Call for Papers | Museum Networks and Museum History
From the Museums and Galleries History Group:
Museum Networks and Museum History
Royal Botanic Gardens, Kew, 16–17 July 2020
Proposals due by 6 March 2020
Networks have become an increasingly important part of the analytical toolkit used by historians of museums and collections. As scholars have moved away from narrative institutional histories, they have embraced the study of social and material networks as approaches which expand understandings of museums. In Chris Gosden and Frances Larson’s words, museums can then be seen as “innumerable sets of connections between people and objects …[which] extend over time and through space.” Such approaches have themselves been fuelled by the growth of similar ideas such as Actor Network Theory and object biographies.
These new approaches have been especially useful in recovering forms of agency beyond those of powerful institutional actors, especially curators, and have highlighted the contributions of, for example, object creators and mediators, informants and collecting assistants, as well as, sometimes, of objects themselves. They have drawn attention to the formation of new social identities and forms of expertise; have shown the extent of material flows around the world in relation to museums; revealed the role of affect and the relational in museum history; and encouraged closer attention to the different physical properties of things. There have, though, been some differences of emphasis on whether networks in museum history are a useful metaphor, a set of statistical analyses, or a theoretical model.
This conference seeks to take critical stock of the role of networks in understanding the history of museums and collections. It welcomes proposals which use networks of various sorts as tools of analysis, or which engage with the methodological/theoretical issues raised by networks and/or the rejection of network approaches. It is keen to see proposals which interrogate approaches from other disciplines. Contributions may respond to (but are not limited to):
• Networks of museum donors and makers
• Networks and empire; networks and power
• Professional networks and modern identities
• Global and transnational networks
• Networks and the role of indigenous knowledge
• Affect and the role of materiality
• Actor Network Theory and museum/collection history
• Networks of museums, collections, people, objects
• Museum practice and museum networks
• The limits of networks as analytical tools
Submissions may be for individual papers, panels of three papers, or posters. Paper proposals should be for papers of twenty minutes’ length. Proposals should be 250 words maximum and include a title as well as the name, contact details and affiliation (if applicable) of the speaker. Panel proposals should consist of a panel title, proposals for three papers, along with a rationale for the panel theme, and contact details and affiliations (if applicable) of all participants. Please indicate whether you will provide a chair for your session or not (it does not matter which). Poster proposals are also welcomed. Please follow proposal guidelines for papers while indicating clearly that a poster is proposed. All the above proposals should be sent to contact@mghg.info by 6 March 2020. Please note all speakers and poster presenters will be expected to pay the conference registration fee, but we aim to keep the fee as low as possible.
Call for Articles | Special Issue of ‘Quart’ on Travelling and Art
From ArtHist.net:
Travelling and Art in Europe in the 17th and 18th Centuries
Quart, The Quarterly of the Institute of Art History at the University of Wrocław 56 (June 2020)
Articles due by 1 March 2020
Europe in the 17th and 18th century was an area without sealed national borders and passports, which facilitated free movement of people, transfers of works of art, and the exchange of artistic ideas. Travellers were artists and art lovers, military and clerical, merchants and pilgrims; various works of art were transported across the borders, and thanks to the medium of printmaking, the latest trends and artistic novelties quickly spread across Europe. This dynamic circulation in the 17th and 18th centuries caused so many interesting artistic phenomena to take place in this area, which can today be of interest to researchers. Issue 56 of Quart—guest edited by Andrzej Kozieł—will therefore focus on art-related aspects of travel. Proposed topics of interest include:
• migrations and educational journeys of artists
• transfers of works of art and artistic ideas
• pilgrimage and art
• works of art in travellers’ accounts
• media disseminating works of art
Papers—from 20,000 to 40,000 characters, in Polish or English, with up to 7 illustrations—should be submitted in format specified in the guidelines to quart@uwr.edu.pl by 1 March 2020. The editors reserve the right to select given papers. All the submitted papers will be subject to a double-blind review, in line with COPE guidelines. Quart is a regularly published quarterly journal by the Institute of Art History of the University of Wroclaw. It is indexed in ERIH+, CEJSH and BazHum databases. It was awarded a grant under the ‘Support for 500 Scientific Journals’ Programme of the Ministry of Science and Higher Education. It is included in the list of scientific journals of the Ministry of Science and Higher Education as of 31.07.2019 with 20 points. The current number can be purchased in EMPiK chain stores. Archival issues are available in libraries and in a digitalized form at the Polona website.
Call for Papers | The Prospect of Improvement
From ArtHist.net:
The Prospect of Improvement: A Bluestocking Landscape
Hagley Hall, Worcester, 8–9 September 2020
Proposals due by 14 February 2020
A two-day conference at Hagley Hall, Worcestershire including a tour of the house and grounds supported by Elizabeth Montagu Correspondence Online [EMCO] and Paul Mellon Centre for Studies in British Art.
The Prospect of Improvement: A Bluestocking Landscape puts centre stage the patriotism and patronage of George Lyttelton first baron Lyttelton (1709–1773), a strangely shadowy figure yet a fascinating eminence grise behind the art and politics of his age. We will discuss the motivation behind his extensive remodelling of his grounds and the commissioning of local architect Sanderson Miller (1716–1780) in designing a new Hagley Hall. How can the ideas of other architects and landscape reformers from the midlands such as Sir Roger Newdigate (1719–1806), Sir Uvedale Price (1747-1829), and William Shenstone (1714-1763) be brought into dialogue with Miller’s project?
As EMCO is editing the correspondence of Lord Lyttelton’s friend and literary collaborator, critic Elizabeth Montagu (1718–1800), we will equally focus on eighteenth-century women’s management of estates, commissioning of art and architecture and writing associating rural retirement with moral improvement.
Plenary speakers
• Stephen Bending (University of Southampton), author of Green Retreats: Women, Gardens, and Eighteenth-Century Culture (2013)
• Markman Ellis (Queen Mary, University of London), author of The Coffee House: A Cultural History (2005)
• Joe Hawkins (Head of Landscape at Hagley)
• Steve Hindle (Huntington Library, California), W. M. Keck Foundation Director of Research
We invite delegates to participate in three panels on the following themes:
• Concepts of reform and improvement in architecture and rural life
• Female management of the country estate
• The symbolism of the garden in eighteenth-century art and literature
We also welcome papers on:
• Whig perceptions of the country and the city
• Portraiture, representations of the country house, and landscape painting
• Domesticating the picturesque: creating the grotto, the wilderness, and the waterfall
• Bluestocking crafts and collecting
• Botany, gardening, and girls’ education
• Agricultural reform and the rural poor
• The Lunar Society, provincial salons, and correspondence networks
• The politics of patronage
• Philanthropy and the religious revival
A selection of delegates will be invited to extend their papers into scholarly articles for a book-length special issue of the journal Eighteenth-Century Life, to be edited by Professor Markman Ellis.
Please send proposals for papers (no longer than 350 words) and requests for bursary application forms by 14th February 2020 to Jack Orchard by email: j.t.g.orchard@swansea.ac.uk or by post to: Dr. Jack Orchard, Department of English Literature and Creative Writing, Swansea University, Singleton Park, Swansea, SA2 8PP.
Registration
Conference Registration with Accommodation: £130
Conference Registration: £70
Accommodation will be arranged by EMCO at a local hotel, and both registration fees include two lunches at the conference and the conference banquet.
We reach out especially to early career researchers by offering six bursaries funded by the Paul Mellon Centre for British Art to doctoral students and unwaged ECRs with promising proposals for papers relevant to the conference theme. Each bursary holder is invited to review two panel sessions for a report on the conference to be published online at Elizabeth Montagu Letters and the Bluestocking Circle. Bursaries covering the conference fee and accommodation are available to six postgraduate students and unwaged early career researchers, who have papers accepted for presentation at the conference. ‘Unwaged’ scholars may be retired, unemployed, or unable to access institutional support for conference attendance. They are invited to make a personal statement in support of their application. Students’ bursary application forms must be accompanied by a statement from a supervisor which is signed on university headed paper and accompanied by the university stamp. The bursary award will be paid as a refund following attendance at the conference.
Call for Papers | Props: Staging Objects on the ‘Stage of Art’
From the posting at ArtHist.net, which includes the German version:
Props: Staging Objects on the ‘Stage of Art’
Requisiten: Die Inszenierung von Objekten auf der ‚Bühne der Kunst‘
Goethe-Universität, Frankfurt am Main, 9–10 October 2020
Organized by Joanna Olchawa and Julia Saviello
Proposals due by 29 February 2020
Not every object used on a stage is a prop. In his acclaimed study The Stage Life of Props of 2003 Andrew Sofer includes under this term only independent, physical and inanimate objects that are visibly manipulated by an actress or actor over the course of a performance. In this stricter definition of the concept of props the moment of movement plays a central role: objects themselves are not equipped with the potential to move, but they become props as soon as they are integrated into intentional and meaningful representative actions. This definition not only highlights the specific nature of props, but also and above all the way in which props are handled by human actors, which is in turn determined by the connotations and specific construction (functional or otherwise) of each object.
The conference is dedicated to the props that have been used on the various ‘stages’ of the visual arts from the Middle Ages to the present. Not only used in the theatre, objects have been staged in the most diverse ways and semantically enriched in Christian liturgy, military triumphal processions and court ceremonies, to name but a few examples. By describing the picture as a window opening on a ‘historia’, i.e. a scene composed of several figures in different postures and movements, Leon Battista Alberti has assimilated the image space to a stage area, thereby stressing for the first time the parallels between pictorial representations and performances in theatre. Following this, a widening of the view from real to fictional space seems appropriate, in which significant objects can also become props.
The focus of theatre studies so far has been on existing objects, such as rings, skulls and fans, or artefacts made especially for a theatre production, such as masks, sugar jars or knives with retractable blades. In addition to such objects, which partly have already been the subject of art historical studies, ‘props’ from the above-mentioned contexts, from private collections or artists’ studios and comparable contexts can also be discussed during the conference. In addition to the staging of such objects in real and fictional spaces, the places where they are stored and presented will also be considered (armories, cabinets of wonder and prop rooms). The methodological approaches to the exploration of props in their relevance to art history or art-historical object studies can also be addressed, such as the theory of affordances and the actor-network theory, both of focus on the specific nature of the objects, or gender-theoretical and transcultural approaches from which new impulses for the analysis of the multi-layered interaction of humans and objects have emerged.
We look forward to receiving your proposals in German or English. Please submit an abstract of approximately 300 words and a short biography by 29th February 2020 to olchawa@kunst.uni-frankfurt.de and saviello@kunst.uni-frankfurt.de. You will receive a notification by 15th March 2020. The conference will take place on 9th and 10th October 2020. Travel and accommodation costs will be covered thanks to the generous support of the ‘FONTE Stiftung zur Förderung geisteswissenschaftlichen Nachwuchses’. A publication of the conference proceedings is planned.
Call for Papers | The Animal and the Human in Netherlandish Art
From ArtHist.net:
The Animal and the Human in Netherlandish Art
Nederlands Kunsthistorisch Jaarboek 71 (2021)
Proposals due by 10 February 2020; articles due by 3 August 2020
Art begins with the animal. –Deleuze and Guattari (1991)
If the topic of the animal and the human in Netherlandish art evokes images of aristocratic hunt scenes, lap-dogs or Boschian hybrids, current ecological and ethical concerns reveal persistent questions of why and how artists have engaged with the nonhuman animal as subject and object of depiction. From Bosch to Snyders to Broodthaers to Fabre, Netherlandish artists have probed, and continue to probe, changing understandings of the relations and shifting boundaries between the human and the animal. Yet despite the importance of the visual arts to ‘the question of the animal’, the abundance of Netherlandish imagery of animals and human-animal relations has not received sustained attention. Volume 71 (2021) of the Nederlands Kunsthistorisch Jaarboek invites investigations into the animal and the human in the art and visual culture of the Low Countries and its diasporas in all periods.
In recent decades the field of animal studies has attracted increasing interest as scholars from various disciplines take other animals seriously as subjects. Animal studies pays close attention to the ways in which humans anthropomorphize animals, whilst adopting a post-humanist perspective in recognizing animals as beings-in-themselves, separate from our interests in them. The field has roots in questions about human beings’ co-existence with and use of other animals, extending the possibility of feeling emotion and pain to other sentient creatures. It also arises from cultural and philosophical interest in attempts to define the self and humanity through interactions with and representations of other animals. Giorgio Agamben for example, has examined the ways in which Western thought has produced ‘the human’ as a distinct and superior animal, or as different in kind from ‘the animal’.
The distinction made by René Descartes—who lived in the Netherlands from 1628 until 1639—between a self-aware, thinking human subject and a reflex-driven beast-machine was an important symbolic moment in the separation of ‘the animal’ from ‘the human’. The early modern period witnessed a tendency to depict animals as objects. Here, knowledge of the nature of a specific species of animal was not a matter of symbolic references and emblematic meanings, but of accurate, ‘scientific’ depiction. Depicted ‘ad vivum’ became an advertising slogan—whether the artist had seen the creature with his or her own eyes or not. In the early 18th century, for example, the magnificent printed publications after Maria Sybilla Merian’s drawings were authorized by the claim to be ‘naer het leven’. This claim to lifelikeness went hand in hand with experiments in observation and representation. One could think of the technologies of the microscope, photography and other forms of imaging including the digital. One might also cite interest in insects, animal anatomy, vivisection, comparative anatomy, taxonomy, or in the natural habitat of animals and their reproduction, animal curiosities, wonders, and genetics.
A sense of wonder could be evoked by the techniques of representation and the materiality of works of art. For example: Joris Hoefnagel and Otto Marseus van Schrieck famously inserted real insect-wings in their images, like, later, Fabre. This opens up the question to the use of animals in works of art in a broader sense: as a source for pigments and dyes, for glue and for brushes; or as source for parchment and vellum; or as elements of site-specific installations. How were these animal products obtained and processed? How did/does awareness of this affect interpretation of the works they constitute?
This volume invites new work that engages with the humanities beyond the human. Contributions might explore northern European art works that visualise animal mutations, metamorphoses, fables, struggles, fetishizing, speciation, preservation, and the monstrous. They might also engage with artistic critiques of taxonomies, habitats, hybridities, consumption, and the post-human.
The NKJ is dedicated to a particular theme each year and promotes innovative scholarship and articles that employ a diversity of approaches to the study of Netherlandish art in its wider context. More information is available here. Contributions to the NKJ (in Dutch, English, German, or French) are limited to a maximum of 7,500 words, excluding notes and bibliography. Following a peer review process and receipt of the complete text, the editorial board will make final decisions on the acceptance of papers.
Please send a 500-word proposal and short CV by 10 February 2020 to:
Eric.Jorink@huygens.knaw.nl
Joanna.Woodall@courtauld.ac.uk
Edward.Wouk@manchester.ac.uk
Schedule of production
Deadline for submission of proposals: 28 February 2020
Notifications about proposals: by 15 March 2020
Submission of articles for peer review: 3 August 2020
Call for Panels | NEASECS 2020, New York — Traffic
From the Northeast American Society for Eighteenth Century Studies:
NEASECS 2020 — Traffic in the Global Eighteenth Century
Fordham University, Lincoln Center Campus, New York, 25–27 September 2020
Panel and roundtable proposals are due 30 January 2020 (the call for papers will be posted by 15 February 2020, with a March 30 due date).
It would be difficult to imagine New York City without traffic, but traffic should not be understood merely as the polluting congestion of its highly frequented streets and waterways, an issue already present in New Amsterdam. Traffic also underlines the commerce, or the passing through different hands as the Encyclopédie’s “Trafiqué” underlines, both legal and illicit, of goods, bodies, books, artworks, monies, services, and ideas that is as central to New York City today as it was to the global eighteenth century.
For this 43 edition of NEASECS, we invite panels, papers, and other interventions on the topic of traffic in the global eighteenth century: be it book smuggling, human trafficking, drugs & arms smuggling, import/export, transnational and/or colonial exchanges, or money traders and currency converters; the traffic of ideas as well as objects of knowledge and aesthetic beauty (art objects, fashion…); the infrastructure (or lack there of) that facilitated the movements of such a global and local traffic; and/or the effects and affects of traffic/trafficking including the sonic. All disciplines from the history of science, history of the book, history of religion, architecture, art history, music history, and history, to literary studies, anthropology, and sociology are encouraged to participate. Round tables are also highly encouraged.
Of course, in the long tradition of NEASECS, panels on topics different from the theme of the conference are also welcome.
Panels will be 1 hour and 30 minutes. Panels should not have more than 4 presenters and should allow for at least 20 minutes of discussion.
For the very first time, and perhaps inspired by the controlled chaos of traffic itself and the vibrant, diverse democracy of New York City, we will also be hosting an open forum or town hall on human trafficking in the global eighteenth century. Anyone who wishes to participate can, and this can be in lieu of a paper. Although if you wish to participate in this session in addition to a panel or roundtable that is also welcome. The two-hour session will have parliamentary style format with lively free interventions to any individual who stands up to speak. Those with disabilities that prevent them from standing will be given a flag to raise. All you must do is register. All those who register for this event will be listed as participants in the session in the program.
Proposals for panels and roundtables are due 30 January 2020.
The call for papers will be posted by 15 February 2020.
Submission to panels and roundtables (individual contributions) will be due 30 March 2020.
Early registration at a discounted price must be completed by 30 May 2020.
Registration at the full price must be completed by 1 August 2020.
Please submit your proposals directly to neasecs@gmail.com. Thank you.
Click here to register and submit your proposals.
Call for Papers | Beyond the Academy: Architectural History
From the Call for Papers:
The Society of Architectural Historians of Great Britain Architectural History Workshop
Beyond the Academy: Architectural History in Heritage, Conservation, and Curating
The Gallery, 70 Cowcross Street, London, 21 March 2020
Proposals due by 17 January 2020
The Society of Architectural Historians of Great Britain (SAHGB) invites presentation proposals for the Architectural History Workshop in 2020. This is our annual event for postgraduate students and early career professionals to share and develop their ideas; it aims to provide an informal and supportive space away from your own institution where you can discuss, debate, practice and enjoy the company of like-minded researchers and scholars working within the history of the built environment, broadly conceived. The theme of this year’s Workshop is Beyond the Academy: Architectural History in Heritage, Conservation, and Curating. Architectural history is practised in a number of fora: in academia, heritage, museums and collections. Academic research and skills have uses beyond the academy and in a competitive and precarious job market, architectural historians need to be open to a wide set of potential career paths.
We welcome doctoral students and early career professionals in architectural history, heritage, conservation, etc. The event is limited to postgraduate students (full-time or part-time) and early career professionals (those who have completed their postgraduate qualification within the last 5 years). Sessions will be structured to reflect the diversity of presentation styles needed for contemporary practice in architectural history, rather than in themes. Break-out sessions will be facilitated by a panel of invited professionals and scholars to be announced in due course.
This year we are encouraging scholars to present their research in ways that encourage discursive engagement. Research may be at any stage, from a proposal, final work as you write-up, post- doctoral reflections, or anything in-between.
We invite participation in a number of presentation styles including:
• Object-based and/or single-image presentations
• Reports or heritage statements
• Methodological reflections
Proposals can be for either
• 10-minute presentations
• Conference posters (A3 sheet in a standard format)
We welcome research on all periods and all places relating to the study of buildings, the built environment and associated histories that address a full range of methodological approaches to architectural history. All disciplinary approaches are welcome, including but by no means limited to:
• Architecture and Theory
• Urban History, Histories of Architectural Ecologies
• Art History, Material and Visual Culture
• History, Social and Cultural History
• Archaeology, Anthropology, Geography
• Heritage and Conservation of the Built Environment
Proposals should be no longer than 250 words, and indicate whether they are for posters or presentations. If you are interested in making a contribution, please complete the submission form on our website. The closing date for applications is Friday 17 January 2019. The result of all applications will be communicated by Friday, 1 February, with confirmation from the speakers requested by the second week of February. The Workshop will take place on Saturday, 21 March at The Gallery, 70, Cowcross Street, London, EC1M 6EL. No funding is available and a contribution of £10 is requested from all attendees to cover costs (inclusive of all catering). For further information or clarification of any sort please contact the conference organizers at ahw@sahgb.org.uk.
Call for Papers | Décoration intérieure et plaisir des sens
From the Call for Papers:
Décoration intérieure et plaisir des sens, 1700–1850
University of Geneva, 28–29 May 2020
Proposals due by 13 January 2020
Jean-François de Troy, La jarretière détachée (The Garter), 1724, oil on canvas, 65 × 54 cm (New York: The Metropolitan Museum of Art, Jayne Wrightsman Collection).
Dans la lignée des travaux de Goubert (Du Luxe au confort, 1988), de Crowley (The Invention of Comfort, 2001) et de DeJean (The Age of Comfort, 2009), ce colloque souhaite revenir sur la part que tenait le plaisir sensoriel dans l’organisation des espaces intérieurs en Europe entre 1700 et 1850. Plusieurs traités d’architecture du XVIIIe siècle tels que celui de Boffrand (1745) ou plus tard de Le Camus de Mézières (1780) mettent l’accent sur l’importance des sens dans la disposition et la décoration des pièces. Ces textes soulignent que certains arrangements, pour reprendre le terme de l’époque, doivent créer une impression de plaisir et de bien-être sur ses usagers. Cette idée d’un décor qui éveille les différents organes de perception du corps humain dans le but de produire un effet sur le spectateur s’inscrit dans une approche sensualiste de l’architecture. Cette préoccupation est alors désignée par de nombreux auteurs sous les termes d’« agrément » et de « commodité » qui permettent d’exprimer, avant qu’il n’apparaisse au début du XIXe siècle, le concept de confort [1].
[1] Joan DeJean, The Age of Comfort: When Paris Discovered Casual and the Modern Home Began (New York, Bloomsbury, 2009).
Nous proposons de privilégier trois grands axes de réflexion, qui n’épuisent évidemment pas le champ des possibles:
I. DE LA THÉORIE A LA PRATIQUE
Le premier axe est consacré à la place de l’agrément et du confort dans les ouvrages théoriques et à l’impact de ceux-ci dans la production de décors. Il s’agira ainsi de déterminer la part accordée aux sens et au corps non seulement dans les traités d’architecture, mais aussi les textes destinés aux artistes décorateurs, comme le livre d’André Jacob Roubo (L’Art du menuisier en meubles, 4 vols, 1769–75), et, plus incidemment, dans les recueils de modèles (Jean-Charles Delafosse (Nouvelle Iconologie historique, 1768). L’intérêt porté aux sensations dans ces ouvrages peut être pensé (/envisagé) en regard de la philosophie sensualiste (Condillac, Traité des sensations, 1754) mais aussi de la littérature libertine du siècle des Lumières (La Petite Maison de Bastide, 1763).
Nous interrogerons les fondements idéologiques de cette préoccupation nouvelle pour le corps, mais aussi le reflet de cet intérêt dans le développement d’un langage spécifique et dans l’apparition de nouveaux termes désignant des biens mobiliers. L’éventuel impact de cette nouvelle exigence sur la créativité des artisans, sur les innovations techniques et formelles, sera également questionné.
II. NORMES ET USAGES
Le deuxième axe de réflexion propose d’interroger la notion d’agrément à l’aune des normes sociales et de l’usage des différentes pièces de l’habitat. Dans l’historiographie plus ou moins récente, l’idée de confort est régulièrement associée aux lieux dits de l’« intime » qui apparaissent simultanément à l’art de la distribution (petits appartements, boudoirs, salles des bains, etc.). Il sera intéressant de se demander si l’opposition entre les espaces d’apparat et ceux plus privés, dédiés au confort et au bien-être des individus, est pertinente pour appréhender les meubles et objets composant les décors produits entre l’Ancien Régime et la Monarchie de juillet. Quels mécanismes sociaux, économiques ou culturels ont pu favoriser un nouvel idéal consistant à rechercher des sensations agréables dans les intérieurs ? Dans quelles mesures (et quand ?) le confort du quotidien devient-il un marqueur social permettant d’affirmer son rang ? Comment penser les rapports entre le confort et le luxe ? Et enfin peut-on observer des changements dans l’étiquette de cour en lien avec la notion de confort ?
III. MATÉRIALITÉ ET RESTAURATION
Le troisième axe est orienté sur des questions matérielles. Il conviendra alors d’étudier l’importance du confort dans l’évolution des formes données au mobilier. Nous prendrons aussi en compte les questions économiques relatives aux matériaux utilisés. Les essences de bois et de tissus exotiques importés des nouvelles colonies, comme l’ébène, le coton ou la soie, attisent les curiosités et jouissent d’un grand intérêt en raison de leurs caractéristiques agréables.
Une grande importance sera également donnée aux questions de transformation et de réemploi des objets. Il s’agira notamment de considérer la place du confort dans l’histoire de l’adaptation et la mise au goût du jour d’intérieurs existants. Ceux-ci connaissent, au cours de leur existence, de nombreuses restaurations et modifications visant à leur conserver une certaine modernité et utilité. Quelle place tient le confort dans l’adaptation de formes anciennes aux évolutions de la mode ?
Des questions relatives aux restaurations du XXe siècle pourront également être abordées. Le constat montre qu’en dépit des principes déontologiques de la conservation restauration des biens culturels prônant les valeurs de lisibilité de l’œuvre, de visibilité et de réversibilité de traitement, la restauration du mobilier a toujours eu cette particularité de présenter une dualité entre exigences déontologiques et remise en état de présentation et d’utilisation. Dans quelle mesure, la restauration n’est-elle pas un acte de création, lorsqu’il s’agit d’une intervention fondamentale ? Lorsque l’objet a été modifié postérieurement à sa création, faut-il revenir à son état originel ?
Modalités pratiques
Le colloque durera une journée et demie et sera conclu par une visite guidée. Les communications, d’une durée de 30 minutes, pourront être prononcées en français ou en anglais. Elles seront suivies de minutes d’échanges avec le public. Elles devront s’efforcer, dans la mesure du possible, de soulever des questions afin de susciter la discussion.
Les propositions sont attendues pour le 13 janvier 2020 au plus tard. Elles devront être composées d’un titre, d’un résumé ne dépassant pas 300 mots à l’adresse email decoration.et.plaisir@gmail.com. Elles devront être accompagnées d’un CV, ainsi que, pour les doctorants, de l’intitulé de la thèse et des noms du ou des directeur(s) de recherche. Une réponse sera adressée aux participants au plus tard le 15 février 2020.
Colloque organisé par
• Noémi Duperron, Université de Genève
• Maxime Georges Métraux, Université Paris-Sorbonne et Galerie Hubert Duchemin
• Barbara Jouves, Université Paris 1 Panthéon-Sorbonne
• Marc-André Paulin, Université Lille 3 et Centre de Recherche et de Restauration des Musées de France
• Bérangère Poulain, Université de Genève
Call for Papers | Le parfumeur
From ArtHist.net, with the extended CFP available here:
Le parfumeur: The Evolution of a Figure since the Renaissance
Palace of Versailles Research Centre, 28–29 January 2021
Organized by Alice Camus and Érika Wicky
Proposals due by 15 June 2020
This conference will explore the history of the professional perfumer, analyzing how the image of the perfumer emerged during the Renaissance in Italy, how it was further constructed during the seventeenth century in France and England, and how it continued to evolve to the present day. Under the Ancien Régime, when trade in most European countries was regulated by corporations and states, the assertion of the perfumer’s identity was often undermined by a legal struggle to become the sole holder of the right to manufacture and sell perfume products. Since its recognition, this profession has undergone metamorphoses evident in the way they affected each of three operations that have defined the perfumer throughout history: creating, manufacturing and selling perfumes (Gobet and Le Gall, 2011). Indeed, perfumers have had to adapt to changing trends in fragrance use and to distinguish themselves from their competitors at different times in their history by manufacturing and marketing not only scented waters, but also other perfumed products such as gloves, the creation of which was their first vocation, then sachets, cosmetics, hair powders, soaps, and even more recently, scented candles. The evolution of the use of perfumes, sometimes prophylactic, hygienic or hedonistic, also affected perfumers, who in turn allied themselves with other areas of activity, collaborating with apothecaries, hairdressers and chemists, followed by artists and fashion designers.
The conference will offer a multidisciplinary approach to the history of perfumers, their profession, their social status and their representations, through the presentations of specialists from diverse backgrounds: historians, art historians, literary scholars, philosophers, perfumers and professional in the contemporary world of perfumery. The multidisciplinary approach will provide a detailed and nuanced vision of the figure of the perfumer at different moments in his historical evolution by drawing on a wide range of historical, literary and artistic sources (professional documents, legal documents, inventories, etc.). This conference also seeks to highlight the links between the exercise of the profession of perfumer and the socio-cultural environment of his or her time.
Proposals for papers, in French or in English, of about 3000 characters, should be sent to Alice Camus (acamus@guerlain.fr) and Érika Wicky (erika.wicky@univ-lyon2.fr), before June 15, 2020. They must be accompanied by a short bio-bibliography. A more detailed CFP, a french version of it, and more information can be found here.
Scientific comitee: Eugénie Briot (Givaudan), Natacha Coquery (Université Lumière Lyon 2 / LARHRA), Chantal Jaquet (Université Paris 1 Panthéon-Sorbonne), Cheryl Krueger (University of Virginia), Catherine Lanoë (Université d’Orléans), Rosine Lheureux (Archives départementales du Val-de-Marne), Jean-Alexandre Perras (Voltaire Foundation).
Call for Essays | Studi Neoclassici
From ArtHist.net:
Studi Neoclassici: Rivista internazionale 8 (2020)
Submissions due by 31 March 2020
The journal Studi Neoclassici, created with the aim of publishing the results of the activity promoted by the ‘Istituto di ricerca per gli studi su Canova e il Neoclassicismo’ (‘Research Institute for Studies on Canova and Neoclassicism’) of Bassano del Grappa, has been a tool for disseminating research of the Edizione Naionale delle Opere di Antonio Canova (National edition of the works of Antonio Canova), that converge in the critical editions of the enormous Canova’s epistolary, with the historical, biographical, stylistic insights that matter requires. The major scholars of Neoclassicism constitute the scientific and editorial council of the journal.
The magazine proposes itself to the attention of scholars in various fields of research, from history to literature, from archeology to art history, from the history of culture to art criticism to the history of collecting, from the history of music to that of dance and costume.
Journal articles follow the same methodological approach that characterized the “Canovian Weeks”, i.e. the formula of connecting different artistic and cultural experiences, from literature to art history, to history and to other arts included in the historical period between second half of the eighteenth and the first decades of the twentieth century, with the intention of proposing a complete and not only specialized picture of the theme.
Studi Neoclassici publishes monographic numbers and free topic numbers relating to the historical period of the journal, the texts of which, selected through a ‘Call for papers’ procedure, are all—except for rare and justified exceptions—subject to peer review by a ‘double blind’ peer review procedure. In the case of exceptions it is the management, in its collegiality, that after careful examination assumes the responsibility of accepting the texts.
The number 8, 2020 will host free articles and one or two reviews of volumes relating to the period covered by the magazine. The editorial rules are available here. Texts can be presented in Italian, German, French, English, or Spanish; must not exceed 35,000 characters (spaces and notes included); and must be sent by 31 March 2020 to giuliana.ericani@gmail.com or gianpavese@gmail.com.
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