Enfilade

From the Call for Papers:

Networks and Practices of Connoisseurship in the Global Eighteenth Century
Warburg-Haus, Hamburg, 2–4 June 2022

Organized by Valérie Kobi and Kristel Smentek

Proposals due by 30 June 2021

A collaboration between faculty from the Art History Department at Universität Hamburg and the History, Theory, and Criticism Program of the Department of Architecture at Massachusetts Institute of Technology, Cambridge, MA

The eighteenth century was the age of the connoisseur, the disciplined interpreter and assessor of artworks whose authority, like that of the natural philosopher, was founded on his (more rarely her) extensive and sustained visual analysis of physical things. An era of accelerating trade and imperial conquest, the eighteenth century was also a period of an expanding global consciousness. The concept that brings these two themes together—the emergence of the connoisseur and an increasing Enlightenment engagement with difference—is the network: the constellation of practices of communication and exchange that made knowledge possible. As the history of science has, for example, already articulated for the circulation of botanical knowledge, there was barely a discovery made in the eighteenth century that was not embedded in a network of international information and specimen exchange. Yet, little has been written on the connoisseurial networks of the Enlightenment period and a broader reflection on the encounter they allowed with artistic practices from different regions of the globe has still to appear. Studies of connoisseurship have—to date—tended to stay local, focusing, for instance, on an individual and his (or her) web of social ties or on Western European art to the exclusion of works from unfamiliar artistic traditions to which eighteenth-century art experts, collectors, and colonial administrators were increasingly exposed.

This international conference intends to foster a better understanding of the intricate transactions through which connoisseurial knowledge of art was generated during the long eighteenth century. Questions we are interested in pursuing include: how are social, institutional and commercial networks built and how do they evolve over time? What were the channels through which encounters with art from afar were made possible? Is there a difference of purpose between local, national, and international networks? Are some regions over- or underrepresented in these connoisseurial networks and what do these asymmetries reveal about the artistic geographies of the time? What methods were used to analyze and categorize art from other parts of the globe? And how might a recognition of the conventionality of artmaking have shaped local definitions of art and artistic quality in such regions as Asia, the colonial Americas, and Europe?

To move forward with our investigation, four axes of reflection will structure the conference:

1) Networks: This first panel will concentrate on the practical aspects of international networks and on the very structures that made the connoisseurial exchange within and between continents possible. It will address such questions as the construction and implementation of communication channels, the postal system that governed the pace of eighteenth-century correspondence, the gendering of connoisseurial networks, or the constellation of commercial and political institutions that facilitated their development.

2) Transmission: The second panel will focus on the practices that enabled communication and knowledge transfer between connoisseurs, across often considerable geographic distances and extended periods of time. The circulation of things and production of knowledge within connoisseurial networks occasioned a multifaceted apparatus of instruments and techniques, including the production of written texts, prints, copies, and, occasionally fakes, that were meant to facilitate scientific exchange, and test expert knowledge.

3) Practices: The third panel will analyze the concrete actions that shaped individual connoisseurial judgments. It will explore the private practice enabled by the network, once the connoisseur was in possession of information and the art objects that he (or more rarely she) needed. The observation and handling of artworks from various regions of the globe but also the circumstances in which they were examined and exhibited will here be at the core of this session’s concerns.

4) Appropriation: The final panel will exam the rhetoric used to formulate connoisseurial judgment on art from distant places and time periods. General questions of style and national traditions will be considered, but the intersection between art from diverse geographies will be a key point of interest.

Proposals that introduce new interdisciplinary and methodological approaches will especially be encouraged. Please send a 300-word proposal and a short (2-page) CV to Valérie Kobi (valerie.kobi@uni-hamburg.de) and Kristel Smentek (smentek@mit.edu) by 30 June 2021.

From UAAC/AAUC:

Universities Art Association of Canada / l’association d’art des universités du Canada
Online, 20–23 October 2021

Proposals due by 16 May 2021

Every fall, UAAC-AAUC hosts Canada’s professional conference for visual arts-based research by art historians, professors, artists, curators, and cultural workers. The sessions and panels address issues and subjects in art history, theory, and practice from various methodological approaches.

We invite paper proposals for the UAAC-AAUC Conference 2021 Congrès. We offer a range of panels and roundtables that reflect the UAAC’s diverse constituents in terms of membership and scholarship. Submit proposals by using the Call for Papers Proposal Form PDF. Proposals are sent directly to the chair(s) of the session. The deadline for submission is 16 May 2021.

A selection of sessions potentially related to the eighteenth century, including the HECAA panel, is provided below. A full list of panels is available as a PDF file here.

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Historians of Eighteenth-Century Art and Architecture (HECAA) Open Panel
Chair: Ersy Contogouris (Université de Montréal), ersy.contogouris@umontreal.ca

HECAA works to stimulate, foster, and disseminate knowledge of all aspects of visual culture in the long eighteenth century. This open session welcomes papers that examine any aspect of art and visual culture from the 1680s to the 1830s. Special consideration will be given to proposals that demonstrate innovation in theoretical and/or methodological approaches.

Le but de HECAA est de stimuler, favoriser et diffuser la connaissance de tous les aspects de la culture visuelle du long XVIIIe siècle. Cette séance ouverte accueille des présentations qui examinent tous les aspects de l’art et de la culture visuelle des années 1680 aux années 1830. Une attention particulière sera accordée aux propositions qui démontrent une innovation dans les approches théoriques et / ou méthodologiques.

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Ibero-American Art, Identity, and Resistance
Chairs: Tatiane de Oliveira Elias (UFSM, Brazil), tatianeeliasufsm@gmail.com; and Patricia Branco Cornish (Concordia University), patricia.cornish@mail.concordia.ca

This panel aims to examine works by Ibero-American artists from the colonial period to contemporary times that debate migration and people’s movements across geographies. We seek to debate how artists interpret a new reality with constrained people movement in a pandemic. We seek contributions from a wide range of disciplines that engage with artistic practices in an Ibero-American context, including painting, performance, multimedia, art installation, and virtual reality (VR). We encourage submissions that debate how Ibero-American artists portray in their work the political and social aspects of cultural transfers resulting from people’s migration. We seek to discuss issues affecting minority populations and cultural transfers discourses in the context of immigration. We seek to debate how these works by Ibero-American artists demand from their makers a reconfiguration of thought and practices in current realities. We explore the importance of maintaining the Latin American historical memory and raising questions about preserving Latinxs identity and diversity. How politics influenced the Latin America art scene? How does the cultural flow happen in a new geographical location? How can arts promote cultural identity? How do artists negotiate their migrant identity in new geographies? How can artistic practices be reimagined in a new context in which we have limited physical interactions with others?

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Latin American and Caribbean Art (s): From Where? From Whom?
Chairs: Analays Alvarez Hernandez (Université de Montréal), analays.alvarez@umontreal.ca; and Alena Robin (Western University), arobin82@uwo.ca

This open session invites scholars, curators, and artists to share their current research on Latin American and Caribbean art (s). The goal is to create dialogue and exchange on the state of those fields. We welcome both contemporary and historical perspectives (from the pre-Columbian period to the present day) and the exploration of a variety of media (painting, sculpture, installation, photography, performance, socially engaged practices, new media, architecture, etc.). We are interested in examining the historical and contemporary presence of Latin American and Caribbean art(s)/artists beyond their traditional geopolitical borders; the inherent intersectionality of those concepts, and also their transmutation in light of past and current migratory and activist movements, technological advances, and sanitary crises; any other topic on art and artists in Latin America and the Caribbean delving into, for instance, the Caribbean’s complex relationship to Latin American. We accept proposals in French and English | Nous acceptons les propositions en français et en anglais.

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Mining the Connection(s) between Industry and the Arts
Chair: Jessica Mace (University of Toronto), jessica.mace@utoronto.ca

While industry and the arts may initially seem poles apart, the two fields are in fact closely entwined. Over time, visual and material culture has served to drive industrial development, for example through survey photography or the construction of company towns), and has responded to industrial production in myriad ways, from documentation to artistic interpretation. In recent years, the arts have also dealt with the effects and material legacies of deindustrialization, for instance through heritage, urban exploration, and adaptive reuse. This session, then, seeks to explore these varied connections and to bring to light these often-overlooked topics. We invite scholars at all stages of their careers to discuss their work in any medium or period of time as it relates to industry and/or industrial production.

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Research-Creation Caucus: How to be Artist-Scholars In and Outside of the Academy [Roundtable]
Chair: Stéfy McKnight (Carleton University), stefy.mcknight@carleton.ca

Can research-creation happen outside of academic institutions? This year, the Research-Creation Caucus will address current questions related to the methodology of research-creation and its connection to academic institutions. More specifically, how these institutions define research- creationists, and who may practice research-creation. There are opposing positions from artists- scholars that see research-creation as primarily an academic and institutional practice, while others argue that creative knowledges can happen outside of academia, and perhaps have done this before the formalization of research-creation in Canada. We as a collective will speak to the following questions: can research-creation disrupt traditional academic knowledge mobilizations, if research- creation being produced and defined by academic institutions? What happens to artist-scholars who change their career trajectories to work outside of academia? How does research-creation in institutions uphold and participate in colonial structures of knowledge production and dissemination? This session invites artist-scholars, curators, independent artists and producers to share their work, and give perspective on these competing debates.

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Graduate Student Lightning Talks | Exposés éclairs des étudiants diplômés

Proposal Form (Graduate Student Lightning Talks) | Formulaire de proposition (Exposés éclairs des étudiants diplômés)

For the first time UAAC/AAUC is proud to feature Graduate Student Lightning Talks. This full session is composed of 5-minute presentations that provide graduate students the opportunity to present their current research or other area of interest. Participants may choose to present their work in the form of a focused summation, a case study, or a methodological approach. This is a great opportunity for graduate students to talk about topics that they are studying, practice presenting these topics and to engage with the broader academic community.

Pour la première fois, l’UAAC/AAUC est fière de présenter des exposés éclair d’étudiants diplômés. Cette session est composée de présentations de 5 minutes et donne aux étudiants diplômés l’occasion de présenter leurs recherches actuelles ou autres domaines d’intérêt. Les participants peuvent choisir de présenter leurs travaux sous la forme d’un résumé focalisé, d’une étude de cas, ou d’une approche méthodologique. Il s’agit d’une excellente occasion pour les étudiants diplômés de parler des sujets qu’ils étudient, de s’entraîner à les présenter, et de s’engager auprès de la communauté universitaire au sens large.

Palacio dos Condes de Aveiro, ca. 1742
(Lisbon: Biblioteca Nacional de Portugal)

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From the Call for Papers (which includes the Spanish version):

3rd International Conference Palaces for Rent: Real Estate in 18th-Century Lisbon
Palacios en alquiler: Patrimonio inmobiliario en la Lisboa del siglo XVIII
Universidad Nacional de Educación a Distancia, Madrid, 15 November 2021*

Proposals due by 30 June 2021

This conference is the third in a series dedicated to palaces in eighteenth-century European cities. Following the first conference focused on Rome (UNED, 2019) and the second on Madrid (UNED, 2020), the third and last edition is dedicated to the palatial heritage of the city of Lisbon. We seek to explore the particular case of Lisbon during the eighteenth century, including the cataclysmic earthquake of 1755, which effectively presents us with two cities: Lisbon before and Lisbon after the earthquake. This third conference aims to gather specialists with different areas of expertise in order to delve into the uses and practices of housing in Lisbon during the period, taking into account the social and urban transformations of the city and the changes in the uses of domestic space in palaces, introduced either by long-term residents (the nobility, bourgeoisie, or higher public state officials) or by short-term residents during diplomatic, political, and economic missions (diplomats, travellers, businessmen, agents, etc.).

Potential topics for discussion could include but are not limited to:
• Joanine Palaces versus post 1755 palaces, architectural and artistic aspects
• Internal organization of palaces, spaces and etiquette, from theory to practice
• The palace as the place of courtly sociability and courtly society
• Supply and demand in the housing market, sales, or rentals
• Decoration and interior design of noble residences
• Structure of noble households in Lisbon, servants, duties, etc.
• Ambassadors, legates, cardinals and other representatives and their Madrid residences
• Topographies of noble and diplomatic power

We invite scholars at all stages of their careers to propose 20-minute presentations in any of the main European languages. Candidates are invited to submit their proposals by 30 June 2021 to both scientific directors Pilar Diez del Corral Corredoira (diezdelcorral@geo.uned.es) and Milton Pedro Dias Pacheco (miltonpacheco@fcsh.unl.pt), and they should include title, an abstract (up to 500 words), and a brief CV (max. 1 page). Unfortunately, it will not be possible to cover travel and accommodation costs for participants. Applicants will be notified of the final selection by 15 July 2021.

Scientific direction
• Pilar Diez del Corral Corredoira | UNED | Madrid
• Milton Pacheco, CHAM | Lisboa

Scientific committee
• Alexandra Gago da Câmara | Universidade Aberta | Lisboa
• António Filipe Pimentel | Fundação Calouste Gulbenkian | Lisboa
• Nuno Senos | Universidade Nova de Lisboa | Lisboa
• Pilar Diez del Corral Corredoira | UNED | Madrid
• Milton Pedro Dias Pacheco | CHAM | Lisboa

* The date could be subject to change in the following months due to COVID-19 crisis and the subsequent health regulations. In the event of travel restrictions, conference organizers would provide adequate solutions to allow speakers to present remotely.

Noted below are several sessions at this year’s SECAC conference that might of be of interest to Enfilade readers; from the Call for Papers:

SECAC 2021
Hilton Lexington, Kentucky, 10–13 November 2021

Proposals due by 4 May 2021

The School of Art and Visual Studies at the University of Kentucky is pleased to be hosting the 77th annual meeting of SECAC (formerly the Southeastern College Art Conference) in Lexington, KY, November 10–13, 2021. As its theme, the conference will engage in conversations centered around the social responsibilities of artists, designers, and academics in higher education. We hope the conference addresses at many levels the struggle against racism. We want to promote scholarship and artistic practices that work toward a more just and ethical world. In addition to a return to what we hope will be a normal in-person conference, with panels, round-table sessions, exhibitions, and so on, conference attendees will be able to take advantage of the conference hotel’s central location in a vital downtown Lexington, which is also just a ten-minute walk from the UK campus.

All proposals and supporting documentation must be submitted through the secure submission platform. Proposals sent to session chairs directly will not be considered for inclusion in the conference program. You may submit up to two paper proposals, though please note that you may present only one paper. If two proposals from one applicant are selected, then the session chairs, in consultation with the Conference Director and his committee, will decide which proposal will be accepted and presented at the conference. You may chair one session in addition to giving one paper in your own session or in another session. All proposals must be submitted by 11:59 pm EDT on 4 May 2021. If selected to participate in the annual conference, current SECAC membership and conference registration are required for all presenters. Notifications will be made to applicants on or about 24 June 2021. Questions may be directed to 2021 Conference Director Rob Jensen (secac2021@uky.edu). For logistical assistance, contact SECAC Administrator Christine Tate (admin@secac.org).

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Gender and the Visual Arts in the Long Eighteenth Century
Chairs: Laura Winn (Jacksonville University) and Amanda Strasik (Eastern Kentucky University)

This session seeks papers that explore themes and issues related to the intersection of the visual arts and gender during the long eighteenth century (1688–1815) in an effort to support new approaches and scholarship in what remains an understudied field of art history and visual studies. The session is intended to offer a forum for papers that consider global perspectives, critical approaches to identity, patronage, and representation or occlusion to highlight the multifaceted relationships between gender, the visual arts, and systems of power during the Enlightenment.

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Plants, Gardens, and (Un)Natural Visions
Chairs: Alice Christ (University of Kentucky) and Judy Bullington (Watkins College of Art, Belmont University)

Gardens and the plants they sustain and display have served a wide range of cultural purposes in human civilization, rarely if ever limited to simple subsistence horticulture. People have collected, transplanted, represented, classified and actually genetically modified plants themselves in cultivation. Gardens too are a human manipulation of natural materials, perhaps intended as improvements on, escapes from, appropriations of, or substitutions for natural landscapes or ecosystems. Gardens and plants have been used, for example, to reproduce specific places, to construct utopias, or to manifest images of a supernatural world. Analysis of plants, gardens and their representations can illuminate ideologies of divine and human creation, uncultivated nature and civilization, the native and the exotic implicated, for example, in the colonial enterprise. This session presents studies of any aspect of historical manipulation and representation of plants or design of gardens as symbolic spaces or places revealing social, political or religious values of the cultures that produced them. We invite topics anywhere from ‘botanical decolonization’ in ‘native plants’ gardening today to Marie Antoinette’s potato flower hair ornaments to Zen gardens of stone; the milpa as cosmogram to the medieval closed garden; Persian paradise to Victorian plant prospecting, among a host of possibilities.

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Eighteenth-Century Art: Looking Ahead
Chair: Boris Zakić (Georgetown College)

This open session calls for papers on eighteenth-century art. From the latest newswire of the Dresden’s Green Vault heist of the eighteenth-century state treasures to the Hamilton-mania in the US to the premiere of the Céline Sciamma’s Portrait of a Lady on Fire in Cannes, France, the elements of the late baroque find their way into our cultural values (and politics) in innumerable ways. This session aims at reviving issues that may prove instructive to our moment.

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Undergraduate Art History Session
Chair: Amy Frederick (Centre College)

This session welcomes papers on any subject in the fine arts and art history by undergraduate students. The student’s proposal must be accompanied by a faculty member’s letter of support attesting to the validity of the research and also stating the faculty member’s willingness to assist the student in preparing the paper for presentation. Please email faculty support letter and résumé to amy.frederick@centre.edu.

52nd Annual Meeting of ASECS
Hilton Baltimore, 30 March — 2 April 2022

The next ASECS Annual Meeting will be held at the Hilton Baltimore, March 30 — April 2, 2022. The Clifford Lecture will be delivered by Jennifer Morgan of the History Department at New York University. The deadline for affiliate societies and caucuses to submit proposals for their guaranteed panels is April 30, 2021. The deadline for session proposals from individual members is May 15, 2021; the Call for Papers will be posted in early June. The deadline for submissions to sessions and roundtables will be September 15, 2021.

William Hogarth, A sculpture yard filled with copies of Greek and Roman sculptures, together with contemporary people and objects, 1753, engraving (London: Wellcome Collection).

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From the Henry Moore Foundation:

Valuing Sculpture: Contemporary Perspectives on Art, Craft, and Industry, 1660–1860
Online, Henry Moore Institute, Leeds, 27–28 July 2021

Proposals due by 7 May 2021

Keynote Speakers
Dr Greg Sullivan (University of York/ St. Paul’s Cathedral)
Dr Rebecca Wade (Independent)

The indeterminate position of sculpture within the arts is a malleable concept which continues to challenge researchers. Categorisations such as art, craft, or industry contrive barriers, separating works from one another and disavowing the cross-fertilisations between sculptors, makers, and artisans involved in the formal practices and aesthetics of art production. The conference Valuing Sculpture: Contemporary Perspectives on Art, Craft and Industry, 1660–1860, held as part of the Henry Moore Institute’s 2021 Fabrication Research Season, will refocus attention on how links have been consistently made between media and making processes to categorise and subsequently value sculpture.

How and why has sculpture been continually explored and defined as part of art, craft, and industry? Are these classifications still useful for discussing a medium that reaches across so many medial and dimensional boundaries, and what might be excluded or lost through such categorisations? How might we more fully address the processes of collaboration and exchange between sculptors and makers involved in sculptural production?

We invite proposals to foster an interdisciplinary dialogue between researchers and sculpture practitioners, considering how value judgements of sculpture were formed in the period 1660–1860 and their impact on the development of modern sculptural practices. We are viewing sculpture in its widest definition and across a broad geography and history. As such, we particularly welcome proposals about less widely studied media, such as bone, textile, and plasterwork.

Possible topics could include but are not limited to:
• Individual vs collaborative making processes
• Relationships between sculptors, artisans, manufacturers, and fabricators
• Commercialisation of manufacture
• Perceived vs actual value of materials
• Hierarchies of subject matter in sculpture
• Value of sculpture as determined by context
• Aesthetic vs commercial value of functional objects
• Definitions of decorative vs fine arts

The conference is organised by Sammi Scott and Charlotte Davis (University of York), Caitlin Scott (University of Sheffield), and Hannah Kaspar (University of Leeds) in collaboration with the Henry Moore Institute. Sessions will be held online over two consecutive afternoons.

The conference is open to researchers and sculpture practitioners from all backgrounds and will be a supportive environment for postgraduate students and early career researchers. Abstracts should be no more than 300 words and need to be accompanied by a brief biographical note. If you have prior recordings of other papers that you have presented online, then please also include links in your email. Please send your abstract and biography in an email with the subject heading ‘Valuing Sculpture’ to research@henry-moore.org by Friday, 7 May 2021.

From ArtHist.net (where the French version is available). . .

Painted Ceilings in Europe, 14th–21st Centuries: Forms, Functions, Fictions
Plafonds Peints en Europe, XIVe–XXIe Siècles: Formes, Fonctions, Fictions
Deutsches Forum für Kunstgeschichte (DFK), Paris, 2–3 December 2021

Proposals due by 31 May 2021

Organisé par le Centre allemand d’histoire de l’art-DFK (Paris), la Ludwig Maximilian Universität (Munich) et l’université de Bourgogne (LIR3S, CNRS, UMR 7366)

Emerging in the Middle Ages and then becoming in the Early Modern period one of the most important spaces for the development of painting, interior decoration, and representations of power, painted ceilings have represented prestigious artworks to this day, implementing its own poetics and symbolism.

From the beams of medieval castles to the ceilings of town halls, through the vaults of Baroque galleries and the domes of churches and theaters, ceiling painting constitutes a parallel history to that of the easel painting. Although the period from the 16th to the 19th century represents a privileged moment of the painted ceiling, its origins in medieval times (Bourrin Bernardi, 2009 ; Fern, 2016) and its more recent developments (Bianchi, 2016) deserve to be also considered, due to various identical problematics.

This critical object of art history has experienced a recent resurgence of interest from researchers in both the medieval and modern and contemporary periods, as evidenced by the creation of an international association for research on medieval framework structures and painted ceilings (RCPPM), investigations outreach to sites outside Europe (Raggi, 2017 ; Bailey, 2018), and the ceiling commission from Cy Twombly for the Louvre in 2010. While the research field has been consequently broadened geographically and chronologically, it has also included new problematics, beyond the representation of power (Milovanovic, 2005). The current survey takes more into consideration the site’s specificity through the eye of a mobile spectator (Alpers, Baxandall, 1994); illusionism beyond classical and baroque, as an effective rhetoric (Scott, 1991); and the issue of propaganda and artistic identity (Oy-Marra, 2016). Recent research has favored monographic approaches in the different countries of Europe (see selective bibliography): it is now relevant to situate these studies within a European horizon.

This conference will examine both case studies and general reflections, taking advantage of recent research contributions from a cross-history perspective. Four lines of thought (which may be intertwined in the papers) are envisioned:
1. Challenges of the painted ceiling: what to expect from a painted ceiling?
2. Powers of the image: how does a large decor work?
3. Decoration temporalities: appropriations, retrospective views, re-uses and misappropriations, historiographies.
4. Digital and research: contributions of new visualization and reconstruction techniques

To submit a paper (which will be limited to 20 minutes), please send an abstract no more than 500-word long in English, French, German, or Italian, along with a short 100-word biography, before May 31, 2021, to plafondspeintsfff@gmail.com. The conference will be held in Paris, with the presence of the participants, or as a virtual event, pending future sanitary measures. It is planned to allow much time to discussions and to organize sites’ visits.

Organizing Committee: Olivier Bonfait (Université de Bourgogne, Dijon, LIR3S), Matteo Burioni (Corpus « Deckenmalerei », Ludwig Maximilian Universität, Munich), Bénédicte Gady (musée des Arts décoratifs, Paris), Thomas Kirchner (Deutsches Forum für Kunstgeschichte-Centre allemand d’histoire de l’art, Paris), Matthieu Lett (Université de Bourgogne, Dijon, LIR3S)

From the Call for Papers:

Work, Rest, and Power: Architecture, Space, and Political Life, 1500–1815
Online Workshop Hosted by the Humanities Research Centre at the University of York, 27 May 2021

Proposals due by 12 April 2021

Joseph Goupy, Sir Robert Walpole Addressing the Cabinet, 1723–42, drawing, 36 × 29 cm (London: The British Museum, 1920,0214.4).

This workshop explores the role of the home in politics and political life, taking a broad view to explore the lived space of political figures, materiality, and the role of women and the household. The workshop will commence with a keynote paper from Dr Manolo Guerci, University of Kent, before leading into a series of panel discussions and optional thematic breakout sessions for those who wish to continue the discussion.

Interested scholars are invited to submit abstracts of no more than 250 words by 12 April 2021. We are seeking abstracts that relate to the home as a political space, broadly conceived, in any place or time period within the early modern era. We welcome submissions from all scholars, but particularly encourage postgraduate and early career researchers.

Topics may include, but are by no means limited to:
• Definitions: what makes a home political?
• Homes of political figures or homes located in political institutions
• Political sociability
• Materiality, art, architecture, and archaeology
• The household: wives, family, and servants
• Uses of space: orientation, gendered space, public and private
• Town and country houses
• Social history of the home: class, economics, and ritual

Please submit abstracts and any questions via email to the organisers Kirsty Wright (kmw532@york.ac.uk) or Murray Tremellen (mat550@york.ac.uk). For further information, please see our website.

From the Call for Papers, which also includes the Spanish version:

Buying Art and Antiquities in Eighteenth-Century Italy
La compra de arte y antigüedades en la Italia del siglo XVIII
Online and/or Universidad Nacional de Educación a Distancia (UNED), Madrid, 4–5 November 2021

Proposals due by 31 May 2021

Jean-François Sablet, In the Antiquities Shop, Rome, 1788 (Private Collection)

The third meeting of the international conference series Transnational Relations and the Arts will address the issue of art and antiquities markets in eighteenth century. With the Grand Tour at its peak, men from all over Europe and beyond flooded into the cities of Italy, mainly Rome but also Naples, Venice, and Florence. These grand tourists fed an already flourishing art market and were also active agents of the spread of ancient marbles and vases, Old Master paintings, ancient coins, and medals back to their homelands, not to mention the diffusion of an international ‘buon gusto’ among the middling and upper classes.

We are interested in proposals that address any aspect related to this phenomenon. Especially welcome are cross-disciplinary contributions, proposals that deal with different cases studies in a comparative way, or studies focused in a city/country, as well as discussions around a particular period acquired at that period.

Topics may include, but are not limited to:
• Commercial hubs
• Agents: merchants, clients, antiquarians, dealers, etc.
• Logistics of buying art in the eighteenth century
• Forgeries and fakes of antiquities
• Copies of Old Masters for profit
• Classical art collections in the eighteenth-century (from the individual object to the whole collection)

Scientific coordination
Pilar Diez del Corral Corredoira (Eighteenth Century), diezdelcorral@geo.uned.es
David Ojeda Nogales (Classical Antiquity), dojeda@geo.uned.es

Please submit your proposal and an abbreviated CV to both organizers by 31 May 2021. And do not hesitate to write with any questions you have related to your proposal; we will be happy to discuss the details with you. Depending upon health conditions, the conference may take place online, but we will try our best to host it in Madrid. In the event that the conference will proceed online, we will assist with any technical support you may need in order to give the paper as easily as possible. There are plans for publishing the outcomes as a volume of selected papers in a prestigious print and the contributions will go through a peer-review system.