Enfilade

From H-ArtHist:

Beyond Reproductive Printmaking: Prints and the Canon of European Painting, ca. 1500–1810
Diesseits und jenseits von Reproduktion: Druckgrafik und der Kanon der europäischen Malerei
Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, 18–19 September 2017

Proposals due by 15 February 2017

Conference for Ph.D. students, postgraduates and researchers at museums and universities in the Kupferstich-Kabinett (Museum of Prints, Drawings and Photographs) of the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections) in collaboration with the TU Dresden Institute of Art and Music, Dresden, 18–19 September 2017.

Are paintings reproduced because they are famous, or have they become famous because they have been reproduced over and over again in the past centuries? The aim of this conference is to throw light on the status of reproductive prints in the process of the formation of (an) artistic canon(s). It aims at exploring artistic and technical aspects of the creative and innovative making process, including the printmakers’ ability to translate the original work into a new pictorial language and to the history of both reception and transmission of works of art.

The conference will cover the period running from the early 16th century to the introduction of the first lithographic press in the early 19th century. Geographically, the focus is on Europe. No restrictions are imposed concerning printing techniques—on the contrary, the characteristics of each technique as well as its ability and uses for reproducing original paintings constitute an important topic. We invite submissions of papers drawing from current research on specific prints or series of prints as well as on new theoretical approaches and methodologically promising developments in the study of interpretative prints, also exploring their potential as a source and as a subject matter of art history.

In particular we welcome submissions in (but not limited to) the following areas:
• Yet again: The original and its graphic interpretation(s): How are collaboration and competition amongst the printmakers themselves, and between the engravers and the painters represented in the prints? To what extent did the engravers take liberties with the paintings’ details? Did printmakers even perhaps hide critical or satirical messages in their interpretations?
• Questions of style: How is the painterly style of the original expressed in the graphic medium? What is the relationship between the printmaker’s technique and the pictorial style or the genre of the original? Is there experimental ground for innovations in new printmaking techniques? What role do special printmaking techniques—e.g. outline etching, aquatint, or colour(ed) print—play in the processes of translation and interpretation?
• Reception: How were differences in style and in composition between the original and its reproduction perceived by the contemporary viewer? Is it possible to identify links between prints and theoretical writings on certain paintings or painting in general? Which influence do captions have in the process of reception?
• Reproductive prints as a source for new approaches in scholarship: What potential do reproductive prints have as a source for the study of canon formation and for (art) historical network research? How can the pictorial and textual information contained in those prints be gathered, and how can this be made accessible for practical use?

An important objective of the conference is to encourage networking between academic researchers and museum professionals. Proposals by both doctoral candidates in art history and aesthetics as well as students aiming at a Ph.D. in the field of the graphic arts are welcome. We also invite applications from curators and postgraduate researchers at museums and other research institutions, and we are pleased to receive papers from colleagues working in media studies, philosophy, and history.

Please submit your proposal in the form of a 400-word abstract and a short CV and send it in English or German as a PDF file to beyond-reproduction-2017@gmx.de by 15 February 2017. Please indicate in your proposal those prints that you wish to discuss in the original; we will be happy to check if they are available in the Kupferstich-Kabinett.

From H-ArtHist:

The Art of Revolutions
Philadelphia, 19–21 October 2017

Proposals due by 15 March 2017

The tumult and transformations resulting from the Age of Revolutions (1770s–1840s) created a trans-Atlantic body of art and material culture that reflected and inspired new ideas and actions. Inspired by the American Philosophical Society’s 2017 exhibition on the legacy of the patriot portraitist Charles Willson Peale and his artistic family from the eighteenth century until the middle of the nineteenth, and the Philadelphia Museum of Art (PMA)’s forthcoming publication of The Art of the Peales: Adaptations and Innovations, along with a series of other Peale-centric events happening in Philadelphia, the APS and PMA will co-sponsor a scholarly conference, 19–21 October 2017, that explores the role of imagery in influencing and giving meaning to the political revolutions that defined the late eighteenth and early nineteenth centuries. The conference is especially interested in papers covering the American Revolution, the French Revolution, the Circum-Caribbean Revolutions, and the Revolutions of 1848.

Potential topics include
• the work of individual artists or artistic movements
• the role and influence of those who reproduced artwork for the public, such as printers or engravers
• the ways in which works were received by audiences
• the function of art in shaping public perceptions both at the time of revolutionary events and through historic memory

We hope the chronological scope and transatlantic breadth of the conference will stimulate an interdisciplinary dialogue that crosses traditional geographic barriers and transcends the limitations of strict periodization.

Applicants should submit a title and 250-word proposal along with a CV by March 15, 2017 to conferences@amphilsoc.org. Decisions will be made by the summer of 2017.  All presenters will receive travel subsidies and hotel accommodations. Accepted papers will be due a month before the conference and pre-circulated to registered attendees. Papers should be no longer than 15-double spaced pages. Presenters may also have the opportunity to publish revised papers in the APS’s Proceedings, one of the longest running scholarly journals in America.

A Companion to Eighteenth-Century Literary Illustration, Volume I: Approaches
Edited by Leigh G. Dillard and Christina Ionescu

Proposals due by 20 January 2017

Proposals are invited for the first installment in a multi-volume collection, titled A Companion to Eighteenth-Century Literary Illustration. The first volume is designed for students and established researchers seeking an introduction to approaches in this field; it can also be used for book illustration scholars seeking to extend their theoretical and methodological tool kit. Contributions should provide an introduction to pertinent theoretical terms and concepts, a practical demonstration, and suggestions for further reading. When possible, examples should be chosen from more than one national tradition. We invite proposals on the following topics to fill gaps in our existing commitments:
• Book illustration and consumer culture
• Book illustration and fashion studies/costume studies
• Book illustration and visual rhetoric

Please send 300–500 word proposals to Christina Ionescu (cionescu@mta.ca) and Leigh Dillard (leigh.dillard@ung.edu) by January 20, 2017. The deadline for the submission of completed chapters will be December 15, 2017.

From H-ArtHist:

Visual and Material Culture Exchange across the Baltic Sea Region, 1772–1918
Greifswald University, 15–18 June 2017

Proposals due by 15 December 2016

Although the Baltic Sea has been one of the world’s greatest cultural crossroads, scholars often have overlooked cultural exchange in favor of exploring national and regional identities. 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. Still, common terminology such as ‘Scandinavia’ and ‘the Baltic States’, suggests these cultures are mutually exclusive, or, as the case with ‘Central and Eastern Europe’, ambiguously monolithic.

While historians have been examining the Baltic Sea Region—present-day Denmark, Estonia, Finland, Germany, Latvia, Lithuania, Poland, Russia, and Sweden—as an important center of cross-cultural interaction, the area’s visual and material culture, one of the most important avenues of exchange, is often reduced to illustrative examples of historical phenomena. Art historical narratives continue to be tethered to national and ethnocentric approaches, a bias this conference seeks to complicate.

This project—two conferences (in Greifswald and Tallinn) and an anticipated edited volume—emerges from these twin desires: to study the Baltic Sea Region as a cultural crossroads and to depart from isolated, national/regional narratives. By foregrounding visual and material exchanges and the ideological or pragmatic factors that motivated them, we seek to establish common ground for viewing the Baltic Sea as a nexus of intertwined, fluctuating individuals and cultures always in conversation. We invite papers that engage material/visual culture as conceptual lenses through which to reevaluate the history, meaning, and significance of the Baltic Sea Region.

Proposals for this conference must include (in English):
a) an abstract of maximum 150 words summarizing your argument
b) academic resume
c) full contact information including e-mail

Papers will be 20 minutes in length and will be followed by discussion. The language of the conference is English. Contributions should be sent to Michelle Facos (mfacos@indiana.edu) and Bart Pushaw (bcpushaw@gmail.com) by 15 December 2016. Notification of acceptance will be by 15 January. This conference will be co-sponsored by the Baltic Borderlands Program of Greifswald University and the Alfried Krupp Wissenschaftskolleg, Greifswald.

From H-ArtHist:

Travelling Objects: Ambassadors of Cultural Transfer between Italy and the Habsburg Monarchy
Botschafter des Kulturtransfers zwischen Italien und dem Habsburgerreich
Ambasciatori dello scambio culturale tra l’italia e il regno asburgico
Rome, 19–20 May 2017

Proposals due by 15 January 2017

The international conference Travelling Objects will focus on the material aspects of cultural transfers: the exchange of paintings, designs/drawings, sculptures, or books. Our specific interest is in the movement of these inherently ambassadorial objects between Italy and the Habsburg Monarchy during the 17th and 18th centuries and their reception and role in the transmission of information and ideas between the North and the South. Special attention will be given to the agents who promoted, organized, or mediated the exchange.

Collecting without Borders
The extensive art collections of the nobility in the Habsburg lands—Liechtenstein, for instance, or Czernin, or Savoyen—as well as the imperial picture gallery were products of a massive importation of artworks from Italy during the 17th and 18th centuries. Diplomatic missions and the Grand Tour gave collectors direct access to the Italian art market. At the same time, ambassadors and envoys from Italy took advantage of their sojourns at the Imperial court to acquire and mediate works of art for their home courts.

The Art of Gift-Giving
The exchange of representative gifts was a fundamental aspect of early modern diplomacy. The act of gift-giving was a form of symbolic communication that articulated political interests, claims, or demonstrations of fidelity. Furthermore, certain gifts—notably portraits, medals, or paintings—served as signs of friendship as well as devices for the self-promotion of artists. Transnational gift-giving is also a testament of cultural exchange: regional luxury goods not only conveyed prestige and fashion trends but also transmitted technical know-how.

Traveling Objects is organized by Silvia Tammaro and Gernot Mayer (University of Vienna) and aims to link established scholars with young researchers. Scheduled to take place in Rome, 19–20 May 2017, this event is a cooperation between the Austrian Historical Institute in Rome (ÖHI) and the University of Vienna. The conference languages are Italian, German, and English. Please send your proposal (1–2 pages) and a short CV to silvia.tammaro@univie.ac.at and gernot.mayer@univie.ac.at by 15 January 2017. A partial reimbursement of travel costs will be offered.

From J18:

Journal18, Issue #5 (Spring 2018) — Coordinates
Digital Mapping & 18th-Century Visual, Material, and Built Cultures

Proposals due by 1 April 2017; finished articles will be due by 1 November 2017

Art history’s digital turn has been stimulated by the possibilities of spatial research.  Spurred by the collection, preservation, and distribution of art historical data in digital space—practices that have both collapsed and expanded our own discursive geographies—scholars have exploited the potential of geospatial analysis for art historical study. These new methods are particularly promising for the study of the early modern world, which has been fruitfully understood through the prisms of connections and exchanges that crossed world regions and defied the boundaries drawn on static maps. Digital mapping platforms and applications like CartoDB, Neatline, ArcGIS, Leaflet, and MapBox have made it possible, for example, to visualize the movement of people, such as artists, through temporal and geographic space, thus allowing us to reimagine personal and material contacts in tangible ways. Moreover, the dynamic lives of mobile and fungible objects can be displayed in extended and often circuitous trajectories, thus encouraging the kind of nonlinear visual analysis that is foundational to the practice of art history. Georectification tools have further facilitated the reconciliation of historical figurations of space with contemporary visualizations, which allows competing spatial narratives to coexist productively in a digital realm, while also challenging the magisterial view offered by modern cartography.

In this issue of Journal18, we seek to feature current scholarship that relies on the analytical power provided by digital mapping interfaces for the study of visual, material, and built cultures during the long eighteenth century. How do digital humanities methods and tools shape our understanding of space and place in the early modern period? What impact might digital mapping have on our historical investigations of people, objects, and their environments? Submissions may take the form of an article (up to 6000 words) or a project presented through a digital platform that takes full advantage of Journal18’s online format. We also welcome proposals for shorter vignettes (around 2,500 words) that reflect on projects in progress or consider the potential for particular mapping methodologies for eighteenth-century art history.

Issue Editors
Carrie Anderson, Middlebury College
Nancy Um, Binghamton University

Proposals for issue #5 Coordinates are now being accepted. Deadline for proposals: April 1, 2017. To submit a proposal, send an abstract (200 words) and a brief CV to editor@journal18.org and carriea@middlebury.edu. Articles should not exceed 6000 words (including footnotes) and will be due on November 1, 2017. For further details on the submission process, see Information for Authors.

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From H-ArtHist:

Early Modern Satire: Themes, Re-Evaluations, and Practices
University of Gothenburg, Sweden, 2–4 November 2017

Proposals due by 4 January 2017

Early modern satire—broadly from around 1500 to 1800—is a vast but still under-examined field of representation. Although flourishing in certain periods and certain places, satire can be said to be integral to the European project, often challenging the limits of tolerance and evoking hostility but also associated, increasingly in this period, with notions of freedom and enlightenment. This conference, hosted by Gothenburg University, seeks to position satire as a mode of representation throughout early modern Europe and clarify its role in politics, culture, and religion. We seek proposals from scholars in all fields who work on aspects of satire in the period. Especially welcome are contributions that explore satire as a form of representation existing across boundaries—of territories, of genres, and/or periods. We also welcome proposals that situate satire in a wider aesthetic context, including cross-disciplinary work that seeks to address satire as a mode of for example visual representation.

Topics may include, but are not limited to:

The mediation of satire. Described variously as a ‘genre’ and a ‘mode’, satire often transgresses medial and generic boundaries during the early modern period. Is satire more of an ‘intermedial’ phenomenon in certain periods and places?

The gendering of satire. Early modern satire in has been characterized as very much a male enterprise. Are there variations over time and between places, as regards for example female authorship, and in terms of form and theme, how does satire depict aspects of femininity and masculinity?

Satire and censorship. Always having had a complex relationship with authority, satire in the early modern period also saw the rise of the print medium and various attempts at regulating published output. How do censorship and other forms of regulative interventions shape satirical texts (in a wide sense)?

Perspectives on the classical heritage. Although a thoroughly investigated field, the relationship between early modern satire and its classical predecessors is still relevant as a field of inquiry. Just how dependent was early modern satire on its Horatian, Juvenalian and other role models?

Satire and religion. While relating to classical forms and themes, satire also has a complex relation to Christian religion as both a target and a formative system of belief. In what ways do changes in religious institutions and norms affect the production of early modern satire?

Satire and medical discourse. The frequent description of satire as ‘melancholy’, for example, suggests links to humoral theory and other aspects of physiology. To what extent can satire be understood in such terms?

Satire and the canon. While for example literary history has ascribed a central role to satire in the 18th century, scholarly discussions are often based on select examples and relegate others to the margin. What are the social and historical determinants of the ‘lasting appeal’ of certain satirical texts?

Keynote speakers: Howard Weinbrot and Ola Sigurdson

Presentations are strictly limited to 20 minutes in length. A 250-word abstract, a title, and a 50-word biographical statement should be submitted to earlymodernsatire@lir.gu.se by 4 January, 2017. Enquiries may be directed to this address, to Dr. Per Sivefors at per.sivefors@lnu.se or Dr. Rikard Wingård rikard.wingard@lir.gu.se. Additional information is available here.

Kunstkammer, Landesmuseum Württemberg (Württemberg State Museum), Stuttgart (Photo by Bernd Gross, Wikimedia Commons, June 2016).

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From the workshop website:

Curating History Workshop
European University Institute, Florence, 10–13 October 201

Proposals due by 15 January 2017

Museums display objects constructed in historical complexity that cannot be explained by a single narrative. This complexity constitutes an obstacle for museum actors, who are assigned the task of providing an interpretation that can never embrace the entirety of the narratives contained in one object. Additionally, this difficulty expands when objects have to be placed in the narrative of permanent exhibitions, which present certain specific constraints.

Permanent exhibitions are at the core of the work of most museums. Even if ‘permanent’ does not mean eternal, these exhibitions are the public expression of the museum’s collections and mission. Thus, considering the limitations in both presenting the historical complexity of objects and taking into account the constraint of choosing a narrative for permanent exhibitions, we wish to look out for ways in which the museum can be turned into a place of convergence where curators, researchers, and audiences can think historically about objects. Are there new and old ways of curating history in permanent exhibitions? How is it possible to bring together museums, academia, and the public? In organising this workshop, we would like to offer a place for discussion where curators and scholars from a broad variety of institutions (museums, universities, research institutes, etc.) elaborate a joint reflection in both theoretical and practical terms, structured around four sessions: History, Responsibility, Mediation, and Communication (between Curators and Scholars).

Confirmed Speakers
Kim Sloan, The British Museum
Marta Lourenço, Museums of the University of Lisbon
Sébastien Soubiran, University of Strasbourg

The European University Institute, in Florence, the Global History & Culture Centre at the University of Warwick, and the CHAM – Centro de Humanidades, in Lisbon, in collaboration with the Victoria & Albert Museum and the Royal College of Art in London, welcome papers for the workshop Curating History, which will take place in Florence from the 10th to the 13th of October 2017. You are invited to send proposals (maximum of 250 words, in a PDF file, to curating.history@gmail.com) for a 4000-word paper of a case study or a theoretical discussion that fits one of the four sessions: History, Responsibility, Mediation, or Communication (between Curators and Scholars). The paper will be the basis for a 15-minute presentation at the workshop. Please ensure that you indicate your name, academic/professional affiliation, and which session you are writing your paper for (depending on the number of papers received, the organising committee may have to decide to allocate papers to a different session). Deadline for submitting abstracts is the 15th January 2017. Selection of abstracts will take place during the following two weeks. Once selected, participants will be invited to write their papers and submit them to the organising committee by the 1st September 2017. Papers will be made available so that participants can prepare for the discussion. The organising committee is applying for funding to help covering travel expenses or accommodation in Florence; at this stage, however, grants for participants cannot be guaranteed.

Email for abstract submission: curating.history@gmail.com

European University Institute
Charlotte Bellamy
Deborah Dubald
Bruno A. Martinho

CHAM – Centro de Humanidades
Carla Alferes Pinto
Sofia Lapa

Global History and Culture Centre, University of Warwick
Holly Winter
Josephine Tierney

V&A Museum / Royal College of Art
Matthew Wells

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The editors assure me they’re keen to have submissions from the 1790s and early nineteenth century! –CH

A Worldwide Market for Old Masters between the Napoleonic Era and the Great Depression, edited by Susanna Avery-Quash and Barbara Pezzini (Oxford University Press).

Chapter proposals due by 1 February 2017

We are soliciting chapter abstracts for an edited collection with the provisional title A Worldwide Market for Old Masters between the Napoleonic Era and the Great Depression. The volume will be an edited collection of around 15 essays, each of 6000–7000 words (plus footnotes), with up to 5 illustrations. It is envisaged that the collection will be part of the Oxford University Press series on the History of Collecting, edited by Christina Anderson and Peter Stewart.

This project stems from a panel convened by Susanna Avery-Quash at the conference, Creating Markets: Collecting Art, which took place at Christie’s in July 2016, as part of Christie’s 250th anniversary celebrations. In the light of the positive feedback received at the conference, the editors have decided to broaden scope of the book to include historic studies about the Old Master market in Australia, Africa, and Australasia. Consequently, we are incorporating additional essays into the book, commissioning these through a call for papers. Authors who have already confirmed their participation are Julia Armstrong-Totten, Sarah Bakkali, Gail Feigenbaum, Christian Huemer, Agnès Penot, Veronique Powell, and Inge Reist.

As a result of the Napoleonic wars, vast numbers of Old Master paintings were released on to the market from public and private collections across mainland Europe. From the 1790s onwards, many ended up in London, which joined Paris as a leading centre of the art market. In the course of the 19th century the market for ‘old art’ expanded, in volume and geographically, witnessing a new worldwide distribution of Old Master paintings. This growth only diminished in the early 1930s, in the wake of the Great Depression.

The book aims to explore for the first time in a comprehensive way the worldwide movement of Old Master paintings by investigating some of the most significant agents, dealers, and commercial galleries who flourished during the period and their international networks. We are seeking for contributions that map analytically this expansion and explore the ways in which the pioneering practices of agents and dealers contributed to shape a changing market. We desire, in particular, contributions that make use of new archival resources.

In the light of new primary sources the essays in the book will address some aspects of the following questions: Why, when, and how did these dealers (or agents and galleries) come to specialise in selling Old Masters? What shaped their expertise and subsequent practice, and how did they operate and diversify? How did they make a name for themselves, and what, if anything, made them distinctive or innovative? What effect did they have on the art market and on patterns of collecting? How did the international trade contributed to the success (or demise) of their businesses? What was their relationship with established museums? How did they use other means—such as exhibitions, photographs, and advertisements—to promote their wares? Finally, what was their relationship with art historiography, art criticism, and with a changing art press?

We are seeking contributions from scholars of the Old Masters Market, 1800–1930 in its broadest sense, with a special interest in business history and/or attention to commercial international connections. The following topics are particularly desired:
• Germany, Italy, and other European countries
• Asian, African, and Australian countries
• Smaller dealers and alternative networks of circulation
• The firm of Duveen Brothers

Please send a 500-word abstract (excluding bibliography) with a title, a 150-word biography, and a short CV and contact info (for each author/co-author) to both Susanna.Avery-Quash@ng-london.org.uk and barbarartpezzini@gmail.com by 1 February 2017. Notification of decisions to follow by 1 March 2017.

Editors
Susanna Avery-Quash, Senior Research Curator in the History of Collecting, The National Gallery; and Barbara Pezzini, Editor and Index Editor, Visual Resources and The Burlington Magazine.