Online Symposium | Hidden Hands: Untold Stories of the Object
Plate 419, Silver-plating in L’Enclopédie, ou Dictionnaire Raisonné des Sciences, des Arts et des Métiers by Denis Diderot.
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From the MFAH:
Hidden Hands: Untold Stories of the Object
Rienzi Biennial Symposium
Online, Rienzi, The Museum of Fine Arts, Houston, 6 November 2021
Geographic exploration and colonial expansion led to the introduction of new materials and technological innovation in the early modern period. These developments created an increased demand for goods made of ceramics, glass, exotic woods, textiles, and metals. The refining of raw materials and the production of these goods depended upon a diverse labor force made up of men, women, and children from across the globe. Despite the integral roles played by these workers in all of these varied enterprises, their names and contributions have often been lost to history. Who were these people? How did they interact and engage with these new materials and goods? What social, political, and economic forces contributed to the exclusion of their narratives? The symposium invites scholars to reconsider established ideas of craftsmanship and artistic authorship through the telling of these ‘hidden’ stories.
The symposium will be held in conjunction with the exhibition Hidden Hands: Invisible Workers in Industrial England, on view at Rienzi from 1 September 2021 to 3 January 2022.
Registration for the symposium is available here»
P R O G R A M M E
10.00 Session 1: Industry and Craft
• Misty Flores (Assistant Curator, Rienzi), Hidden Hands: Invisible Workers in Industrial England
• Javier Fernández Vázquez (PhD Candidate, Universidad Autónoma de Madrid), All the Names: Recovering the Ignored Authorship of Metal-Casting Patterns
• Daichi Shigemoto (PhD Student, The University of Texas at Austin), Hidden Hands for Frank Lloyd Wright’s Imperial Hotel in Tokyo
• Q&A
11.10 Break
11.40 Session 2: Cultural Exchanges in the Americas
• Alfredo A. Ortega-Ordaz (Conservator, National Museum of Anthropology, Mexico City), Lightweight Sculpting: About Admiration and Exclusion
• Marco Díaz-Güemez (Research Professor, Escuela Superior de Artes de Yucatán), The Yucatan Hammock as a Product of Mayan Women: Tradition, Adaptation, and Resistance
• Philippe Halbert (PhD Candidate, Yale University), A Toilette in Their Fashion: Indigenizing the Dressing Table in the French Atlantic World
• Q&A
12.55 Break
1.05 Session 3: Movement of People and Ideas
• Lindsay Alberts (Professor, SCAD), Mustafa di Ramadano: Slavery Hidden in the Hardstones of the Cappella dei Principi
• Jordan Smith (Assistant Professor, Widener University), The Caribbean Origins of European Craftsmanship: A Case Study in Rum
• Bindy Barclay (Freelance Writer and Researcher), Unraveling Cook’s Voyage: Repopulating the Colonial Exotic
• Q&A
Colloquium | Watteau and His Universe: Networks and Influences
Jean-Antoine Watteau / Jean-Baptiste Pater, Fête champêtre (Pastoral Gathering), 1718–21, oil on panel, 49 × 65 cm
(Art Institute of Chicago, Max and Leola Epstein Collection, 1954.295)
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From Fine Arts Paris:
L’univers de Watteau: Réseau(x) et influence(s) autour d’Antoine Watteau (1684–1721)
Auditorium du Petit Palais, Musée des Beaux-Arts de la Ville de Paris, 6–7 November 2021
This symposium, Watteau and His Universe: Networks and Influences of Antoine Watteau (1684–1721), aims to study the figures gravitating around the painter who made him a central figure in eighteenth-century century French art. Close investigation of fellow painters, printmakers, merchants, collectors, amateurs, and friends is necessary in order to further our knowledge of Watteau.
Réservation conseillée par email à rsvp@finearts-paris.com. Les personnes ayant réservé auront accès en priorité aux sièges disponibles. Pass sanitaire requis et port du masque obligatoire dans l’auditorium.
S A M E D I , 6 N O V E M B R E 2 0 2 1
10.00 Introduction
• Louis de Bayser (Président de Fine Arts Paris) et Pierre Rosenberg (de l’Académie française)
10.15 Conférence inaugurale
• Martin Eidelberg (Pr. Emeritus, Rutgers University, New Jersey), Watteau and His Circle
10.45 Réseaux artistiques autour de Watteau, Premières formations
• Jennifer Tonkovich (Eugene and Thaw Curator of Prints and Drawings, The Morgan Library & Museum, New York), When Watteau Met Gillot
• Bruno Guilois (Centre André Chastel, Paris Sorbonne Université), “De ce nombre sont, entre autres, MM. de Saint-Pol, du Mesnil, Dieu, Spoede […]” : cercles et réseaux parisiens autour du jeune Watteau, dans les premières années du XVIIIe siècle
• Turner Edwards (collaborateur scientifique, musée des Arts Décoratifs, Paris), Watteau, Gillot, Lancret et les femmes graveuses de la rue Saint-Jacques : dans la sphère du clan Cochin
• Christophe Guillouet (Chercheur indépendant, Paris), Scènes militaires et figures de fantaisie : Watteau, Bonnart et les genres mineurs à Paris
13.00 Déjeuner
14.30 Réseaux artistiques autour de Watteau, Collaborateurs directs et indirects
• Hugo Coulais (Doctorant, Paris Sorbonne Université), Les paysages oubliés de Jean Forest
• Gérard Migliore (Chercheur indépendant), “Acis et Galathé”, hypothèse de rapprochement avec un dessin de Michel Corneille le Jeune
• Marianne Paunet (Galerie Descours, Paris), Antoine Dieu, Antoine Watteau et le milieu de l’image imprimée pour point de contact
• Maud Guichané (assistante de conservation, Fondation Custodia, collection Frits Lugt), “Watho pour peindre les figures” : les peintres d’architecture Philippe Meusnier et Michel Boyer, collaborateurs d’Antoine Watteau ?
16.10 Réseaux artistiques autour de Watteau, Juste après Watteau
• Margaret Morgan Grasselli (Visiting Senior Scholar for Drawings, Harvard University), The Use of Wash in Drawings by Watteau
• Florence Raymond (attachée de conservation, Palais des Beaux-Arts, Lille), Dessiner d’après les maîtres : Antoine Watteau, Jean-Baptiste Pater et Nicolas Lancret, une culture matérielle au service de l’art de la citation ?
• Mary Tavener Holmes (chercheuse indépendante, New York), The Portraits of Nicolas Lancret
• Yuriko Jackall (Head of Curatorial & Curator of French Paintings, The Wallace Collection, Londres), On Influence and Inspiration: Watteau and Pater
D I M A N C H E , 7 N O V E M B R E 2 0 2 1
9.45 Accueil des participants
10.00 Réseaux artistiques autour de Watteau, Juste après Watteau
• Christoph Martin Vogtherr (directeur général, Stiftung Preussische Schlösser und Gärten Berlin-Brandenburg), Watteau, Caylus et le principe de hasard
• Franziska Windt (conservatrice des peintures françaises et italiennes, Stiftung Preussische Schlösser und Gärten, Berlin- Brandenburg), Antoine Watteau in Prussia: Object of Collection and Model for Painting
• Sarah Sylvester Williams (Visiting Assistant Professor of Art History, Director, Museum Studies Program, Millsaps College, Jackson, Mississippi), Watteau, Lancret, and the Château de Condé
• Remi Freyermuth (chercheur indépendant, Paris), Boucher, élève de Watteau
11.40 Watteau et sa société – Regards culturels
• David Pullins (Associate Curator, The Metropolitan Museum of Art, New York), African Figures in Watteau’s Circle
• Yohan Rimaud (conservateur des collections Beaux-Arts, Besançon, musée d’art et d’archéologie), Réception de la chinoiserie dans le premier tiers du XVIIIe siècle
• Guillaume Faroult (conservateur en chef en charge des peintures françaises du XVIIIe siècle et des peintures britanniques et américaines, musée du Louvre, Paris), L’iconographie libertine de Watteau et ses émules
13.00 Déjeuner
14.30 Watteau et sa société – Watteau et l’Europe
• Enrico Lucchese (professeur d’histoire de l’art, Univerza v Ljubljani et Università degli Studi di Udine), Celestial Conjunctions in Watteau’s Universe: A Perusal on Relations with « Venetians »
• Nicolas Lesur (chercheur indépendant, Paris), Une diffusion italienne de Watteau : le cas de Carlo Spiridione Mariotti
• Christophe Janet (Marchand d’art et chercheur indépendant, Bruxelles), Le séjour de Watteau à Londres : nouveautés, précisions et questions
• Louis-Antoine Prat (Président de la Société des Amis du Louvre, Paris), Dessins de Watteau : des attributions erronées aux faux intentionnels
• Lionel Sauvage (collectionneur), Collectionner et mécéner Watteau
16.30 Conclusions générales
• Axel Moulinier (doctorant en histoire de l’art, École du Louvre, Paris, Université de Bourgogne-Franche-Comté, Dijon)
Colloquium | Sculpteurs et sculptures du XVIe au XIXe siècle
From Fine Arts Paris:
Du palais au jardin, de l’atelier au cabinet de l’amateur : Sculpteurs et sculptures du XVIe au XIXe siècle / Hommage au travail de Geneviève Bresc-Bautier
Auditorium du Petit Palais, Musée des Beaux-Arts de la Ville de Paris, 8 Novembre 2021
Fine Arts Paris organise en collaboration avec le département des Sculptures du musée du Louvre un colloque et une publication en hommage au travail de Mme Geneviève Bresc-Bautier.
Des historiens de l’art qui comptent pour Geneviève Bresc-Bautier, pour avoir été ses élèves ou pour avoir été associés à ses recherches ou à ses expositions, lui présentent un ensemble de communications en écho à ses centres d’intérêt : la Renaissance française, la sculpture de jardin, les bronzes, les moulages d’après l’Antique, le décor du palais du Louvre, le statut et la formation des sculpteurs…
Ce premier florilège préfigure les futurs Mélanges offerts à Geneviève Bresc-Bautier, dont la souscription sera ouverte à cette occasion et dont la parution est prévue en 2022. Cet ouvrage, coordonné par le département des Sculptures du musée du Louvre, réunira les textes présentés le 8 novembre et bien d’autres, proposés par des conservateurs, universitaires, restaurateurs et historiens de l’art de diverses générations, dont les recherches sur la sculpture du Moyen Âge au XIXe siècle et sur l’histoire du Louvre, ont été marquées par son exemple.
Réservation conseillée par email à rsvp@finearts-paris.com. Les personnes ayant réservé auront accès en priorité aux sièges disponibles. Pass sanitaire requis et port du masque obligatoire dans l’auditorium.
P R O G R A M M E
14.00 Accueil et introduction, présentation du volume d’articles réédités
• Sophie Jugie, directrice du département des Sculptures du musée du Louvre
14.15 Sculpture du XVIe au XVIIIe siècle
• Marion Boudon-Machuel (professeur d’histoire de l’art moderne à l’Université de Tours), Geneviève Bresc-Bautier, le ciseau sous la plume : contributions à l’Histoire de la sculpture de la Renaissance en France
• Pascal Julien (professeur d’Histoire de l’Art moderne à l’Université de Toulouse II), Satyres en Arcadie : méditation et séductions dans la sculpture de jardin, XVIe–XVIIe siècles
• Françoise de La Moureyre (historienne de l’art), Un portrait du roi sculpté à Rome par Clérion
• Sophie Mouquin (maître conférences en histoire de l’art moderne à l’Université de Lille), « Cette piété là est le véritable amour » : une allégorie virtuose et savante d’Aubert Parent
15.45 Pause
16.15 Histoire des moulages
• Elisabeth Le Breton (conservatrice au département des Antiquités grecques, étrusques et romaines, chargée de la gypthotèque du musée du Louvre), Académie de France à Rome : un plâtre daté de 1686
16.35 Histoire du Louvre
• Guillaume Fonkenell (conservateur en chef au musée de la Renaissance à Ecouen), Scibec de Carpi au Louvre
• Sophie Picot-Bocquillon (responsable du pôle documentaire de la Conservation des Œuvres d’Art Religieuses et Civiles de la Ville de Paris), Un sculpteur à l’ombre du Louvre : Francisque Duret et les décors architecturaux du palais
17.30 Conclusions et remerciements
Un ouvrage est consacré à la réédition d’un ensemble d’articles consacrés, entre 1979 et 2012, à ces sculpteurs méconnus que Geneviève Bresc-Bautier s’est attachée à faire connaître, en l’occurrence des sculpteurs actifs à Paris dans la première moitié du XVIIe siècle : Francesco Bordoni (1574–1654), Jean Séjourné (mort en 1614), Christophe Cochet (connu depuis 1606- mort en 1634), Hubert Le Sueur (connu de 1596 à 1658), Toussaint Chenu (connu depuis 1621-mort en 1666) et Thomas Boudin (vers 1570–1637). Une édition de Fine Arts Paris et In Fine Éditions, 25€.
Online Conference | Buying Art and Antiquities in 18th-Century Italy
From the conference program:
Buying Art and Antiquities in Eighteenth-Century Italy
La compra de arte y antigüedades en la Italia del siglo XVIII
Online, UNED, Madrid, 4, 11, 18, 23 November and 2 December 2021
Organized by Pilar Diez del Corral Corredoira and David Ojeda Nogales
Jean-François Sablet, In the Antiquities Shop, Rome, 1788 (Private Collection)
The third meeting of the international conference series Transnational Relations and the Arts will address the issue of art and antiquities markets in eighteenth century. With the Grand Tour at its peak, men from all over Europe and beyond flooded into the cities of Italy, mainly Rome but also Naples, Venice, and Florence. These grand tourists fed an already flourishing art market and were also active agents of the spread of ancient marbles and vases, Old Master paintings, ancient coins, and medals back to their homelands, not to mention the diffusion of an international ‘buon gusto’ among the middling and upper classes. For virtual access via Zoom, please email dojeda@geo.uned.es and diezdelcorral@geo.uned.es. The conference is also available for streaming (without registration) here.
This conference is part of the results of the I+D+i project (PID2020-117326GB-I00), FAKE- La perdurabilidad del engaño: Falsificación de Antigüedades en la Roma del siglo XVIII, and the Ramón y Cajal research Project (2017-22131), Academias artísticas, diplomacia e identidad de España y Portugal en la Roma de la primera mitad del siglo XVIII, both funded by the Ministerio de Ciencia e Innovación.
First Session — Agents and Art Markets
4 November 2021, 15.00 (Madrid Time)
• Sascha Kansteiner (Curator of Greek and Roman sculpture, Staatliche Kunstsammlungen, Dresden), Cavaceppi: Sculptor, Restorer, Dealer, Publisher, and Forger
• Jeffrey Laird Collins (Professor of Art History and Material Culture, Bard Graduate Center, New York), The Pope, the Curator, the Milord, and his Dealer: Rome’s Red-Hot Antiquities Market in Theory and in Practice.
• Heiner Krellig (Independent Scholar, Venice and Berlin), Preliminary Notes for a History of the Art Market in Eighteenth-Century Venice
• Paola D’Alconzo (Universidad de Nápoles Federico II), Il mercato di antichità nel Regno di Napoli nel XVIII secolo: quadro normativo e alcuni casi esemplari
• Alexandre Vico Martori (Universidad de Gerona), ‘Quattro quadri dipinti per il traverso dipinti in tavola’: El redescubrimiento de Sandro Botticelli y la adquisición de las spalliere del Palazzo Pucci
Second Session — Agents and Art Markets, part 2
11 November 2021, 15.00 (Madrid Time)
• Paweł Gołyźniak (Institute of Archaeology, Jagiellonian University), Philipp von Stosch (1691–1757) and His Dominant Position in Terms of Trade, Collecting, and Research of Engraved Gems in Eighteenth-Century Italy
• Tara Zanardi (Hunter College of the City University of New York), Isabel de Farnesio, Filippo Juvarra, and the Modern Interior at La Granja
• Mercedes Simal (Unversidad de Jaén), Troiano Acquaviva y el mercado artístico romano: un agente al servicio de los reyes de España y Nápoles
• Elena Dmitrieva (Department of the Classical Antiquities, The State Hermitage Museum), Russian Buyers of Antique and Modern Gems in the Italian Art Market in the Second Half of the Eighteenth Century
• Odile Boubakeur (Ecole du Louvre / Université Paris-Saclay), ‘Italy, Garden of the World’…or ‘jardin à l’anglaise’? British Supremacy on the Italian Antique Art Market through the Eighteenth Century
Third Session — Collectors and Their Collections
18 November 2021, 15.00 (Madrid Time)
• Tracy L. Ehrlich (Associate Teaching Professor, Parsons School of Design / The New School, New York), Alessandro Albani and European Practices of Collecting and Display in the Era of the Grand Tour
• Fabrizio Federici (Independent Scholar), Dispersing a Collection in Eighteenth-Century Italy: The Paintings and Statues of the Cybo Malaspina Family
• John E. Davies (FRHistS, former County Archivist Carmarthenshire Archive Service, independent scholar), An Examination of the Art Collecting of the First Baron Cawdor
• Theresa Kutasz Christensen (Exhibitions Researcher, Prints, Drawings, and Photographs, Baltimore Museum of Art), The King is Dead, Long Live the King’s Things: The Transformation of Private Pleasures into Public Propaganda in Gustav III of Sweden’s Museum of Antiquities
• Alexander V. Kruglov (Independent Scholar, New York), The Russian Grand Tour: Sculptures Purchased by Count and Countess of the North in Rome in 1782
Fourth Session — Collectors and Collections
23 November 2021, 15.00 (Madrid Time)
• Daniela Roberts (Assistant Professor, Institute of Art History, University of Würzburg), Grand Tour Pickings: Antiquities for Georgian Gothic Houses
• Maureen Cassidy-Geiger (Independent Scholar), Bringing Rome Home: Souvenirs and Gifts for Crown Prince Friedrich Christian of Saxony/Poland during His Sojourn in the Eternal City, 1738–39
• José Antonio Vigara Zafra (UNED), El Grand Tour del VI conde de Fernán Núñez: un ejemplo de cultura cortesana en la Europa de la Ilustración
• Domenico Pino (University College London), Gems Never Seen Before: William Hamilton, Vesuvius, and the Rising Taste for Precious Marble in Europe, c. 1770
• Ginevra Odone (Université de Lorraine / La Sapienza Università di Roma / Society for the History of Collecting, Italian Chapter), From Rome to London: Expertise, Dealer, and Buyer for Two Antique Hands
Fifth Session — Works of Art
2 December 2021, 15.00 (Madrid Time)
• Max Kunze (Professor at the University of Mannheim), Winckelmann and the Venus Menophantus or Emphatic Aspects of Restored Sculptures in the Eighteenth Century
• Alexis R. Culotta (Professor of Practice, Tulane University), Commemorating Italy?: The Walpole and Brand Cabinets as Grand Tour Souvenirs of Elsewhere
• David Ojeda (UNED), Forgeries in the Eighteenth Century and Classical Art: A Methodological Conundrum
• Julio C. Ruiz (Universidad Rovira i Virgili, Tarragona), Sobre un torso masculino con indumentaria militar en el Museo del Prado
• Lorenzo Ebanista (Independent Scholar), La felloplastica napoletana nel XVIII secolo tra scenografie presepiali, souvenirs del Grand Tour e rappresentazioni naturalistiche
• Eliška Petřeková (Masaryk University Brno), Between a Souvenir and Archeological Documentation: The Cork Model of the Paestum Temple in the Chancellor Metternich‘s Collection
Online Series | Graphic Landscape
‘Part of the Interior of the Elephanta’, from Thomas and William Daniell, Antiquities of India, Oriental Scenery, aquatint, 1795.
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From the Paul Mellon Centre:
Graphic Landscape: The Landscape Print Series in Britain, 1775–1850
Online, Paul Mellon Centre and the British Library, 2, 4, 9, 11 November 2021
Organized by Mark Hallett and Felicity Myrone
Graphic Landscape: The Landscape Print Series in Britain, 1775–1850 is a four-day programme of online webinars taking place between 2 and 11 November 2021, presented jointly by the Paul Mellon Centre for Studies in British Art and the British Library.
Landscape and topographical print series proliferated in the late eighteenth century and in the first decades of the nineteenth century. Indeed, the format seems to have enjoyed an artistic and commercial boom in this period. Some examples of these series, such as Turner’s Liber Studiorum (1807–19) and Constable’s English Landscape Scenery (1830–33), are extremely well known. Many others, however, have still to receive sustained and critical attention. This programme of four online seminars is designed to look afresh at the late Georgian and early Victorian landscape print series and to stimulate new research on this important strand of graphic art. Participants will bring a wide range of perspectives to bear on the topic and address works in a variety of graphic media.
Graphic Landscape: The Landscape Print Series in Britain, 1775–1850 is co-convened by Mark Hallett at the Paul Mellon Centre and Felicity Myrone at the British Library.
Additional information—including paper abstracts, speaker biographies, specific times, and registration links—can be found here.
T U E S D A Y , 2 N O V E M B E R 2 0 2 1
Day 1 | 12.00–14.00
12.00 Print, Politics, and Industrialisation
• Introduction by Mark Hallett (Director, Paul Mellon Centre) and Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library)
• Amy Concannon (Senior Curator, Historic British Art, Tate), ‘A Captur’d City Blazed’: Printmaking and the Bristol Riots of 1831
• Lizzie Jacklin (Keeper of Art, Tyne & Wear Archives & Museums), Mining Landscapes: Thomas Hair’s Views of the Collieries
• Morna O’Neill (Associate Professor of Art History, Art Department, Wake Forest University), John Constable, David Lucas, and Steel in English Landscape
T H U R S D A Y , 4 N O V E M B E R 2 0 2 1
Day 2 | 12.00–14.00
12.00 Print and Property
• Introduction by Richard Johns (Senior Lecturer in History of Art at the University of York)
• John Bonehill (Lecturer, History of Art, University of Glasgow), Picturing Property: The Estate Landscape and the Late Eighteenth-Century Print Market
• Kate Retford (Professor of Art History, Birkbeck, University of London), Views of the Lakes at the Vyne
• James Finch (Assistant Curator, 19th-Century British Art, Tate Britain), Amelia Long’s Views from Bromley Hill
T U E S D A Y , 9 N O V E M B E R 2 0 2 1
Day 3 | 12.00–14.00
12.00 Revisiting the Canon
• Introduction by Cora Gilroy-Ware (Associate Professor, History of Art, University of Oxford)
• Greg Smith (Independent Art Historian), Engaging with the Voyage Pittoresque de la France: Thomas Girtin’s Picturesque Views in Paris and Their Appeal to the ‘Most Eminent in the Profession’
• Timothy Wilcox (Independent Scholar), John Sell Cotman’s Architectural Antiquities of Normandy: A Catastrophic Miscalculation?
• Gillian Forrester (Independent Art Historian, Curator and Writer), A Glossary for the Anthropocene? Turner’s Liber Studiorum in the Era of Climate Change
T H U R S D A Y , 1 1 N O V E M B E R 2 0 2 1
Day 4 | 14.00–16.00
14.00 A Wider View: From Collaboration to Empire
• Introduction by Mark Hallett (Director, Paul Mellon Centre) and Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library)
• Sarah Moulden (Curator of 19th-Century Collections, National Portrait Gallery), Creative Collaboration: Cotman’s Norfolk Etchings
• Eleanore Neumann (PhD Candidate, University of Virginia), Translating Topography: Women and the Publication of Landscape Illustrations of the Bible (1836)
• Alisa Bunbury (Grimwade Collection Curator, Ian Potter Museum of Art, University of Melbourne), Taken From Nature: Printed Views of Colonial Australia
• Douglas Fordham (Professor of Art History, University of Virginia), Travel Prints or Illustrated Books?
Conference | Body and Power: The Body in Political Art
From ArtHist.net:
Corps et pouvoir: le corps dans l’art politique des temps modernes
Body and Power: The Body in Political Art in Early Modern Times
Online and In-person, Hôtel d’Assézat, Toulouse, 6–8 October 2021
During the Renaissance, it became common to see bodies—both male and female—transformed and strategically exploited through artworks. Real or mythical, aged or juvenile, often bearers of a complex imaginary, they were conceived and perceived as metaphors and regularly used as propaganda devices. In early modern times, the representation of the body had a fundamental place in the process of exaltation and legitimation of the elite.
‘Body and Power’ tends to emancipate from the figure of the prince—although central but not exclusive. Rulers relied on the idealisation of their own person to reinforce their pre-eminence. However, if their bodies were staged and glorified within their portraits—as an essential element to reassure or impress—they could also be juxtaposed with others. The bodies of these secondary figures, whether enemies or allies, could be used to intensify the message, either within or outside of their representations. Thus, all bodies could be evoked: those of the elites as well as those of auxiliaries, intended to support the idea of power from a semantic point of view.
Elements that make this power concrete, visible, and palpable will also be examined. Apparent objects covered the bodies to transcend them, while in response, bodies in turn covered the objects, all of which articulated a substantial discourse that must be deciphered. These same bodies adorned the space of palaces and other places where authority was exercised. Within both perennial and ephemeral decorations, they gave rhythm to the facades through anthropomorphic orders, populated niches, adorned the porticoes of triumphal entrances, inhabited fountains, staircases, fireplaces, etc. Here again, each of these expressions must give rise to a reflection on its context of creation and exhibition, as well as its intentions.
The programme revolves around the inherent relationship between the body and the polysemy of the terms ‘power’ and ‘potency’, referring to ability as well as strength and authority. Showing a body is an effective way to subjugate and convince. The posture, the gestures, the musculature attributed to it, the sensuality, the grace, the elegance that emerge from it, contribute to translate ideas. The body is both subordinated and esteemed by and for power and, like a mirror effect, it is also through its aesthetic, emotional, and symbolic power that it honours and valorises the powerful.
If for a long time the biblical reference served as a pretext for the exhibition of these bodies, the reappropriation of ancient culture brought them out of the private and sacred spheres and into the public space. This development reflects a widespread understanding of the hermeneutic power, the expressive and persuasive range of the body, whose evocative power is developed in relation to the close relationship between physical impression and psychological aspect. These compositions, full of vitality, affect, and dynamism, conferred an emotional and sensory force on ambivalent and sometimes violent subjects that was indispensable to the process of political seduction. It is then a question of assessing the place of the senses—optical and haptic—in political iconography, both formally and semiotically.
In short, the ambition of these two days is to explore issues related to the body as a bearer of political discourse by bringing together artworks created from the Renaissance to the dawn of the 19th century. By bringing together young and experienced researchers, both French and foreign, this event will allow us to compare methodologies (formal, iconographic, and aesthetic approaches, etc.) by bringing together various case studies discussing these imposing, heroic, seductive, disturbing, or repulsive bodies, whose anatomy was more or less revealed to embody, among other things, the figure of the invincible victor as well as that of the vulnerable victim.
For online access, please contact corps.pouvoir@gmail.com.
W E D N E S D A Y , 6 O C T O B E R 2 0 2 1
14.30 Introductions by Mathilda Blanquet and Juliette Souperbie
15.00 Opening Lecture
• Victor I. Stoïchita (Professeur émérite, Université de Friburg), Gardiens du corps, gardiens du visage
15.40 Discussion
T H U R S D A Y , 7 O C T O B E R 2 0 2 1
8.45 Welcome
9.15 Morning Session
Moderation: Juliette Souperbie (Doctorante, Université de Toulouse)
Le corps comme stratégie figurative dans les représentations des élites / The Body as a Figurative Strategy in the Representations of Elites
• Chloé Pluchon-Riera (Doctorante, Université de Grenoble), Petits corps, grandes ambitions. Enjeux politiques des portraits d’enfants dans l’Italie de la première modernité (XVe–XVIe siècles)
• Yann Lignereux (Professeur, Université de Nantes), Voy le portrait au vif de Henri quatrième. Sur une économie modeste de la persuasion politique : les portraits gravés d’Henri IV
• Émilie Ginestet (Doctorante, Université de Toulouse), Le corps inaltérable du roi, triompher du temps de Louis XIII à Louis XVI
• Andreas Plackinger (Maître de conférences, Université de Freiburg im Breisgau), Quelques observations sur l’imaginaire du souverain-père (XVe–XVIIIe siècles)
• Itay Sapir (Professeur, Université du Québec à Montréal), Le roi est mort, vive le roi ? : le corps royal à l’instant de son décès
• Dominic-Alain Boariu (Chercheur Senior, Université de Fribourg), Louis-Philippe à l’épreuve de la photographie
13.00 Lunch Break
14.30 Afternoon Session
Moderation: Frank Fehrenbach (Professeur, Hamburg Universität)
Pouvoirs du corps dans les objets d’apparat / Body’s Power in Pageantry Objects
• Gaylord Brouhot (Docteur, Historien de l’art et de la mode), Quand la mode façonne la persona privée d’une Reine : le « Cabinet Doré » de Marie de Médicis
• Simon Colombo (Doctorant, Université de Toulouse), Le corps-décor : fantaisies anatomiques dans les armes et armures de la Renaissance
• Yannis Hadjinicolaou (Chercheur associé, Université de Hambourg / Warburg Haus), The Ruler in Action: Falconry, Training, and the Body
• Diane Bodart (Professeure associée à Columbia University, en détachement de l’Université de Poitiers) – en visioconférence, Armures de lumière pour la Conquête
17.30 Discussion
F R I D A Y , 8 O C T O B E R 2 0 2 1
8.45 Welcome
9.15 Morning Session
Moderation: Pascal Julien (Professeur, Université de Toulouse)
Le pouvoir du corps : sens et émotions enflammés dans l’imaginaire politique / The Power of the Body: Meaning and Emotions Ignited in the Political Imagination
• Mathilda Blanquet (Doctorante, Université de Toulouse / Junior Fellow Hamburg Universität), De l’éphèbe à l’athlète : variations esthétiques dans la sculpture politique (Florence, XVIe siècle)
• Mathilde Jaccard (Doctorante, Université de Genève), Pistoia 1479 : une Déjanire dénudée en Fortitude endeuillée
• Juliette Souperbie (Doctorante, Université de Toulouse), Sublime et dévoilé, immonde et écrasé : les ambiguïtés du corps féminin dans l’iconographie bourbonnienne
• Nicolas Cordon (Chercheur associé, Université Panthéon-Sorbonne), La politique du corps dans la Sala Regia du Vatican : interface et pouvoir de sujétion
• Bastien Hermouet (Doctorant, Université de Toulouse), La draperie et le corps sacré du roi : le buste de Louis XIV par le Bernin
13.00 Lunch Break
14.00 Afternoon Session
Moderation: Émilie Roffidal (Chargée de recherche CNRS, laboratoire FRAMESPA)
Les règnes du corps dans les décors princiers / The Reigns of the Body in Princely Decorations
• Tania Levy (Maîtresse de conférences, Université de Brest), Aprochant de corsage & traict de visage a la noble personne du Roy nostre sire’. Le corps du roi dans les entrées royales françaises du XVIe siècle : décors et manuscrits
• Marie Bouichou (Masters de l’université Columbia et de Toulouse), Le corps dans l’apparat politique des princes et des élites. Carrosses et décors éphémères au XVIIe siècle à Rome
• Caroline Ruiz (Doctorante, Université de Toulouse / membre de la Casa de Velázquez), Des corps déchus, un corps célébré : La fontaine de la Renommée de Sa Majesté Catholique à San Ildefonso (1728–1738)
• Giulia Cicali (Post-doctorante, EPHE), Vers l’apothéose du corps absolu
16.15 Discussion
16.30 Concluding Remarks
Conference | The Humours of Collecting: Books and Related Material
Thomas Rowlandson, The Doctor’s Dream, ca. 1812.
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From the conference flyer:
The Humours of Collecting: Motive and Opportunity in Collecting Books and Related Material
42nd Annual Conference on Book Trade History
Stationers’ Hall (St Martin within Ludgate), London, 26–27 November 2021
Organized by Robin Myers, Michael Harris, and Giles Mandelbrote
This year’s conference on book-trade history can be seen as a moment of renewal. We look forward to a rich and informative exploration of current research on aspects of the history of collecting books and book-related material. Our emphasis will be on the individual collector, whose motives, methods, and experience have developed alongside the steady accumulation by libraries and specialist institutions.
The conference fee includes coffee/tea, a sandwich lunch, and a reception on both days. Registered students may apply for a limited number of reduced-rate places, sponsored by the Bibliographical Society. Conference fee: £95, with limited availability for the following: Student conference fee, £60; Single-day fee, £60; and Student single-day fee, £50. Early booking is recommended and places will be offered in order of receipt.The number of places may be limited, as we will be observing social distancing restrictions applicable at the time.
S P E A K E R S
Mark Byford, formerly Salvesen junior fellow at New College, Oxford, is an associate member of the Oxford History Faculty. His doctorate focused on religious change in Elizabethan Essex. A collector of early modern books and manuscripts, he is a Council member of the Bibliographical Society.
Laura Cleaver is Senior Lecturer in Manuscript Studies at the University of London and Principal Investigator of the Cultivate MSS project, funded by the European Research Council. The project is examining the international trade in pre-modern manuscripts c.1900–1945 and its impact on the formation of collections and scholarship.
Michelle Craig is a Leverhulme Trust doctoral scholar working on the library of Dr William Hunter (1718–1783). Her thesis is titled “From Early Modern to Enlightenment: Provenance in William Hunter’s Library.” She is interested in 18th-century book auctions, library cataloguing systems, and the materiality of books, provenance, and bindings.
Patrick Goossens studied history at the universities of Antwerp and Louvain. Closely connected with the Plantin-Moretus Museum in his home town of Antwerp, he is Treasurer of the Association of European Printing Museums and board member of the printing museum at the Royal Library of Belgium. His archival research into innovation in the printing industry in 19th-century Belgium is complemented by his collecting of historical printing equipment.
Robert Harding is a director of the London antiquarian bookdealer Maggs Bros Ltd., specialising in early modern Britain, and has a personal interest in the history of collecting in the Stuart period, especially around the circle of Thomas Howard, 14th Earl of Arundel.
Julie Anne Lambert has been Librarian of the John Johnson Collection at the Bodleian Library, Oxford, for more than 30 years. She is interested in all ephemera, while her exhibitions have focused principally on trade and advertising: A Nation of Shopkeepers (2001) and The Art of Advertising (May–August 2021). Both are accompanied by publications.
Robin Myers is archivist emeritus of the Stationers’ Company, where she was in charge of the archive for 30 years. Her many publications include The Stationers’ Company Archive (1990) and The Stationers’ Company, a History of the Later Years, 1800–2000 (2001).
Julian Pooley FSA is Public Services and Engagement Manager at Surrey History Centre and Honorary Visiting Fellow of the Centre for English Local History at the University of Leicester. He is preparing an analytical guide to the Nichols family papers from the time of John Nichols (1745–1826) to the death of John Gough Nichols in 1873. His recent publications include articles about John Nichols for The Journal of Eighteenth Century Studies and the British Library website Picturing Places.
F R I D A Y , 2 6 N O V E M B E R 2 0 2 1
10.00 Registration and coffee
10.30 Mark Byford — Study, Self-Expression, and Sentiment: Charting the Meaning of Some Early Modern English Books for Their Successive Owners
11.45 Coffee
12.15 Robin Myers — Booksellers and Bookbinders’ Collections within the Stationers’ Company Archive
1.30 Lunch
2.30 Robert Harding — Connoisseurs and Patriots: Four Centuries of Collecting the Prints and Drawings of Wenceslaus Hollar
3.45 Tea
4.15 Julian Pooley — ‘A Copious Collection of Newspapers’: John Nichols and His Collection of Newspapers, Pamphlets, and News Sheets, 1760–1865
5.30 Reception at Stationers’ Hall
S A T U R D A Y , 2 7 N O V E M B E R 2 0 2 1
10.00 Coffee
10.30 Laura Cleaver — Henry White (1822–1900): Wine Merchant and Collector of Second-Rate Manuscripts?
11.45 Coffee
12.15 Julie Anne Lambert — John de Monins Johnson and His ‘Sanctuary of Printing’
1.30 Lunch. During the break, Dr Michael Harris will lead a walking tour to visit some parts of the parish with book-trade connections
3.00 Michelle Craig — A Physician and a Book Collector: The Library of Dr William Hunter (1718–1783)
4.15 Tea
4.45 Patrick Goossens — Wood, Iron, Lead, and Printed Matter: On Converging Collections
Online Symposium | Corning Museum’s 59th Annual Seminar on Glass
From the Corning Museum of Glass:
59th Annual Seminar on Glass
Online, Corning Museum of Glass, Corning, New York, 8–9 October 2021
The Corning Museum’s 59th Annual Seminar on Glass will be presented virtually, in conjunction with the special exhibition In Sparkling Company: Glass and the Costs of Social Life in Britain during the 1700s. For the first time, the Annual Seminar on Glass will take place online, on Friday, 8 October, and Saturday, 9 October 2021. All are welcome to register for the free two-day seminar, which will include lectures and panel discussions, with pre- and post-seminar digital materials. We hope that this edition of the seminar will be of interest to Corning Museum of Glass members, students, museum and academic professionals, dealers, collectors, artists, glass enthusiasts, and anyone curious to learn more about glass in the 18th century. We look forward to welcoming speakers and attendees from around the world.
F R I D A Y , 8 O C T O B E R 2 0 2 1
Staging the 18th Century for 21st-Century Museum Audiences
Dr. Christopher Maxwell, curator of early modern glass, will introduce the major themes and highlights of the special exhibition In Sparkling Company: Glass and the Costs of Social Life in Britain during the 1700s. Three panel discussions will follow, in which CMoG staff and external collaborators will consider approaches to the interpretation, design, and digital components of the exhibition, including the remarkable virtual reality reconstruction of the now-lost glass drawing room at Northumberland House, London, designed in 1775 by Robert Adam for the 1st Duke and Duchess of Northumberland.
10.00 Welcome
10.10 Video tour of the exhibition In Sparkling Company: Glass and the Costs of Social Life in Britain during the 1700s
10:45 Panel One: In Sparkling Company and Interpretation
Moderator: Mieke Fay (Manager, Education and Interpretation, CMoG)
• Christopher ‘Kit’ Maxwell (Curator of Early Modern Glass, CMoG)
• Kris Wetterlund (former Director of Education and Interpretation, CMoG)
• Cheyney McKnight (Founder and Director of Not Your Momma’s History)
11.45 Break, with hot glass demonstration
12.15 Introduction to the Glass Drawing Room at Northumberland House
• Kit Maxwell (Curator of Early Modern Glass, CMoG)
12.30 Panel Two: In Sparkling Company and Digital Technology
Moderator: Scott Sayre (Chief Information Officer, CMoG)
• Niall Ó hOisín (Noho, Dublin)
• John Buckley (Noho, (Dublin)
• Maria Roussou (Assistant Professor in Interactive Systems, Department of Informatics & Telecommunications, National and Kapodistrian University of Athens)
• Tom Hambleton (Undertone Music, Minnesota)
• Mandy Kritzeck (Digital Media Producer and Project Manager, CMoG)
1.30 Panel Three: In Sparkling Company and Design
Moderator: Carole Ann Fabian (Director of Collections, CMoG)
• Selldorf Architects (New York)
• Warren Bunn (Collections Manager, CMoG)
• Kit Maxwell (Curator of Early Modern Glass, CMoG)
2.30 Q&A
S A T U R D A Y , 9 O C T O B E R 2 0 2 1
Glass and the 18th-Century Atlantic World
The day will open with a live introductory paper. A series of pre-recorded papers, made available a week before the event, will inform three live panel discussions relating to the many contexts, meanings, functions, and innovations of glass within cultures and communities throughout the Atlantic World during the long 18th century (about 1680–1820). The day will end with a state-of-the-field discussion considering the achievements of and possibilities for glass scholarship and 18th-century studies.
10.00 Welcome
10.15 Introduction
• Kit Maxwell (Curator of Early Modern Glass, CMoG), Glass in the 18th-Century Atlantic World
10:45 Panel One: De-centering Glass Production in the Atlantic World
Moderator: Elliot Blair (Assistant Professor of Anthropology and Curator of Southeastern Archaeology, University of Alabama)
• Karime Castillo Cárdenas (Assistant Professor of Anthropology, Bowdoin College), An 18th-Century Glass Workshop in Mexico City: Economic and Social Aspects of Colonial Glassmaking
• Liesbeth Langouche (PhD candidate, University of Antwerp), Clear Window Glass in the Age of Enlightenment
• Melania Ruiz Sanz de Bremond (PhD candidate, Universidad Autónoma de Madrid), Transfer and Reception of Reverse Painting on Glass in Spain and Latin America through Three Case Studies
11.45 Panel Two: Mobility, Identity, and Empire
Moderator: Kerry Sinanan (Assistant Professor in 18th- and 19th-Century Transatlantic Literature, University of Texas at San Antonio)
• Anna Laméris (Frides Laméris Art and Antiques, Netherlands), A History of Colonial Exploitation as Featured on Dutch Ceremonial Goblets
• Hannah Young (Lecturer in 19th-Century British History, University of Southampton), Glass and the Atlantic World: Ralph Bernal, Collecting, and Slave-Ownership
• Philippe Halbert (PhD candidate, History of Art, Yale University), La Belle Créole: Identity, Race, and the Dressing Table in the French Atlantic World
• Alexi Baker (Division of the History of Science and Technology, Yale Peabody Museum), Empire, Science, and Spectacle: Glass Instruments on the Transatlantic Stage
12.45 Break, with a glass-making demonstration
1.15 Panel Three: Cultural Practices of Glass
Moderator: Iris Moon (Department of European Sculpture and Decorative Arts, Metropolitan Museum of Art)
• Suzanne Phillips (PhD student, University of Buckingham), Francis Eginton (1737–1805): A Satellite in the Orbit of the Lunar Circle
• Sammi Lukic-Scott (PhD candidate, University of York), Illuminating Images: The Role of Glass in Developing Reproductive Translucent Images in the Long 18th Century
• Ann Smart Martin (Stanley and Polly Stone Professor of American Decorative Arts and Material Culture, University of Wisconsin), Blaze-Creators: A Material Culture of Lighting and Surfaces in 18th-Century Domestic Interiors
2.15 Panel Four: Wrap-Up Discussion
Moderator: Kit Maxwell
• Elliot Blair
• Kerry Sinanan
• Iris Moon
Workshop | 18th-C Persianate Albums Made in India
Musical and dance performance in the harem, from an Indo-Persianate album of Antoine Louis Polier, I 4594, fol. 19, Delhi or Faizabad before 1777
(Staatliche Museen zu Berlin, Museum für Islamische Kunst / Johannes Kramer)
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From ArtHist.net (11 September 2021) . . .
18th-Century Persianate Albums Made in India: Audiences – Artists – Patrons and Collectors
Online and In-Person, Museum of Asian Art and Museum of Islamic Art, Berlin, 15–17 September 2021
Organized by Friederike Weis
This workshop will address the role of Indo-Persianate albums (muraqqaʿs) that were assembled for or collected by the Mughal governors of Awadh (Uttar Pradesh): Shujaʿ al-Daula (r. 1754–75) and his successor Asaf al-Daula (r. 1775–97), as well as other local elites in Bengal and Bihar. Europeans also participated in the creation and consumption of albums, as patrons and collectors. In 1882, the Prussian State acquired a group of twenty albums from the twelfth Duke of Hamilton. So far, these artworks have received little study. Eight of them belonged to the Scottish surgeon and interpreter Archibald Swinton (1731–1804) and ten to the Franco-Swiss engineer-architect Antoine Louis Henri Polier (1741–1795)—both were Company officers deeply acquainted with Indo-Persian aristocratic culture. Many more albums are linked to well-known European figures, such as the Governor-General of Bengal Warren Hastings (1732–1818) and the French Company officer (and special agent to Shujaʿ al-Daula in Faizabad) Jean-Baptiste-Joseph Gentil (1726–1799). Numerous interrelated questions arise from the study of this material, concerning audiences, artists, patrons, collectors, and their wish to produce and preserve knowledge.
The workshop will be held as a blended format with a mix of online and on-site presentations at the Museum of Asian Art and the Museum of Islamic Art in Berlin. You are cordially invited to join all presentations via webex (free of charge). We anticipate that the event will be recorded. If you wish to attend the workshop in person, please note that the number of seats at both venues is limited. Advance registration for on-site attendance is essential: f.weis@smb.spk-berlin.de.
Times are listed according to CEST (Central European Summer Time)
W E D N E S D A Y , 1 5 S E P T E M B E R 2 0 2 1
Museum für Asiatische Kunst, 3.00–6.20pm | Link
3.00 Raffael Gadebusch (Berlin) — Welcome
3.15 Friederike Weis (Berlin) — Introduction
3.50 Session 1. Polier’s Albums and Manuscripts: Contents and Contexts
Chair: Friederike Weis
• Susan Stronge (London) — Collecting the Mughal Past
• Malini Roy (London) — Blurred Lines: Looking at the Paintings by the Artist Mihr Chand and Determining the Boundaries between Innovation, Imitation, or Intentional ‘Duplication’
• Firuza Abdullaeva-Melville (Cambridge) — Three Highlights of Polier’s Collection from Cambridge: Treasures or Leftovers
T H U R S D A Y , 1 6 S E P T E M B E R 2 0 2 1
Museum für Asiatische Kunst, 9.30am–4.30pm | Link
9.30 Session 2. Patrons, Collectors, and Compilation Strategies
Chair: Susan Stronge
• Emily Hannam (Windsor) — Fit for a King? Two Late Mughal Albums in the Royal Library at Windsor Castle
• Axel Langer (Zurich) — Obvious or Hidden Narratives in the Large Clive Album
• J.P. Losty (Sussex) — Archibald Swinton’s Indian Paintings and Albums: An Analysis
12.00 Lunch Break
1.20 Session 3. Recurrent Themes and Tropes in Indo-Persianate Albums
Chair: Laura Parodi
• Katherine Butler Schofield (London) — Performing Women in the Polier and Plowden Albums: Pursuing Khanum Jan
• Molly Aitken (New York) — Intoxicating Friendships: Figuring Classical Indian Aesthetic Regimes in Mughal Album Painting
• Yuthika Sharma (Edinburgh) — Topography as Mughal Utopia? Polier’s ‘Garden Series’ and Artistic Exchange in 18th-Century Periphery-Centre Imagination
• Anastassiia Botchkareva (New York) — Tropes and Outliers: Tracing Patterns of Iconography in the Polier Albums
F R I D A Y , 1 7 S E P T E M B E R 2 0 2 1
Archäologisches Zentrum (Offices of the Museum für Islamische Kunst), 9.45am–3.30pm | Link
9.45 Stefan Weber and Deniz Erduman-Çalış (Berlin) — Welcome
10.00 Session 4. Calligraphy in the Berlin Albums: Historicism and Contemporary Mughal Masters
Chair: Axel Langer
• Claus-Peter Haase (Berlin) — The Calligraphies of the 16th-17th Centuries in the Berlin Albums: Reflections on their Origins and Purpose in a Muraqqaʿ
• Will Kwiatkowski (Berlin) — Expanding the Canon: Mir Muhammad Husayn ʿAta Khan and the Polier Albums
11.50 Session 5. Indian Muraqqaʿs Collected by Europeans: Networks and Relationships
Chair: Deniz Erduman-Çalış
• Laura Parodi (Genova) — Allegory and Verisimilitude in Later Indian Albums
• Isabelle Imbert (Manchester) — Like a Garden Bedecked: Floral Margins in 18th-Century Awadhi Albums Produced for European Patrons
1.10 Lunch Break
2.20 Session 5: Indian Muraqqaʿs Collected by Europeans: Networks and Relationships, continued
• Yael Rice (Amherst, MA) — The London Market for South Asian Muraqqaʿs and the Hastings Albums
3.00 Final Discussion
Symposium | Everyday Rococo: Madame de Pompadour and the Arts
Tray and Tea Service (déjeuner ‘Courteille’, four gobelets ‘Hébert’ et soucoupes, pot à sucre ‘Bouret’), Manufacture de Sèvres, soft-paste porcelain, painted and gilded, lapis and green ground painted with children in landscapes by André-Vincent Vielliard, date letter F for 1759; probably bought by Mme de Pompadour in December 1759 (London: The Wallace Collection, C401-06).
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From The French Porcelain Society:
Everyday Rococo: Madame de Pompadour and the Arts
The Wallace Collection, London, 3–4 December 2021; rescheduled for 1–2 July 2022
The French Porcelain Society is pleased to announce its forthcoming symposium Everyday Rococo: Madame de Pompadour and the Arts to be held at the Wallace Collection, London, on 3–4 December 2021. With two days of papers, which we hope will also be available online, this will be the first reassessment of Jeanne-Antoinette Poisson’s artistic patronage since the landmark exhibition Madame de Pompadour et les Arts of 2002.
Commemorating the tercentenary of her birth, and marking the publication of Rosalind Savill’s book Everyday Rococo: Madame Pompadour and Sèvres Porcelain, this conference will welcome international experts discussing her interests in the fine and decorative arts from pets to porcelain and from prints to religious paintings. Further details will follow in the autumn, but please save the dates: Friday 3rd and Saturday 4th December.
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