Conference | York and the Georgian City
Nathan Drake, The New Terrace Walk, York, ca. 1756, oil on canvas, 76 × 107 cm
(York Art Gallery)
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From the York Georgian Society:
York and the Georgian City: Past, Present, and Future
King’s Manor, York, 18 May 2024
This conference aims to re-evaluate the notion of York as a Georgian city, one of the founding premises of the York Georgian Society in 1939. It will examine to what extent York can be described as a ‘Georgian’ city, and whether that label is relevant or meaningful in the present day. This is the first conference organised by the York Georgian Society in conjunction with the Centre for Eighteenth-Century Studies at the University of York. It will be held in the beautiful and historic King’s Manor just outside the city walls, historically the most important building in York after the Minster.
Keynote lectures will be given by Professor Rosemary Sweet of the University of Leicester and Madeleine Pelling, historian, writer, and broadcaster. Others speakers are from the Faculty of Arts and Humanities at the University of York: Professor Jon Mee, Dr Matt Jenkins, and PhD students Constance Halstead and Rachel Feldberg. The day ends with a round table to discuss issues raised on the day and a reception. Tickets cost £5 for students, £15 for members of the Society and University of York staff, and £25 for others. The price includes morning coffee, a light lunch, afternoon tea, and a reception.
p r o g r a m m e
10.15 Registration and coffee
10.50 Introduction — Charles Martindale (University of Bristol) and Jim Watt (University of York)
11.00 First Keynote
Chair: Charles Martindale
• Rosemary Sweet (University of Leicester) — When Did York Become Georgian?
12.00 First Panel: University of York Student Papers
Chair: Jon Mee
• Rachel Feldberg — Sense and Sociability: Jane Ewbank’s Critical Engagement with Georgian York
• Constance Halstead — Different Cities, Different Sensibilities: The Influence of Social Milieu on Anne Lister’s Discussion of Her Journal
12.50 Lunch
2.00 Second Keynote
Chair: Adam Bowett
• Madeleine Pelling (historian, writer, and broadcaster) — Writing on the Wall: Graffiti, Rebellion, and the Making of 18th-Century Britain
3.15 Second Panel
Chair: Jim Watt
• Matt Jenkins (University of York) — An Archetypal Georgian City?: Contradictions and Conformity in 18th-Century York
• Jon Mee (University of York) — Manchester College, York, 1803–40: An Outpost of Rational Dissent in an Anglican City
4.15 Tea
4.45 Roundtable
Chair: Charles Martindale
• Rosemary Sweet, Madeleine Pelling, Adam Bowett, and Peter Brown (formerly Director of Fairfax House)
5.30 Reception
Exhibition | The Doering Fashion Collection
Shoes, made in England or America, ca. 1800, leather, silk, and linen
(Mary Doering Fashion Collection)
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From the press release for the exhibition:
Elegance, Taste, and Style: The Mary D. Doering Fashion Collection
DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg, opening 22 February 2024 (with three rotations)
More than 150 objects from one of the greatest private collections of early textiles, accessories, and historic dress assembled in the United States will go on view over the next several years at the DeWitt Wallace Decorative Arts Museum, one of the Art Museums of Colonial Williamsburg. Elegance, Taste, and Style: The Mary D. Doering Fashion Collection will take visitors through 50 years of this collector’s passion and feature gowns, jackets, waistcoats, shoes, textile documents, and more dating between 1700 and 1840. Due to light sensitivity, the objects will be shown in three parts. The first installment displays approximately 40 objects and is the inaugural exhibition to be shown in the Mary Turner Gilliland and Clinton R. Gilliland Gallery, the Art Museums’ first dedicated gallery to historic costume. The dates for the second and third rotation of objects on view are still to be determined.
This green gown, made of wool, ca. 1815, is remarkable to have survived, because many woolen garments of the day were destroyed by moths and carpet beetles (Mary Doering Fashion Collection).
“Examples of historic dress are among the most human of artifacts from the past, providing windows into the lives and tastes of our forebearers,” said Ronald Hurst, the Foundation’s Carlisle H. Humelsine chief curator and senior vice president. “Mary Doering’s superb collection is particularly rich in such opportunities, and it is highly fitting that the Doering Collection constitutes the first exhibition in the new Gilliland Gallery for historic dress.”
When Mary D. Doering (b. 1952), a lifelong curator, educator, and researcher, was sixteen years old, she received a trunk filled with early 20th-century clothing as a bequest from her great aunt. This small gift was the impetus for what became a lifelong passion for historic dress. Throughout her career, Doering used her collection, which ultimately grew to thousands of pieces (there are approximately 800 pieces dating before 1840 alone), to educate hundreds of students and researchers about changing fashions, taste, design, and style. From the early collecting days when she went picking at local flea markets and antiques stores, to her first trip to the United Kingdom and her eventual meeting with the legendary antiques dealer Cora Ginsburg, who became Doering’s mentor, she thoughtfully and carefully selected every object in her collection. Over the nearly 50 years that she built the collection, Doering gained expertise to create a truly comprehensive assemblage ranging from underwear to the finishing accessories.
“It has been an absolute pleasure working with Mary’s collection, especially using objects so near and dear to her heart, to tell her lifelong story of collecting historic dress,” said Neal Hurst, Colonial Williamsburg’s curator of historic dress and textiles. “Every object that Mary acquired was carefully hand-selected based on her research and what she saw in other museums. Visitors to the new historic dress gallery will love seeing the range of clothing from the fine and fancy to the plain and every day.”
One highlight of the collection is a blue silk Englishman’s waistcoat, likely embroidered in the 1760s in China (Mary Doering Fashion Collection).
Among the highlights of Elegance, Taste, and Style is one of the first waistcoats Doering purchased of what was to become more than 100 examples dating between 1700 and 1840. This stunning blue silk waistcoat was probably embroidered in China in the 1760s for the Western market. Chinese embroidery is distinctive in that it uses twisted threads rather than single stranded floss. The object, the first of several Doering purchased at Christie’s in South Kensington, London, on 11 June 1974, was bought with money she saved to travel to Europe. Doering remembered the auctioneer saying, “Sold to the enthusiastic young woman on the aisle.”
Another featured object in the exhibition is an ivory, silk satin round gown in nearly perfect condition. Believed to be a wedding gown worn in the West Country of England, the style was popular in the mid-18th century; it integrates the petticoat into the structure of the skirt rather than it being a separate garment. Doering purchased this round gown along with two other gowns from Cora Ginsburg in honor of her mother who died in January 1978. Doering used the small sum of money her mother left to her to fund the gowns.
Although the Doering Collection is strong in American and English objects and focused heavily on women’s dress from the 18th and early 19th centuries, it also includes important pieces from Europe, such as the 1780s Dutch jacket that is another star piece in the exhibition. Jackets of this era, such as this one, were very low cut, even under the bust, with a large handkerchief worn over the top. Dutch women often dressed with many different prints and patterns, which varied greatly depending on the region. This example is unusual in that it uses two different block-printed cotton fabrics with black or dark blue backgrounds in the lower skirts and under the sleeves. It is important to note the careful use of textiles here with two different but very similar textiles used in obvious places; textiles were more expensive than the labor to construct the jacket, so this indicates a level of frugality.
The Doering Collection features numerous accessories, including shoes, buttons, work bags, hats, caps, and buckles. One example among the shoe collection is another highlight of Elegance, Taste, and Style. Although James B. Patterson’s identity is lost to history, he saw value in this pair of ivory, silk satin slippers with a small Italian-style heel popular in the 1780s. He affixed a paper label to the bottom that reads: “Shoes worn in 1782” along with his name. This pair shows very little wear on the soles and heels perhaps indicating that they were worn as wedding slippers.
Designed by Jean-Baptist Huet between 1800 and 1805, this piece of French-printed cotton includes amphora, Apollo’s lyre, and the mythical harpee enclosed within medallions (Mary Doering Fashion Collection).
Mary Doering also collected many textile documents to use in her class on design, manufacturing techniques, and the change in taste over time, which she taught at The Smithsonian Institution’s Master’s Program in the History of Decorative Arts in 2001. One such rare example to be seen in the exhibition is an early 19th-century cylinder print that shows the new style and taste desired across England and Europe. With the discovery of Pompeii and Herculaneum in the 1730s and Napoleon’s Egyptian Campaign at the turn of the century, ancient relics and symbols quickly became popular. Designed by Jean-Baptist Huet between 1800 and 1805, this print includes amphora, Apollo’s lyre and the mythical beast known as a Harpee, or half woman-half bird, enclosed within different medallions. The print, known as a furniture, was primarily used for bed hangings, window curtains, and slip covers. It is especially rare in that the designer, the printer, the date, and the place of production are all known.
Also included in the exhibition is a larger-than-life video panel that will be sure to delight visitors and highlight a practice we share with our 18th-century ancestors. It will show people of all races and classes, from Native Americans to soldiers, enslaved Africans to members of the top echelons of colonial society, tradesmen, and women, getting dressed.
In celebration of Elegance, Taste, and Style, a symposium on historic dress, Collections, Collectors, and Collaborations, will be held at The Colonial Williamsburg Foundation, 14–16 November 2024. The symposium will not only celebrate the opening of the Mary Turner Gilliland and Clinton R. Gilliland Gallery at the Art Museums of Colonial Williamsburg but also 90 years of historical dress and costumed interpretation at Colonial Williamsburg (since 1934), 70 years of the Margaret Hunter Shop, which was the first curated exhibition of clothing and accessories at Colonial Williamsburg (in 1954), and 40 years of mantua making in the Colonial Williamsburg’s department of historic trades (begun in 1984). Registration for the conference will launch later this spring.
Elegance, Taste, and Style: The Mary D. Doering Fashion Collection is generously funded by the Thomas L. and Nancy S. Baker Museum Exhibitions Support Fund. The exhibition’s video component, men’s accessories, and other essential aspects of the exhibition are funded by Charles and Ellan Spring.
Conference | Environmental Impacts of Catholic Missions, Atlantic
From ArtHist.net:
The Environmental Impacts of Early Modern Catholic Missions in the Atlantic Space
Online and in-person, Institut National d’Histoire de l’Art, 9 March 2024
This is one in a series of workshops aimed at exploring the role of the Catholic Church, through its missionary undertaken, in the global environmental upheavals and discoveries of the early modern period. Venturing wide and far beyond the familiar European sphere, early modern missionaries frequently used the rhetoric of Theatrum Mundi to reflect on their encounters with previously unknown cultures. What has escaped scholars’ attention, however, is how these rapidly evolving dramas of evangelization in turn shaped the seemingly timeless backstage setting of Nature. As the missionaries voyaged away and established new religious communities, they were not only faced with social and cultural challenges raised by the vastly different linguistic, political, and philosophical traditions, but they also had to adapt to unfamiliar geographical, climate, and material conditions as they sought to construct churches or realize liturgical rituals, not to mention the extensive agricultural and medical activities they had to pick up for personal survival in often severe natural conditions.
One overarching method we want to propose is to think about early modern Catholicism in the plural term, as theorized by Simon Ditchfield. Studies on post-Tridentine missions tended to emphasize the central authoritative role of Rome, focusing especially on the role of the missionary as leader in the creating of new religiosity, new economical exchanges, or new societies. The new attention paid to missionaries’ interactions with local natural conditions will complicate our understanding of Rome as one of the few truly global institutions of the early modern period acting not only as a religious and evangelist force but also in the colonialist expansions.
p r o g r a m m e
13.30 Introduction — Silvia Mostaccio (Université Catholique de Louvain)
13.45 Yasmina Rocio Ben Yessef Garfia (Università di Napoli Federico II) — La natura contro gli indigeni: religiosi e racconti della catastrofe nel viceregno del Perù (s. XVII–XVIII)
14.30 Nils Renard (Université Paris 1 Panthéon-Sorbonne) — The Catholic Church and the Liberty Trees during the French Revolution: An Environmental Syncretism between France and the New World
15.15 Break
15.45 Thomas Brignon (Université Paris 3 Sorbonne Nouvelle) — A Predatory Arcadia: Revisiting Animal Husbandry, Hunting, Fishing, and Gathering in the Jesuit-Guaraní Missions (Paraguay, 17–18th Centuries)
16.30 Andréanne Martel (Université du Québec à Montréal, Université de Genève) — Nommer la faune, la flore et le territoire « en Canada » : écriture, oralité et savoirs autochtones dans les cartes du missionnaire jésuite Pierre-Michel Laure (1688–1738)
17.15 Break
17.30 Isabel Harvey (Université du Québec à Montréal, UCLouvain) — L’environnement comme protagoniste historique
18.00 Final Discussion
Organizing Commitee
• Isabel Harvey, Université du Québec à Montréal
• Alysée Le Druillenec, Université Paris 1 Panthéon-Sorbonne
• Wenjie Su, Princeton University
Online Symposium | New Work on Old Dance
The conference program includes a handful of intriguing 18th-century talks:
New Work on Old Dance: A Pre-1800 Dance Studies Symposium
Online, 22–24 February 2024
It is with great pleasure that we share the program for New Work on Old Dance, an international early dance symposium jointly sponsored by Dance Studies Association and the University of Pennsylvania, to be held via Zoom 22–24 February 2024. Organized by the Early Dance Working Group of DSA, the symposium will feature a tremendous diversity of dance scholarship and practitioner workshops over the course of three days. Registration is free. Please address any questions to Amanda Danielle Moehlenpah (amanda.moehlenpah@slu.edu), Emily Winerock (contact@winerock.com), or Mary Channen (Caldwell maryca@sas.upenn.edu). We hope to see many of you on Zoom soon!
Conference | Traveling Objects: Material Cultures of the Atlantic Routes
Hosted by the INHA, as noted at ArtHist.net:
Travelling Objects: The Material Culture of the Atlantic Routes — Encounters of Cultures and Things
Institut national d’histoire de l’art, Paris, 21 February 2024
Organized by Maddalena Bellavitis and José Manuel Santos Pérez
9.30 Welcome and Opening
Maddalena Bellavitis (EPHE) and José Manuel Santos Pérez (Centro de Estudios Brasileños, Universidad de Salamanca)
9.45 Morning Session
1 Alicia Sempere Marín and Ignacio José García Zapata (Universidad de Murcia), Jesuits’ Travel Journal from New Spain to Europe: Routes, Stops, and Acquisitions of Devotional Objects in 1757
2 Genevieve Warwick (University of Edinburgh), Jewelled Currency: Glass Conterie in the First Age of Circumnavigation
3 Charikleia (Haris) Makedonopoulou (NTU Athens / ETH Zurich), Tracing the Multiple Journeys of the Palm Tree between the East and the West
4 Rebecca Legrand, Fanny Bulté (Université de Lille), The Taste of Others: Between Fear and Fascination
5 Patrícia Gomes da Silveira (Colégio Pedro II/Universidade do Estado do Rio de Janeiro), William John Burchell and the Representation of Brazilian Landscape in His Expedition, online
13.30 Lunch Break
14.30 Afternoon Session
6 Carmen Espejo-Cala (Universidad de Sevilla) and Paul Firbas (Stony Brook University, New York), Conexiones entre las imprentas de lima y Sevilla (siglos XVI y XVII): agentes y actores-red
7 Eduardo Corona Pérez (Universidad de Sevilla), En los albores de la fundación y de la fiebre del oro: los hombres y mujeres que hicieron Vila Rica de Ouro Preto
8 Lauren Beck (Mount Allison University), Viewing Spain from the Americas: Indigenous Perspectives, Experiences, and Sources
9 Britt Dams (Ghent University / Université Paul Valéry), « I am a better Christian than you are », The Remarkable Epistolary Exchange between Two Potiguara Leaders, Pedro Poti and Felipe Camarão
10 Eduardo Cesar Valuche Oliveira Brito (Universidade Federal Fluminense, UFF-Brasil), As ‘Missões de Marinheiros’ no Atlântico anglo-americano: a cultura material protestante na virada dos séculos XVIII e XIX
11 Ana-Marianela Rochas-Porraz (ÉNSA Versailles), Images d’expatriation de la France au Mexique: le fonds photographique de l’architecte Fernand Marcon (1877–1962)
17.30 Discussion and Conclusions
The description of the project from the Call for Papers is available here»
Contact Information
Maddalena Bellavitis
Laboratoire Saprat
École pratique des hautes études
Campus Condorcet – Bâtiment Recherche Nord
14, Cours des Humanités
93322 Aubervilliers Cedex
France
maddalena.bellavitis@gmail.com
Conference | Eco Edo: Ecological Perspectives
Panoramic Map of the Tōkaidō Highway, Shōtei Kinsui, drawn by Kuwagata (better known as Keisai). Published by Sanoya Ichigorō, Izumiya Hanbei, and Izumoji Manjirō, n.d. (likely 1810). Polychrome xylography, 52 x 24 inches (Los Angeles: Richard C. Rudolph Collection of Japanese Maps, Special Collections, UCLA Library).
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As noted yesterday at ArtHist.net:
Eco Edo: Ecological Perspectives on Early Modern Japanese Art
William Andrews Clark Memorial Library, UCLA, Los Angeles, 2 February 2024
Organized by Kristopher Kersey
On 2 February 2024, the William Andrews Clark Memorial Library at UCLA will host the conference Eco Edo: Ecological Perspectives on Early Modern Japanese Art. This is the second of three conferences at UCLA this year on the theme of early modern Japanese art.
The art of Japan’s Edo period (1603–1868) presents a paradox. On the one hand, the nineteenth-century proliferation of ukiyo-e—polychrome woodblock prints of the ‘floating words’ of theater and sex work—made the popular visual culture of this city a familiar component of modern art in the nineteenth and twentieth centuries. Yet the outsize fascination with ukiyo-e outside Japan has sorely obscured Edo’s far more diverse social, material, and artistic landscapes. In an effort to countervail the enduring stereotypes of early modern Japanese art, Open Edo will present a suite of conferences addressing three interlinked themes: the representation and agency of marginalized groups, the ecological horizons of artistic production, and the ongoing need to counter the myth that Japan in early modernity was somehow disconnected from the rest of the world. Throughout the year-long series, the focus will be both historical and historiographical inasmuch as Open Edo asks how Japanese art history might challenge the discourse of early modernity writ large.
If interested in attending, please register, as space is limited in the Clark Library (also, note that the Clark is housed in a villa in West Adams, about 8 miles east of the main UCLA campus in Westwood). The conference is free and open to the public. Parking is free, and lunch is provided. To register, follow this link. There is no livestream or recording, but an edited volume should follow. Should you have any questions, please email kersey@humnet.ucla.edu.
p r o g r a m
9.30 Coffee and registration
10.00 Director’s welcome by Bronwen Wilson (UCLA), with opening remarks by Kristopher Kersey (UCLA)
10.15 Panel 1
Moderator: Kristopher Kersey (UCLA)
• Greg Levine (University of California, Berkeley), ‘Close Looking,’ but at What? Hasegawa Tōhaku’s Pine Grove and ‘Attentional Deviance’
• Rachel Saunders (Harvard Art Museums), The Birds, Flowers, and Botany of Edo Rinpa
11.45 Lunch, with a display of Clark Library materials in the North Book Room
1.00 Panel 2
Moderator: William Marotti (UCLA)
• Chelsea Foxwell (University of Chicago), What Are Bugs Doing in Edo-Period Paintings?
• Kit Brooks (National Museum of Asian Art, Smithsonian Institution), Morphing into Madness: Shifting Perceptions of the Japanese Wolf
2.30 Coffee break
3.00 Panel 3
Moderator: Kendall Brown (California State University Long Beach)
• Christian Tagsold (Heinrich Heine University Düsseldorf), The Thousand Gardens of Edo: Exploring the Nature of the Cultivated Environment
• Nobuko Toyosawa (Oriental Institute of the Czech Academy of Sciences), The Place of Ecology in Matsudaira Sadanobu’s Gardens
4.40 Plenary discussion with all speakers
5.30 Reception
Symposium | Portraiture in 18th-Century Europe
From the DFK:
Portraiture in 18th-Century Europe: Artwork—Social Practice—Circulation
Le portrait au XVIIIe siècle en Europe: Œuvre d’art—pratique sociale—objet de transfert
Deutsches Forum für Kunstgeschichte, Paris, 11–12 March 2024
Organized by Markus Castor, Martin Schieder, and Marlen Schneider
Alexandre Roslin, Self-Portrait with the Artist’s Wife Marie-Suzanne Giroust Painting a Portrait of Henrik Wilhelm Peill, detail, 1767, oil on canvas, 131 × 99 cm (Stockholm, Nationalmuseum, NM 7141).
Whether a manifestation of political power, expression of intimate feelings, an embellishing masquerade, or a faithful likeness, the art of portraiture in the Age of Enlightenment was marked by exceptional diversity throughout Europe. Between the apogee of absolutism and the political, social, and intellectual upheavals of the revolutionary era, it became a mirror of a society in full mutation. The differentiation of taste, changes in the art market, and the gradual establishment of public exhibitions were decisive factors contributing to the variety of effigies. Finally, the criticism of portraiture that flourished at the same time as this artistic genre, wrongly considered as ‘minor’, testified to the growing tension between its social functions and its claim to be a work of art in its own right.
The aim of the symposium is to study portraiture from a multifaceted perspective, tracing its social, theoretical, artistic, and material conditions. Focusing on its development during the Enlightenment in the French context, we also wish to open the discussions up to a European perspective. What concepts and themes shaped the debates surrounding portraits? How did the usages and functions of portraits evolve, and what were the consequences for the production and materiality of these objects? By what means and networks did portrait modes circulate in the various European artistic centers? We intend to shed light on these different aspects in their interdependence, in order to better understand the complex success story of portraiture in the 18th century.
Concept and Organization
Markus A. Castor (DFK Paris), Martin Schieder (Universität Leipzig), and Marlen Schneider (Université Grenoble Alpes/LARHRA)
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m o n d a y , 1 1 m a r c h 2 0 2 4
Speakers are assigned 45-minute slots; specific times, along with breaks, are available here»
14.30 Opening remarks by Peter Geimer (Director of the DFK Paris) and introduction by Markus Castor, Martin Schieder, and Marlen Schneider
15.00 I | Social Practices
Moderation: Martin Schieder
• Elise Urbain Ruano (Musée royal de Mariemont), Portraits transgressifs et modes négligées
• Gerrit Walczak (Zentralinstitut für Kunstgeschichte, München), Silk, Lace, and Deception: The Rococo Dummy Board Princesses of Georg David Matthieu
• Lara Pitteloud (Université de Neuchâtel), S’entourer de portraits « regardés comme uniques » : le cas parisien du Comte de Baudouin
• Philippe Bordes (Université Lumière Lyon 2 / LARHRA), Le piège de la célébrité sous la Révolution: les portraits de députés par Adélaïde Labille-Guiard et Jean Louis Laneuville
18.30 Conférence du soir
• Melissa Hyde (University of Florida), Gifted: Women, Portraiture, and the Art of Friendship
Drinks reception
t u e s d a y , 1 2 m a r c h 2 0 2 4
9.30 II | Circulations and Transfer
Moderation: Markus Castor
• Hannah Williams (Queen Mary University of London), Linked Lives: Portraits as Traces of Colonial Networks in Paris’s 18th-Century Art World
• Ulrike Kern (Goethe-Universität, Frankfurt am Main), License to Portrait: Annexation of a Genre in Early 18th-Century British Art Theory
• Marlen Schneider (Université Grenoble Alpes / LARHRA), Portraits à la française? Appropriations et détournements du portrait déguisé entre Paris et Berlin
• Agata Dworzak (Jagiellonian University, Cracovie), Representation and Creation: The Tradition of Portraiture of Church Hierarchs in Central and Eastern Europe in the Second Half of the 18th Century: A Case Study of the Polish-Lithuanian Commonwealth
12.45 Lunch break
14.00 III | Theories and Techniques
Moderation: Marlen Schneider
• Marianne Koos (Universität Wien), Resemblance as a Passing Quality: Liotard, La Tour, and the Question of le faire in 18th-Century Portraiture
• Juliette Souperbie (Université Toulouse II Jean Jaurès), L’artiste à l’œuvre: Une mise en abyme du portrait au XVIIIe siècle
• Andreas Plackinger (Albert-Ludwigs-Universität Freiburg), Zwischen Konventionsbruch, Kunsttheorie und Sociabilité: Plastische Bildhauerselbstporträts im Frankreich des späten Ancien Régime
• Jan Mende (Stadtmuseum Berlin), Die Porträtbüste geht in Serie: Neue Technologien und preiswerte Werkstoffe um 1790
• Amy Freund (Southern Methodist University), Who/What is a Self? Animal Portraiture in 18th-Century France
18.15 Conclusion and perspectives
Conference | Visualizing Antiquity, Part II
From ArtHist.net:
Visualizing Antiquity: On the Episteme of Early Modern Drawings and Prints — Part II: Find and Display / Fragment and Whole
Bildwerdung der Antike: Zur Episteme von Zeichnungen und Druckgrafiken der Frühen Neuzeit — II. Fund und Aufstellung / Fragment und Ganzes
Online and in-person, Zentralinstitut für Kunstgeschichte Munich, 31 January 2024
Organized by Ulrich Pfisterer, Cristina Ruggero, and Timo Strauch
The academy project Antiquitatum Thesaurus: Antiquities in European Visual Sources from the Seventeenth and Eighteenth Centuries, hosted at the Berlin-Brandenburg Academy of Sciences and Humanities (thesaurus.bbaw.de), and the Zentralinstitut für Kunstgeschichte Munich (zikg.eu) are organizing a series of colloquia in 2023–2025 on the topic Visualizing Antiquity: On the Episteme of Drawings and Prints in the Early Modern Period. The significance of drawings and prints for ideas, research, and the circulation of knowledge about ancient artifacts, architecture, and images in Europe and neighboring areas from the late Middle Ages to the advent of photography in the mid-19th century will be examined. The second colloquium will explore how the various states and contexts of ancient objects, in the broadest sense, between their discovery and their ‘final’ display, were captured and documented in images. Later study days will focus on Collectors, Artists, Scholars: Knowledge and Will in Collection Catalogs and Fake News? Fantasy Antiquities. Participation in the event is free of charge, and the talks will also be broadcast via Zoom (Meeting-ID: 856 5934 5839 | Password: 148258).
p r o g r a m
11.00 Begrüßung & Einführung
11.15 Dokumentation
Moderation: Arnold Nesselrath (Rom)
• Francesco Benelli (Alma Mater Studiorum – Università di Bologna), ‘Che no sia tondo e che abia dello aovato’: Uffizi U1132A, a stratification of meanings and strategies within the Sangallo’s workshop
• Barbara Sielhorst (Ruhr-Universität Bochum), Pars pro toto. Zur visuellen Dokumentation des Palatins in Rom vom Beginn des 18. bis zur Mitte des 19. Jahrhunderts
• Alessia Zambon (UVSQ-University Paris-Saclay), Thomas Burgon’s Excavations in Athens in 1813: Fieldwork and Finds’ Recording
13.00 Mittagspause
14.00 Restaurierung – Rekonstruktion
Moderation: Elena Vaiani (ZIKG München)
• Elena Efimova (Lomonossow-Universität Moskau), Dessins des détails d’ordres: entre un livre de modèles et une collection antiquaire
• Lena Demary (Ruhr-Universität Bochum), Transparenz und Verschleierung – Ambivalenzen früher restauratorischer Dokumentationen in Katalogen antiker Bildwerke
• Annie Maloney (Oberlin College), Reconstructing the Fragments of Pietro Santi Bartoli’s Reproductive Corpus
• Koenraad Vos (University of Cambridge), Restorations of Ancient Sculpture as Epistemic Images: Filippo Aurelio Visconti on the Benefits of Intervention
16.20 Kurze Pause
16.30 Aufstelling
Moderation: Henri de Riedmatten (Université de Genève)
• Anna Degler (Freie Universität Berlin), Auf unsicherem Grund. Der sog. Torso Belvedere und die Körperdiskurse in der ersten Hälfte des 16. Jahrhunderts
• Daniela Picchi (Museo Civico Archeologico di Bologna), Giovanni Nardi and Ancient Egypt at the Medici Court
• Sophie Kleveman (Georg-August-Universität Göttingen), Kommissarisches Antikenwissen und die Regulation des Antikenmarktes im 17. Jahrhundert
• Henri de Riedmatten (Université de Genève), Zusammenfassung und Leitung Abschlussdiskussion
The Decorative Arts Trust’s Emerging Scholars Colloquium, 2024
The Decorative Arts Trust’s Emerging Scholars Colloquium takes place this Sunday, on the heels of the group’s Antiques Weekend, an annual foray into New York’s Americana Week:
The Decorative Arts Trust’s Emerging Scholars Colloquium
Park Avenue Armory, New York, 21 January 2024
Photo from the 2023 Emerging Scholars Colloquium in the Park Avenue Armory’s Board of Officers Room (via the Instagram account of The Decorative Arts Trust).
The Decorative Arts Trust is excited to host its 8th Annual Colloquium featuring young scholars in the decorative arts field. The registration fee for the colloquium is $25; Decorative Arts Trust membership is not required to attend. The event is generously sponsored by Classical American Homes Preservation Trust and Mr. & Mrs. Donald B. Ayres III. Registration is available here.
p r o g r a m m e
9.00 Coffee and bagels
9.30 Welcome by Benjamin Prosky, President, Classical American Homes Preservation Trust
Introductions by Catherine Carlisle, Manager of Educational Programs, Decorative Arts Trust
• Follow the Hearth: Retracing the Spatial History of Edgewater’s Dining Room Mantelpiece — Lauren Drapala (PhD candidate, Bard Graduate Center, and William L. Thompson Collections Fellow, Classical American Homes Preservation Trust)
• An Artifact of Afro-America: A Blanket Chest by Brooks Thompson — Neil Grasty (Undergraduate Student, Morehouse College, and Curatorial Intern, High Museum of Art)
• Loud and Clear: Glass and Obscured Narratives at the New Orleans Museum of Art — Laura Ochoa Rincon (Decorative Arts Trust Curatorial Fellow, New Orleans Museum of Art)
• Does Architecture Move? The Mahadol Palanquin of 18th-Century Gujarat and Marwar — Krishna Shekhawat (PhD Student, University of California, Berkeley)
• ‘Dressing Up’ Egypt: Performing Race and Late 19th-Century Egyptomania — Lea Stephenson (PhD Candidate, University of Delaware)
11.30 Concluding remarks by Matthew Thurlow, Executive Director, Decorative Arts Trust
Battle of New Orleans Historical Symposium, 2024
From Nunez Community College, with registration available at Eventbrite:
The 9th Annual Battle of New Orleans Historical Symposium
Nunez Community College, Chalmette (New Orleans), 5–6 January 2024
The 9th Annual Battle of New Orleans Historical Symposium will take place January 5th and 6th in Chalmette, Louisiana, at Nunez Community College (on Friday) and at the St. Bernard Council Chambers (on Saturday).
f r i d a y , 5 j a n u a r y
9.00 Coffee
9.30 Welcome and Opening Remarks — Tina Tinney
Attributed to José Francisco Xavier de Salazar y Mendoza, Portrait of Captain Joseph Bernard Vallière d’Hauterive, ca. 1791–95, oil on canvas (Little Rock: Historic Arkansas Museum). Vallière d’Hauterive was the Grenoble-born commandant of the Arkansas Post from 1787 to 1790; this portrait was likely painted upon his return to New Orleans.
9.45 Morning Talks
• Overview of Battle of New Orleans — William Hyland
• ‘Nothing Pleases Them So Much as the Uniform’: Martial Culture and Military Life in Early Louisiana — Philippe Halbert
• The Past as Prelude: The Impact of Spain and the Galvez Expedition on the American Victory in the Battle of New Orleans — Bradford Waters
12.15 Lunch
1.30 Afternoon Talks
• ‘Pirate City’: Tracing Property Records of Selected Members of Jean Laffite’s Baratarian Pirate Syndicate who Played Prominent Roles in the War Effort of the Winter of 1814–15 — Ina Fandrich
• What if New Orleans had been Taken by the British in 1815? — Harold Youmans
4.00 Wine and Cheese Reception
s a t u r d a y , 6 j a n u a r y
10.00 Welcome — Katherine Lemoine
10.05 Morning Talks
• A Reminiscence of the Battle of New Orleans by Bernard de Marigny — William Hyland
• Native American Influence in the Battle of New Orleans: Houma Indians in Louisiana — Colleen Billiot
• Scottish Heraldry: A Window into a Culture — Christen Raby Elliot
12.45 Closing Remarks — William Hyland
Enfilade 
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