Enfilade

From H-ArtHist:

Seeing Through? The Materiality of Dioramas, 1560–2010
University of Bern, 1–2 December 2016

Proposals due by 31 May 2016

Dioramas are at the crossroads of artistic and scientific practices. They bring together artists, scientists, and collectors, thus providing an opportunity to reflect on the polyvalence of these actors and the definition of their expertise. In 1822, Louis Daguerre coined the term ‘diorama’ when describing his theater. The word diorama means literally ‘seeing through’. In accordance with this etymology, dioramas embody a sense of transparency and life-likeness. In addition to providing theatrical and visual experiences, dioramas are multidimensional installations that incorporate paintings, objects, stuffed animals or mannequins. Habitat groups mixing taxidermy and painted backgrounds were designed for natural history museums, while anthropological dioramas were disseminated all over Europe during the second half of the nineteenth century. They were usually life-sized and site specific, but they could also be reduced to maquettes.

To date, these installations have been studied by scholars from various disciplines, mainly as side topics. Media historians have considered them primarily as proto-cinematic, whereas within the fields of anthropology, museum studies and postcolonial studies, they are generally analyzed as displays that reflect political taxonomies and stereotyped representations.

However, dioramas are not merely images or displays: they are also physical objects made of multiple materials, such as plaster, wood, paper, paint, glass, fur, wax, and metal. The discipline of art history thus provides us with the opportunity to approach the materiality of these installations. Indeed, dioramas are composite and hybrid things, created through cultural interaction and physical encounter. Multiple hands as well as various visions are involved in the process of their creation—and later on, during their conservation. Dioramas therefore allow for the study of contact zones and material exchanges between private and public spheres, as well as between Western and non-Western contexts. Finally, dioramas as objects of study within the field of art history enable us to address values such as authenticity and realism in various contexts.

Part 1  A Genealogy, 1560–1822
This session will explore the diorama’s prehistory before its ‘invention’ by Daguerre, starting with objects, installations, and machinery created for churches and theaters between the sixteenth and eighteenth centuries. Three-dimensional installations, such as groups gathering natural history specimen (taxidermic animals, skeletons) will be of greatest interest. Presentations may focus on wax museums, and more broadly on hyperrealistic figures that were displayed in groups and used for entertainment as well as for pedagogical or medical purposes. Early forms of panoramas, and diaphanoramas will also be of primary importance, such as the creations of the Swiss landscape painter Franz Niklaus König, first exhibited in Bern in 1811.

Part 2  Dioramania, 1822–1970
The second session will consider the numerous dioramas created during the nineteenth and twentieth centuries. Habitat Groups and anthropological dioramas became very popular in international fairs and museums until the mid-twentieth century. They were common in both Western and non-Western cultures, and were especially prominent in the Middle East. In some cases, dioramas were intended to represent national identities and in others, they became forms of resistance used, for instance, by African-American or Native American communities. The contributions to this section may explore the creation of specific sets of installations in fairs, museums, and public space, as well as the politics of dioramas.

Part 3  Re-appropriation, 1970–2010
As of the 1970s, state-sponsored museums created displays of traditional craftsmanship through life-size dioramas, such as the Dubai Museum or the Jewels and Costume Museum in Amman. Native American community centers, such as The Mashantucket Pequot Museum in Connecticut, have been using life-size dioramas since the late 1990s. They are also being reinterpreted by contemporary artists, as shown, for example, in the photographs of Hiroshi Sugimoto. In that perspective, the re-exhibition of dioramas would be a topic of interest. Finally, writing the history of dioramas today might also be a way to reframe the creation of artistic movements such at Surrealism or Dada, as well as the work of such artists as Marcel Duchamp, Edward Kienholz, and Joseph Cornel, by filling in important gaps in the history of art, and the history of installations.

Submissions
An abstract of approximately 500 words and a brief CV should be sent to Noémie Etienne (netienne@getty.edu) and Nadia Radwan (nadia.radwan@ikg.unibe.ch) by May 31. Responses will be given by June 30. The colloquium will be held in English.

Superpowers in the Global Eighteenth Century: Empire, Colonialism, and Cultural Contact
HECCA Session at the Annual Meeting of the College Art Association, New York, 15–18 February 2017
Chair: Tara Zanardi (Hunter College / CUNY)

Proposals due by 5 April 2016 (in order to meet CAA’s 18 April due date)

The long eighteenth century witnessed European countries vying for global command, from fighting over territories in quick skirmishes or lengthy wars, forming new colonial outposts, pirating cargo, outwitting trade regulations, funding scientific expeditions that fueled the creation of natural history museums and collections and the improvement of cartographic knowledge, enacting free trade policies, and instituting competing trading companies. With the inauguration of new commercial routes for maritime travel and trading strategies, all in an effort to proclaim oneself a superpower, the circulation of goods increased exponentially, making products of all kinds available to a wider audience. While Portugal and Spain had dominated world trade and exploration beginning in the sixteenth century, the Dutch and English soon followed on their heels. Not all competition for global domination happened abroad or at sea: Debates about luxury, the preference for foreign over locally-manufactured goods, women’s role as active consumers and tastemakers, slavery, colonialism, and enlightenment ideas about race emerged on European soil, often pitting one country against another. Outside of Europe, colonists experienced greater independence, which fueled the desire to break from European control.

Within this geopolitical context, this panel seeks papers that address artistic engagement with the broad concept of the European superpower in the long eighteenth century. How did artists both respond to and generate interest in the global and imperial rule? While many artists accompanied expeditions abroad, others could only imagine the world beyond—how were such experiences of contact (real or imagined) expressed in visual terms? How did expanding international networks and political desire for global authority inform artists’ understanding and perspective of empire? How did artists actively support or challenge imperial narratives? This panel particularly welcomes papers that explore the intersection of art and empire by utilizing new methodological approaches to the study of empire, that investigate understudied sites of imperial and colonial history, and that showcase novel forms of artistic expression that employ, directly or subtly, imperial themes.

If you would be interested in participating in this panel, please contact the chair at tarazanardi@yahoo.com, attaching your proposal (limited to 400 words) and a brief CV by April 5, 2016.

Conflict as Cultural Catalyst in Britain
HBA Session at the Annual Meeting of the College Art Association, New York, 15–18 February 2017
Chair: Michael J K Walsh (Nanyang Technological University, Singapore)

Proposals due by 7 April 2016

Let me have war, say I; it exceeds peace as far as day does night: it’s spritely waking, audible, and full of vent. Peace is a very apoplexy, lethargy; mull’d, deaf, sleepy, insensible; a getter of more bastard children than war’s a destroyer of men.
–William Shakespeare, 1607, Coriolanus, Act IV Sc. V

This panel investigates the relationship between struggle and conflict (be it social, political, territorial, ideological etc) and artistic production in Britain and its empire. More specifically, ‘Conflict as Cultural Catalyst in Britain’ interrogates the contentious philosophical notion that art thrives in times of war, and expires in peace, and then asks whether art, as a form of social barometer, can anticipate / foreshadow conflict, or merely respond to it. How has cultural production derived from conflict been used to create specific social identities, national histories and contemporary concepts of memory in Britain and beyond? A range of historically and geographically diverse case studies is encouraged, spanning both the globe and the centuries.

If you would be interested in participating in this panel, please contact the chair at mwalsh@ntu.edu.sg, attaching your proposal, limited to 400 words, together with a brief c.v., by April 7th, 2016.

◊  ◊  ◊  ◊  ◊

Transglobal Collecting: Co-Producing and Re-visioning British Art Abroad
HBA Session at the Annual Meeting of the College Art Association, New York, 15–18 February 2017
Chair: Julie Codell (Arizona State University)

Proposals due by 7 April 2016

This session will focus on art collecting of British outside Britain. The study of art collecting has blossomed; studies of agents, dealers, collectors and auctions are subjects of recent conferences (three in London in 2016 alone) and publications.  Art collecting, both as a form of reception and as a form of art production (e.g., theories of Walter Benjamin, Pierre Bourdieu, museology studies), created new contexts, meanings, audiences and interpretations for art. Collecting intervened into aesthetic, national, economic, hermeneutic and social valuations of art. This was even more dramatic and transformative when collectors of British art lived outside Britain. Panelists may consider questions such as (but not limited to): How was an artwork’s social and cultural functions re-defined/re-purposed by distant geographies? How did distant collecting blend local, national and global ideas and interests? Did transatlantic or colonial collecting have distinct cultural features, purposes and identities? Did collected British art affect production of local/indigenous art outside Britain and vice versa? How did collecting British art abroad shape museums and cultural exchanges abroad? How was art positioned to affect distant spectators culturally and nationally, and who constituted that public?

If you would be interested in participating in this panel, please contact the chair at julie.codell@asu.edu, attaching your proposal, limited to 400 words, together with a brief c.v., by April 7th, 2016.

British Art Studies Issue 4 (November 2016)
Articles due by 1 June 2016

British Art Studies is a new online journal published by the Paul Mellon Centre for Studies in British Art, London, and the Yale Center for British Art, New Haven. The journal provides an innovative space for the best new research on British art. We encourage submissions on all aspects of British art, architecture, and visual culture, ranging across periods and geographies and are now soliciting content for our fourth issue, due to be published in November 2016, marking our first anniversary.

The digital platform of British Art Studies offers new opportunities for displaying images alongside text and multimedia content. The editors are open to proposals and ideas from authors to develop innovative and visually stimulating ways to publish art-historical scholarship online.

We invite submissions of scholarly articles (which are subject to a rigorous peer review process), as well as proposals for innovative special features for issue 4. Texts may range from 5000 to 8000 words, although the editors will also consider shorter pieces. It is recommended that articles are illustrated with between 5 to 10 images, but the editors will consider image requirements on a case-by-case basis. Articles should be submitted by email in Word format, together with a Word document containing low resolution accompanying images (where possible), as well as a list of proposed images and sources, as outlined in our style guide, available at britishartstudies.ac.uk. For special feature proposals, an abstract of no more than 500 words, together with images should be submitted for initial consideration by the editors. Final numbers of images, and the sourcing and commissioning media for articles accepted for publication, will be decided in consultation with authors on an individual basis. British Art Studies will endeavour to meet reasonable costs and copyright issues for illustrative materials essential to the argument of published texts. Please note we are not currently accepting proposals for special issues of collected essays.

Please forward submissions to Hana Leaper (journal@paul-mellon-centre.ac.uk) by 1 June 2016.

From CAA News (22 January 2016). . .

105th Annual Conference of the College Art Association
New York, 15–18 February 2017

Proposals due by 18 April 2016

For the CAA 105th Annual Conference, CAA will change the format of the conference as we look to liven up the experience for all our members. The changes highlighted below are the result of a critical look at the event by the organization’s Annual Conference Committee.

• New time grid: All sessions will be ninety minutes in length, allowing for more sessions
• More types of submissions and therefore more ways to participate, such as complete session proposals, with participants chosen in advance; proposals to chairs, who will solicit speakers through a call for papers; and independent proposals of papers
• Individuals may participate in consecutive years, if their proposals are accepted
• Other Annual Conference Events (more information available here)

You can download and read the full report of recommendations by CAA’s Task Force on the Annual Conference. Please remember all participants will have to be members and registered for the conference for 2017.

Key Dates for the 2017 Conference
March 1  Call for Annual Conference session and paper proposals
April 18  Deadline for session and paper proposals
June 3  Annual Conference Committee meets to select sessions and papers
June 20  Notification sent regarding approved sessions
July 1  Call for Participation
July 1  Deadline for travel grant applications
August 30  Paper titles and abstracts due for sessions soliciting contributors
Mid-September  Online conference registration opens
September 30  Deadline for chairs to choose speakers for sessions soliciting contributors
October 1  Deadline for Hot Topics session proposals
February 15–18  CAA 105th Annual Conference, New York

Affiliated Society Submissions
• One session per Affiliated Society will be accepted with a note of approval from the chair of the group; subsequent submissions may be submitted separately by individuals and require peer review by the Annual Conference Committee; these submissions will not be labeled as an Affiliated Society panel.
• Each Affiliated Society is still guaranteed one 90-minute session, as well as a business meeting, which will be tagged as an Affiliate Society meeting.
• Sessions should be submitted in the proposal submission process above.

From the Call for Papers and conference website:

Romantic Legacies
National Chengchi University (NCCU), Taipei, 18–19 November 2016

Proposals due by 15 May 2016

Keynote Speakers: Rachel Bowlby (Comparative Literature, Princeton University/English, University College, London) and Arthur Versluis (Religious Studies, Michigan State University)

In his seminal book The Roots of Romanticism (1999), Isaiah Berlin regards Romanticism as “the largest recent movement to transform the lives and the thoughts of the Western world.” Indeed, Romantic ideas and attitudes—embraced by Goethe, Hegel, Sade, de Staël, Rousseau, Baudelaire, Wollstonecraft, Wordsworth, Coleridge, Shelley, Beethoven, Schubert, Poe, Emerson, Thoreau, Dickinson, Turner, and Delacroix, to name but a few—not merely changed the course of history in the West in the late-eighteenth and nineteenth centuries but helped to fashion twentieth-century democracy, environmentalism, Surrealism, fascist nationalism, communist universalism, spiritualism, social liberalism, and so forth in the West as well as in the East. This two-day interdisciplinary conference aims to bring together academics from across the humanities and social sciences to explore the full spectrum of possible Romanticisms, the germination, maturation, and development of this heritage on both sides of the Atlantic and its afterlife in our global capitalist culture today.

We invite proposals for individual papers or collaborative panels from academics in the humanities and social sciences to reassess Romanticism and its legacies in different nations and disciplines. Possible topics may include, but are not limited to esotericism and spiritualism, emotion and neuroesthetics, Gothic and uncanny, imagination and memory, childhood, revolution and anarchy, geographies and the tourist gaze, romantic Victorians, romanticism as proto-modernism, romanticism and Abstract Expressionism, romanticism and empire, romanticism and its afterlife in the Far East, romanticism and Realism, the environmental humanities, romanticism and the inhuman, the Apocalypse, romanticism and the everyday, romanticism and world literature, the technological sublime, psychiatry and psychoanalysis, celebrity culture, gender performance, sensibility and social reform, solitude and sociability, the country and the city.

Proposals of no more than 300 words should be sent by 15 May 2016 via EasyChair. Should you have any questions or enquiries, please contact us at earn.nccu@gmail.com. We intend to produce an edited volume from the conference with a major academic publisher and a special issue for The Wenshan Review of Literature and Culture.

This conference is organised by the EARN (Enlightenment and Romanticism Network) in partnership with The Wenshan Review in the Department of English at NCCU.

Organising Committee
John Michael Corrigan (NCCU)
Yih-Dau Wu (NCCU)
Shun-liang Chao (NCCU)
Li-hsin Hsu (NCCU)
Jing-fen Su (NCCU)
Emily Sun (NTHU/Barnard College)
Alex Watson (Japan Women’s University)
Laurence Williams (University of Tokyo)

◊  ◊  ◊  ◊  ◊

From J18:

Journal18, Issue #3 (Spring 2017) — Lifelike
Proposals due by 15 May 2016; finished articles will be due by 1 November 2016

During the eighteenth century, a range of artistic productions aimed to simulate motion and life, at the same time that individuals became ever more preoccupied with performing or embodying static works of art. This issue of Journal18 aims to explore such hybrid creations and the boundaries they challenged between animate and inanimate form, art and technology, nature and artifice, the living and the dead. Echoing contemporary discussions about vraisemblance and verisimilitude, as well as mimesis and imitation, in eighteenth-century artistic literature, these preoccupations also related to larger philosophical and scientific debates about matter, mankind and machines at a global level. What was considered ‘lifelike’ in the eighteenth century? How did artistic practices engage this notion and participate in redefining it?

Articles may focus on specific objects, such as automata created by Pierre Jacquet-Droz and others that imitated human acts of writing or harpsichord playing; hyperrealistic wax figures, sometimes displayed in groups, that were used for entertainment as well as pedagogical and medical purposes; ‘tableaux mécaniques’, or mixed-media paintings with motors on the back that enabled figures to move across their surfaces; and natural history materials, such as taxidermic animals, specimens or skeletons that were displayed in particular spaces. Other possible topics include the staging of collaborative tableaux vivants in eighteenth-century theaters, gardens, and salons; and related attempts to resurrect or animate ancient artifacts, as in Emma Hamilton’s ‘living statue’ performances. Articles that consider the eighteenth-century specificity of such artistic productions, introduce new methodological perspectives, or discuss relevant examples from outside of Europe are especially encouraged.

Proposals for #3 LIFELIKE are now being accepted. Deadline for proposals: 15 May 2016. To submit a proposal, send an abstract (200 words) and a brief CV to editor@journal18.org. Articles should not exceed 6000 words and will be due on 1 November 2016.

Issue Editors
Noémie Etienne, Getty Research Institute, Los Angeles
Meredith Martin, NYU and Institute of Fine Arts

From H-ArtHist (which includes Spanish and Portuguese versions). . .

Copies of Paintings in Portugal, Spain, and the New World, 1552–1752
Fundação Gulbenkian, Lisbon, 11–12 October 2016

Proposals due by 29 April 2016

The artistic patrimony of Portugal, Spain, and the Latin American countries that once formed part of the Iberian empires includes a great number of pictorial copies made between the sixteenth and the eighteenth centuries. Although on a smaller scale, copies of paintings also circulated and were a part of the heritage of the African and Asian territories that had ties to the Portuguese and Spanish empires. These works have received little attention even though they constitute a valuable source for understanding artistic taste as well as the devotional preferences of Iberian and Latin American society in this period. At the same time, pictorial copies shed light on a number of art historical issues, including the means of diffusion of artistic models, stylistic trends, the kinds of referents available to local painters, and the dynamics of the art market and collecting. Although copies after works by Portuguese, Spanish, and Latin American artists existed, it is notable that copies of famous paintings by Italian and Flemish painters such as Raphael, Titian, Francesco Bassano, Rubens, and Van Dyck were far more abundant. The copies of non-Iberian art are a valuable testimony to the political, commercial, and cultural ties that existed between the Iberian territories and Italy and Flanders.

The international congress Copies of Paintings in Portugal, Spain, and the New World, 1552–1752 invites reconsideration of the topic of the copy in these territories over the course of these two centuries. The period covered begins in 1552, the year in which Antonio Moro arrived in Portugal, and ends in 1752, when the Royal Academy of Fine Arts of San Fernando was established in Madrid. To a certain extent, these events mark the beginning and end of the history of the copy during the early modern period in the Iberian world. This time period also includes the period of sixty years during which Portugal and Spain were unified under the same government owing to the turns of dynastic succession, the so-called period of the ‘two Philips’ (1580–1640). Leaving aside the conflicts that emerged from Iberian union, which would eventually lead to the Portuguese Restauração in 1640, this period saw a rise in the circulation and exchange of sources and ideas between Spanish and Portuguese artistic centers, a circumstance which may also have had repercussions for the production of pictorial copies.

The congress will be organized around the following four sessions:
1. The state of research: Projects completed or currently being undertaken on the copy in Iberia, Latin America and Asia. Artistic Literature and Copies
2. Case studies on Iberia, Latin America and Asia, 1552–1640
3. Case studies on Iberia, Latin America and Asia, 1640–1752
4. Technical research and study: the process of production, under-drawing, priming and grounds, conservation, technical analysis.

Members of the academic community are invited to submit their proposals for this conference before 29 April 2016. Please email abstract proposals (up to 20 lines), including a brief CV (1 page), to copimonarch@gmail.com. Papers will be accepted in Portuguese, Spanish, and English. The committee will inform of their selection to all the applicants in June 2016. A registration fee of 50€ will be required of all participants. The conference is unable to cover travel and accommodation costs for speakers. The organizers encourage interested parties to apply for outside aid from their respective institutions.

The selected speakers will have the option of submitting their papers for publication in a special issue of the journal Revista de História da Arte–Serie W, due to appear in 2017. Papers for publication will have to comply with the journal’s editorial guidelines, including peer review.

Further information on the conference will be available from April 29th 2016 at the conference website.

Organising Committee/ Comissão organizadora/ Comité organizador: Pedro Flor (Universidade Aberta de Lisboa), Susana Varela Flor (Universidade Nova de Lisboa), Luisa Elena Alcalá (Universidad Autónoma de Madrid), David García Cueto (Universidad de Granada) and Carla Mazzarelli (Università della Svizzera italiana)

Sponsored by the Instituto de História da Arte, Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa, the Spanish National Research Project COPIMONARCH (I+D HAR2014-52061-P) at the Universidad de Granada, and the Fundação Calouste Gulbenkian in Lisbon

A Cópia Pictórica em Portugal, Espanha e no Novo Mundo, 1552–1752
La copia pictórica en Portugal, España y el Nuevo Mundo, 1552–1752

Designed by Robert Adam, made by Thomas Chippendale, The Dundas Sofa, commissioned 1764, made 1765, gilt pine and beech, with later silk upholstery (Museum of Fine Arts, Houston)

◊  ◊  ◊  ◊  ◊

From the MFAH:

A Sense of Proportion: Architect-Designed Objects, 1650–1950
Museum of Fine Arts, Houston, 23–24 September 2016

Proposals due by 15 June 2016 (extended from the original 1 June due date)

Rienzi, the house museum for European decorative arts of the Museum of Fine Arts, Houston, hosts the biennial symposium, A Sense of Proportion: Architect-Designed Objects, 1650–1950. The symposium aims to focus on objects that are the embodiments or extensions of an architect’s ideas or aesthetic. Scholars are asked to discuss objects made for particular spaces, objects used to explore new design sources and objects intended to be part of an integrated space. In short, why do objects that have been designed by architects look the way they do?

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. Recently, Rienzi acquired the, elegant, nine-foot-long Dundas Sofa, designed by Robert Adam (1728-1792), renowned neoclassical architect of the 18th-century and made by the celebrated English furniture maker, Thomas Chippendale (1718-1779). It is from the only suite of furniture known to be a collaboration between these two masters.

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, by June 1, 2016. Selected participants will be notified by July 15, 2016 and offered a $600 stipend for travel and lodging. All presentations are given Saturday, September 24, 2016, at the Museum of Fine Arts, Houston. The keynote lecture is held Friday evening followed by a reception at Rienzi.

Possible themes of investigation may include, but are not limited to:

• Interiors
• Design
• Architecture
• Dining
• Privacy
• Leisure Activities
• Etiquette
• Gender
• Costume
• Travel
• Technology
• Economics

◊  ◊  ◊  ◊  ◊

Keynote Address by Adriano Aymonino (University of Buckingham)
Museum of Fine Arts, Houston, Friday, 23 September, 5:00pm

Aymonino obtained his PhD at the University of Venice. His main academic interest is the reception of the classical tradition in the Early Modern period, with a particular focus on Britain. He has held postdoctoral fellowships at the Paul Mellon Centre for Studies in British Art of Yale University and at the Getty Research Institute. He is working on a revised edition of Francis Haskell and Nicholas Penny’s Taste and the Antique, as well as on a project tracing the impact of antiquarian publications on 17th- and 18th-century European art and architecture.

From H-ArtHist:

Towards a Cultural History of the Decorator, 18th–20th Centuries
Institut national d’histoire de l’art, Paris, 7–8 October 2016

Proposals due by 1 April 2016

Organized by the Institut National d’Histoire de l’Art and Les Arts Décoratifs, this symposium will propose a reevaluation of the traditional history of Western styles from the late 18th to the late 20th century by examining the figure of the interior decorator. While the historiography has mostly focused on the logical chain of formal and technical innovations and the notion of avant-garde, this symposium will highlight the socio-economical context in which the work of the decorator was rooted. This approach sheds new light on the visual culture of certain generations or social groups at a specific moment in time. It also helps shape the definition of notions such as the collective gaze (oeil collectif) or visual tolerance, still under-studied, and provides clues to understanding the alternation of over-furnishing and soberness. This approach may also explain the numerous variations regarding, for example, the intensity of colour and light, or the occupation of space.

To contribute to this cultural history of the interior decorator, this symposium will give priority to trans-historical and interdisciplinary proposals over monographic approaches. Proposals which fit into one of the themes detailed below will retain our attention:

1. Identity of the Decorator
The decorator is generally associated with the figure of the architect in the 18th century, with the upholsterer in the 19th century, and the ensemblier in the 20th century. This session’s aim is to analyze and perhaps reconsider these categories.

2. Spaces
This will be the opportunity to think about the complex relationship between the decorator and the various spaces in which s/he works (public/private space, scenography, etc.).

3. Diffusion of the Work of the Decorator
This session will examine the numerous means available for the decorator to diffuse and promote his/her work. From pattern books to magazines, how have these media brought to light the decorator’s work? To which extent can the descriptions found in literature inform his/her work?

4. Fashion-Maker or Follower?
If the work of the decorator seems to epitomize the tastes of a class or a social category at a specific moment in history, the relationships between the decorator and the patron needs to be further examined in order to evaluate their respective role and responsibility in the
creation and diffusion of a trend.

The papers will be given either in French or English. Proposals in French or English, about 2000 characters (including spaces) should be sent by April 1st 2016 to the following persons:
• philippe.thiebaut@inha.fr
• etienne.tornier@inha.fr
• sebastien.quequet@lesartsdecoratifs.fr