Enfilade

From the Centre for Printing History and Culture:

Unfinished Business: Progress, Stasis, and New Directions in the Study of the Book Trade since Peter Isaac
Annual Print Networks Conference
University of Newcastle-upon-Tyne, 9–10 July 2024

Organised by the University of Newcastle and sponsored by Print Networks and the Centre for Printing History and Culture, this conference considers the British and Irish book trades locally, nationally, and in their global perspective, including comparative perspectives. It addresses questions such as how has research on these trades’ histories developed and advanced, or not, in the past two decades? How has an emphasis on valuing the local, the specific or the seemingly minor been taken up in studies of the book trade? How do such interests sit with the expansion of book trade research into ever larger data-sets and/or within national and global print histories? What are the key social, political, and technological questions scholars of the book trade are now grappling with? In what fresh directions must the study of the trades now strike out? The fee for this two-day conference is £80.

Peter Isaac (1921–2002) investigated numerous strands of the British book trade. A distinguished professor of civil and public health engineering at Newcastle University, he also enjoyed a highly regarded career as a print historian and bibliographer. The working group that he founded, The History of the Book Trade in the North, was immensely influential in moving the study of the British book trade beyond the confines of London. More broadly, his work insisted on the value of the local for our national and global understandings of the book trade. He considered the internationally famous engravings of Thomas Bewick, the ornament stocks of the Alnwick pharmacist and printer William Davison, and the inventory of books sold by a Penrith grocer in the seventeenth century to be equally worthy of scholarly attention and careful study.

t u e s d a y ,  9  j u l y

9.30  Panel 1 | Politics and the Print Trade
• Kate de Rycker (Newcastle), ‘Danter’s Gentleman’: Thomas Nashe and the Precarity of Cheap Print
• Maria Zukovs, (St Andrews), Beyond the United Irishmen: A View of the French Revolution from the Dublin Press, 1789–94

10.45  Panel 2 | Radical Work
• Fionnghuala Sweeney (Newcastle), The Unfinished Business of Freedom: Slave Narratives, Surfeit, and the British Northeast in Antebellum Black Atlantic Print Culture
• Andrea Lloyd (BCU), ‘An Indissoluble Unity’: Considering the Relationship between outward Influences and the Design of Birmingham’s Radical Newspapers, 1815–36

12.15  Panel 3 | The Marketplace of Print: Advertising, Promotion, Demand
• Bethan Elliott (York), ‘None… Took any Notice of It’: Publication and the Promotion of Romantic Drama in Print
• Karen McAulay (Royal Conservatoire of Scotland), ‘Music for All’: The Rise and Fall of Scottish Music Publishing, 1880–1964

13.15  Lunch break

14.15  Panel 4 | Advancing the Study of Women in the Book Trade
• Emma Sibbald (Queens’ College, Cambridge), ‘A Servant’s Receipt for the World’: Women Wagoners and the Antiquarian Book Trade at the Bodleian Library, 1690–1720 [online]
• Joanne Butler (Keele), Locating Women Booksellers in 18th-Century Regional England
• Charley Matthews (Edinburgh), Geraldine Jewsbury’s Labour as a 19th-Century ‘Publisher’s Reader’

16.15  Keynote 1
• Ruth Frendo (Stationers’ Company)

w e d n e s d a y ,  1 0  j u l y

9.30  Panel 5 | The Networks and Power Structures of the Early Modern Book Trade
• Sam Bailey, Sorority, Spycraft, and Sodomy: Collaboration and the Erotic Book Trade in 18th-Century London
• Beth DeBold, A House Divided: The Internal Conflict of the Stationers’ Company
• Matt Ryan, ‘Unquiet Spyrittes’: Martin Marprelate and Communal Strategies of Resistance

11.00 Lunch break

13.30  Keynote 2
• Joseph Hone (Newcastle), How to Smuggle Books into 18th-Century Britain

14.45  Panel 6 | Unconsidered Forms
• Roseanna Smith (BCU), A Book by Any Other Name? 19th-Century Trade Catalogues as a Unique Format of Print
• Holly Day (York), Selling the Memorandum Book in 18th-Century Britain: Bibliographic Trends and the Mechanics of the Trade

16.15  Panel 7 | Technology and the Print Trades
• Ian Dooley (Institute of English Studies, UCL), Cheap Colour Ink and the Creation of Mass Print Culture
• Helen Williams (Edinburgh Napier), Newspapers, Timetables, and the ‘World’s First Comic’: The 19th-Century Print Trade in Glasgow

Roundtable | Advancing the Study of North East Print
Helen Williams (Northumbria), Barbara Crosbie (Durham), and Kirsten Gibson (Newcastle)

From ArtHist.net and the conference website:

Prevention of Historical Botanical Gardens and Their Heritage from the Major Threats of Our Time
2nd International Congress of Historical Botanical Gardens
HBLFA für Gartenbau / College of Horticulture, Wien, 29–31 July 2024

Registration due by 30 June 2024

Historical botanical gardens and historical plant collections embedded in a larger context are often a neglected topic. Especially in the field of garden history, landscape architecture, botany, history of science, and even art history, their importance cannot be overestimated. In recent years, there has been a growing interest in these fields of research. In 2021, the 1st International Congress of Historical Botanical Gardens was held in Lisbon.

The initial impulse to communicating the issues and importance of botanic gardens to a broader public, highlighting their history and importance, and building a common network will be continued at the 2nd International Congress of Historical Botanical Gardens. The second meeting will expand the focus to include conservation and preservation of plants and gardens. How can we protect historical botanical gardens and their heritage from the major threats of our time, such as lack of resources, climate change, war, and conflicts of all kinds? What can we learn from the often turbulent past?

The three organizing institutions (Austrian Federal Gardens, Natural History Museum, Botanical Garden of the University of Vienna) were founded by the Habsburg emperors for scientific and representative reasons. For more than 450 years, these institutions have collected, cultivated, studied and exhibited plants in Vienna. This long and continuous tradition makes Vienna one of the most important locations for current and historic plant research and conservation. Building on this tradition and moving forth together, we look forward to welcoming you to Vienna for the Second International Congress of Historical Botanical Gardens.

m o n d a y ,  2 9  j u l y

9:00  Welcome Addresses
• Norbert Totschnig (Austrian Federal Minister of Agriculture, Forestry, Regions and Water Management)
• Dalila Espírito Santo (Head of Organization of the 1st ICHBG 2021, University Lisbon)
• Tim Entwisle (International Association of Botanic Gardens, IABG)
• Gerd Koch (College of Horticulture and Austrian Federal Gardens
• Katrin Vohland (Natural History Museum, Vienna)
• Michael Kiehn (Botanical Garden, University of Vienna)

10:00  Keynote
• Botany, History, and Biodiversity: New Horizons for the Jardin des Plantes de Paris — Isabelle Glais (Jardin des Plantes de Paris)

10:30  Coffee Break

10.50  Session 1 | The Transition of Historical Botanical Collections
• A Phoenix from the Ashes: The Transition of the Court Gardens to the Austrian Federal Gardens — Claudia Gröschel (Austrian Federal Gardens)
• Paleis Het Loo: From Royal Showcase towards a Decolonized Botanical Garden — Renske Ek (Palais Het Loo)
• The Role of Curation in Botanic Gardens: Platforms for Environmental and Social Transition — Kevin Frediani (Botanic Garden, University of Dundee)
• Art and Art Projects at the Historic Botanical Garden of the University of Vienna — Barbara Knickmann (Botanical Garden, University of Vienna)

12.10  Lunch

13.45  Afternoon Sessions
• Restoration Saga of the Only Croatian Public Greenhouse — Vanja Stamenkovic (Botanical Garden, University of Zagreb)
• The Impact of Climate Change on the Living Collections of the Botanic Garden of the University of Pisa — Marco D‘Antraccoli (Botanic Garden, University of Pisa)
• The Botanical Garden in Halle (Saale) through the Ages — Heike Tenzer (State Office for Heritage Management and Archaeology Saxony Anhalt)
• Decolonizing the Dutch Botanical Gardens — Sarina Veldman (Hortus Botanicus Amsterdam)
• A Healing Place: The Modern Botanic Garden as a Reimagined Physic Garden — Tim Entwisle (International Association of Botanic Gardens, Australia)

16.00  Natural History Museum — Visit of archive and collection of botanical illustrations, herbarium, and rooftop

18.00  Natural History Museum — Poster session and cocktail reception

t u e s d a y ,  3 0  j u l y

9.00  Keynote
• Horticulture in the Age of Globalization, Biological Invasions, and Climate Change — Franz Essl (University of Vienna, Austria)

9.30  Session 2 | Horticulture: Challenges in Daily Horticulture Practice
• The Transfer towards Working with the Environment in a Historical Garden — Willem Zieleman (Palais Het Loo, Netherlands)
• Theory and Practice of Recreating Exotic Plant Collections in European Historic Gardens — Jacek Kuśmierski (Museum of King Jan III’s Palace at Wilanów, Poland) and Katarzyna Hodor (Cracow University of Technology)
• Charm and Harm of the Indian Lotus (Nelumbo nucifera) in a Historic Landscape Garden — Vince Zsigmond (National Botanic Garden Vácrátót, Hungary)

10.20  Coffee Break

10.40  Keynote
• Zagreb University Botanical Garden: 135 Years of Sharing Botanical Knowledge, High Hopes, and Practical Challenges — Sanja Kovacic ́(University of Zagreb)

11.10  Session 3 | Science: Sharing of Knowledge
• Heritage Skills in Historic Gardens: Conserving for the Future — Kate Nicoll (gardenconservation.eu, Norway) and Christian Grüßen (European Garden Heritage Network, Germany)
• Herbaria: Essays for a Material and Postnaturalist Memory of Botany and Film — Paula Bertúa (Leuphania University, Germany)
• A Park with Paths of Knowledge in the 18th Century: Challenges and Manifestations — Martina Sitt (University of Kassel)

12.10  Lunch

13.30  Afternoon Sessions
• Cultivation of Sensitive Plants at Belvedere Garden — Michael Knaack (Austrian Federal Gardens)
• The Hungarian Plant Names in Carolus Clusius’s Works in the Context of His Botanical Program — Áron Orbán (Tokaj University)

14.10  Coffee Break

14.45  Back-up collection at Schönbrunn Palace Garden

16.00  Palmhouse Schönbrunn

19.30  Conference Dinner, Palmhouse Burggarten

w e d n e s d a y ,  3 1  j u l y

9.00  Keynote
• The Making of a Historical Botanical Garden — Santiago Madriñán (University of Bogotá and Botanic Garden Cartagena, Colombia)

9.30  Session 4 | Historical Botanical Gardens
• The Puccini Garden in Tuscany: A Celebratory Landscape Park and Its 19th-Century Botanical Cultivations — Costantino Ceccanti (Musei del Bargello, Florence)
• Arboretum Trsteno of the Croatian Academy of Sciences and Arts: The Garden with the Historically Longest Continuity on the Territory of the Republic of Croatia — Ivan Šimić (Croatian Academy of Sciences and Arts) and Mara Marić (University of Dubrovnik)
• How Botanical Gardens Helped To Shape International Trade Law — Elena Falletti (Carlo Cattaneo University, Castellanza)

10.30  Coffee Break

• Luca Ghini and the Origin of Modern Botany: An Italian History of Academic Botanic Gardens — Marco D‘Antraccoli (Botanic Garden, University of Pisa)
• Methods of Visually Experiencing Lost Historical Botanical Gardens — Dominik Lengyel (Brandenburg University of Technology Cottbus-Senftenberg)
• The Historical Botanical Gardens in Algiers, Kiev, and Tunis and Their Cooperation Projects with the Republic of Austria — Brigitte Mang (University College for Agricultural and Environmental Education, Vienna)
• Building the Botanical Garden for Roma Capitale: History, Architecture, Characters — Giulia Ceriani Sebregondi (University of Campania ‘Luigi Vanvitelli’)

12.00  Lunch

13.00  Afternoon Session
• The Botanic Garden and Museum of the University of Pisa: Five Centuries of Botanical Research, from Simples to New Frontiers — Marco D‘Antraccoli (Botanic Garden, University of Pisa)

13.20  Concluding Remarks by Michael Kiehn

13.50  Coffee Break

15.15  Botanical Garden University of Vienna

16.45  Back-up collection Belvedere Garden

18.00  Farewell

From The Courtauld (and note the two virtual sessions, June 17 and June 18):

Pose, Power, Practice: New Perspectives on Life Drawing
The Courtauld Institute of Art, Vernon Square, London, 20 June 2024

Organised by Zoë Dostal and Isabel Bird

From the 16th century to the present, drawing the human body from life has remained a mainstay of Western institutional art practice. Despite significant shifts in the aesthetics, media, and purpose of art over the last five hundred years, life drawing endures in both the studio and the classroom.

Pose, Power, Practice is a one-day symposium that seeks to reassess the state of the field on life drawing and apply new critical frameworks to this sustained practice. It aims to better understand life drawing in all its complexity, from its presumed advantages to its consequences. This is a practice deeply intertwined with concerns central to the discipline of art history, including but not limited to: the power dynamics of the gaze; the politics of representation; recognition of multiple forms of artistic labour; formulations of race, dis/ability, gender, and sexuality; and critiques of institutions. How has life drawing changed across time and place? How and why has it endured as a pedagogical practice, despite repeated dismissals of its “academicism”? What uses does it hold today, for artists and art historians alike?

Our re-evaluation of life drawing will start with two virtual panels earlier in the week, hosted in collaboration with The Drawing Foundation. At Life Drawing After Death on Monday, 17 June, 16:00 BST and Life Model as Laborer and Artist on Tuesday, 18 June, 13:00 BST, we will dive into topics that will resonate with and inform our in-person discussions on the varied perspectives, ethical considerations, and diverse practices that make up life drawing. Visit The Drawing Foundation’s event webpage for further details.

Organised by Dr Zoë Dostal (Kress Fellow, The Courtauld) and Isabel Bird (PhD candidate, Harvard University)

p r o g r a m m e

10.00  Registration, with coffee and tea

10.30  Welcome
• Professor Alixe Bovey (The Courtauld)
• Zoë Dostal (The Courtauld) and Isabel Bird (Harvard University)

10.50  Session 1 | Life Drawing as an Enduring Practice
Chaired by Tara Versey (Royal Drawing School)
• Antje Southern (The King’s Foundation Diploma Year), The Creative Impact of Life Drawing at Fine Art Foundation Level: A Case Study
• Susanne Müller-Bechtel (Saxon Academy of Sciences and Humanities in Leipzig – Young Forum), The Experimental Arrangement in the ‘Aktsaal’ at the Early Modern Academies and the Effects on the Artistic Practice
• John Fagg (University of Birmingham), ‘Take the pose of the model, yourself’: Empathy in Robert Henri’s Pedagogy and Practice

12.15  Lunch Break

13.45  Session 2 | Exposure and Expression: Life Modelling
Chaired by Carole Nataf (The Courtauld)
• Fra Beecher (Director of United Models Life Drawing CIC), The Body, Captured: Photography and the Life Room
• Tomáš Valeš (Institute of Art History, Czech Academy of Sciences, Prague / Department of Art History, Masaryk University, Brno), Employed, Exposed, Captured: Life Model Praxis in 18th-Century Vienna
• Yanyun Chen (School of the Museum of Fine Arts, Tufts University), Skinning Nudity: Life Modelling Practice in Singapore

15.10  Coffee and tea

15.40  Session 3 | Beyond the Life Room: Unexpected Practices
Chaired by Professor Joanna Woodall (The Courtauld)
• Suri Li (University of Cambridge), A Renaissance Nun’s Drawing Practices: Suor Plautilla Nelli (1524–1588) and Her Drawing of a Young Woman
• Oriane Poret (Université Lyon 2, LARHRA), Beyond Human: Drawing from Non-Human Life during the 19th Century
• Nick Robbins (University College London), The Life Academy and the Origins of Landscape

17.00  Drinks Reception

From the conference programme:

The The Culture of the Bottle: Uses and Visual Representations of Alcoholic Drinks in the 17th and 18th Centuries
La culture du flacon: Usages et représentations visuelles des boissons alcoolisées aux XVIIe et XVIIIe siècles
Online and in-person, Institut national d’histoire de l’art, Paris, 13–14 June 2024

Pour tout renseignement ou pour l’inscription Zoom : asso.grham@gmail.com

Organisation scientifique par le bureau du GRHAM avec le soutien financier et logistique de l’HiCSA et du Collège des écoles doctorales de l’Université Paris 1 Panthéon-Sorbonne.

t h u r s d a y ,  1 3  j u n e

14.00  Accueil des participants

14.30  Conférence d’ouverture
• Boissons enivrantes et société française du XVIe au XVIIIe siècle — Matthieu Lecoutre, professeur agrégé d’histoire / chercheur associé à l’équipe Alimentation de l’université de Tours François-Rabelais et au centre George Chevrier de l’université de Bourgogne

15.45  Session 1 | Du chais au verre. Contenir l’ivresse
Modération : Maxime Bray, doctorant en histoire de l’art moderne, Sorbonne Université
• Avant le flacon, un contenant nécessaire, la barrique — Marguerite Figeac-Monthus, professeure des universités d’histoire moderne, Université de Bordeaux
• Une bouteille à succès : l’âge d’or de la bouteille couverte d’osier en France au XVIIe siècle — Elise Vanriest-Dabek, conservatrice du patrimoine, musée archéologique d’Istres / docteure en histoire de l’art moderne, EPHE
• Servir des alcools frappés : usages, formes et motifs des récipients en porcelaine au XVIIIe siècle — Défendin Détard, professeur agrégé d’histoire / doctorant en histoire de l’art moderne, Sorbonne Université

17.15  Présentation de notre partenaire Gallia et dégustation

19.00  Visite du musée des Arts décoratifs — Ariane James-Sarazin, conservatrice générale du patrimoine, Musée des Arts Décoratifs – Musée Nissim de Camondo

20.30  Dîner (réservé aux intervenants)

f r i d a y ,  1 4  j u n e

9.30  Accueil des participants

10.00  Conférence
• Verser le vin, tenir le verre. Réflexions sur la gestuelle du vin dans la peinture européenne (XVIe–XVIIe siècles) — Philippe Morel, professeur émérite des universités d’histoire de l’art moderne, Paris 1 Panthéon Sorbonne

11.15  Session 2 | Artistes & regardeurs. L’émulation par l’ivresse
Modération : Maël Tauziède-Espariat, docteur en histoire de l’art, UBFC
• Toasting and Drinking in Dutch Golden Age Art — Benjamin Binstock, Assistant Professor, The Cooper Union
• Usages et mythologie de l’alcool chez les Bentvueghels : de la pratique à la théorie — Suzanne Baverez, docteure en histoire de l’art moderne, EPHE

12.30  Déjeuner des participants

14.30  Conférence
• Les portraits en buveur : une tradition iconographique de la peinture européenne aux XVIIe et XVIIIe siècles ? — Christine Gouzi, professeure des universités d’histoire de l’art moderne, Sorbonne Université

15.30  Session 3 | « Le goût des lumières ». Vins et images épicuriennes au XVIIIe siècle
Modération : Alice Ottazzi, docteure en histoire de l’art moderne, Université de Turin / Université Paris 1 Panthéon-Sorbonne
• Héraclite et Démocrite sous la Régence : Peinture, chansons à boire et sociétés parisiennes à l’aube des Lumières — Ulysse Jardat, conservateur du patrimoine, musée Carnavalet – Histoire de Paris
• Sculpteur Satyrs: Art, Alcohol and Materiality in 18th-Century Paris — Ashley Hannebrink, doctorante en histoire de l’art et de l’architecture, Harvard University

16.30  Pause-café

16.45  Session | Speed Talking
Modération : Justine Cardoletti, doctorante en histoire de l’art moderne, Paris 1 Panthéon-Sorbonne
• Les étiquettes de bouteilles au XVIIIe siècle — Maxime Georges Métraux, chercheur, Galerie Hubert Duchemin
• Les interprétations biblique et antique de « L’automne » de Nicolas Poussin — Chao Ying Lee, maîtresse de conférences en relations et cultures ethniques, Université nationale de Don Hwa, Taïwan
• La représentation du vin dans la nature morte italienne vers 1700 — Claudia Salvi, docteure en histoire de l’art, Université d’Aix-Marseille et experte en peinture ancienne
• « Les liqueurs estoient en quantité » : consommation de liqueurs lors des fêtes à la cour sous le règne de Louis XIV — Clémence Pau, docteure en histoire de l’architecture moderne et ATER, Sorbonne Université
• L’ivresse du décor : représenter le buveur dans le dessin de plafond. Le cas de la salle à manger du château de Chantilly ornée par Claude III Audran, 1692–1709 — Hugo Guibert, étudiant en Master 2 à l’École du Louvre
• Réflexion autour des lieux de consommation du Palais-Égalité à la fin du XVIIIe siècle — Charlotte Duvette, docteure en histoire de l’art et de l’architecture, Université Paris 1 Panthéon-Sorbonne et cheffe de projet à l’Institut national d’histoire de l’art
• « Cachez ce vin que je ne saurais boire. » Comment ressert-on son vin à Paris au XVIIe siècle ? — Jean Potel, doctorant en histoire de l’architecture moderne, Sorbonne Université
• Alcool et sexe : un mélange iconographique inexistant dans la France du XVIIIe siècle ? — Maël Tauziède-Espariat, docteur en histoire de l’art, UBFC

18.00  Mots de fin et pot de l’amitié

◊    ◊    ◊    ◊    ◊

Seminar on Textual Bibliography for Modern Foreign Languages
The British Library, London, 28 June 2024

p r o g r a m m e

11.00  Registration and coffee

11.30  Juan Gomis (Valencia) — Visual Recognition Tools for the Study of Spanish Chapbooks, 18th and 19th Centuries

12.25  Lunch break

1.30  Karima Gaci (Leeds) — French Grammar Textbooks Published in England, 18th and 19th Centuries

2.15  Yuri Cerqueira dos Anjos (Wellington) — French Writing Manuals in the 19th Century

3.00  Tea

3.30  Alexandra Wingate (Indiana) — Reviewing the Systems Approach: A General Model for Book and Information Circulation

4.15  Sarah Pipkin (London) — Two Works by Kepler in University College London, De stella nova (1606) and De cometis libri tres (1619), and Their Provenance

The seminar will end at 5.00pm. Attendance is free, but please pre-register by sending your full name to Barry Taylor at barry.taylor@bl.uk and Susan Reed at susan.reed@bl.uk.

From ArtHist.net:

Collecting, Growing, and Exploring in Early Modernity
EPHE Sorbonne, Paris 11 June 2024

Organized by Maddalena Bellavitis and Catherine Powell-Warren

Registration due by 6 June 2024

The last few decades have produced a number of studies devoted to the relationship between collecting and science, highlighting the relationship between a growing interest in botany and the fascination with the collection of naturalia, especially from the mid-sixteenth century onward. These objects of natural origins aroused the admiration of enthusiasts and scientists alike. Underexplored, however, is the extent to which collecting and scientific experimentation and exploration were related in the early modern period. Thus, this workshop aims to focus attention on the collections of naturalia, on the one hand, and on the attempts to grow exotic plants in Europe and the adventurous journeys that the search for tropical plants and animals they encouraged, on the other. To be included in the list of participants, please send an email to maddalena.bellavitis@gmail.com.

p r o g r a m m e

10.00  Morning Session
• Maddalena Bellavitis (Saprat, EPHE) and Catherine Powell-Warren (Ghent University/FWO) — Welcome and Introductions
• Marie Bigotte (Durham University) — Politics and Diplomacy in Early Modern Princely Garden Collections of Naturalia
• Madeline White (University of Oxford) — ‘Indian Maiz…in my Garden at Mitcham’: Global Networks, Local Gardens, and Oxford’s du Bois Herbarium
• Baijayanti Chatterjee (University of Calcutta) — The Foundation and Growth of the Calcutta Botanical Garden: Plant Collecting and Botanical Science under the East India Company, 1786–1815
• Anil Paralkar (Heidelberg Centre for Transcultural Studies, Ruprech-Karls-Universität Heidelberg, WittenLab, Witten/Herdecke University) — The Datura in Gottorf: Botanizing, Ethnographing, and Imagining India in 17th-Century Germany

13.30  Lunch

15.00  Afternoon Session
• Seán Thomas Kane (Binghamton University) — Cosmographic Singularities: André Thevet as a Collector of American Exotica, 1556–1590
• India Cole (Queen Mary University of London) — The Duchess of Beaufort’s Pioneering Collections
• Silvia Papini (Università di Firenze – Pisa – Siena) — Exploring Nature in the Grand Duchy of Tuscany: Mercantile Perspectives in the Late 17th and Early 18th Centuries
• Celia Rodriguez Tejuca (Johns Hopkins University) — Stabilizing Materials across Time and Space: A Natural History Cabinet in 18th-Century Havana

17.15  Discussion and Conclusions

Angelica Kauffman, Self-portrait with Bust of Minerva, detail, ca. 1780–84, oil on canvas, 93 × 76 cm
(Chur: Grisons Museum of Fine Arts, on deposit from the Gottfried Keller Foundation, Federal Office of Culture, Bern)

◊    ◊    ◊    ◊    ◊

From the Royal Academy:

Angelica Kauffman
Royal Academy of Arts, London, 7 June 2024

As part of the Royal Academy’s retrospective exhibition of the work of Angelica Kauffman (1741–1807), this one-day symposium will provide an in-depth look at the work of one of the RA’s founding members. Known for her society portraits and pioneering history paintings, Kauffman painted some of the most influential figures of her day—queens, countesses, actors, and socialites. Her history paintings often focused on female protagonists from classical history and mythology. Organised in partnership with the Paul Mellon Centre for Studies in British Art, this symposium will address Kauffman’s international career and her time in London, her inspirations and subjects, and her place in the art world at the time and her position now in the broader context of art history.

Speakers include Emma Barker, Rosalind Polly Blakesley, Bettina Baumgartel, Rebecca Cypess, Ellen Hanspach-Bernal, Yuriko Jackall, Chi-Chi Nwanoku, Wendy Wassyng Roworth, Jane Simpkiss, and Annette Wickham. The day will conclude with a special artist in-conversation between Sutapa Biswas and Griselda Pollock.

If you have any accessibility needs, please contact public.programmes@royalacademy.org.uk.

p r o g r a m m e

8.30  Private View of the Exhibition

10.00  Welcome and Opening Remarks
• Rebecca Lyons

10.10  Session 1 | Angelica Kauffman and the Royal Academy of Arts
Chair: Rebecca Lyons
• Annette Wickham — Angelica Kauffman at the Royal Academy: From a Face on the Wall to Painting the Walls
• Bettina Baumgärtel — Angelica Kauffman in Context
• Jane Simpkiss — An Artist among Equals: A Comparative Analysis of Angelica Kauffman’s Self-Portraits with Those of Her Male Contemporaries

11.35  Break

12.00  Session 2 | Performance and Self-Fashioning in 18th-Century London
Chair: Marie Tavinor
• Chi-chi Nwanoku — 18th-Century Musical Prodigies
• Rebecca Cypess — Music and the Self-Fashioning of Angelica Kauffman
• Emma Barker — Figuring the Sibyl: Angelica Kauffman and the Image of Female Genius

1.25  Lunch Break

2.40  Session 3 | The International Business of Art
Chair: Sarah Victoria Turner
• Yuriko Jackall and Ellen Hanspach-Bernal — The Connections between Style, Reputation, and Business Acumen
• Rosalind Polly Blakesley — Kauffman in the Reign of Catherine the Great
• Wendy Wassyng Roworth — An Enterprising Artist: Angelica Kauffman and the Business of Art

4.10  Break

4.30  Artist Talk / In-Conversation
• Griselda Pollock and Sutapa Biswas

5.30  Concluding Remarks
• Sarah Victoria Turner

◊    ◊    ◊    ◊    ◊

Note (added 23 May 2024) — The posting was updated to include programme details.

From ArtHist.net:

Publics of the First Public Museums: II. Literary Discourses, 18th–19th Centuries
Durham University, 23–24 May 2024

Organized by Carla Mazzarelli and Stefano Cracolici

The workshop Publics of the First Public Museums (18th and 19th Centuries), II. Literary Discourses is an integral part of the research project Visibility Reclaimed: Experiencing Rome’s First Public Museums (1733–1870), An Analysis of Public Audiences in a Transnational Perspective (SNSF 100016_212922). The second of three encounters, this workshop delves into the examination of literary discourses vital to understanding the experiences of early museum-goers. Travel literature has long represented a privileged source for investigating the origins of the first public museums and the practices of access to public and private collections in Europe. However, in the light of recent studies aimed at deepening the material history of the museum and the encounter of the public with the institutions, these sources deserve a closer scrutiny in both methodological and critical terms. Following the inaugural Rome session that focused on institutional sources, the Durham workshop turns its gaze towards the rich literary narratives with the aim of analysing them also in a comparative perspective with the primary sources. As museums sought to define and engage their public, literature often became both a mirror and a mould, reflecting and shaping societal perceptions. With a spotlight on interdisciplinary and transnational approaches, the Durham workshop calls for a deeper probe into the visual and material realms of museums, emphasizing the interplay between literary discourses and artworks, collections, display, space, audiences ‘narrated’ in the museum and the evolving institutional norms of the 18th and 19th centuries. Information and streaming on request: visibilityreclaimed@gmail.com.

Principal investigator
Carla Mazzarelli, Università della Svizzera italiana, Accademia di architettura di Mendrisio, Istituto di storia e teoria dell’arte e dell’architettura

Project Partners
Giovanna Capitelli, Università Roma Tre
Stefano Cracolici, Durham University
David García Cueto, Museo del Prado
Christoph Frank Università della Svizzera Italiana
Daniela Mondini, Università della Svizzera Italiana
Chiara Piva, Sapienza Università di Roma

Organising Secretary
Gaetano Cascino (Università della Svizzera italiana)
Lucia Rossi (Università della Svizzera italiana)

t h u r s d a y ,  2 3  ma y

9.00  Welcome by Ita MacCarthy (Durham University, Institute of Medieval and Early Modern Studies, Director)

9.15  1 | Methodological Reflections
This session serves as an introduction to the workshop, providing a shared reflection on the current state of research and the future prospects. It will focus on the comparative, interdisciplinary, and intermedial analysis of literatures within the field of museum studies.
Chair: Christoph Frank (Università della Svizzera italiana)
• Carla Mazzarelli (Università della Svizzera italiana) — Letterature e pubblici del Museo: fonti o modelli?
• Stefano Cracolici (Durham University) — Musei d’Arcadia
• Marco Maggi (Università della Svizzera italiana) — ‘Tutta l’arte del buon governo trastullando imparare in un passeggio’: A Literary Rearrangement of the Duke of Savoy’s Great Gallery

11.15  2 | Museums at Hand
This session will analyse literary genres for museum visitors, like guidebooks, and the role of periodicals in broadening museum audience engagement. Discussions will cover the evolution of these texts and new reading approaches introduced by Digital Humanities.
Chair: Giovanna Capitelli (Università Roma Tre)
• Damiano Delle Fave (Sapienza Università di Roma) — Pubblici dei musei a Roma nelle guide dell’Ottocento
• Gaetano Cascino (Università della Svizzera italiana) — ‘I Romani non frequentano le gallerie di Roma’: discussioni e stereotipi sui visitatori dei musei di Roma nella stampa di secondo Ottocento
• Pietro Costantini (Università di Teramo) — Viaggio in Abruzzo: Vincenzo Bindi e I Monumenti storici ed artistici degli Abruzzi

12.30  Keynote Address
• Carole Paul (University of California, Santa Barbara) — The Museum Going Public in 18th-Century Italy

13.15  Lunch Break

14.15  3 | Museums on the Beaten Track
This session focuses on museum experiences in travel literature, including correspondence, diaries, and travel accounts. Discussions will specifically examine the unique perspectives of visitor-narrators and how published literary accounts of museum visits compare or contrast with unpublished sources.
Chair: Mauro Vincenzo Fontana (Università Roma Tre)
• Rosa Maria Giusto (Napoli, CNR) — La ‘città-museo’ e i resoconti dei viaggiatori: le Notizie di Roma scritte dal Sig.re Aless.o Galilei
• Luca Piccoli (Università della Svizzera italiana) — Reise nach Italien dell’architetto Simon-Louis Du Ry: resoconti pubblici e privati sui musei in Italia a confronto
• Ludovica Scalzo (Università Roma Tre) — ‘The torch, like Promethean fire, makes every statue live’: visite a lume di fiaccola nei musei romani dai resoconti di viaggio della prima metà dell’Ottocento

15.30  Coffee Break

15.45  4 | Varieties of Sightseeing
This session explores the variety of visiting spaces, perspectives, and geographies in the 18th and 19th centuries, including museums, monuments, private palaces, and studios. Discussions will focus on what these diverse viewpoints reveal about sociocultural dynamics.
Chair: David García Cueto (Museo Nacional del Prado)
• Daniel Crespo-Delgado (Universidad Complutense de Madrid) — Los monumentos y las colecciones de arte en la literatura de viajes española (y por España) de la Ilustración
• Victoria Arzhaeva (EPHE-PSL, laboratoire Histara) — Les pensionnaires russes au Vatican: l’expérience muséale à travers la correspondence artistique et les journaux intimes du XIXe siècle
• Michele Amedei (Università di Pisa) — ‘The Studio was a monument of his intelligent taste and æsthetic
culture’: l’atelier dell’artista nei resoconti e diari di viaggio di visitatori nordamericani nella Toscana dell’Ottocento

17.00  Keynote Address
Christoph Frank (Università della Svizzera italiana) — In the Shadow of the Americas: The Humboldts and Schinkel in the Rome of the Early 1800s

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9.00  5 | Literary Landscapes
This session aims to reflect on how literature provides a multifaceted view of the museum experience, extending the analysis to landscape traversal. It will consider the poetic charm of narrative evocations that capture the emotions of a setting and the ekphrastic descriptions that articulate artworks in written words.
Chair: Ita MacCarthy (Durham University)
• Cecilia Paolini (Università di Teramo) — Il Controcanto di Clio: George Sand e l’inascoltata interpretazione del paesaggio italiano tra spazio barocco e romanticismo progressista
• Elizaveta Antashyan (Sapienza Università di Roma) — ‘A Walk through the Hermitage’: Russia’s First Public Museum and Its Reflections in Literature during the Reign of Alexander II (1855–1881)

10.00  6 | Museum Tales
This session is dedicated to literary texts that transform museum visits into narratives. It explores how notions of time and space during such visits compare with the temporal dynamics of literary narration and how the perception of the visited places differs from travel accounts.
Chair: Sara Garau (Università della Svizzera italiana)
• Lucia Rossi (Università della Svizzera italiana) — Il ‘Museo di Roma’ tra esperienza, ricordo e costruzione narrativa: I Miei Ricordi e le Lettere di Massimo d’Azeglio
• Meghan Freeman (Yale University) — The Intimacies of Art Travel in Henry James
• Corinne Pontillo (Università di Catania) — ‘S’arrestò davanti alla Gioconda’: visitare il Museo del Louvre attraverso la letteratura

11.15  Coffee Break

11.30  7 | Sensory Visits
This session explores how the concept of the museum as a space to ‘read’ differs from its traditional perception as a space to ‘visit’. It will examine, from an interdisciplinary perspective, the implications of this distinction in literary and museological discourses, with a special focus on the sensory dimension of navigating through texts and the museum.
Chair: Marco Maggi (Università della Svizzera italiana)
• Isabelle Pichet (UQTR, Trois Rivières) and Dorit Kluge (VICTORIA | International University, Berlin) — Experiencing 18th-Century Art Exhibitions in Paris and Dresden: A Sensory Interplay between Exhibition and Text
• Sofia Bollini (Università Luigi Vanvitelli, Napoli / Università della Svizzera Italiana) — Il preparato anatomico come oggetto museale e letterario nella cultura tardottocentesca
• Laura Stefanescu (Villa I Tatti, Harvard University) — Vernon Lee’s Gallery Diaries: An Aesthetic Bodily Experience of Italian Museums in the Early 20th Century

12.30  Discussion and Conclusion