Enfilade

From ArtHist.net and St Edmund Hall:

Painting and Genre

St Edmund Hall, University of Oxford, 6 August 2026

Organized by Sofya Dmitrieva

Painting genres structure artistic practice, shape reception, and inform institutional frameworks. Yet as an analytical category, genre has long occupied a marginal position within art history.

This is not to suggest that the discipline has produced no genre theory. Influential studies, such as Wayne Franits’s Dutch Seventeenth-Century Genre Painting: Its Stylistic and Thematic Evolution (Yale University Press, 2004), have addressed genre explicitly, and scholarship on individual genres, particularly portraiture and landscape, is vast. Questions related to genre, most notably the academic hierarchy of genres, have received sustained scholarly attention, from Jean Locquin to Christian Michel, Mark Ledbury, and Paul Duro. Indeed, one of the discipline’s foundational texts—Alois Riegl’s The Group Portraiture of Holland (1902)—is a genre study.

Art-historical approaches to genre have likewise been varied and innovative. To cite just a small selection of recent examples, Amy Freund has examined the hunting portrait from a sociohistorical perspective, linking it to the changing status of the sword nobility in the early eighteenth century (Art History, 2019); Susanna Caviglia has revisited history painting under Louis XV, relating it to contemporary political and cultural discourses on pleasure (Oxford University Studies in the Enlightenment, 2020); and Stephanie O’Rourke has explored how late eighteenth- and early nineteenth-century landscape painting registered practices of resource extraction (University of Chicago Press, 2025).

Still, despite this substantial body of scholarship, the study of genre has remained largely overshadowed by iconographic and formalist approaches. In contrast to literary and film studies, where genre theory occupies a central methodological position, art history has yet to develop a comparably sustained theoretical framework for the analysis of genre.

This one-day conference brings together contributions that place genre at the centre of the analysis of painting. It seeks to foreground genre not merely as a classificatory device but as a critical category through which artistic production, reception, and historiography can be re-examined. Attendance is free of charge, and no registration is required. A light lunch and refreshments will be provided.

p r o g r a m m e

13.45  Welcome and introduction by Sofya Dmitrieva

14.00  Panel 1 | Definitions
• Emma Barker (The Open University) — Defining Genre Painting
• Miles Fletcher (University of Cambridge) — Een Algemeen Schilder: Landscape, Technology, and the History of Depiction in England and the Low Countries, 1649–1702

15.00  Panel 2 | Institutions
• Anastasia Skoybedo (University of Cambridge) — Landscape Painting within the Soviet Hierarchy of Genres: The Case of the Leningrad Landscape School
• Alyse Muller (Columbia University) — The Genealogy of the Marine Genre in France

16.00  Coffee Break

17.00  Panel 3 | Taste
• Daniel Sobrino Ralston (National Gallery) — The Rise and Fall of a Genre in Second Empire Paris
• Vittoria Cervini (Royal Collection Trust) — From Carlton House to Buckingham Palace: Seventeenth-Century Genre Paintings in George IV’s Collection

18.00  Panel 4 | Reimaginings
• Tom Zille (Mucha Foundation) — Queering the Conversation Piece
• Sarah Hegenbart (Heidelberg University) — Towards Transcultural Pictorial Genres

From ArtHist.net:

Theatralität und Gartenkunst: Vom 17. bis ins frühe 19. Jahrhundert

Weimar, 25–27 June 2026

Internationale und interdisziplinäre Tagung vom 25. bis 27. Juni 2026 im Vortragssaal des Goethe- und Schiller-Archivs und Festsaal des Goethe-Nationalmuseums, Weimar

Veranstaltungen im Rahmen der Tagung
• Goethes und Schröters Die Fischerin. Eine Promenade in Tiefurt, 26. Juni 2026, 16 Uhr (Park Tiefurt bei Weimar)
• Konzert: Kammermusik aus der Epoche der Empfindsamkeit, am Freitag 26. Juni 2026, 19.30 Uhr, Festsaal im Goethe-Nationalmuseum in Weimar

In Kooperation mit der Klassik Stiftung Weimar und der Goethe-Gesellschaft Weimar. Gefördert durch Daimler und Benz-Stiftung und DFG

Organisation und Kontakt
Anna Axtner-Borsutzky, a.axtner-borsutzky@lmu.de
Helena Langewitz, helena.langewitz@uni-mainz.de

d o n n e r s t a g ,  2 5  j u n i

13.30  Anna Axtner-Borsutzky und Helena Langewitz — Begrüßung

13.45  Gartenanlagen von Versailles bis Wörlitz
Moderation: Astrid Dröse und Anna Axtner-Borsutzky
• Stefan Schweizer (Düsseldorf) — Zur Praxis des Wassertheaters. Von der Villa Aldobrandini über das Wassertheater in Versailles bis zur Wilhelmshöhe in Kassel
• Hendrik Ziegler (Marburg) — Versailles in Wörlitz. Barocke Theatralität im Garten der Aufklärung
• Natalie Gutgesell (Lichtenfels/Berlin) — Zum Luisenkloster in Weimar

16.30  Franziska Rieland (Klassik Stiftung) — Der Tiefurter und der Herzogliche Park in Weimar: schöner Effekt, dichterische Vision und inszenierte Natur — Mit Führung im Ilmpark

f r e i t a g ,  2 6  j u n i

9.30  Gartenanlagen von Weimar und Umgebung
Moderation: Helena Langewitz und Klaus Pietschmann
• Anna Axtner-Borsutzky (München) — Kulissen aus Kisten und Worten. Gartentheorie und -praxis auf der Bühne um 1800
• Anna Ananieva (Weimar) — Gartenräume als Spielräume. August von Kotzebue und die Theatralität des Gartens um 1800
• Antonia Weiss (Amsterdam) — The Right to Look: Gender in the Visual Regime of Berlin‘s Tiergarten, 1740–1830
• Jana Kittelmann (Dessau-Wörlitz) — Vulkane, Venus, Warnaltar. Zur Inszenierung von Natur und Kunst in den Wörlitzer Anlagen

13.00  Mittagspause und tagungsinterner Transfer nach Tiefurt

15.00  Angelika Schneider (Klassik Stiftung Weimar) — Führung in Tiefurt

16.00  Promenade mit Goethes und Corona Schroeters Die Fischerin im Park

19.30  Musikalische Abendveranstaltung im Goethe-Nationalmuseum
Moderation: Helena Langewitz und Anna Axtner-Borsutzky
• „Gewitternacht“ — Konzert mit Gunta Smirnova (Gesang) und Mikayel Balyan (Klavier)

s a m s t a g ,  2 7  j u n i

9.30  Musik, Theater, Virtual Reality
Moderation: Sunna Kroy und Amelie Fenske
• Joachim Kremer (Stuttgart) — Außerhalb des Protokolls? Garten und Natur bei Hasse, Paisiello und Haydn
• Helena Langewitz (Mainz) — Deutsche Gärten auf der Opernbühne? Zur Konstruktion national konnotierter Gartenszenen in Günther von Schwarzburg (1776) und Rosamunde (1780)
• Esma Cerkovnik (Zürich) — Gärten der Täuschung. Zur Gartenszenerie in der Musik um 1800
• Alisa Winkens (Stuttgart) — Schauplatz Gartentheater. Molières Bühne für La Princesse d‘Élide (1664) in Versailles und in Virtual Reality
• Leonie Matt (Mainz) — Zwischen Théâtre d‘eau, Théâtre de fleurs und Théâtre pour jouer la Comédie. Theatrale Gartenschauplätze in der Gartentheorie des frühen 18. Jahrhunderts
• Hartmut Troll (Bundesgärten AT) — Theatrum terrae. Aspekte der Gartenkunst der Aufklärung am Beispiel der Schlossgärten Schwetzingen und Schönbrunn

Thomas Gainsborough, Landscape with Sheep and Cattle on the Bank of a Stream, 1780–84, synthetic black chalk with stumping on wove paper, all four corners cut (London: Courtauld Gallery, Robert Clermont Witt, bequest, 1952).

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Upcoming at the Courtauld:

Imagining Britain: Postgraduate and Early Career Research in British and Irish Art

Courtauld, Vernon Square Campus, London, 9 June 2026

Organized by Claire Ó Nualláin and Clara Shaw

A decade on from the inaugural provocation of British Art Studies Volume I, published in November 2015, in which art historians responded to the statement, “There’s No Such Thing as British Art,” a significant aspect of British art studies has involved reflection on the nature and boundaries of the field itself.

The expansion of the field’s geographic and intellectual perspectives has opened new avenues for further research. For instance, scholars have recognised the possibilities afforded to the study of British art when it is brought into dialogue with the arts of regions which have been marginalised in its discussion, including Ireland and former colonial territories. This introspection has instigated a re-examination of British collections, with major rehangs including at Tate Britain, encouraging fresh perspectives on canonical works of art and the emergence of lesser-known artists and histories from the archive. In 2025, the Courtauld Institute of Art announced the opening of the Manton Centre for British Art, a major new initiative in the field, and providing new contexts in which to explore the definition, scope and even relevance of the concept of ‘British’ art.

Centred around themes of a national taste, the construction of landscapes, visualisations of empire, and the fabrication of a ‘national’ identity, this symposium provides an interdisciplinary, cross-period forum for fruitful discussions by PhD and early career researchers on the role of visual and material culture in reinforcing, challenging and complicating the notion of ‘British.’

This symposium event is organised by Claire Ó Nualláin and Clara Shaw, supported by the CHASE Doctoral Training Partnership and the Manton Centre for British Art.

p r o g r a m m e

9.30  Registration

10.00  Opening remarks

10.10  Session 1 | Cultivating Taste
Chaired by Jelena Sofronijevic
• Isobel Muir — ‘Art for the People’? An Examination of the Response to the ‘Modern Painters of To-Day’ exhibitions of 1942, curated by Lillian Browse
• Nam Huh — Whose Britain? Diasporic Moving-Image, Archives, and Contemporary Histories
• Ella Nixon — The Arts Council Collection: Redefining British Art in the 1980s

11.20  Tea and Coffee break

11.35  Session 2 | Constructing Spaces
Chaired by Jack Englehardt
• Grace Fannon — Performing Britain in John Speed’s The Theatre of the Empire of Great Britaine
• Eleanor Stephenson — Visualising Britishness in Industrial Landscapes of Wales
• Méabh Scahill — Germinating ‘Britain’ in Ireland?: Centring Ireland in Decimus Burton and Richard Turner’s Botanic Architecture

12.45  Lunch break

13.45  Session 3 | Conceptualising Empire
Chaired by Alisha Ma
• Abigail Spencer — The Maternal Image and the Visual Culture of Slavery, c.1788–1814
• Sarah Hutcheson — ‘Whose rich productions we so justly prize’: Naturalizing Catarina de Bragança in the Ceiling Paintings at Windsor Castle, 1678–88
• Shaheen Alikhan — Elephant and Castle: African Forts and Heraldry in the Shaping of British National Identity

14.55  Tea and coffee break

15.10  Session 4 | Creating Identities
Chaired by Emma Davis
• Christina Childs — Free Unions Locked Up: The Paradox of Resistance and the Special Branch Confiscation of a British Surrealist Journal
• Ed Kettleborough — Sunset on Stability: Class, Nation, and Masculinity in the Early Work of Derek Boshier
• Amber Butchart — Fabric of Britain: Textiles, Affect, and the Propaganda of National Identity

16.20  Closing remarks

16.30  Wine reception

From ArtHist.net:

England in Thüringen: Kunst — Sport — Gärten — Architektur

Schlosskapelle Reinhardsbrunn, Friedrichroda, 7–9 May 2026

Die Tagung England in Thüringen: Kunst — Sport — Gärten — Architektur widmet sich den vielfältigen kulturellen Nahtstellen zwischen Großbritannien und Thüringen vom 18. bis zum 20. Jahrhundert.

Ihr historisches Fundament liegt in den dynastischen Allianzen des Thüringer Adels mit dem englischen Königshaus: 1736 heiratete Augusta von Sachsen-Gotha-Altenburg den englischen Prinzen Friedrich Ludwig von Wales. Ihr Sohn bestieg als Georg III. den britischen Thron.

Adelheid von Sachsen-Meiningen wurde 1818 durch ihre Ehe mit dem späteren König Wilhelm IV. Königin von Großbritannien und Irland. Über Königin Victoria und ihren Ehemann Prinz Albert von Sachsen-Coburg und Gotha wirkten diese Verbindungen im 19. Jahrhundert prägend nach. Mit deren Sohn Alfred und dem Enkel Carl Eduard regierten später “Engländer” das Herzogtum Sachsen-Coburg und Gotha. Im Unterschied zu den dynastischen Beziehungen sind die kulturellen Impulse, die mit diesen ein-hergingen, nur wenig erforscht. Umso lohnender erscheint es, diese zum ersten Mal in dieser Form in Thüringen, und zudem mit Schloss Reinhardsbrunn an einem historisch höchst bedeutungsvollen Tagungsort, zu beleuchten.

Die wissenschaftlichen Beiträge decken ein breites thematisches Spektrum ab und zeigen, wie nachhaltig der Kulturtransfer die Region prägte und welche neuen Perspektiven sich dadurch auch für die Zukunft entwickeln lassen.

Anmeldung und Information: angelika.eder@friedenstein-stiftung.de

Veranstalter
Friedenstein Stiftung Gotha, gefördert durch das Thüringer Ministerium für Bildung, Wissenschaft und Kultur sowie den Arbeitskreis selbständiger Kultur-Institute e.V. – ASKI aus Mitteln des Beauftragten der Bundesregierung für Kultur und Medien

d o n n e r s t a g ,  7  m a i

14.45  Begrüßung
• Tobias Pfeifer-Helke, Stiftungsdirektor der Friedenstein Stiftung

Grußworte
• Christian Tischner, Thüringer Minister für Bildung, Wissenschaft und Kultur
• S.E. Andrew Mitchell, CMG, Britischer Botschafter in Deutschland
• S.H. Prinz Hubertus von Sachsen-Coburg und Gotha

15.15  Eröffnungsvortrag
• Benedikt Stuchtey (Marburg) — Eminent Victorians und der Kulturtransfer zwischen Empire und Thüringen

16.15  Kaffeepause

16.30  Sektion 1 | Gärten: Ästhetik und Technik
Moderation: Angelika Eder
• Ute Däberitz (Waltershausen/Berlin) — „Durch wilde Waldparthien gebahnter Weg im englischen Geschmacke“ – Herzog Ernst II. von Sachsen-Gotha Altenburg (1745–1804) und Reinhardsbrunn als südlicher Teil des Englischen Gartens von Gotha.
• Hiram Kümper (Mannheim) — Englische Agrarinnovationen in Thüringen zwischen Skepsis und „Agromanie“, ca. 1750–1830
• Franziska Bartl (Chemnitz) — England in Coburg. Das Beispiel der englischen Musterfarmen Callenberg und Ernstfarm

f r e i t a g ,  8  m a i

9.15  Sektion 2 | Objekte und Begegnungen: Britische Spuren in Thüringen
Moderation: Ute Däberitz
• Kerstin Volker-Saad (Gotha) — Prinzgemahl Albert von Großbritannien und Herzog Ernst II. von Sachsen-Coburg und Gotha – die brüderliche Passion für außereuropäische Artefakte
• Steffen Arndt (Gotha) — „And if I was not what I am – this would have been my real home“. Die Besuche Queen Victorias und Prinz Alberts in Coburg und Gotha

10.45  Kaffeepause

11.00  Sektion 3 | Erziehung und Identitätsbildung
Moderation: Elisa Schmidt-Winkler
• Stefan A. Eick (Gotha) — „Der Apfel fällt nicht weit vom Stamm“. Beerbohm-Tree et al. – Britische Schüler an der Salzmannschule Schnepfenthal, 1784–1934
• Angelika Eder (Gotha) — „Try to be a good German”. Der junge Carl Eduard von Sachsen-Coburg und Gotha zwischen England und Thüringen.

12.15  Mittagspause

13.30  Erste Möglichkeit einer Führung durch Schloss oder Park Reinhardsbrunn

14.15  Sektion 4 | Sport
Moderation: Claudia Fenske
• Sonja Fielitz (Marburg) — Sport und Mord: Pferdekrimis von Ascot bis Gotha-Boxberg
• Manuel Schwarz (Weißenfels) — “…diese Land wird sein eine sehr gute Tennisplatz for my grandmother.” – Herzog Carl Eduard und der Sport

15.30  Kaffeepause

15.45  Zweite Möglichkeit einer Führung durch Schloss oder Park Reinhardsbrunn

s a m s t a g ,  9  m a i

9.15  Sektion 5 | Greiz und Weimar
Moderation: Timo Trümper
• Ulf Häder (Greiz) — Englischer Hochadel in Ostthüringen. Die Graphik-Sammlung Elizabeths von Großbritannien und Irland (1770–1840) im Greizer Sommerpalais
• Adam Eaker (New York) — “Die höchst interessante Engländerin”: Die Gore-Schwestern und die Weimarer Anglophilie
• Hermann Mildenberger (Weimar) — Carl Ruland (1834–1907). Ein Connaisseur zwischen Windsor und Weimar.

11.15  Kaffeepause

11.45  Sektion 6 | Meiningen
Moderation: Sonja Fielitz
• Daniela Roberts (Würzburg) — Gothic Revival in Thüringen. Jeffry Wyatvilles Entwürfe für Fürst Bernhard II
• Doris Fischer (Rudolstadt) — Die Umgestaltung von Schloss Altenstein durch Herzog Georg II. von Sachsen-Meiningen und Albert Neumeister 1888–90
• Florian Beck M.A. (Meiningen) — Beinahe fünfzig Jahre – Die Shakespeare-Rezeption am Meininger Hoftheater unter Herzog Georg II

Arthur Devis, A Couple, Traditionally Identified as Mr. and Mrs. Hill, detail, 1750–51, oil on canvas
(New Haven: Yale Center for British Art, Paul Mellon Collection, B1981.25.226).

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From YCBA:

Thinking through Tea: Art, Resistance, and

Global Entanglements in the Age of American Independence

Online and in-person, Yale Center for British Art, New Haven, 7–8 May 2026

Marking the 250th anniversary year of the Declaration of Independence, this program reconsiders American resistance not as a singular political rupture, but as a material and visual process shaped through objects, images, and everyday rituals. Rather than treating independence as an abstract ideal, it asks how freedom was experienced, negotiated, resisted, and contested through practices often far from the political stage yet deeply enmeshed in global systems of extraction and exploitation. From drinking tea and sweetening foodstuffs with sugar, to furnishing interiors with tropical woods, wearing imported or locally adapted textiles, or handling silver objects, these material acts encoded both refinement and refusal.

Across multiple sessions held over two days, the program brings objects to the center of inquiry, examining how global goods circulating through colonial households acquired new meanings. Turning to the present moment, the program questions how museums have inherited, framed, and sometimes obscured these histories. The conversations will invite reflection on the ethical responsibilities of collecting institutions as stewards of objects that bear the uneven legacies of revolution, extraction, and empire.

Join the livestream, beginning at 5.30pm ET on Thursday, May 7, and at 10am on Friday, May 8. Registration, available here, is recommended but not required.

The event is made possible through the support and partnership of the Lunder Institute for American Art, the Colby College Museum of Art.

t h u r s d a y ,  7  m a y

5:30  Roundtable 1 | Ritual, Tradition, and Fashion

This roundtable examines how everyday rituals—tea drinking, fashionable dress, and interior furnishing—became charged sites of negotiation in the decades surrounding the American Revolution. Far from being peripheral to political life, these practices were central arenas in which identity, allegiance, and resistance were actively produced and contested. Treating tea and related goods as both commodities and ritual objects, the session explores how colonial communities engaged global materials through practices of adaptation, refusal, and diplomacy. It considers how imported fashions and customs from Africa, the Caribbean, India, and England were reworked into hybrid practices that signaled loyalty, dissent, or strategic ambivalence, and in doing so challenged imperial norms.

Moderator: Mark Peterson, Edmund S. Morgan Professor of History, Yale University

Speakers
• Anna Arabindan-Kesson, Associate Professor of Art and Archaeology and African American Studies, Princeton University
• Catherine E. Kelly, Professor of History and Executive Director of the Omohundro Institute of Early American History and Culture, William & Mary
• Ellen Hartigan-O’Connor, Professor of History and Associate Dean, Graduate Studies, University of California, Davis

f r i d a y ,  8  m a y

10.15  Roundtable 2 | Trade, Movement, and Empire

How did the movement of commodities (and the people who cultivated, transported, taxed, and consumed them) create new traditions, dependencies, and inequalities? Rather than treating American independence as a self-contained national event, this session situates it within global networks of trade, labor, and extraction, in order to think through the networks that both enabled revolutionary protest and reproduced new inequalities.

Moderator: Romita Ray, Associate Professor and Director of Undergraduate Studies in Art History, Syracuse University, College of Arts and Sciences

Speakers
• Zara Anishanslin, Associate Professor of History and Art History | Director, Museum Studies & Public Engagement, University of Delaware
• John Stuart Gordon, Benjamin Attmore Hewitt Curator of American Decorative Arts, Yale University Art Gallery
• Jennifer L. Anderson, Associate Professor of History, Stony Brook University

11.30  Break

11.45  Roundtable 3 | The Art of Refusal and Everyday Resistance

What does resistance look like when it happens quietly, domestically, and collectively, through everyday objects, plant commodities, and rituals rather than overt political action? By beginning with domestic refusal—such as tea boycotts and the political meaning of American tea silver—this session reframes revolutionary resistance as embedded in everyday material practice, much of it undertaken by women.

Moderator: Jennifer Van Horn, Professor, Joint Appointment with History, Director of Graduate Studies, Art History, North American Art and Material Culture, University of Delaware

Speakers
• Yota Batsaki, Executive Director and Principal Investigator, Plant Humanities Initiative, Dumbarton Oaks, Washington, DC
• Catherine Molineux, Associate Professor of History, Vanderbilt University

1.00  Lunch Break

2.15  Roundtable 4 | The Afterlives of Curating Resistance

The closing roundtable reflects on institutional and curatorial responsibilities. As the United States marks the 250th anniversary of independence, this session asks how American museums should curate objects of resistance that are inseparable from empire, enslavement, and extraction. What does responsible commemoration look like in material terms? How should we bring out these stories that might not be visible in the archive?

Moderator: Stephanie Sparling Williams, Andrew W. Mellon Curator of American Art, Brooklyn Museum of Art

Speakers
• Stéphanie Delamaire, Curator of European and American Art, Carnegie Museum of Art, Pittsburgh, Pennsylvania
• Erica Lome, Curator of Collections, Historic New England

3.45  Closing Reception

From ArtHist.net, with registration available at the University of Bern:

A History of Textile Cleanliness: Washing and Perfuming Fabrics

from the Medieval to the Modern Period

University of Bern / Abegg-Stiftung, Riggisberg, 27–29 May 2026

Organized by Moïra Dato and Érika Wicky

w e d n e s d a y ,  2 7  m a y

University of Bern, Hauptgebaüde, Kuppelraum

13.00  Arrival and coffee

13.30  Introduction by Moïra Dato and Érika Wicky

14.15  Panel 1 | Cultural and Social Attitudes to Cleaning and Textile Care
Moderation: Torsten Korte (Universität Bern)
• Isabella Campagnol (Istituto Marangoni) — Doing the Laundry in 18th-Century Venice: Washing in a City on Water, but without Water
• Marie Charvet (Nantes Université) — Whiteness vs Preservation: Laundresses and Housewives in 19th-Century Urban France Public Washhouses

15.30  Coffee Break

16.00  Panel 2 | The Scent of Cleanliness
Moderation: Érika Wicky
• Océane Fontaine Cioffi (Université de Tours) — The Scent of Clean: Perfuming Linen between Health, Sensuality, and Material Care in 16th-Century Europe
• Pauline Devriese (Universiteit Gent/Modemuseum Hasselt) — The Scent of Dress: Tracing the Separation of Scent and Dress in Daily Hygiene and Health Practices from the 16th to 18th Centuries in Western Europe
• Lucille Lefrang (Université Grenoble Alpes) and Olivier David (Institut Lavoisier/Paris Saclay) — The Contemporary ‘Toxic’ Smell of Clean: The Example of Galaxolide

t h u r s d a y ,  2 8  m a y

Abegg-Stiftung, Riggisberg

10.00  Panel 3 | Techniques and Practices of Textile Cleaning
Moderation: Jean-Alexandre Perras (Sorbonne Université / Cellf)
• Vendy Hoppe (University of Manchester/The Delmas Foundation) — Too Precious to Wash? The Care and Cleaning of Velvets in Early Modern Europe
• Audrey Colonel-Coquet (Université Grenoble-Alpes/LARHRA) — The Cleanliness of Gloves in the 19th Century: From Home Cleaning to Washable Gloves
• Eloïse Richard (Université de Genève) — Behind the White Coat: Cleaning and Sterilizing Hospital Textiles in the Early 20th Century

12.00  Lunch

13.30  Visit of the conservation workshop and storage of the Abegg-Stiftung

14.30  Panel 4 | Cleaning in Textile Conservation
Moderation: Regula Schorta (Abegg-Stiftung)
• Bettina Niekamp (Abegg-Stiftung) — Textile Cleanliness: Some Case Studies of Conservation/Restoration Treatments of Soiled Linen Damasks, Burial Textiles, Tapestries, and Liturgical Textiles
• Johanna Nilsson (Göteborg University), Jan Pettersson (Göteborg University), and Karin Tetteris (Armémuseum) — Traces of Environment and Humans: Interdisciplinary Studies of Dirt on Historical Textiles
• Anna Robinson (University of Lincoln) — In the Usual Fashion: Learning from and Deciphering 19th-Century Laundering Instructions

16.15  Coffee break

16.30  Visit of the permanent and temporary exhibition of the Abegg-Stiftung

f r i d a y ,  2 9  m a y

University of Bern, Hauptgebaüde, Kuppelraum

9,00  Panel 5 | The Actors and Knowledge of Cleaning
Moderation: Raphaël Morera (CNRS/EHESS)
• Olga Arenga (Università degli Studi di Roma Tor Vergata) — From Soap to Scent: Garment Care and Daily Labor in the Barberini Archive
• Sara van Dijk (Rijksmuseum) and Danielle van den Heuvel (Universiteit Utrecht) — White and Bright: Washing Linens in the Dutch Republic
• Santosh Kumar Rai (University of Delhi) — From Flowers to Chemicals: Textile Cleanliness and Changes in the Handloom Industry of Colonial North India
• Monica Klasing Chen (Universität Heidelberg) — Virtue or Science: Washing and Caring for Textiles in Early-Modern and Modern China

11.00  Coffee break

11.30  Panel 6 | Religious Rituals and Practices of Cleanliness
Moderation: Corinne Mühlemann (Universität Bern)
• Juliette Calvarin (Humbold-Universität zu Berlin) — ‘Lynin cloth of witlé coloure’: Veronica’s Veil, Linen Vestments, and the Laundress
• Patricia Blessing (Stanford University) — Textile Cleanliness in Islamic Law: From Hadith to Ottoman Fatwas

12.30  Lunch

14.00  Panel 7 | Dirt and the Absence of Cleaning
Moderation: Sasha Rossman (Universität Bern)
• Sylvia Houghteling (Bryn Mawr College) — The Soil of Dyes: Ground, Water, and Scent in the Making of Early Modern South Asian Textiles
• Léon Rochard (Sorbonne-Université) — ‘The world is like this cloth, misleading and fake’: Clean, Dirty Textiles, and the Question of Representation in the 17th-Century Netherlands
• Alison Matthews David (Toronto Metropolitan University) — Offenders: Cleanliness and the Scent of Crime
• Julia Guarneri (University of Cambridge) — Dry Clean Only: Dealing with Unwashable Clothing in the 20th-Century United States

16.00  Final discussion and closing remarks

Scientific Committee
• Olivier David (Institut Lavoisier / Paris-Saclay)
• Raphaël Morera (CNRS-EHESS)
• Corinne Mühlemann (Universität Bern)
• Helen Wyld (National Museum Scotland)