Call for Papers | Marine Worlds of the 18th Century
After Jacques Étienne Victor Arago, Vue de Notre-Dame De bon Voyage (Rade de Rio de Janeiro), 1825
(Wikimedia Commons)
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From the Call for Papers:
18th DNS Seminar: The Marine Worlds of the Long Eighteenth Century
Australian Catholic University, Melbourne, 7–9 December 2022
Proposals due by 1 August 2022
The Australian and New Zealand Society for Eighteenth-Century Studies (ANZSECS) and the Australian Catholic University invite you to the 18th David Nichol Smith (DNS) Seminar for Eighteenth-Century Studies.* In 2022, the DNS will be held on 7–9 December at the ACU Fitzroy Campus in Melbourne. It will convene in-person, but will also feature a digital hub hosting a suite of provocations from colleagues around the world. We are delighted to announce that the seminar will include three keynotes: Lynette Russell, ARC Laureate Professor at Monash University; Kevin Dawson, Associate Professor of History at UC Merced; and Miranda Stanyon, ARC DECRA Research Fellow in the School of Culture and Communication at the University of Melbourne.
We welcome proposals that address our theme The Marine Worlds of the Long Eighteenth Century. We seek to explore and understand the experiences, knowledges, and spaces of the sea and undersea from 1650 to 1850. We are particularly keen to highlight and interrogate how the ‘blue humanities,’ and the environmental humanities in general, are in conversation with the study of the eighteenth century across disciplines.
Topics may include
• human-animal relationships in eighteenth-century oceans
• more-than-human oceans
• ideas and practices exploring ocean depths and sea surfaces
• oceanic lives: Indigenous, Black, gendered, plebeian, mercantile, imperial
• queering the eighteenth-century ocean
• feminist, subaltern, or decolonial knowledges of the marine
• seacraft design and representation
• maritime wrecks, disasters, and salvage operations
• reinterpretations of piracy and seaborne conflict
• marine and maritime labours, both free and unfree
• sensing seascapes: sights, sounds, tastes, and smells
• marine genres / oceanic forms
• aquatic sports, leisure, and culture
• relations between eighteenth-century studies and the blue humanities
• marine geographies, or ‘thalassographies,’ in formation, relation, and conflict
• philosophies and practices of sub/marine science
• sea-languages of the long eighteenth century
• submergence, diving, and drowning
• marine worlds of coasts and shores
• objects, things, and oceanic materialisms
• marine memories, testimonies, and archives
We are seeking proposals for panels, workshops, and roundtables (see below). We are happy to help prospective applicants make connections between people in order to form or participate in a session. If this proves impossible, we will of course then accept a 200-word abstract for an individual paper. We are pleased to offer some travel bursaries to postgraduate students or unemployed scholars to assist in the cost of travel to Melbourne. If you would like to be considered for a travel grant, please indicate so in your proposal and include a three-page CV. Please email proposals to dns.xviii@gmail.com by Monday, 1 August 2022.
S E S S I O N V A R I E T I E S
Panel of 90 minutes — 4 × 15-minute papers with a chair. Please submit a proposal with a title that covers your broad topic, the name and email of the main correspondent for the panel, the names of the four speakers, and 4 × 100-word abstracts (one for each prospective paper). You are welcome also to include a chair, or we can arrange one for you.
Panel of 60 minutes — 2 × 15-minute papers with a commentator. Please submit a proposal with a title that covers your broad topic, the name and email of the main correspondent for the panel, the names of the two speakers, and 2 × 100-word abstracts (one for each prospective paper). Please also arrange for a commentator who will reflect for 10 minutes on the paired papers.
Workshop of 60 minutes — This will involve group discussion of 2 × pre-circulated new works-in-progress. Please submit a proposal with a title, the name and email of the main correspondent for the workshop, and the names of the two scholars who will pre-circulate their article/chapter-length drafts for discussion, as well as a 100-word abstract for each. You are welcome also to include a chair-discussant, or we can arrange one for you.
Roundtable of 90 or 60 minutes — This has an open format but must include only short talks by participants that all speak to a central question or issue within the field of eighteenth-century marine studies. Please submit a proposal with a title that signals the key problem, a 200-word abstract for the roundtable, the name and email of the main correspondent/moderator for the roundtable, and the names of all the other participants.
As with previous DNS conferences, we aim to pursue a publication of some work arising from the seminar. We are already in talks with two interested publishers.
Convenors: Kristie Flannery, Kate Fullagar, Killian Quigley
* Inaugurated in 1966 by the National Library of Australia, the DNS is the leading forum for eighteenth-century studies in Australasia. It brings together scholars from across the region and internationally who work on the long eighteenth century in a range of disciplines, including history, literature, Indigenous studies, art and architectural history, philosophy, theology, the history of science, musicology, anthropology, archaeology, and studies of material culture.
Call for Papers | Castrations: Between History and Gender Studies
From the Call for Papers:
Castrations: Entre histoire et études de genre
Université d’Angers, 17–18 November 2022
Organized by Nahema Hanafi and Nathalie Branchu
Proposals due by 31 March 2022
In association with of the ANR JCJC program Les castrats: Expériences de l’altérité au siècle des Lumières ANR-21-CE41-0001
Depuis la seconde moitié du 20e siècle, la castration humaine—qui dans sa définition large concerne une ablation totale ou partielle des organes sexuels et reproducteurs—a fait l’objet de travaux historiques allant des castrations antiques assyriennes ou de la dynastie Chang aux castrations chimiques contemporaines. Des figures singulières ont émergé, comme celle des eunuques ottomans, des castrats italiens ou encore des Skoptzy, témoignant de la grande diversité des pratiques et des motivations, mais aussi de la nature même de la castration opérée.
A la suite de ces premiers travaux—qui ont documenté les dimensions religieuses, politiques, culturelles, socioéconomiques, artistiques, scientifiques ou pénales de la castration—ce colloque invite à penser, dans un temps long allant de l’Antiquité à la période contemporaine, une histoire des castrations renouvelée par les perspectives des études de genre. S’il valorise une appréhension diachronique de ce phénomène, le colloque est ouvert à une pluralité de regards disciplinaires permettant d’analyser la castration comme un phénomène à la fois vécu et représenté. Il s’agit, sans se limiter non plus à une aire socioculturelle spécifique, d’interroger la manière dont la castration questionne les normes de genre des sociétés où elle est pratiquée, participant ainsi à leurs (re)définitions.
Une des approches peut être celle de revisiter les historiographies de la castration concernant la psychanalyse par exemple ou des figures très commentées—telles que l’eunuque oriental—à partir d’une lecture genrée et volontiers intersectionnelle invitant à saisir les rapports de pouvoir en jeu, les dimensions symboliques tout comme les capacités d’action ou de contrainte que la castration présuppose. La castration féminine, finalement marginale dans les productions historiques, mérite également d’être pensée, au même titre que les effets de la castration masculine sur les rapports sociaux de sexe.
Au fil des siècles, la castration a été investie, mobilisée et travaillée par divers champs de connaissances et de pratiques (scientifiques, religieuses, juridiques, artistiques…) dont il s’agira de restituer à la fois la diversité et les points de rencontre. La façon dont la castration change de nom et acquiert ou perd en légitimité en fonction de celles et ceux qui la réalisent ou sur qui elle est réalisée, constitue un angle d’approche particulièrement heuristique.
On s’intéressera donc autant aux castrations humaines qu’à celles qui touchent les autres animaux, mais aussi les végétaux. La manière dont la castration participe à la (re)définition des frontières entre espèces constitue effectivement un questionnement important. Qu’y a-t-il de commun entre la castration du maïs, la stérilisation du chat et l’orchidectomie ou l’ovariectomie pratiquées dans le champ médical ? En quoi ces usages et les représentations associées mobilisent-elles le genre, mais témoignent aussi d’autres rapports sociaux imbriqués ?
On prêtera également une attention particulière aux motivations de la castration et à la place des individus concernés : la castration est-elle subie, attendue, désirée ? Quels effets produit-elle ? Est-elle appréhendée comme une violence, une libération, une transformation du corps et de ses potentialités ? On s’intéressera donc autant aux pouvoirs de contrainte—notamment présents pour la stérilisation forcée des personnes en situation de handicap ou dans les usages génocidaires—qu’aux dynamiques émancipatoires que peuvent receler des pratiques liées à la spiritualité ou à des parcours de transition (chirurgie génitale).
Outre les questionnements larges déployés ci-dessus, les propositions de communication pourront se référer à un ou plusieurs de ces angles d’analyse :
• Usages et justifications : modes de justification ou discours d’opposition à la castration ; controverses et mobilisations ; usages thérapeutiques, juridiques, criminels, religieux et spirituels, politiques, littéraires, psychanalytiques, métaphoriques ; impositions ou émancipations…
• Castration, reproduction et sexualité : normes de genre, masculinités et féminités post-castration ; représentations érotiques ; politiques eugénistes ; pratiques génocidaires ; stérilité ; biopolitiques ; usages et gestion du vivant ; domestication/domination et castration…
• Matérialités : devenir des organes ; rituels et ritualisation ; mises à distance ; traces et mémoire de la castration ; incidences physiques et morales…
• Acteurs et actrices : professionnel·les ou non de la castration(chirurgiens, bourreaux, vétérinaires, barbiers, soignant·es, tortionnaires, auto-castrations…) ; méthodes de castration (symbolique, chirurgicale, chimique…) ; représentations métaphoriques des castratrices et castrateurs et des castré·es…
• Expériences : expériences subjectives de la castration ; trajectoires sociales post- castration ; manières de (se) nommer ; perception de soi et rapports aux normes de genre ; modes de présentation au monde ; stratégies de contournement ou de subversion ; prérogatives sociales ou discriminations…
Les propositions de communication sont attendues pour le 31 mars 2022 à l’adresse suivante : nahema.hanafi@univ-angers.fr. Elles devront comporter une brève notice bio-bibliographie ainsi qu’une présentation de la communication envisagée précisant l’ancrage (pluri)disciplinaire, les enjeux historiographiques, l’approche méthodologique ainsi que les matériaux mobilisés (800 à 1000 mots). A l’issue du colloque, des publications sont envisagées, moins sous la forme d’actes de colloque que de numéros de revue thématiques et/ou d’un ouvrage pensé collectivement. Les retours du comité scientifique auront lieu à la fin du mois d’avril 2022. Le colloque aura lieu les 17 et 18 novembre 2022 à l’Université d’Angers.
Comité scientifique
Jean-Christophe Abramovici, Francesca Arena, Anne Carol, Hervé Guillemain, Nahema Hanafi, Cynthia Kraus, Rafael Mandressi, David Niget, Elodie Serna
Call for Papers | The Horse and the Town and Country House
George Stubbs, Lord Torrington’s Hunt Servants Setting out from Southill, Bedfordshire, ca. 1765–68
(The Bute Collection at Mount Stuart)
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From the Call for Papers:
The Horse and the Town and Country House: Art, Politics and Mobility
Institute of Continuing Education, Madingley Hall, University of Cambridge, 18–19 November 2022
Proposals due by 31 March 2022
Building on the successful 2018 Attingham Trust Study Programme The Horse and the Country House, this conference interrogates the place of the horse in the town and country house. From sporting art and memorabilia, riding dress and horse tack, carriage design and liveries, stables and stable servants, mobility and horseracing, we seek to explore the ways in which the horse was central to the social, cultural, economic, and political functions of the town and country house. We invite proposals for 20-minute papers that engage with any aspect of the topic, especially papers that offer case studies of specific houses, across periods and geographical locations. We are keen for papers that open up new methodological approaches for the study of the horse and the country house, such as from fashion, curatorial, animal, postcolonial, LGBTQ+, and feminist perspectives. We welcome papers from emerging and established scholars highlighting new research, and from those working across a broad range of disciplines.
Suggested topics include the following:
• Sporting art and the domestic interior
• Sporting art and horse and human pedigree
• Horse riding, politics, and sociability
• Horse racing and global networks of trade
• Dress and the materiality of riding
• Equine connoisseurship
• The role of the horse in mobility studies
• Travel between town and country
• Horse-drawn carriage design, significance, and use
• Stable architecture, horse tack, and stable culture
• Interpretation of stables and equine spaces in the country house
Please send a 250-word abstract and 50-word speaker biog. to elizabeth.jamieson@attinghamtrust.org
by 31 March 2022. The successful papers will be selected in April by the academic conference advisory committee comprising Tabitha Barber (Tate Britain), Dr Oliver Cox (TORCH), Christopher Garibaldi (University of Cambridge), Dr Michaela Giebelhausen (Courtauld Institute), Dr Lydia Hamlett (ICE), and Elizabeth Jamieson (Attingham Trust).
Call for Papers | Making Masculinities: Material Culture and Gender
From ArtHist.net:
Making Masculinities: Material Culture and Gender in the Seventeenth and Eighteenth Centuries
University of Edinburgh, 6 May 2022
Proposals due by 1 March 2022
Research into the intersection of material culture and masculinity has steadily increased as scholars across disciplines choose to use material culture as a conceptual point of departure. The Material and Visual Culture in the Seventeenth and Eighteenth Centuries Research Cluster at the University of Edinburgh aims to provide a space to continue the conversation. The cluster will host a one-day workshop fostering interdisciplinary discussion on the material approaches to historic ideas about gender through material culture. This workshop is spread over a series of formats to diversify how participants may interrogate this material. The day will include several presentations from PhD and Early Career Researchers, a keynote and a workshop for attendees led by Dr Sarah Goldsmith (University of Edinburgh).
To that end, we seek proposals for 10-minute papers that explore how material culture manifest various, competing, and complementary, expressions and definitions of masculinity during the seventeenth and eighteenth centuries. We are particularly interested in the myriad relationships between people and things, interrogating issues of making, consumption, exchange, and agency. We welcome contributions from researchers and museum professionals from fields, including but not limited to Art History, History, Literature, and Anthropology, English Literature, Archaeology.
Please submit a title and abstract of no more than 250 words, with a short biography (max 100 words) to materialcultureresearcheca@ed.ac.uk by the 1 March. Some travel bursaries will be available to assist speaker attendance. Please inquire for further information.
The workshop is kindly supported by ECA and History of Gender and Sexualities Research Group (Edinburgh).
Call for Articles | Spring 2023 Issue of J18: Cities
From Call for Proposals for J18:
Journal18, Issue #15 (Spring 2023) — Cities
Issue edited by Katie Scott and Richard Wittman
Proposals due by 15 March 2022; finished articles will be due by 1 September 2022
Art and architectural histories have traditionally approached the city in terms of the monuments and structures of its built environment and the distribution of its spaces. But the city is also, after all, its people: people who occupied and inhabited buildings, shared spaces and resources, and invested in or were inspired by ideas, labor, and beliefs. How did the city make room for that sharing? How did it inhibit it? Institutional structures—those of religion, politics, the economy, of ‘police’ in the broadest early-modern sense—played an essential part in fostering conditions in which social life occurred. How exactly did that fostering happen in the eighteenth century, and what were its intended and unintended consequences? At the same time, urban dwellers, whether elite or subaltern, continually use, transform, exploit, or otherwise make a city their own; the social forms an essential context for such appropriations. How were the limits and possibilities of social life in the eighteenth-century city defined, regulated, and sustained? In what ways did different constituencies represent those limits and possibilities, and discuss and debate them? How were they made visible, made audible, made legible? And how did different categories of labor shape and support a city’s social life?
We invite proposals that engage with the questions asked above, directly addressing relations between built forms and social bodies. These are some themes that are, we feel, raised by the topic: boundaries (walls, ditches) and the exclusion or protection of the faiths, nations, and trades they helped shape; bridges and the connections they cemented between neighborhoods, markets, spaces of leisure, etc.; infrastructure (roads, water, lighting, refuse collection) and the support it gave to the lived experience of the city; beauty and the collective aspiration to care and conservation, and also to better worlds that it proposed. We welcome contributions that consider actual spaces and communities and also ones that reflect critically on projects, both unrealized and utopian. We are open to essays that take as their objects of study built form, the representation of built form and the city generally, and urban material culture (e.g. guidebooks, street maps, shoes, carriages, walking sticks).
Issue Editors
• Katie Scott, Courtauld Institute of Art
• Richard Wittman, University of California, Santa Barbara
Proposals for issue #15 Cities are now being accepted. The deadline for proposals is 15 March 2022. To submit a proposal, send an abstract (250 words) and brief biography to the following three addresses: editor@journal18.org; katie.scott@courtauld.ac.uk; and rwittman@arthistory.ucsb.edu. Articles should not exceed 6000 words (including footnotes) and will be due by 1 September 2022. For further details on submission and Journal18 house style, see Information for Authors.
Call for Papers | Egypt in Early Modern Antiquarian Imagery
From ArtHist.net, which includes the German version of the CFP:
Egypt in Early-Modern Antiquarian Imagery
Ägypten in der frühneuzeitlichen antiquarischen Bildwelt
Online Workshops on 5 May, 2 June, 7 July 2022
Proposals due by 11 March 2022
In 2022, Egyptology celebrates important historical events that number among the highlights in the exploration of the culture and civilization of the country by the Nile. In 1822, Jean-François Champollion succeeded in deciphering the hieroglyphics, the hieratic and the demotic scripts, by working primarily with the Rosetta Stone. In 1922, the British archaeologist Howard Carter discovered the tomb of the Pharaoh Tutankhamun in the Valley of the Kings.
The academy research project “Antiquitatum Thesaurus” would like to contribute to the international discourse and, in three half-day digital workshops in the summer semester of 2022 (5 May / 2 June / 7 July), draw attention to some central questions of the early-modern reception of Egypt, which preceded the events mentioned above.
How did contacts with the land of the pharaohs and their culture come about, and what image of it was conveyed? What role did aegyptiaca play in collections of antiquities, cabinets des curiosités or Wunderkammern? How were Egyptian or Egyptianising artefacts visually documented and discussed?
Before Napoleon’s great military expeditions and the subsequent scientific explorations of the country, when the number of travellers to the Levant was still manageable, the perception and understanding of Egypt far from the Nile had to rely primarily on easily portable objects. These had found their way to the other side of the Mediterranean at different times and along different routes. Finally, the study of ancient Greek and Roman authors, who transmitted their own mediated version of history and Egyptian culture, should not be underestimated.
Besides religious motivations, commercial and political activities or the desire to explore that lost or forgotten civilization, discoveries in Europe also stimulated further interest in Nilotic culture. Archaeological finds in Italy, France, Spain, German countries and Britain brought to light artefacts from the Roman imperial period. Through them people assimilated and adapted aspects of Egyptian religion, culture or aesthetics. They were collected together with artefacts from Egypt both as curiositates and as objects of study.
In the course of the early-modern period, a broad spectrum of antiquarian knowledge about Egypt was formed on the basis of these heterogeneous and today often not yet fully tangible foundations, and illustrated by an accompanying world of images.
The project “Antiquitatum Thesaurus” takes on the digital recording and indexing of antiquities in the graphic sources of the 17th and 18th centuries. It has begun this process with the subject area: “Egypt: On the Search of Origins.” Selected, representative illustrated printed works and drawing volumes dedicated to the material legacy of Egypt—or what was considered to be Egyptian—will be analysed. In addition to identifying the illustrated artefacts and architectural works, whether still preserved today or not, the project also aims to describe the methods of recording and conveying the mostly three-dimensional objects on paper, i.e. in a two-dimensional space. Furthermore, digital processing opens up possibilities for recognizing and illustrating spatial, temporal and personal chains within the transmission of knowledge and images across the widely scattered source material.
The subject areas of the three workshops include:
• The protagonists: A consideration of the circulation of artefacts through intermediaries, antiquarians and collectors as well as their reception and representation in drawings and printed works. Particular attention will be paid to how these figures were interconnected between c. 1600 and 1750.
• Multifaceted Egypt: How was the imagery or the idea of Pharaonic Egypt changed or complemented by small-scale artefacts such as amulets, jewellery and funerary objects alongside the familiar monumental evidence such as obelisks or sphinxes?
• The history of reception: What was the basis for the depictions of the many aegyptiaca in the graphic volumes of the time: direct observation or copies based on earlier publications? How exactly did the exchange of drawings and prints, descriptions etc. take place among the members of the European république des lettres?
We plan 20-minute talks in German or English. We kindly ask you to send an abstract relating to the aforementioned topics—alternative proposals are also welcome—of maximum 500 words in German, English, Italian, or French including a short CV to: thesaurus(at)bbaw.de by 11 March 2022. Please indicate the language in which you would like to speak. An answer will be given by 18 March 2022.
Call for Papers | Greek and Gothic Revivals, 1750–1850
From ArtHist.net:
The Greek Revival and the Gothic Revival, 1750–1850
Wrocław, Poland, 13–15 October 2022
Proposals due by 30 March 2022
The University of Wrocław Institute of Art History would like to invite you to participate in a conference to be held 13–15 October 2022. We are accepting proposals for individual papers on all subjects related to various artistic and cultural expressions of the Greek Revival and Gothic Revival styles in Europe and North America. The time frame we wish to focus on is from 1750 to 1850, that is the first, ‘romantic’ phase of the development of both styles, considered in the context of the idea of ‘revivalism’ as a phenomenon that marked art of various epochs, but unique in the precise period indicated, not only because of its size, but also its reference to specific moments in the past. The coexistence and interpenetration of both trends (there were, after all, artists creating their works in both the Greek Revival and Gothic Revival styles) justifies their joint discussion within the framework of an international group of researchers.
Issues we wish to discuss include
• Reasons for the popularity of both phenomena and their nature (so-called Gothicism and, so to speak, the dialectical revitalisation of Greek Antiquity)
• Greek Revival and Gothic Revival monuments as carriers of specific ideas and their role in awakening the historical consciousness of European societies
• Greek Revival and the Gothic Revival: from the Ideal to the Real
• Analysis of specific realisations and trends—monuments that are characteristic, outstanding, but also unknown, forgotten, and located in poorly explored areas, whose analysis will reveal previously unknown aspects of both discussed trends
Proposals that do not directly address the issues identified above are also welcomed.
Individual presentations should be no longer than 20 minutes. The official languages of the conference are English and German. The conference will open with a reception in the evening of Wednesday, 12 October. Over the next three days (Thu–Sat), conference contributors’ papers will be presented.
The call for papers is open until 30 March 2022. Contribution proposals—including your name, institution, presentation title, and a 150-word abstract—should be emailed to agata.kubala@uwr.edu.pl (Greek Revival) and romuald.kaczmarek@uwr.edu.pl (Gothic Revival). The conference fee of €120 (€90 for PhD candidates) includes meals (lunch Thu–Sat and dinner Thu–Fri), conference materials, and a post-conference double-blind, peer-reviewed publication. For updates including detailed information on the conference venue and program, please check this website.
Hope to see you in Wrocław!
Organizing Committee
• Dr hab. Prof. UWr Romuald Kaczmarek (University of Wrocław Institute of Art History)
• Dr hab. Agata Kubala (University of Wrocław Institute of Art History)
• Agata Stasińska, M.A. (University of Wrocław Institute of Art History)
Scientific Committee
• Prof. dr hab. Ewdoksia Papuci-Władyka (Institute of Archaeology at the Jagiellonian University in Krakow)
• Prof. dr. Ruurd B. Halbertsma (National Museum of Antiquities in Leiden, Leiden University)
• Prof. Dr. Klaus Niehr (Universität Osnabrück und Akademie der Wissenschaften zu Göttingen)
• Dr hab. Barbara Arciszewska (University of Warsaw Institute of Art History)
• Dr hab. Jerzy K. Kos (University of Wroclaw Institute of Art History)
Call for Papers | Close Encounters: The Low Countries and Britain
Jacob Jordaens, A Maidservant with a Basket of Fruit, and Two Lovers, detail, 1629–35
(Glasgow: Kelvingrove Art Gallery and Museum)
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From the RKD:
Close Encounters: Cross-Cultural Exchange between the Low Countries and Britain, 1500–1800
RKD – Netherlands Institute for Art History, The Hague, 22 September 2022
Proposals due by 1 March 2022
The risks and challenges of migration are of compelling interest today. Over the last thirty years, research on early modern artists’ migration and on cultural exchange between the Low Countries and Britain has advanced rapidly, and has addressed many themes. The Dutch and Flemish artists’ communities in London, and the careers of individual artists at the English/British and Scottish courts, in particular, have received attention, as has the history of the collecting of Netherlandish art in the UK.
Gerrit van Honthorst, King Charles I, 1628 (London: NPG).
On 22 September 2022, a symposium at the RKD – Netherlands Institute for Art History will mark the launch of the heavily annotated and illustrated digital English language version of Horst Gerson’s chapter on ‘England’ from his Ausbreitung und Nachwirkung der holländischen Malerei des 17. Jahrhunderts of 1942 (The Dispersal and Legacies of Dutch 17th-Century Painting). For historians of Dutch 17th-century painting, in 1942, Gerson’s study of the integration of Dutch art in Britain was largely uncharted territory, although earlier British art historians, including Horace Walpole and C.H. Collins Baker, had been well aware of the involvement of Netherlandish migrants and visitors in art in the British Isles. The launch of the translated and annotated version of Gerson’s text marks the perfect occasion to discuss, contextualize, and rethink his original ideas in the light of present and developing knowledge.
The organizers welcome unpublished contributions on a broad range of areas relating to Dutch and Flemish artists, artisans and art production in Britain. These include: painting, drawing, graphic arts, tapestry, sculpture and architecture, collecting and the art market, as well as the contribution of Dutch and Flemish migrants to many forms of material culture.
Papers will be 20 minutes long, and might address the following themes and questions:
• Fresh approaches to the careers of practitioners from the Low Countries at the English/British and Scottish courts, and in UK urban centres (including monographic studies).
• How did those courts and urban centres function as hubs of cross-cultural exchange between individuals, and of production?
• Less-studied works by Dutch and Flemish artists and artisans who were active in Britain between 1500 and 1800.
• What were the workshop practices and techniques employed by Dutch and Flemish artists and artisans in Britain, and how did these inter-act with local artistic traditions and impact on technical and art literature?
• What were the social networks and professional relationships that linked and supported Netherlandish and British makers, art dealers and collectors?
• What was the market for Dutch and Flemish artistic goods in Britain, and how did it develop over time?
Please submit a preliminary title, abstract (max. 300 words) and a short CV to Angela Jager (jager@rkd.nl) and Rieke van Leeuwen (leeuwen@rkd.nl) before 1 March 2022. Speakers will be notified by 1 April 2022. Selected presentations will be considered for publication.
Close Encounters will be a hybrid symposium to allow for national and international COVID-19 restrictions. Speakers and attendees may choose whether to participate in person or online. For those presenters who decide to come to The Hague, travel and accommodation expenses will be covered (in consultation with the organization).
Academic Committee
Karen Hearn (University College London), Angela Jager (RKD), Sander Karst (University of Amsterdam), Rieke van Leeuwen (RKD), David A.H.B.Taylor (Independent; previously National Trust and National Galleries Scotland) and Joanna Woodall (Courtauld Institute of Art, London)
Call for Papers | Reception of Art in 18th- and 19th-C Mantua
From ArtHist.net:
Opere in Viaggio: Reimpieghi, collezionismo, e nuove committenze a Mantova tra XVIII e XIX secolo
Istituti Santa Paola, Mantua 18-19 May 2022
Organized by Gabriele Barucca, Gigliola Gorio, and Debora Trevisan
Proposals due by 15 January 2022
Through the analysis of significant and unpublished case studies, this conference will explore issues and dynamics related to the collecting and reuse of art objects in and around Mantua in the 18th and 19th centuries, during the crucial period between the fall of the Gonzaga and the beginning of Austrian domination. Proposals can be sent by art historians, numismatists, palethnologists, archaeologists, naturalists, and archivists—at any stage of their careers. Submissions should be sent to Gigliola Gorio (gigliola.gorio@unicatt.it) and Debora Trevisan (debora.trevisan@beniculturali.it) by the 15th of January 2022.
Organized by Gabriele Barucca, Gigliola Gorio, and Debora Trevisan, the conference is supported by the Soprintendenza Archeologia Belle Arti e Paesaggio per le province di Cremona, Lodi and Mantova in collaboration with the Catholic University of Milan and with the support of Istituti Santa Paola (Mantua).
More information, in Italian, is available here»
Call for Papers | Art and Friendship
Eustache Le Sueur, Réunion d’amis, ca. 1640, oil on canvas, 136 × 195 cm
(Paris: Musée du Louvre)
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From the Groupe de Recherche en Histoire de l’Art Moderne (GRHAM), where readers will find the French version of the Appel à communication:
Art et amitié aux XVIIe et XVIIIe siècles en Europe
Art and Friendship in 17th- and 18th-Century Europe
Salle Vasari, Institut national d’histoire de l’art (INHA), Paris, 14 June 2022
Organized by GRHAM and Charlotte Rousset
Proposals due by 31 March 2022
Following the pandemic which isolated all of us, magazines such as Courrier international and Philosophie magazine have dedicated their publications to friendship. This workshop intends on discussing this topical notion through the prism of cultural and social history in art. How did 17th– and 18th-century artists live and conceive friendship?
In her recent publication L’Amitié en France aux XVIe et XVIIe siècles: Histoire d’un sentiment[1], Aurélie Prévost reminds us that the term friendship for Modernists entails a large polysemy. It can refer to a feeling of benevolence, erotic love, harmony, or even a filial, marital, charitable, or religious affection. Furetière in his Dictionnaire even applies it to meat, stating “q’u’une viande n’a point d’amitié, pour dire, qu’elle est dure, infipide, ou degouftante”[2] [“A piece of meat is said to lack friendship when it is hard, flavourless or disgusting”].
Friendship is at the origin of many texts and maxims that constitute our cultural heritage today. Descartes, Kant, the Marquise de Sablé, Spinoza, Jean de La Fontaine, and the philosophers of the Enlightenment have all treated the notion of friendship in literature and philosophy. It can be passionate, like the one maintained by La Boétie and Montaigne, immortalized by the quote “Parce que c’était lui, parce que c’était moi” [“Because it was him, because it was me”], or experienced as a betrayal like the one that tore Diderot, Rousseau, Voltaire and D’Alembert when they were writing the Encyclopédie.
What about the art sector? What sort of relationship, whether friendships or rivalries, did 17th– and 18th-century painters, sculptors, architects, engravers, goldsmiths, miniaturists, medalists, and weavers have? What consequences did these have on their contemporary productions? Is it possible to map out united networks of artists through the link of friendship and joint creations?
Many artists made friendship the main subject of their work. Rembrandt van Rijn[3] depicted the story of David and Jonathan from the Book of Samuel in the 17th century. Arnold Houbraken, a Dutch engraver, depicted a personification of friendship[4] at the start of the 18th century. In France, in 1753, Jean-Baptiste Pigalle produced an allegory of friendship to mark the evolution of the relationship between Louis XV and the Marquise de Pompadour and to emphasize that she remained a beloved friend of the king after having been his mistress[5]. The painter François Boucher produced l’École de l’amitié[6] in 1760. One must also question the importance of portraits of friends and the character of these friendships. These can be between a painter and his patrons such as Antoine Watteau and Jean de Julienne[7] or between artists such as Jean-Honoré Fragonard and Marguerite Gérard[8].
How to make visible the feeling of friendship in a visual art piece? Is it possible to ‘read’ the emotions uniting loved ones through the medium of painting, engraving, or sculpting? How do gazes, gestures, and attitudes express this feeling? What visual devices does the artist use to convey this feeling of sincerity, trust, and commitment?
With this in mind, this workshop intends on exploring a wide variety of themes, such as:
• The cultural history of friendship/friendships
• Sociability (on the individual scale)
• Networks (on the collective scale)
• Quarrels and rivalries, even lawsuits created by a deteriorating friendship
• Friendships leading to artistic collaborations
• The representation of friendship in religious iconography
• Portraits of friends or patrons, conversation pieces, genre scenes, and allegories
• Patterns, symbols, gestures, and positions associated with the representation of friendship
• Objects representing friendship
• Letters of artists
• The fringes of friendship: hidden or forbidden love experienced through a friendship displayed in the eyes of all
Abstracts (up to 500 words, either in French or English), presenting a case study or a general discussion, together with a CV, should be sent to asso.grham@gmail.com and charlotte_rousset@hotmail.com by the 31st of March 2022. The workshop is organized by GRHAM and Charlotte Rousset (doctoral candidate at Lille University, laboratory IRHiS).
Notes
[1] Prévost, Aurélie, L’Amitié en France aux XVIe et XVIIe siècles : Histoire d’un sentiment, Louvain-La-Neuve, UCL, Presses Universitaires de Louvain, 2017, p. 17.
[2] Furetière, Antoine, « Amitié », Dictionnaire universel, La Haye et Rotterdam, Arnout & Reinier Leers, 1690.
[3] La Réconciliation de David et d’Absalon ou Les dieux de David et Jonathan, 1642, Huile sur bois, 73 × 62 cm, Saint-Pétersbourg, musée de l’Ermitage.
[4] Arnold Houbraken, Personnification de l’amitié, v. 1710–1715, gravure sur bois, 18 × 9 cm, Amsterdam, Rijksmuseum.
[5] Jean-Baptiste Pigalle, L’Amitié sous les traits de Madame de Pompadour, 1753, marbre, Paris, musée du Louvre.
[6] François Boucher, L’École de l’Amitié, 1760, huile sur toile, 113 × 146 cm, collection particulière.
[7] As illustrated by the work of François de Troy representing a portrait of Jean de Julienne holding a pencil holder and a portrait of his friend Watteau (1722, huile sur toile, 93 × 73 cm, Valenciennes, musée des Beaux-arts).
[8] Marguerite Gérard is portrayed several times by her brother-in-law Jean-Honoré Fragonard. He represents her at least twice (Jean-Honoré Fragonard, Portrait de Marguerite Gérard, v. 1778, dessin, plume, encre et lavis, 18 × 13 cm, Besançon, musée des Beaux-arts et d’Archéologie et Jean-Honoré Fragonard, Portrait de la belle-sœur du peintre, 2ème moitié du XVIIIe siècle, pierre noire, 13 cm de diamètre, Paris, département des Arts graphiques du musée du Louvre).
Selective Bibliography
• Alberti, Alessia, Rovetta, Alessandro, Salsi, Claudio, D’après Michelangelo, Venise, Marsilio, 2015.
• Cazes, Hélène (dir.), Topiques, Études Satoriennes – Topique de l’amitié dans les littératures françaises d’Ancien régime, Victoria, SATOR, 2015, vol. 1.
• Chapman, H. Perry, Jorink, Eric, Lehmann, Ann-Sophie, Ars Amicitiae: The Art of Friendship in the Early Modern Netherlands, Boston, Brill, 2020.
• Chittister, Joan, The Friendship of Women: The Hidden Tradition of the Bible, Saint-Laurent, Bellarmin, 2007.
• Florensky, Pavel, L’Amitié, Paris, Éditions Mimésis, 2018.
• Fripp, Jessica L., Portraiture and Friendship in Enlightenment France, Newark, University of Delaware Press, 2020.
• Goedt, Michel de, L’Amitié divine à l’école de Thérèse d’Avila, Toulouse, Éditions du Carmel, 2012.
• Heacock, Anthony, Jonathan Loved David: Manly Love in the Bible and the Hermeneutic of Sex, Sheffield, Sheffield Phoenix Press, 2011.
• Hoare, Alexandra, Salvator Rosa, Friendship and the Free Artist in Seventeenth-Century Italy, London, Turnhout, Harvey Miller, Brepols, 2018.
• Nardelli, Jean-Fabrice, Classical and Byzantine Monographs – Le motif de la paire d’amis héroïque à prolongements homophiles. Perspectives odysséennes et proche orientales, Amsterdam, Hakkert, 2004, n° 56.
• Olyan, Saul, Friendship in the Hebrew Bible, New Haven, Yale University Press, 2017.
• Petit, Jean-François, Saint Augustin et l’amitié, Paris, Desclée de Brouwer, 2007.
• Prévost, Aurélie, L’Amitié en France aux XVIe et XVIIe siècles : Histoire d’un sentiment, Louvain-La-Neuve, UCL, Presses Universitaires de Louvain, 2017.
• Rievaulx, Aelred de, Briey, Gaëtane de, L’Amitié spirituelle, Paris, Les Éditions du Cerf, 2019.
• Schnackenburg, Bernhard, Jan Lievens: Friend and Rival of the Young Rembrandt, with a Catalogue raisonné of his Early Leiden Work, 1623–1632, Petersberg, Michael Imhof Verlag, 2016.
• Vesely, Patricia, Friendship and Virtue Ethics in the Book of Job, New York, Cambridge University Press, 2019.
• Williams, Hannah, Académie Royale: A History in Portraits, Farnham, Ashgate, 2015.
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