudier la manière dont cette répartition se fait et dont elle opère dans la consrtuction du spectacle lui-même. Y a-t-il des figures polyvalentes ou assiste-t-on à une spécialisation progressive, sur l’exemple des grands théâtres publics? Sur quels éléments mise-t-on en particulier pour attirer et fidéliser un public, que ce soit un public payant ou un cercle d’habitués pour les scènes de société?

(4) Voir Roxane Martin, L’Émergence de la notion de mise en scène dans le paysage théâtral français, 1789–1914 (Paris, Classiques Garnier, 2014) et «La Mise en scène théâtrale au XIXe siècle», dossier de la revue Romantisme 2020.2, à paraître.
(5) Sur les scènes institutionnelles voir notamment Marie Bouhaïk-Gironès, Olivier Spina, Mélanie Traversier (dir.), Mécanique de la représentation. Machines et effets spéciaux sur les scènes européennes, XVe–XVIIIe siècles, dossier de la Revue d’Histoire du théâtre, 2018.2.

2. Perception et réception

La question du public et de la consommation de ce genre de spectacles amène à développer une autre série de questionnements complémentaires, à savoir les aspects liés à la perception et à la réception de ces spectacles. Le dénominateur commun qui réunit ces formes de spectacles non institutionnels est lié à leur statut de scènes mineures qui cherchent leur identité et leurs publics spécifiques aux marges des grandes entreprises destinées à fédérer des centaines, voire des milliers de spectateurs.

Néanmoins, et c’est probablement là leur plus grande valeur, ces spectacles témoignent d’une vie culturelle et de tendances liées à un contexte quotidien. Tendances moins formelles, moins formatées, plus immédiates et plus inventives que celles qui régissent le fonctionnement des grands théâtres. Nous souhaitons nous interroger sur les modalités et les critères qui permettent à ces spectacles non institutionnels d’être perçus, compris et «consommés» par le public. Comment se positionnent-ils face à la concurrence, si concurrence il y a, des grands spectacles? Comment leurs représentations se matérialisent-elles et sur quelles références s’appuient-ils pour se construire?

On étudiera également les représentations que d’autres formes d’art et d’écriture donnent des ces pratiques. Le panorama, riche et varié, comprend des représentations en peinture ou en gravure de scènes, costumes et personnages ou acteurs et actrices de ces scènes marginales, comme dans le cas de la célèbre série de Daumier sur Les comédiens de société; la mise en texte dans des oeuvres de fiction, théâtrales ou romanesques, ou dans les écrits personnels, correspondances, mémoires ou journaux intimes; et encore, surtout au XIXe siècle, les échos dans la presse, qu’il s’agisse de comptes rendus de spectacles ou de chronique mondaine. Au-delà de la valeur historique et documentaire de ces productions, il faudra interroger la perception que les contemporains ont du phénomène des scènes marginales, la nature des représentations qu’ils en donnent, les éléments qui sont soulignés ou mis en valeur. Par exemple: est-ce que ces représentations sont plutôt sérieuses ou ironiques ? Plutôt appréciatives ou dépréciatives? Quels éléments des pièces jouées, des représentations ou du jeu des acteurs et des actrices retiennent le plus l’attention? Quelle valeur, quelle utilité ou quels dangers attribue-t-on à ces mêmes éléments?

Les propositions de contribution pourront s’inscrire dans les champs suivants, dont la liste est à considérer comme non exhaustive:

Émergence d’une idée de mise en scène
• Organisation de l’espace
• relevés de mise en scène
• didascalies descriptives et prescriptives dans les textes
• métiers techniques de la scène et leur spécialisation
• mise en place et mutation des conventions dramaturgiques

Matérialité de la scène
• importance des costumes
• costumes historiques vs de ville vs de fantaisie
• objets de scène et leur usage
• progrès techniques et machineries
• décors peints, décors construits/praticables, décors machinés, décors dépouillés/inexistants
• éclairages (de la scène, de la salle, éclairages modulables et effets d’ombres et lumières)
• «effets spéciaux» et effets d’optique
• application de l’optique au spectacle: lanternes magiques, théâtres d’ombres, «transparents», panoramas, dioramas, fantasmagories, pré-cinéma

Perception et réception
• stratégies commerciales
• rapport aux théâtres principaux
• pubic(s) cible
• témoignages de spectateurs
• comptes rendus dans la presse
• réprésentations littéraires (dans des romans, des mémoires, des physiologies etc.)
• iconographie

Colloque en collaboration entre
Camilla MURGIA, Première Assistante, Université de Lausanne, Section d’Histoire de l’Art
Valentina PONZETTO, Professeure Boursière FNS/Université de Lausanne, Section de Français
Jennifer RUIMI, Chercheuse FNS Senior/Université de Lausanne, Section de Français

Les propositions de communication de 3000 signes maximum, accompagnées d’une courte biobibliographie, seront à envoyer avant le 31.05.2020 à: Representationsand2020@gmail.com
Retours du comité scientifique: fin juin 2020

Call for Papers | Rediscovering Our Sculpture

Posted in Calls for Papers by Editor on March 31, 2020

From Art UK:

Rediscovering Our Sculpture: An Art UK Symposium
Cloth Hall Court, Leeds, 18–19 September 2020

Proposals due by 10 May 2020

Anne Seymour Damer, Portrait of Mary Berry (1763–1852), based on a work from ca.1793, bronze (London: National Portrait Gallery, 6395).

Art UK is inviting submissions for papers for the conference Rediscovering Our Sculpture, which will be held on Friday 18th and Saturday 19th September 2020 at Cloth Hall Court, Leeds. This symposium will celebrate the completion of Art UK’s ambitious sculpture project. It will be an opportunity to thank the project partners and funders. We will be able to share what we have learned and provide practical guidance on using sculpture for learning and engagement and methods of digitisation.

From 2017 to 2020 Art UK has been digitising sculptures in galleries, museums and public buildings, as well as outdoors—in parks, streets, and squares across the UK. The largest sculpture cataloguing project ever undertaken in the UK will be completed as a result of the hard work of a team of dedicated and enthusiastic project staff, photographers, and volunteers. Thousands of sculptures are now free to browse and search on the site, and many more will be added by the end of 2020.

Our extensive learning and engagement programme has taken sculptures into schools, engaged people and communities with their local sculptural heritage, made a series of films with young people, and provided opportunities for blind and partially sighted people to engage with sculpture collections. Professional development training has been made available for staff and volunteers from collections to develop skills around sculpture care and digitisation.

The conference will feature a selection of papers on a wide range of sculpture-related subjects. We welcome papers on topics that may include, but are not limited to:
Sculpture in the UK – research and mapping using Art UK data; new discoveries or research on sculptors, sculptures or collections; materials of sculpture; public sculpture
Sculpture curation – contemporary curation and collections development; collecting and dealing; acquiring new works; display and exhibition; collections research
Public engagement with sculpture – how we grow public interest in sculpture; interpretation and telling stories; access; digital engagement

We welcome proposals for 20-minute presentations. We will also consider proposals for shorter 10-minute case study talks. Please send an abstract of no more than 300 words, as well as a biography of around 200 words, to katey.goodwin@artuk.org. The deadline for proposals is 9am on Monday, 11th May 2020.

Call for Articles | Visual and Material Culture across the Baltic

Posted in Calls for Papers by Editor on March 27, 2020

From ArtHist.net:

Visual and Material Culture Exchange across the Baltic Sea Region, 1772–1918
Edited by Michelle Facos, Bart Pushaw, and Thor Mednick

Proposals due by 1 June 2020; final essays due by 31 December 2020

The long nineteenth century occupies a precarious place in the history of the visual and material culture of the Baltic Sea Region, at once containing the most popular and most obscured areas of art historical investigation. Since the 1990s, the concept of a Baltic Sea Region encompassing the sea and its surrounding land has fostered transnational thinking about the region, transcending Cold War binaries of ‘East’ and ‘West’ in an effort to view the area more holistically. Yet national funding schemes in these countries—Denmark, Estonia, Finland, Germany, Latvia, Lithuania, Norway, Poland, Sweden, and Russia—continue to foster a historiographical imbalance that downplays the region’s extraordinary significance as a cultural crossroads of the world. By contrast, our publication foregrounds visual and material exchanges and the ideological or pragmatic factors that motivated them in order to frame the Baltic Sea as a nexus of entangled individuals and cultures always in conversation across the long nineteenth century (ca. 1770–1920).The volume draws from selected papers from our series of conferences in Greifswald in 2017, Berlin in 2018, Tallinn in 2019, and a final, anticipated, conference in Copenhagen.

The publication focuses on the following themes:
• Travelling Artists and Craftsmen
• Art Academies as International Hubs
• Slavery, Serfdom, and the Colonial Turn
• Relationship between Art and Science
• Art Commerce: Agents, Dealers, Collectors, Advisers
• Foreign Artists at Royal Courts
• International Constructions of ‘National’ Styles

While our volume addresses the long nineteenth century, we are especially keen to receive contributions that approach material culture of the region at the turn of the nineteenth century (ca. 1770–1820) as well as the mid-nineteenth century (1840–1870). A paper proposal of 300 words, together with an accompanying short CV (max. 5-page), should be submitted to mfacos@indiana.edu, bcpushaw@gmail.com, and tmednick@hotmail.com by 1 June 2020. We will notify you by 1 July. The deadline for completed articles/chapters of 6,000–9,000 words will be 31 December 2020.

Call for Papers | Manor House Colloquium: Portugal, Brazil, and Goa

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

From the Call for Papers:

7th Manor House Colloquium — Portugal, Brasil, and Goa: Cultural Interactions
Fundação Oriente, Goa, 10–13 November 2020

Proposals due by 31 March 2020

The Casa Senhorial Portugal, Brasil & Goa project, hosted at the Instituto de História de Arte, Universidade Nova de Lisboa, in partnership with Fundação Casa Rui Barbosa in Rio de Janeiro, Brasil, promotes the 7th Manor House Colloquium at Fundação Oriente in Goa, from 10 to 13 November 2020. The colloquium aims to extend the study of manor houses to Goa and its territory and share the development of this research with the Brazilian and Portuguese team. Following distinct courses, the architectures of Portugal, Brazil, and Goa nonetheless traded experiences and influenced one another, giving birth to new solutions and models that were markedly original. This call for papers invites researchers to participate in the development and broadening of the debate by submitting an original article in the four themes of the ongoing research project:

• Patrons and artists, customs and rituals
• Distributive programs and functional and symbolic nomenclatures of each space
• Study of fixed ornamentation: ceilings, tiles, carvings, plaster, textiles, floors, chimneys, windows and doors, integrated furniture
• Furniture and equipment in its specific functions

Proposals should be submitted in English, as a Word file, with the following information: paper title, author’s institutional affiliation, thematic line abstract of 250 words, 3–5 key words, biography of 150 words. Send to manorhousesGoa2020@gmail.com by 31 March 2020.

Provisional Schedule

November 10 — Official opening
November 11 and 13 — Communications at the colloquium
November 12, 14, and 15 — Technical meetings and study visits to stately homes in Goa, Palácio
Meneses Bragança in Chandor, Casa Figueiredo in Lotulim, Palácio do Deão in Quepém, Palácio Santana da Silva in Margão, Museum of Christian Art at Monicas Convent in Old Goa

Scientific Committee

Ana Pessoa – Fundação Casa Rui Barbosa, Brasil
Ana Lucia Vieira – Universidade Federal Fluminense – RJ, Brasil
Fátima Gracias – Individual Researcher, India
Helder Carita – IHA/Universidade Nova de Lisboa, Portugal
José Belmont Pessoa -Universidade Federal Fluminense – RJ, Brasil
João Vieira Caldas – Instituto Superior Técnico, Portugal
Marize Malta – Universidade Federal do Rio de Janeiro, Brasil
Pedro Pombo – Goa University, India

Executive Committee

Ana Pessoa – Fundação Casa Rui Barbosa, Brasil
Helder Carita – IHA/Universidade Nova de Lisboa, Portugal
Ana Lucia Vieira – Universidade Federal Fulminense – RJ, Brasil
Joaquim Rodrigo dos Santos – ARTIS /Universidade de Lisboa
Tiago Molarinho Antunes – DINÂMIA’CET/ISCTE-Intituto Universitário de Lisboa

Publishing norms are detailed here»

Call for Essays | Funerary Inscriptions

Posted in Calls for Papers by Editor on March 17, 2020

From ArtHist.net:

Funerary Inscriptions in Early Modern Europe
Intersections, Yearbook for Early Modern Studies

Abstracts due by 15 May 2020

In this volume of Intersections, we want to bring together studies that consider funerary inscriptions in early modern Europe within the context of a culture of commemoration and remembrance. Depending on funding, a two-day conference to prepare the volume is planned to take place in Frankfurt am Main in late August or early September 2021. Applicants will be notified before June 30, 2020.

Although funerary inscriptions from the period 1400–1800 have been collected and studied widely, they have usually been considered with a focus on their axiomatic character or the person they commemorate, or in relation to inscriptions from the same area or time period they were made in. Studies of a more analytical and comparative nature are limited, just as studies that consider funerary inscriptions for their literary components, or analyze them in a wider cultural context, questioning for instance what they reveal about belief in an afterlife and how this relates to contemporary theological notions about life after death and/or a resurrection of the dead. Also open to study are questions how funerary inscriptions for people from similar social classes or professional groups relate to each other, and how the qualities the deceased are praised for correspond to contemporary social values.

The central issue in this volume of Intersections will be the question of how funerary inscriptions were used to shape the memory of a deceased person in a specific way. How were they used to create a specific image that would determine how a deceased person would be remembered and what (s)he would be commemorated for? How would this image fit in the contemporary collective culture of remembrance or in narrower spheres, as for instance specific religious groups or denominations? Or was this image meant to function within a sphere of private commemoration? With these questions as the central issue, funerary inscriptions in Europe from the period between ca. 1400 and 1800 may be approached from various angles: their material dimension, their literary character, the content of what they are stating, their relation to portraits and (sculpted and other) decorations, and the wider cultural context in which they were created and functioned. Topics to be addressed may include:

Material aspects
• How did the persons cutting the text into the stone work together with the writers of the inscriptions, in determining such things as the length of the texts and the individual sentences, dividing lines and breaking off words, using abbreviations etc?
• How do incised funerary inscriptions relate to versions printed in (more or less) contemporary books (differences, mistakes, reductions, etc.)?
• Is there a common pattern of the arrangement of inscriptions on a monument/sarcophagus or does the arrangement of inscriptions have a symbolic character?

Literary aspects
• Epitaphs that were actually carved in the tomb stone vs. epitaphs that were written as literary exercises, never meant to be put on a grave
• Collecting, exchanging and publishing (collections of) funerary inscriptions from Antiquity and/or Christian times
• Funerary inscriptions written by the future deceased themselves as a way to secure their memory
• Funerary inscriptions written in the first person singular (‘the deceased speaking from the grave’ or the tombstone addressing the passer-by): by whom were they written, how common were they on actual tombs or were they mainly created as literary exercises?
• Mock epitaphs and funerary inscriptions for animals
• Style and language: the impact of antique formulations and traditions
• The repetition of axiomatic sayings, motto’s, texts from the Bible
• The use of example books (Ars moriendi) and/or contemporary anthologies of rhetoric and poetry
• The use of Latin, Greek or Hebrew vs. vernacular language.

• What are the qualities and characteristics for which the deceased were praised and deserved to be remembered? How do they correspond to contemporary social values?
• ‘Naming and faming’: which names of well-known people or places are included in funerary inscriptions so as to make the deceased seem (more) important?
• Pride and (false?) humility
• Self-presentation of the dedicators
• Notions about an afterlife and resurrection of the dead; predictions of (the moment or way of) having died come true (vaticinium ex eventu)
• Use of symbols or allegorical structures in the textual parts of the epitaph.

• In what respects are funerary inscriptions for women different from those for men?
• Do funerary inscriptions for specific social classes or professional groups have common characteristics?
• How do funerary inscriptions relate to portraits and to (sculpted and other) decorations of a tomb?
• Symbolism, pictorial program, emblematic structures.

Please submit a one-page abstract (ca. 300 words) and a short curriculum vitae (max. two pages) to one of the editors, before May 15, 2020.

Dr. Veronika Brandis
Institut für Klassische Philologie
Norbert-Wollheim-Platz 1
D – 60629 Frankfurt am Main

Dr. Jan L. de Jong
University of Groningen
Dept. of History of Art, Architecture and Landscape
PO Box 716
9700 AS Groningen

Prof. Dr. Robert Seidel
Institut für deutsche Literatur
Norbert-Wollheim-Platz 1
D – 60629 Frankfurt am Main

Church Monuments Essay Prize

Posted in Calls for Papers by Editor on March 12, 2020

From ArtHist.net:

Church Monuments Essay Prize
Submissions due by 31 December 2020

The Council of the Church Monuments Society offers a biennial prize of £500 called the Church Monuments Essay Prize, to be awarded with a certificate for the best essay submitted in the relevant year along with publication of the winning essay in the peer-reviewed international annual CMS journal Church Monuments. The competition is open only to those who have not previously published an article in Church Monuments. The subject of the essay must be an aspect of church monuments—of any period in Britain or abroad. The length, including notes, shall not exceed 10,000 words and a maximum of 10 illustrations, preferably in colour. The prize will be awarded only if the essay is considered by the judges to be of sufficiently high standard to merit publication in Church Monuments. The closing date for new entries is 31 December 2020. For a copy of the rules and the contributor guidelines, please see the Society’s website, or contact the Hon. Journal Editors for more details or advice on the suitability of a particular topic. For details and for submission of articles, please email the editors: Jonathan Trigg (jrtrigg@liverpool.ac.uk) and Ann Adams (cmsed.aja@gmail.com).

Church Monuments Society
Patron HRH Duke of Gloucester KG GCVO
Registered Charity 279597

Call for Papers | Antiquities and the Art Market in Britain and Italy

Posted in Calls for Papers by Editor on March 11, 2020

Postponed: It is with regret that we have decided to postpone the Antiquities, the Art Market and Collecting in Britain and Italy in the 18th Century conference at Birkbeck this year (17–18 September 2020), due to the ongoing Covid-19 health crisis. Given the current limitations on travel and the closure of university campuses, research institutions, libraries, archives and collections, as well as the obvious challenges to personal safety, the conference will not take place this year. It will instead be held on 16–17 September 2021. The Call for Papers is therefore temporarily closed. To all who have submitted abstracts so far, thank you very much for your interest; we hope that you will consider submitting an abstract again when the Call for Papers is reissued closer to the new deadline. Note added 24 March 2020.

From ArtHist.net:

Antiquities, the Art Market, and Collecting in Britain and Italy in the 18th Century
Birkbeck, University of London, 17–18 September 2020

Organized by Caroline Barron, Catharine Edwards, and Kate Retford

Proposals due by 15 April 2020

Recent years have seen a resurgence of interest in the formation and display of country house collections of art and antiquities in Britain, and particularly those created as a result of a Grand Tour to Italy in the eighteenth century. From The English Prize at the Ashmolean Museum in 2012 and the collaboration between Houghton Hall and The Hermitage State Museum, Houghton Revisited, in 2013, to The Lost Treasures of Strawberry Hill: Masterpieces from Horace Walpole’s Collection in 2018, curators and academics have sought to investigate the antiquities, paintings and collectibles that were brought to Britain in such large quantities.

However, the organisation of the art market at that time has received less attention, and far less than it deserves given its fundamental role in the processes by which objects arrived in collections at that time. New contexts for collecting have also emerged, such as the history of consumption and the economic background to the acquisition of so-called ‘luxury’ goods and prestige objects. The art market of the eighteenth century continues to play a vital role in collecting today; with so many of the objects acquired during a Grand Tour since dispersed in house sales and auctions, or bequeathed or sold to museums. The antiquities and paintings that once adorned the galleries of the cultured in Britain are also still to be found for sale, indicating the longevity of their appeal and value for collectors.

This conference seeks to explore the processes by which these collections were formed, interrogating the relationship between the Italian and British art markets of the eighteenth century, the role of the dealers in Italy, and the auction houses in Britain, through which many of the objects were later to pass, encompassing in depth discussion of the objects themselves. We invite abstracts of no more than 500 words for 30 minute papers to be submitted to the organising committee by 15th April 2020 (antiquitiesartmarketconference@gmail.com) as well as a short CV. We welcome proposals from scholars working in museums, collections, and archives, as well as from academics from across disciplines such as History, Art History, Museum Studies, and Classics. PhD students and ECRs are particularly encouraged to submit abstracts.

Topics may include, but are not limited to:
• Dealers in antiquities between Rome and Britain
• Auctions and auction houses in Britain
• Object biographies of antiquities, old master paintings, modern paintings, rare books, prints, and neo-classical sculpture circulating in the 18th-century art market
• Customers and collectors in the 18th century
• Networks and communities of dealers and collectors
• The economic history of the art market
• The afterlife of collections from the 18th century to today

Call for Papers | Angelica Kauffman Study Day

Posted in Calls for Papers by Editor on March 5, 2020

From ArtHist.net:

Angelica Kauffman Study Day
Royal Academy of Arts, London, 16 September 2020

Proposals due by 15 April 2020

On the occasion of the retrospective dedicated to Angelica Kauffman taking place in Düsseldorf and London in 2020, the Royal Academy of Arts is organising a study day on the artist on Wednesday, 16 September 2020.

A child prodigy and a respected painter famous all over Europe in her own lifetime, Angelica Kauffman (1741–1807) transcended many boundaries and conventions linked to eighteenth-century social norms. She embraced many facets of the Enlightenment beliefs, pursued a career to become a history painter following the neoclassical ideals, and worked for some of the most prominent patrons of the time. She was also one of the two female founding members of the Royal Academy of Arts in London in 1768. At her death, her sculpted bust was placed next to Raphael’s in the Pantheon in Rome thereby underlining her place in the artistic canon.

We welcome papers exploring the rich and versatile career of Angelica Kauffman with a fresh contextualisation in the broader artistic, cultural, social, and economic fabric of the eighteenth century. Topics should draw on Kauffman’s production and career and may include, but are not necessarily limited to:
• Fashion and costume
• The business of art (showroom, records, book-keeping, and clientele)
• Cosmopolitan networks
• International career
• Women patrons
• Royal patrons
• Women artists and their careers
• Artistic/Intellectual friendships and their impact on creativity
• Multiples (prints, designs for decorative arts)
• Female self-portrait and self-representation
• Display in 18th-century European art

Please send an abstract of 300 words and a short biography of 200 words to: Marie.Tavinor@royalacademy.org.uk and Will.Iron@royalacademy.org.uk. We are sorry that we cannot offer any travel bursaries on this occasion.