Enfilade

From H-ArtHist:

Painting Childhood
Compton Verney Art Gallery & Park, 29 March 2019

Proposals due by 29 October 2018

Children have long fascinated artists and have been captured in images ranging from formal portraits to humorous genre scenes and intensely personal family sketches. These diverse works will be the subject of two exhibitions at Compton Verney from 16 March until 16 June 2019. Painting Childhood: Hans Holbein to Lucian Freud will present a survey of some of the most iconic paintings of children produced over the past 500 years, with sections devoted to the royal portrait, play and learning, and the fantasy and reality of children’s lives. Childhood Now will explore contemporary representations of children in the work of the painters Chantal Joffe, Matthew Krishanu, and Mark Fairnington.

To coincide with these exhibitions we invite proposals for an interdisciplinary study day on the subject of childhood from 1500 to today. The study day will enable us to interrogate the key themes and issues of the exhibitions in more detail, contributing to the field of childhood studies through fruitful cross-disciplinary discussions. Painting Childhood will include select examples of children’s costumes, toys, and schoolbooks. As such we welcome contributions from speakers with a range of disciplinary backgrounds and research perspectives (History, Literature, Sociology, Anthropology, and History of Art). To facilitate meaningful debate papers will be grouped thematically and may address, but are not limited to, the following topics: Intimacy and family ties; dynasty, duty and privilege; play, fantasy and children’s worlds; the material culture of childhood; the appropriation and commercialisation of childhood; memories and memorials; childhood today and the future of childhood.

Keynote speaker: Dr Martin Postle

Please send a 300-word abstract for a 20-minute paper to art@comptonverney.org.uk by Monday 29 October 2018. We welcome applications from emerging and established scholars. Please include a short professional biography. Travel bursaries will be available for speakers covering reasonable expenses incurred within the UK.

Organising committee: Amy Orrock (Compton Verney), Emily Knight (V&A), and Penelope Sexton (Compton Verney)

Seminars in the History of Collecting
The Wallace Collection, London, 2019

Proposals due by 7 September 2018

The seminar series was established as part of the Wallace Collection’s commitment to the research and study of the history of collections and collecting, especially in the eighteenth and nineteenth centuries in Paris and London. In 2019, as in previous years, we plan to organise a series of 10 seminars. We are keen to encourage contributions covering all aspects of the history of collecting, including
• Formation and dispersal of collections
• Dealers, auctioneers, and the art market
• Collectors
• Museums
• Inventory work
• Research resources

The seminars, which are normally held on the last Monday of every month during the calendar year, excluding August and December, act as a forum for the presentation and discussion of new research into the history of collecting. Seminars are open to curators, academics, historians, archivists, and all those with an interest in the subject. Papers are generally 45–60 minutes long, and all the seminars take place at the Wallace Collection between 5.30 and 7pm. If interested, please send a short text (500–750 words), including a brief CV, indicating any months when you would not be available to speak, by Friday 7 September 2018. For more information and to submit a proposal, please contact: collection@wallacecollection.org.

Please note that we are able to contribute up to the following sums towards speakers’ travelling expenses on submission of receipts:
• Speakers within the UK – £80
• Speakers from Continental Europe – £160
• Speakers from outside Europe – £250

From the session Call for Papers:

Exotic Switzerland? Circulating Art, History of Collecting, and Global Material Culture, 1600–1800
Fourth Swiss Congress of Art History, Mendrisio, 6–8 June 2019

Proposals due by 30 June 2018

Switzerland is often perceived as a secluded country with neither maritime borders nor official colonies in its past; yet its inhabitants have a long history of connecting with the outside world, be it for scientific research, political, artistic, or economic reasons. The ways and means European artists discovered, transformed, and integrated foreign objects and imagery into their works has been researched abundantly for the 19th century—for instance in the context of Orientalism and Japonisme—but still needs to be explored for the early modern period in general and for Switzerland in particular.

In this panel, we would like to explore how the travelling of objects and persons shaped the art world and material culture of Switzerland throughout the Baroque and the Enlightenment. Of interest is the connection between the decorative and the fine arts and their respective market situations. How did, for instance, the makers of fine and decorative arts, like porcelain, lacquer or textiles, as well as scientific and technical objects, alter its iconography, style, and materiality stimulated through global exchange? We would like to analyze to what extent the circulation of goods, artefacts, or art works as well as crafts and technologies transformed Swiss material culture in the era of an early globalization.

Furthermore, the political dimension of exchanges across continents shall be examined. Since the 1990s a growing number of scholars have focused on the representation of other parts of the world in Europe and related theoretical questions, leading to concepts of ‘hybridization’, ‘encounter’, ‘translation’ as well as ‘contact zone’ for instances. The word ‘exotic’ has also been used extensively in this context, particularly in the field of decorative arts—often without taking into account its etymology, political connotations, and problematic undertones. Therefore, this panel is also an opportunity to discuss the politics of classification and terminology related to cross-cultural exchanges.

Section Organizers
Prof. Dr. Noémie Etienne, Universität Bern, Institut für Kunstgeschichte, noemie.etienne@ikg.unibe.ch
Dr. Chonja Lee, Universität Bern, Institut für Kunstgeschichte, chonja.lee@ikg.unibe.ch

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The Fourth Swiss Congress of Art History will be held in Mendrisio from 6 to 8 June 2019. Organized jointly by the Swiss Association of Art Historians SAAH and the Institute for the History and Theory of Art and Architecture ISA (Accademia di architettura, Università della Svizzera italiana), it is aimed at art historians from all fields and institutions. Scholars are invited to submit proposals for 20-minute papers within one of the nine panels. Acceptance decisions will be made by the directors of individual panels. We welcome contributions in Italian, German, French, and English in the hope to assemble multilingual panels that would reflect the institutional diversity of the field and foster the young generation of academics.

Please send an abstract (1 page, max. 3000 characters) and a short curriculum vitae including institutional affiliation and contact details to the relevant panel directors by 30 June 2018. Please also CC the office of the SAAH at vkksgeschaeftsstelle@gmail.com.

The complete Call for Papers is available as a PDF file here»

Manuscript Guidelines for the Metropolitan Museum Journal:

Metropolitan Museum Journal
Submissions for Volume 54 are due by 15 October 2018

The Editorial Board of the peer-reviewed Metropolitan Museum Journal invites submissions of original research on works of art in the Museum’s collection. There are two sections: Articles and Research Notes. Articles contribute extensive and thoroughly argued scholarship. Research Notes typically present a concise, neatly bounded aspect of ongoing investigation, such as a new acquisition or attribution, or a specific, resonant finding from technical analysis. All texts must take works of art in the collection as the point of departure.

Articles and Research Notes in the Journal appear both in print and online, and are accessible via MetPublications and the Journal’s home page on the University of Chicago Press website.

Manuscripts are reviewed by the Journal Editorial Board, composed of members of the curatorial, conservation, and research science departments. To be considered for the following year’s volume, an article must be submitted, complete including illustrations, by October 15. Once an article is accepted for publication, the author will have the opportunity to review it after it has been edited and again after it has been laid out in pages. The honorarium for publication is $300, and each author receives a copy of the Journal volume in which his or her article appears.

Additional information is available here»

From the conference flyer:

Hidden in Plain Sight: Meanings and Messages in Ceramics, 1650–1950
Rienzi Biennial Symposium, Museum of Fine Arts, Houston, 21–22 September 2018

Proposals due by 15 July 2018

Chinese, Masonic Punch Bowl, ca. 1750–70, hard-paste porcelain (The Museum of Fine Arts, Houston, the Rienzi Collection, 74.216).

Rienzi, the house museum for European decorative arts of the Museum of Fine Arts, Houston, begins the celebrations for its 20th anniversary as a public collection with a symposium featuring international emerging scholars, Hidden in Plain Sight: Meanings and Messages in Ceramics, 1650–1950. Scholars are asked to discuss objects made for rare or unlikely uses, display, or celebration. We ask participants to examine the use of ceramics as vehicles for concealed language regarding humor, courtship, diplomacy, learning, class, and contemporary culture.
Rienzi houses a significant collection of European paintings, sculpture, furniture, porcelain, and silver from the mid-17th through mid-19th centuries. Built in 1953 as a residence and opened to the public as a house museum in 1999, Rienzi evokes fine European houses of the 18th century with architecture reminiscent of the Italian Palladian style, surrounded by period European decorative arts and paintings. Rienzi is particularly rich in 18th-century European porcelains, thanks to the collecting interests of Harris and Carroll Masterson, its founding collectors. This scholarly exploration of ceramics honors their legacy and philanthropic spirit.

Master’s and doctoral students as well as entry level and mid-career professionals are invited to submit a 400-word abstract outlining a 20-minute presentation, along with a CV, to sniemeyer@mfah.org by 15 July 2018. Selected participants will be notified by 1 August 2018 and will be offered a $600 stipend for travel and lodging. All presentations are given Saturday, 22 September 2018, at the Museum of Fine Arts, Houston. The keynote lecture is held Friday evening, followed by a reception at the Museum of Fine Arts, Houston.

Possible themes of investigation may include, but are not limited to
• Display
• Dining
• Privacy
• Social pastimes
• Etiquette
• Gender
• Travel
• Economics
• Politics
• Beauty
• Print culture
• Secret societies

This collection of essays will build and expand upon the research recently presented at the conference of the same name (Institute of English Studies, London, April 2018) to offer the first handbook of color printing techniques in the long eighteenth century.

Printing Colour 1700–1830: Histories, Techniques, Functions and Receptions
Edited by Elizabeth Savage and Margaret Morgan Grasselli

Proposals due by 8 June 2018; finished essays due by 15 February 2019

Following from the award-winning volume Printing Colour 1400–1700, Printing Colour 1700–1830 will be the first handbook of early modern colour printmaking in the long eighteenth century. It will contribute to a new, interdisciplinary paradigm for the history of printed material in the west. It aims to understand how new (and old) forms of colour printing changed communication during the late handpress period, from the invention of trichromatic printing until the Industrial Revolution and the introduction of chromolithography allowed the mass production of diverse colour-printed materials.

The discussion will encompass all media, techniques, and functions, from text to image, fashion to fine art, wallpaper to scientific communication. For this reason, submissions are sought from academics, curators, special collections librarians, printers, printmakers, cataloguers, conservators, art historians, book historians, digital humanities practitioners, scientists, and others who care for colour-printed material, seek to understand how it was produced and used, or engage with it in research.

Please submit 300-word abstracts online by 8 June 2018. Chapters of 4,000–6,000 words (including notes and captions) with up to 10 illustrations will be due 15 February 2019 for publication in mid-2020. The book will be peer-reviewed and published in full colour. Contributors will be responsible for sourcing images and copyright for their contributions, but they will qualify for fee waivers from many heritage collections because the publisher is a charitable academic press. This book is an output of the Printing Colour Project. For enquiries, please contact Gemma Cornetti at printingcolourproject@gmail.com.

Panel proposals for ASECS are due soon:

2019 American Society for Eighteenth-Century Studies Conference
Denver, 21–23 March 2019

Session Proposals due by 15 May 2018

The 50th Annual Meeting of the American Society for Eighteenth Century Studies is less than a year away! ASECS will hold its anniversary meeting in Denver, Colorado, 21–23 March 2019. We hope to see you there.

Proposals for panels, roundtables, and other sessions at the 2019 Meeting are now invited. The deadline for submission is 15 May 2018. The online form for proposing sessions may be accessed here: ASECS 2019 Call for Proposals. In addition to welcoming session proposals on all aspects of eighteenth-century studies, the Executive Board encourages members to propose panels connected to the 50th Anniversary of the Society—for example, reflecting on the history of the organization, debating its future, or examining the state of eighteenth-century studies within academia or in specific disciplines.

If you have any questions, please contact the ASECS Business Office at asecsoffice@gmail.com.

Along with the HECAA session at this year’s UAAC Conference, readers may be interested in this panel organized by Ersy Contogouris and Marie-Ève Marchand. Details and a full list of panels (68 in all) are available here»

Excess! | Universities Art Association of Canada
Department of Fine Arts, University of Waterloo, Ontario, 25–27 October 2018

Proposals due by 1 May 2018

As a transgression of a norm that is culturally contingent, excess has tended to be condemned in the West as a moral failing. Yet, it can also be a strategy for empowerment, agency, and creativity (Skelly, 2017, 2014; Potvin & Myzelev 2009). And though it often manifests itself as overabundance, its counterpart—including vacuum, censorship, or prohibition—can also be a form of excess. This panel seeks to investigate different manifestations of excess in visual art and material culture. At what point does ‘a lot’ becomes ‘too much’? Are there degrees of excess (a moderate vs. an excessive excess)? Who decides? What are the emotional, visual, environmental, conceptual, or other modalities, effects, and responses to excess? What are the gendered, sexualized, racialized, geographical, cultural, class-specific, or other valences of excess? And how can some mediums or materials in themselves be markers of excess? We welcome explorations into these and other displays of excess in art and design from historians, curators, and practitioners. Submissions for presentations in French or English should include an abstract (of up to 300 words) and a short biobibliography (of up to 150 words) and should be sent to Ersy Contogouris (ersy.contogouris@umontreal.ca) and Marie-Ève Marchand (marie- eve.marchan@mail.concordia.ca) using the form available as a PDF file here. For more information, please contact the session organizers.

From H-ArtHist:

Artisans of the Surface in Early Modern Europe, 1450–1750
King’s College London, 20–21 September 2018

Proposals due by 8 June 2018

This workshop focuses on the practices of a range of artisans (tailors, barbers, cooks, cheesemakers, gardeners, and agronomists) and their relationships with the fields of meteorology, botany, natural history, medicine, earth sciences, and veterinary medicine. These artisans and their practices shared a set of skills related to the observation and manipulation of human and non-human surfaces. We will explore how, and if, practical knowledge about the surface of things and bodies (and their storage and preservation in relation to specific environmental conditions) led to the concept of nature and matter as composed of layers, and how such a framework contributed to the demise of traditional Galenic and Aristotelian views on nature.

This workshop also aims at getting past the dichotomies between quantitative and qualitative knowledge and between natural philosophy and the arts, and so we intend to broaden the focus to include a set of artisans who have traditionally remained invisible from accounts of this ‘age of the new’. We will explore the many different ways in which ‘modern science’ emerged, the relationships between social and cognitive practices, and the contribution that non-mathematical sciences gave to the mental habits of observing, collecting, experimenting with, and manipulating natural matter.

We welcome proposals, in particular, that address the relationships between gardening, natural history, and medicine; cooking and knowledge; work on animal skin; leatherwork; or veterinary medicine. Proposals (up to 250 words) for 20-minute papers should be sent to Paolo Savoia at renaissanceskin@kcl.ac.uk by 8 June 2018.