Enfilade

From ArtHist.net (where the posting includes the Italian version of the CFP) . . .

The Church of San Rocco: Confraternal Religious Space and Sanctuary
Churches of Venice: New Research Perspectives, Number 9
Venice, 2–4 December 2021

Organized by Maria Agnese Chiari Moretto Wiel and David D’Andrea

Proposals due by 21 June 2020

The project Churches of Venice: New Research Perspectives (Chiese di Venezia: Nuove prospettive di ricerca)—begun in 2010 and from 2017 supported by the Department of Philosophy and Cultural Heritage at Ca’ Foscari University, Venice and currently sponsored by Save Venice Inc.—consists of a multi-year program of interdisciplinary conferences each focused on a specific Venetian church. The project is designed to engage different disciplines for a deeper understanding of the complex social and religious phenomena embodied in Venetian churches, physical spaces created to serve a variety of religious functions and meanings. In addition to investigating Venetian churches from ‘new research perspectives’, the project also strives to disseminate the latest research to the general public through the publication of the conference proceedings in a dedicated book series published by Viella.

After having studied the churches of San Bartolomeo (2011), Scalzi (2012), San Lazzaro dei Mendicanti (2013), San Zaccaria (2014), San Pietro di Castello (2015), San Giacomo dall’Orio (2017), San Polo (2019), and Santa Maria dei Servi (forthcoming in 2020), the conference scheduled for December 2021 will investigate, for the first time in a systematic way, the history of the church of San Rocco. The conference is scheduled for three days, with the last sessions to take place on site in the church. Participants will have access to a professional photographer who will take images on request for use at the conference and in the subsequent publication.

The church of San Rocco is the only Venetian church that is both a confraternal devotional space and a sanctuary that houses the body of the titular saint, who was translated to Venice in 1485 and located in the main altar since 1520. The power of Saint Rocco to heal those stricken by the plague made the church an international pilgrimage destination. To properly venerate San Rocco, the confraternity adorned the religious space with significant works of art and constructed an organ and choir gallery to foster liturgical devotion focused on the altar-reliquary. The original church, built in 1489, was heavily restructured by Giovanni Scalfarotto between 1726 and 1733. The rebuilt façade, completed by Bernardino Maccaruzzi in 1769, unifies the confraternity’s ritual space, which encompasses the square and the adjacent streets.

The conference proposes to examine, in a broad chronological and interdisciplinary approach, significant aspects of this devotional space, where processions, festivals, and pilgrimages reaffirmed the status of the confraternity and the healing power of San Rocco both in Venetian life and in universal Catholic devotion.

In particular, the organizers would like to examine the following themes:
• Origins of the cult of San Rocco in Venice, the foundation of the Scuola and the building of the church, and the relationship between the church and confraternity.
• The church in the 15th and 16th centuries: architecture, altars, and decorative furnishings. The relationship between the church of San Rocco and the other confraternal churches in Venice.
• The transformations and renovations of the church in the 17th and 18th centuries.
• The church of San Rocco and ritual spaces: San Rocco and the urban context; Venetian festivals and the church; music.
• San Rocco as an international pilgrimage site.
• Liturgy and devotional objects: (the reliquary of San Rocco, the miraculous Crucifix, the miraculous image of Christ Carrying the Cross; devotion to the Holy Eucharist); the Scuola’s printed images; the relationship with Venice’s other devotions for the plague, the Redentore and Madonna della Salute.
• The relationships between the Scuola and clergy: confraternal chaplains; the Franciscans of the Frari, and nearby parish churches (San Tomà and San Pantalon).
• The cult of San Rocco in Venetian territories: San Rocco and the lazzaretti; devotional images, churches and chapels dedicated to San Rocco in the Venetian state; the cult of San Rocco along the Adriatic coasts.

Paper proposals, consisting of a brief abstract (250 words maximum) and a brief CV, should be sent by email attachments to chiesedivenezia@gmail.com by 21 June 2020. Accepted proposals will be announced by 15 September 2020.

From the Call for Papers:

Enlightening the Plates of the Encyclopédie:
Perspectives and Research on the Recueil de planches, 1762–1772
Sorbonne University, Paris, 27–29 May 2021

Proposals due by 30 September 2020

For several decades and due to the impulsion provided by the pioneering work of Jacques Proust, John Lough, Richard N. Schwab and then Frank A. Kafker, the studies on the Encyclopédie, ou Dictionnaire raisonné des sciences, des arts et des métiers (1751–1772) by Diderot and D’Alembert proliferated. Many conferences, books and articles, including those published since 1986 in the review Recherches sur Diderot et sur l’Encyclopédie, testify to this. Easier access to the work thanks to digital editions (the one designed by the Redon company, commercially distributed since 2000, and then the ARTFL edition, freely accessible on the web) have also contributed to this dynamic. The online publication in 2017 of a first critical digital edition of the work (ENCCRE) is a new stage in the interest shown by historians from all disciplines in this essential monument of the Age of Enlightenment.

Despite the founding studies already cited, Madeleine Pinault-Sørensen’s seminal contributions and many other works dedicated to the 11 volumes of plates of the Encyclopedie, the latter remain far less known and studied than the 17 volumes of articles (1751–1765) that came before and refer to them, as if the illustrations and their relationship to the text, although considered as one of the most important innovations of the Encyclopedie, had in the end met less interest than the articles themselves.

Today, ENCCRE—thanks to its high-quality digitization of the engraved plates and its ability to directly relate illustrations and explanations—allows us to rediscover this iconographic treasure with a fresh eye and offers new resources for exploring it. More generally, new technologies encourage us to imagine specific ways of analyzing these illustrations, the explanations that accompany them, their reciprocal links, and their relationship with the volumes of articles. It is therefore essential to hold an international conference to review the research specifically dedicated to the plates of the Encyclopédie.

In this perspective, we launch a call for papers for the conference Les Planches de l’Encyclopédie en lumière which will be held over three days at Sorbonne University from 27 to 29 May 2021 and within the framework of which the common reflection will be organized around four main axes (hereafter, we will refer to the Recueil to designate the 11 volumes of the Recueil de planches sur les sciences et les arts, and to ‘series’ to designate each of the thematic chapters which constitute it, such as ‘Anatomie’, ‘Bouchonnier’, or ‘Draperie’). The questions addressed by each of the axes are not limitative:

1. The manufacture of the engraved plates and series of the Recueil, i.e. all the questions relating to the modalities of their intellectual manufacture and the history of their editorial production: what are the sources of the plates? How were they used (additions, modifications, arrangement)? Have preparatory drawings been preserved? To what extent do these elements shed light on the content of the plates and the intentions of their author(s)? Furthermore, what are the elements that make it possible to reconstruct and, possibly, date the stages of the making of a series?

2. The contributors of the plates, i.e. the Encyclopédie’s draftsmen and engravers: who are they? What place did their work for the Encyclopédie hold in their career? What role(s) have they played in the Encyclopédie? What is their contribution (explicit attributions and attribution hypotheses)? Do they differ from each other according to technical and/or stylistic criteria?

3. The explanations of the plates, i.e. all the questions relating to the ‘Explications’ which form the first part of each series of the Recueil before the corresponding engraved plates. This essential subject can be approached from several angles:
• authors: what do we know about the authors whose explanations bear the explicit signature? To what extent can we attribute to them the many unsigned plates in the book? Are they also contributors for articles on the same subjects?
• editor: question of Diderot’s role, not only as author of explanations, but also as editor of the entire collection (organization of the series, writing of the introductory pieces presenting the volumes, etc.): at the end of the detailed statement of volume II (1763), he states that he “reviewed all the arts and crafts [explanations] on the manuscript and on the plates”;
• relations with the engraved plates: different types of links between explanations and illustrations according to the series? Additional cross-references to the articles (with the effects of repetition, correction or replacement)? There is also the more general question of the relationship between text and image as the Encyclopédie establishes it and, sometimes, takes them up as a central theme.
It is also possible to study in this perspective the relations between articles and plates in a given field: concordance or not between the articles and the figures they describe? Possible replacement of the plates on which the articles were written and for what reasons? Questions which also refer to the problem of the manufacture of a series (axis n° 1), whether or not associated with the writing of the articles.

4. The place of the plates of the Encyclopédie in the history of illustration in the 18th century: can we situate the traditional and innovative parts of the Recueil in relation to the standards of the time, according to the weight, place, and roles of the illustrations in the book? According to the link that the plates maintain within the book with their explanations and the articles associated with them? To what extent can the book be considered as an illustrated corpus? More generally, to what extent the Recueil can be considered as a part of the history of the circulation of knowledge in the 18th century?

The proposed papers must necessarily fall within one or more of the previous axes. They may consist of a case study or address a more general issue.

Proposals should be sent before 30 September 2020 to enccre@gmail.com. Proposals will include a title and an abstract of about fifteen lines, supplemented by some general information: your status within your institution (and department if necessary), main research topics, list of publications related to the themes of the colloquium and/or the French 18th century. The languages of the conference are French and English.

Steering Committee
Alexandre Guilbaud, Sorbonne Université
Alain Cernuschi, Université de Lausanne
Malou Haine, Université Libre de Bruxelles
Christine Le Sueur, Université Claude Bernard Lyon 1 Alain Sandrier, Université de Caen Normandie

Scientific Committee
Alain Cernuschi, Université de Lausanne (responsible for the follow-up)
Malou Haine, Université Libre de Bruxelles (responsible for the follow-up) Emmanuel Boussuge, chercheur associé au CELLF (CNRS, Sorbonne Université) Thierry Depaulis, chercheur indépendant
Alexandre Guilbaud, Sorbonne Université
Charles Kostelnick, Iowa State University
Marie Leca-Tsiomis, Université Paris-Ouest Nanterre
Susan H. Libby, Rollins College
François Pépin, professeur agrégé au Lycée Louis le Grand
Stéphane Schmitt, CNRS, Archives Henri-Poincaré
Yann Sordet, Bibliothèque Mazarine
Pierre Wachenheim, Université de Lorrain

From ArtHist.net:

Women and the Art and Science of Collecting: Eighteenth-Century Collecting Beyond Europe
Edited by Dr. Arlene Leis and Dr. Kacie Wills
Abstracts due by 1 July 2020, with case studies due by 31 October 2020 and longer essays due 1 December 2020

We are inviting chapter abstracts for a collection of essays designed for academics, specialists, and enthusiasts interested in the interrelations between art and science in women’s collections and collecting practices beyond Europe in the long 18th century. This volume will follow our forthcoming compendium on the topic entitled, Women and the Art and Science of Collecting in Eighteenth-Century Europe, published by Routledge. This book recovers women’s histories through numerous interdisciplinary discourses pertaining to the subject of collecting, and it examines their interests, methodologies, and practices in relation to cultures of art and science.

In the second volume, we continue this discussion and consider women’s relationships to collecting of European and non-European objects, gathered, exchanged, and displayed within colonies and with indigenous cultures beyond Europe. Responding to ideas about indigenous collecting raised by Nicholas Thomas, Jennifer Newell, Greg Dening, Anne D’Alleva, Adriana Craciun, Mary Terrall, and others, we also aim to consider intercultural exchanges and collections of objects relatively unknown to Europeans. European collecting often traces its roots to biblical mythologies, such as the stories of Adam (naming and owning) and Noah (rescuing and preserving). What are the histories of collecting beyond Europe? And in what ways did women actively participate in or challenge those stories?

We hope to explore a diverse range of theoretical contexts, such as art historical, material culture, feminist, social, performance, gender, colonial, archival, and literary. We welcome essays that take a material culture approach and are particularly keen on research that makes use of new archival resources. We encourage interdisciplinary perspectives and are especially interested in essays that reveal the way in which women’s collections outside of Europe participated in cultures of art and science.

The compendium will consist of around ten essays of 6,000–6,500 words (with footnotes), each with up to four illustrations. In addition to these more traditional essays, we are looking for shorter (circa 1,000 words) case studies on material objects of interest from the period. The subject of women’s collections and art and science is also central to these smaller contributions, and each will include one illustration.

We aim to address the following topics and questions:
• The practice of collecting as cultural construct
• Decolonizing collecting
• What motivated women to collect in places outside of Europe? What were they collecting? How were women’s collections beyond Europe similar or different to their European counterparts?
• Women’s travel, immigration, exploration and the mobility of objects
• Collaborations
• Classification, taxonomies and methodologies of collecting outside of Europe
• Religious collections
• Display
• Collecting for power and status
• Preservation, creation and learning
• The aesthetics of collecting beyond Europe
• Women’s exchanges/interactions with indigenous populations
• Collections formed as a means of making sense of the world

All inquiries should be addressed to Arlene Leis, aleis914@gmail.com or Kacie Wills, kacie.wills@gmail.com
. Essay abstracts of 500 words and 300 word abstracts for smaller case studies are due July 1, 2020 and should be sent along with a short bio to: kacie.wills@gmail.com and aleis914@gmail.com. Finished case studies will be due October 31, 2020, and long essays will be due December 1, 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).

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.

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

Organisation
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

Calendrier
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

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.

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.

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»

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.

Content
• 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.

Context
• 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
Goethe-Universität
Institut für Klassische Philologie
Norbert-Wollheim-Platz 1
D – 60629 Frankfurt am Main
brandis@em.uni-frankfurt.de

Dr. Jan L. de Jong
University of Groningen
Dept. of History of Art, Architecture and Landscape
PO Box 716
9700 AS Groningen
j.l.de.jong@rug.nl

Prof. Dr. Robert Seidel
Goethe-Universität
Institut für deutsche Literatur
Norbert-Wollheim-Platz 1
D – 60629 Frankfurt am Main
robertcseidel@lingua.uni-frankfurt.de