Enfilade

From the conference programme:

Historical Interiors and the Digital: The Possibilities and Limits of Virtual Reconstructions
Les intérieurs historiques et le numérique: possibilités et limites des reconstructions virtuelles pour la recherche
Online and in-person, Paris and Versailles, 17–18 November 2022

Colloque international organisé par Centre allemand d’histoire de l’art Paris, le Mobilier national et le Centre de recherche du château de Versailles

The virtual reconstruction of historical interiors—from architecture to wall decoration and furniture to textiles—has been a proven instrument of cultural mediation in recent years, particularly in museums, exhibitions and/or for the study of historical monuments (for instance in archaeology). Questions of spatial proportions and fundamental architectural units are today at the forefront, with emphasis often placed on the possibility of visiting these spaces virtually, either on a 2D screen or with an immersive headset.

However, when it comes to the recreation of the aesthetic characteristics of interiors, which are one of the key issues for their understanding, the possibilities of these new models seem limited. Depending largely on the harmonious interaction of different materials such as woods, metals, and textiles, as well as the structures of their respective surfaces, the nuances of colour or gold, or even the traces of artisanship, the existing solutions in rendering the materiality of an historic interior remain insufficient, both aesthetically and scientifically. The hope to swiftly overcome the excessively sanitized surfaces of digital models, expressed in 2013 (Kohle 2013, p. 166), has not yet come to fruition. Nevertheless, there is more to it than that, as the possibilities of using virtual reconstruction effectively for researching historical interiors—for example, through the virtual insertion of materials that are no longer ethically justifiable or prohibited today—are not fully exploited.

Focusing on the possibilities and limits of virtual reconstructions of historical interiors, of which questions of materiality are only one aspect, this conference highlights the fundamental issues that occupy current research. To attend in person or online on Wednesday, November 16 and Thursday, November 17, please email interieursetnumerique@dfk-paris.org. To attend the day on Friday, November 18 at Versailles (in person or online), registration is compulsory and free here.

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Centre allemand d’histoire de l’art Paris, salle Julius Meier-Graefe

18.30  Conférence inaugurale et discussion
Realism or Believability? The Production of Sensation in Animated Films – Bill Kinder, Boxcar Pictures, Berkeley/Paris

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Centre allemand d’histoire de l’art Paris, salle Julius Meier-Graefe

9.30  Accueil par Peter Geimer, Directeur du Centre allemand d’histoire de l’art Paris

9.45  Présentation du colloque par les organisateurs

10.00  Études de cas et questions de recherche (1)
Modération : Muriel Barbier, Conservateur en chef du patrimoine, Mobilier national
• Digitally Recreating Lost Eighteenth-Century Irish Interiors: Challenges and Opportunities – Andrew Tierney, Department of the History of Art and Architecture, Trinity College Dublin
• De l’outil scientifique à l’« expérience de visite », le numérique à l’épreuve des enjeux de la restauration des appartements des ducs de Lorraine au château de Lunéville – Thierry Franz, Musée du château de Lunéville
• Restituer les palais impériaux napoléoniens : un défi technique et historique – Philippe Le Pareux, lycée de Valognes (Manche)
• ExploVision présente la première plateforme de consultation et d’échange autour du mobilier patrimonial – Philippe Dechenaux, Explovision

14.15  Galeries et artisanat
• La reconstitution 3D des galeries d’exposition du Garde-Meuble de la Couronne : enjeux, difficultés et compréhension d’un espace disparu – Gatien Wierez, CREHS Université d’Artois
• The Virtual Museum: Digital Reconstructions of the Kongl. Museum at the Royal Palace in Stockholm – Johan Eriksson, Department of Art History, Uppsala Universitet
• Réflexions autour de la galerie disparue de l’hôtel de Noailles à Saint-Germain-en-Laye – François Gilles, UVSQ/ENS Cachan, with Paul Feytis; Louis-Joseph Lamborot; Gabriel Wick

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Centre de recherche du château de Versailles, Auditorium, aile Dufour

9.00  Accueil par Mathieu da Vinha, Directeur scientifique du G.I.P. Centre de recherche du château de Versailles

9.15  Autres approches et apports de la 3D
Modération : Benjamin Ringot, G.I.P. Centre de recherche du château de Versailles
• Augmented Reconstruction: On Introducing a Novel Reconstruction Method for Simulating Material and Materiality Using Mixed Realities – Clemens Brünenberg, TU Darmstadt, Department of Architecture, Institute of Classical Archaeology
• Au-delà de l’illustration. Quand des étudiants de licence apportent une contribution à la recherche – Nicolas Priniotakis, Cergy-Paris Université

11.00  Études de cas et questions de recherche (2)
Modération : Benjamin Ringot, G.I.P. Centre de recherche du château de Versailles puis Michel Jordan, laboratoire ETIS – CY Cergy Paris Université / ENSEA / CNRS
• Florence4D – Fabrizio Nevola, Chair of Art History and Visual Culture, University of Exeter
• Reconstitution 3D d’espaces intérieurs de trois domaines royaux : Versailles, Marly, Choisy – Hubert Naudeix, Aristeas
• Reconstitution d’un séjour d’Auguste le Fort à Moritzburg à l’hiver 1728 – Edouard Lussa, Histovery

15.15  Au-delà de la reconstitution 3D
Modération : Michel Jordan, laboratoire ETIS – CY Cergy Paris Université / ENSEA / CNRS
• Experimental Virtual Archaeological-Acoustics: Bringing together Physical, Computer, and Social Science Researchers – Brian Katz, Sorbonne Université, CNRS, UMR 7190
• Sacred Sound / Sacred Space: In Search of Lost Sound, Virtual Acoustic-Visual Reconstruction of Sacred Spaces of the Middle Ages – Stefan Morent, Department of the Institute of Musicology, University of Tübingen
• Reproduire l’histoire: Multi-Sensory Reconstructions of Historical Interiors for Virtual Reality – James Hutson and Trenton Olsen, Lindenwood University, Missouri

17.45  Conclusions

John Frederick Herring, Sr., Grey Carriage Horses in the Coachyard at Putteridge Bury, Hertfordshire, 1838, oil on canvas, 102 × 127 cm
(New Haven: Yale Center for British Art)

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From The Attingham Trust:

The Horse and the Country House: Art, Politics and Mobility
Online and In-person, Institute of Continuing Education, Madingley Hall, Cambridge, 18–19 November 2022

The Attingham Trust is organising a stimulating two-day conference in Cambridge focused on the horse and the country house. Following on from the successful Attingham Study Programme in 2018, issues and themes relating to the equestrian culture associated with these houses will be explored by an international panel of speakers.

Horses, once so vital to the smooth functioning of the country house in England, have, more recently, been marginalized and even omitted from discussions. Existing stable blocks are seldom used for their original purposes and the signs of the working horse and horse-drawn transport are often hard to find. Inside houses, the legacy of the horse in the form of sporting art and racing trophies is more evident, but rarely examined. The conference will encourage a wide-ranging assessment of the many roles played by horses in country house life. From sporting art and memorabilia, riding dress and horse tack, carriage design, stables and stable servants, mobility and horseracing, it will explore the ways in which the horse has been central to the artistic, social, cultural, and political functions of the country house.

Following an overwhelming response to the call for papers, the advisory committee has selected a varied list of international speakers including representatives of major museums, universities, and historic houses. Spread over the two days, there will be sessions on horse welfare, the employment of stable servants, social mobility, women riders and drivers, and the visual representation and material culture of horses.

Madingley Hall is a beautiful sixteenth-century country house and garden. Built by Sir John Hynde in 1543, and occupied as a residence by his descendants until the 1860s, the Hall is now owned by the University of Cambridge. It is close to the centre of town, with free parking available onsite. Specially discounted B&B rates are available if you would like to stay at Madingley Hall. To take advantage, please email reservations@madingleyhall.co.uk quoting “horse and the country house conference.”

In person tickets are now sold out, but the conference will be live-streamed thanks to the generous sponsorship of the Carriage Association of America. Tickets are available for purchase here. If you would like to be placed on a waiting list for in-person tickets, please email rebecca.parker@attinghamtrust.org.

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9.00  Registration

9.30  Welcome from Helen Jacobsen (Attingham Trust)

9.35  Introduction
• Elizabeth Jamieson (Attingham Trust) — The Horse and the Country House: An Untold History

10.00  Session 1 | The Domesticated Horse: Horse Welfare and Care of Servants
Chair: Christopher Garibaldi (University of Cambridge)
• Jana Schuster (University of Cambridge) — Transport Innovations, Stables, and Animal Welfare of the 2nd Duke of Montagu, 1709–49
• Jessica Dallow (University of Alabama, Birmingham) — Architecting Horses and Buildings: Stable Design and Culture at John Hartwell Cocke’s Bremo
• Frances Bailey (National Trust) — Chariots and Gold Cups, Tails and Hooves, Hermit and Hambletonian: The Lives of the Londonderry’s Horses
• John Stallard (Carriage Association of America) — The Pride of the Country House Stable: Carriages for Sport

11.30  Coffee Break

12.00  Session 2 | Evidence of the Horse: Architectural, Visual, and Textual
Chair: Michaela Giebelhausen (Courtauld Institute)
• Julian Munby (Independent Scholar) — Horse and Carriage in Town and Country: Sources and Issues
• Christopher Garibaldi (University of Cambridge) — Evidence of the Architectural History of the Royal Palaces of Newmarket in Paintings by Jan Siberechts and John Wootton
• Adam Menuge (University of Cambridge) — Blickling’s Early 17th-Century Stables Revisited
• Aurore Bayle-Loudet (Hermès) — Hermès and Horses, 1837–1914: A Story of Patrons and Muses

1.30  Lunch Break

2.30  Session 3 | Places for Horses: Old Buildings, New Life
Chair: Elizabeth Jamieson (Attingham Trust)
• Alexandra Lotz (State Office for Heritage Management and Archaeology, Saxony-Anhalt) — The Stables of the Garden Kingdom of Dessau-Wörlitz: New Life for Historic Buildings
• Sally Goodsir (Royal Collection Trust) — Creating and Curating the Royal Mews, Buckingham Palace
• Allesandra Griffo (Uffizi Galleries) — The Carriage Museum in the Stables of the Pitti Palace
• Paula Martin (Harewood House Trust) — The Horse at Harewood
• Phillippa Turner (National Trust) — The National Trust Carriage Museum at Arlington Court, Devon
• Thomas Reinhart (George Washington’s Mount Vernon) — The Mount Vernon Stables

3.45  Tea Break

4.15  Panel Discussion

5.30  Drinks Reception

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9.30  Coffee and registration for new delegates

10.00  Session 4 | Horsepower: Politics, Social Mobility, and Fashion
Chair: Oliver Cox (Victoria and Albert Museum)
• Sophie Chessum (National Trust) — Horse Racing and the Onslows of Clandon Park: A Case Study in Politics, Business, and the Country
• Jon Stobart (Manchester Metropolitan University) — Clergy and Carriages: The Place of the Horse in the Late Georgian Parsonage
• Emma Lyons (University College, Dublin) — Racehorses, Gambling, and Equestrian Buildings of Sir Edward O’Brien of Dromoland
• Maria-Anne Privat (Château de Compiègne) — Anglomania and French Horse-Drawn Carriages

11.30  Short Break

11.45  Session 5 | Women and the Horse: Riders, Hunters, and Carriage Drivers
Chair: Frances Bailey (National Trust)
• Erica Munkwitz (American University) — Country Contentments: Women, Hunting, and the English Countryside
• Helena Esser (Independent Scholar) — Horse-Riding and Gender in the Victorian Popular Imagination
• Charlotte Newman (National Trust) — Equine Adventures and Constructions of Femininity at Lanhydrock House, Cornwall
• Whitney White (Pebble Hill Plantation) — Elisabeth ‘Pansy’ Ireland Poe: An Extraordinary American Equestrienne

1.15  Lunch Break

2.15  Session 6 | The Commodification of the Horse: Visual Representation and Culture
Chair: Lydia Hamlett (University of Cambridge)
• Sebastian Edwards (Historic Royal Palaces) — The Horse from Hanover: The Role of the Horse and Equine Sport in the Court Culture of Kings George I and II
• Timothy Cox (British Sporting Art Trust) and Karen Hladik (Independent Scholar) — The Mysterious Case of Sir T.S. Bonnet and his Horse ‘Swallow’
• Michaela Giebelhausen (Courtauld Institute of Art) — The Trouble with George Stubbs: More than Just a Horse Painter
• Alexandra Mayson (University of Oxford) — ‘Extraordinary Sagacity’: Representations of Arab Horses and Arabic Horsemanship in Four Horseracing Prizes from the 1830s
• Sheila O’Connell (Independent Scholar) — Magnificent or Comic: Horses and Riders in Prints

4.10  Closing Remarks and Tea

Domestic Landscape from Quito, in Jorge Juan and Antonio de Ulloa’s Relación histórica del viage a la América Meridional (Madrid: A. Marin, 1748). Benson Latin American Collection, LLILAS Benson Latin American Studies and Collections, The University of Texas at Austin.

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From the Blanton Museum of Art:

The Fabric of the Spanish Americas
Online, Friday, 21 October 2022

Organized in conjunction with the exhibition Painted Cloth: Fashion and Ritual in Colonial Latin America, on view at the Blanton Museum of Art at The University of Texas at Austin, this symposium will bring together scholars from Colombia, Mexico, the United Kingdom, and the United States to further explore the social role of textile arts in colonial Latin America. The keynote will be delivered by Dr. Elena Phipps, and speakers include historians Tamara Walker and Meha Priyadarshini, along with fashion historian James Middleton. The round table discussion will feature art historians Laura Beltrán-Rubio, Martha Sandoval, and Leslie Todd. Registration is available here.

P R O G R A M M E

Central Time

9.00  Keynote
• Elena Phipps (Independent Scholar), Garments and Identity: Textile Traditions in the Global World of Colonial Latin America

10.00  Morning Panel
• Tamara Walker (Barnard College), Fashioning Whiteness in Colonial Latin American Art
• James Middleton (Independent Scholar), They All Greatly Affect Fine Clothes: Textiles in Eighteenth-Century Lima-School Painting
• Meha Priyadarshini (University of Edinburgh), Global Trade, Local Fashion: The rebozo, piña and mantón de Manila

11.30  Q&A

12.00  Intermission

1.30  Round Table Discussion: Artifice in Fashion, Painting and Sculpture
• Laura Beltrán-Rubio (Universidad de los Andes), The Artifice of Fashion: Creating and Performing Identities through Clothing in Colonial Spanish America
• Martha Sandoval-Villegas (Instituto Tecnológico de Estudios Superiores de Occidente, ITESO), Habit Makes the Man… and the Woman: Portrait and New Spain Social ‘Fabric’
• Leslie Todd (Sewanee: The University of the South), The Brilliance and Brocateado of Eighteenth-Century Sculpture in Quito

John Constable, Sir Richard Steele’s Cottage, Hampstead, 1831–32, oil on canvas, 21 × 29 cm
(New Haven: Yale Center for British Art, Paul Mellon Collection, B2001.2.25)

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From PMC:

Rereading Constable: Letters, Life, and Art
In-person and online, Paul Mellon Centre, London, 2 December 2022

Organized by Stephen Daniels and Mark Hallett

How do artists’ letters articulate professional and personal affiliations, embody networks, and forge allegiances? What role has letter writing played in artistic self-fashioning? In what ways do letters serve as a form of art-historical evidence, and help us understand works of art themselves?

R.B. Beckett’s multi-volume edition of Constable’s correspondence, published in six volumes by the Suffolk Records Society (1962–68), has long been recognised as an invaluable source for scholars working on the artist, and for all those interested in British art and culture in the late Georgian period. The published correspondence shows the painter to have been a shrewd, skilled writer, versed in a variety of literary, scientific, and biblical texts. His correspondents were, in turn, often highly articulate writers, including many family members, and many more with very different characters and backgrounds. Often utilised by art historians, the correspondence has more recently attracted the interest of scholars interested in the literary character and rhetorical conventions of nineteenth-century correspondence, who have subjected Constable’s letters to new kinds of critical scrutiny. This event will build on this important work, exploring Romantic art, culture, and society through the prism provided by the landscape painter’s correspondence.

The central structuring concept of this interdisciplinary conference is that speakers will focus on a single letter written by the artist, his correspondents, or other contemporary figures whose work, life, or letters can be understood in productive relation to Constable himself. These individual letters will be used to open up new questions and arguments about Constable’s life, practice, and identity as a painter, and about the wider artistic, literary, religious, and political cultures of his era.

Rereading Constable: Letters, Life, and Art has been organised as part of the PMC’s Generation Landscape research project. The conference is being convened by Stephen Daniels and Mark Hallett. Book tickets here.

We are offering up to five bursaries to support individuals who may not otherwise be able to attend the conference. Bursaries will cover the ticket price, travel, and some expenses, including childcare. If you would like to be considered for a bursary please email events@paul-mellon-centre.ac.uk with Rereading Constable Bursary in the subject field, outlining your request for a supported place by 10am, Friday, 4 November 2022.

P R O G R A M M E

9.30  Introduction by Mark Hallett (Paul Mellon Centre) and Stephen Daniels (University of Nottingham)

10.00  Session 1 | Chair: Stephen Daniels
• Alexandra Harris (University of Birmingham), New Friends, New Scenes: Constable in the Arun Valley
• Amy Concannon (University of York and Tate Britain), Strengthening Ties and Gaining Esteem: Constable Writes to Wordsworth, 15 June 1836

11.00  Tea and Coffee Break

11.30  Session 2 | Chair: Martin Postle (Paul Mellon Centre)
• Emma Roodhouse (Art Curator and Researcher), An Evening’s Amusement: Portraits, Writing, and Other Oddments from the Mason Family Album
• Sarah Cove (The Constable Research Project), A Regency ‘Nip-and-Tuck’: Constable’s Treslove Portraits Rediscovered

12.30  Lunch (provided by PMC)
Constable material available to view in the Public Study Room

1.30  Session 3 | Chair: Mark Hallett
• Morna O’Neill (Wake Forest University), John Constable, David Lucas, and Artistic Identity
• Katharine Martin (V&A and the University of Sussex), Translations and Fraught Relations: English Landscape and the Language of Collaboration

2.30  Break

2.45  Session 4 | Chair: Sarah Victoria Turner (Paul Mellon Centre)
• Gillian Forrester (Independent Scholar), ‘Solemnity, Not Gaiety’: Language and the Production of Meaning in Constable’s English Landscape Scenery
• Elenor Ling (The Fitzwilliam Museum), The ‘Definition of our Book’: John Constable, David Lucas, and their English Landscape

3.45  Tea and Coffee Break

4.15  Session 5 | Chair: Sria Chatterjee (Paul Mellon Centre)
• Rhian Addison McCreanor (University of York and Tate Britain), Repairing the House with a Thorough Painting: Reimagining 63 Charlotte Street
• Nicholas Robbins (University College London), The Life Academy and the Origins of Landscape

5.15  Panel Discussion
Stephen Daniels (University of Nottingham), Martin Myrone (Paul Mellon Centre), Trev Broughton (University of York), and Timothy Wilcox (Independent Scholar)

5.55  Closing Remarks by Mark Hallett

6.00  Drinks Reception

Transporting Culture
HECAA Zoom Event, Thursday, 20 October 2022

Please join us for our next HECAA Zoom Event, Transporting Culture. It’s open to HECAA members and non-members alike. Please register in advance here.

P R O G R A M M E

Welcome 12.00 (EST) / 17.00 (BST)

12.15  Panel One
Moderator: Lorne Darnell (Courtauld Institute)
• Practicalities of Bearing Diplomatic Gifts from Versailles to Isfahan in 1705 — Samantha Happe (Graduate Research Teaching Fellow and Postgraduate Student, University of Melbourne, and Research Officer, Australian National University)
• Crates, Boxes, and Cases: The Transport of Works of Sculpture and Silver between Rome and Lisbon in the 18th Century — Teresa Leonor M. Vale (Senior Assistant Professor School of Arts and Humanities and Researcher of the ARTIS-Institute of History of Art, University of Lisbon)
• Transporting America: The Politics of Import and Export in the New Indies Gobelins Tapestry Set — Carole Nataf (PhD Candidate, Courtauld Institute)

1.45  Break

2.00  Panel Two
Moderator: Harvey Shepherd (Courtauld Institute)
• ‘Fortuna favet Fortibus!’ Early Modern Art Insurance — Avigail Moss (Lecturer, American University of Paris)
• A Thumb on the Scale: Examining the Control of Art in Comanche Trade Networks — Carlos Littles (Johns Hopkins University, Alumni)
• ‘Truly Chinese’: Transporting Chinese Objects to Germany in the 19th Century — Emily Teo (Postdoctoral Researcher, Gotha Research Centre of the University of Erfurt)

Decor la Dentelle, French, ca. 1725, silk, metallic-wrapped thread, gold, 51 × 29 cm
(Washington, DC: Cotsen Textile Traces Study Collection, T-0598) 

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From The George Washington University Museum:

Lacing around the World and across Time
The Cotsen Textile Traces Global Roundtable
Online, 12–13 October 2022

The third annual virtual Cotsen Textile Traces Global Roundtable explores the rich traditions of lacemaking through examples from the Cotsen Textile Traces Study Collection at The George Washington University Museum and The Textile Museum in Washington, D.C., October 12 and 13.

The Cotsen Textile Traces Global Roundtable: Lacing around the World and across Time includes some fifteen international scholars, artists, and designers, who will present multiple dimensions of the global art, from its history and globalization to innovations, fashion, and artistic creativity. This program is a partnership with Bard Graduate Center, New York, and Textilmuseum St. Gallen, Switzerland, and is supported through the Cotsen Textile Traces Study Collection Endowment.

Those interested in attending the roundtable should register early in order to receive links and details for joining each day of the roundtable on Zoom, as well as a full program with the detailed schedule.

The Cotsen Textile Traces Study Collection represents a lifetime of collecting by business leader and philanthropist Lloyd Cotsen (1929–2017). Comprised of nearly 4,000 fragments from all over the world, the collection offers insights into human creativity from antiquity to the present. Cornerstones of the collection include fragments from Japan, China, pre-Hispanic Peru and 16th- to 18th-century Europe. The entire collection is available online.

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Situating Lace: Traditions and Transmission

10.00  Introduction
• Lori Kartchner — Curator of education, The George Washington University Museum and The Textile Museum
• John Wetenhall — Director, The George Washington University Museum and The Textile Museum
• Emma Cormack — Associate curator, Bard Graduate Center
• Marie-Eve Celio-Scheurer — Art historian, academic coordinator, Cotsen Textile Traces Study Center, The George Washington University Museum and The Textile Museum

10.30  Panel 1 | Needle Lace, Bobbin Lace: Traditions and Transmissions
• Diana Greenwold — Lunder Curator of American Art, National Museum of Asian Art, Smithsonian Institution
• Cecilia Gunzburger — Lecturer, decorative arts and design history, the George Washington University and Smithsonian Institution
• Sarah Besson Coppotelli — Head of collections, Musée et château de Valangin, Switzerland

11.30  Panel 2 | Mimicking Lace
• Sumru Krody — Senior curator, The Textile Museum Collection, The George Washington University Museum and The Textile Museum
• Vaishnavi Kambadur — Assistant curator, Museum of Art & Photography (MAP), Bengaluru, India

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Exploring Global Traditions and Industrial Innovations in Contemporary Creativity

10.00  Keynote Opening
• Emma Cormack — Associate curator, Bard Graduate Center
• Ilona Kos — Curator, Textilmuseum St. Gallen, Switzerland
• Michel Majer — Professor emerita, Bard Graduate Center

10.30  Panel 3 | Handmade Lace Today
• Caroline Kipp — Curator of contemporary art, The George Washington University Museum and The Textile Museum
• Elena Kanagy-Loux — Collections specialist, Antonio Ratti Textile Center, The Metropolitan Museum of Art
• Nidhi Garg Allen — Founder and CEO, Marasim, New York/India

11.30  Panel 4 | Industrial Innovations
• Elena Kanagy-Loux — Collections specialist, Antonio Ratti Textile Center, The Metropolitan Museum of Art
• Jérémy Gobé — Artist, founder, Corail Artefact, France
• Rose-Lynn Fisher — Artist, United States