Enfilade

From Eventbrite:

Imperial Material: Napoleon’s Legacy in Culture, Art, and Heritage, 1821–2021
Online, 3 September 2021

Organized by Matilda Greig and Nicole Cochrane

Two hundred years after Napoleon Bonaparte’s death, this online workshop confronts his vast material, visual, and cultural legacy.

Napoleon Bonaparte died exactly two hundred years ago on a small island in the middle of the Atlantic Ocean. He had spent the last six years of his life in exile on St Helena, removed from political and military power, in the unusual situation of being able to try to shape and preserve his own posthumous legacy. He was, in a way, phenomenally successful. Napoleon is an instantly recognisable name to this day, and despite growing efforts in recent years to critically revise his reputation and highlight his role in issues such as the reinstatement of slavery, he has largely managed to escape the same level of historical censure as other infamous military dictators. This is perhaps partly because his name has become such an adaptable brand, standing for an entire era of people, places, and events, as well as a full two centuries’ worth of art, craft, and consumer commodities. While other events marking the bicentenary of Napoleon’s death have weighed his contributions to legislative, political, and military reform, less work has been done to confront his vast material, visual, and cultural legacy. This workshop therefore brings together researchers and museum and heritage professionals to reflect on the enduring material and visual legacy of Napoleon, what our interpretation and use of it means for the future, as well as how it affects our understanding of the past. The workshop is free to attend; registration information is available here.

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All times are in BST

10.00  Opening Remarks

10.15  Keynote
• Napoleon: A Life Told in Gardens and Shadows, In Discussion — Ruth Scurr (University of Cambridge)

11.10  Break

11.30  Panel 1: National Responses
• Vive L’Empereur!: Napoleon’s Material Legacy in Australia — Emma Gleadhill (Macquarie University) and Ekaterina Heath (University of Sydney)
• Napoléon alla turca: The Ultimate European — Fezanur Karaağaçlıoğlu (Boğaziçi University)

12.15  Panel 2: Politics of Iconography
• Victory Shall Be Mine: The Form, Fate, and Fortune of the Vittoria di Fossombrone and Napoleon as Mars the Peacemaker — Melissa Gustin (University of York)
• Napoleon’s Iconography: Politics of Images and an ‘Imperial Corporate Design’? — Andrea Völker (Leuphana Universität Lüneburg)

13.00  Lunch Break

14.00  Panel 3: Napoleon in the Museum
• The Mysteries of Napoleon’s Toothbrush — Harriet Wheelock (Royal College of Physicians of Ireland and TU Dublin)
• Absence and Ubiquity in the Louvre’s Commemoration of Napoleonic Art Pillage — Nancy Karrels (University of Illinois Urbana-Champaign)

14.45  Panel 4: Representations on Stage and Screen
• I, Napoleon: Blurred Boundaries in Napoleonic Performance — Laura O’Brien (Northumbria University)
• The Emperor’s New Close-Up: Napoleon’s Enduring Impact on Contemporary Film as an Iconic Historical Brand — Aidan Moir (York University)

15.30  Break

16.00  Panel 5: Objects from the Sacred to the Mundane
• From Mania to Relics: The Artefacts of the 1890 Waterloo Panorama — Luke Reynolds (University of Connecticut)
• The Relics of Napoleon and Modern Memory — David O’Brien (University of Illinois Urbana-Champaign)

16.45  Panel 6: Urban and Cultural Legacies
• Perpetual Erasure: Napoleonian Politics and the Cemetery — Kaylee P. Alexander (Guilford College)
• The Legacy of the Napoleonic Era on Hairstyle and Hairdressing — Hervé Boudon (Independent scholar)

17.30  Closing Remarks

From Eventbrite:

The Itinerant Image: Printmaking between Art and Science in Enlightenment Britain
Online, University of St Andrews, 12–13 August 2021

Charles Reuben Ryley, Ring-Tailed Lemurs, in George Shaw, Museum Leverianum (1792), op. p. 43.

In early modern Britain, the printed image was a major practical and conceptual tool for scientists. As recent research into the graphic practices of the Royal Society has shown, illustrations and diagrams were indispensable to communicating scientific knowledge, both collectively and by individuals. In particular printed images circulated between the Royal Society’s periodicals and the published volumes of its fellows. Some of these images, such as the flea from Robert Hooke’s Micrographia (London 1665), subsequently became widely reproduced and iconic images in the history of science. Yet these printed images were rarely confined to scientific domains; not only were they usually the result of collaboration with artisans and in some cases artists, but the most successful images would often circulate far beyond the scientific communities for which they were initially produced. Further still, images were often copied or translated into new locations, where their meaning might be altered for new audiences.

Over two days, this symposium will bring together scholars and curators of British art, science, and print culture from the seventeenth and eighteenth centuries, to interrogate the creation, use, and function of prints in the production of new scientific knowledge. It considers how the ‘epistemic’ value of an image changed as it was reprinted, adapted, and modified; and pays particular attention to how and when a reproduced image might gain or lose scientific authority.

All sessions will take place over Zoom. Please register for an online ticket. A link will be sent to all attendees in advance of each day’s event.

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14.00–16.30 BST

Welcome and Introduction, Stephanie O’Rourke (University of St. Andrews) and Katherine Reinhart (Bibliotheca Hertziana – Max Planck Institute for Art History)

• Megan Barford (Royal Museums Greenwich), Travelling Charts and Shrinking Paper: Royal Naval Hydrography in the 1830s
• Richard Bellis (University of St. Andrews), Printing the Structures and Textures of Disease: Matthew Baillie’s A Series of Engravings … to Illustrate the Morbid Anatomy (1799–1802)
• Elaine Ayers (New York University), Drawing at a Distance: Botanical Illustration in the East India Company in the Early Nineteenth Century

Respondents: Jack Hartnell (University of East Anglia) and Katy Barrett (Science Museum)

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14.00–16.30 BST

• Anna Marie Roos (University of Lincoln), Lives and Afterlives of the Lithophylacii Britannici ichnographia (1699), the First Illustrated Field Guide to English Fossils
• John Bonehill (University of Glasgow) ‘Curious and Chargeable Cuts’: Michael Burghers and the Illustration of Robert Plot’s Natural Histories
• Meghan Doherty (Berea College), The Long Life of Ephemera: (Re)Printing the Philosophical Transactions of the Royal Society

Respondents: José Marcaida (University of St. Andrews) and Aileen Fyfe (University of St. Andrews)

Titus Kaphar, Enough About You, 2016, oil on canvas with an antique frame, on loan from the Collection of Arthur Lewis and Hau Nguyen, Courtesy of the artist, photo by Richard Caspole. More information is available here.

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From the YCBA:

The Politics of the Portrait, in Three Parts
Online, Yale Center for British Art, 23 July — 17 September 2021

Featuring artists, collectors, curators, and scholars, The Politics of the Portrait is a three-part online symposium that considers potential solutions and alternatives regarding the history, display, and making of portraits and the role of representation in today’s sociopolitical climate.

In 2020 the Yale Center for British Art began a research project on Elihu Yale with Members of his Family and an Enslaved Child (ca. 1719), a painting in the collection that depicts one of Yale University’s founders with an enslaved child. This project became a springboard for this online series of conversations among artists, collectors, curators, and scholars to consider potential approaches, revisions, and additions to the canon of art history, curating, and artmaking.

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Part 1 | Art History: Hierarchies of Representation
Friday, 23 July 2021, 12–1:30pm

Tilly Kettle, Dancing Girl, 1772, oil on canvas (New Haven: Yale Center for British Art, Paul Mellon Collection).

Zirwat Chowdhury, Bridget R. Cooks, and Edward Town discuss potential approaches to and revisions of frameworks that are commonly used for telling the history of portraiture with a particular focus on the Black figure. How might we restructure art history to make it a more decentralized, inclusive discipline? What scholarly initiatives have been effective at countering systemic marginalization in the representation of Black and Brown bodies in Western art? How can we overcome the problem that there are few records—material, textual, or visual—of many of the Black figures represented in Western art? Notwithstanding these absences, what work is being done to center the lives of Black figures in historical portraits? What can we learn about these figures from close looking and study in museums?

Zirwat Chowdhury is Assistant Professor of 18th- and 19th-century European Art at the University of California, Los Angeles. Bridget R. Cooks is Associate Professor at the University of California, Irvine. Edward Town is Head of Collections Information and Access at the Yale Center for British Art. The conversations is moderated by Maryam Ohadi-Hamadani, Postdoctoral Research Associate at the Center.

To join us for this program, please register here.

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Part 2 | Curatorial Practice and the Museum: Contextualization and Narratives
Friday, 6 August 2021, 12–1:30pm

Curators Liz Andrews, Christine Y. Kim, Denise Murrell, and Keely Orgeman discuss their recent projects and upcoming exhibitions and consider the ethical, practical, and historical implications of displaying portraits and figurative artworks in museums.

Liz Andrews is Executive Director of the Spelman College Museum of Fine Art. Christine Y. Kim is Curator of Contemporary Art at the Los Angeles County Museum of Art. Denise Murrell is Associate Curator of 19th- and 20th-Century Art at The Metropolitan Museum of Art. Keely Orgeman is Associate Curator of Modern and Contemporary Art at the Yale University Art Gallery. The conversation is moderated by Maryam Ohadi-Hamadani, Postdoctoral Research Associate at the Yale Center for British Art.

To join us for this program, please register here.

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Part 3 | In Conversation: Titus Kaphar and Art Collectors Arthur Lewis and Hau Nguyen
Friday, September 17, 2021, 12–1pm

Titus Kaphar, Arthur Lewis, and Hau Nguyen discuss Kaphar’s practice and the importance of supporting emerging artists, artists of color, and local art communities. The conversation is moderated by Abigail Lamphier, Senior Curatorial Assistant in the Department of Paintings and Sculpture at the Yale Center for British Art.

Kaphar is an American artist whose paintings, sculptures, and installations examine the history of pictorial representation. Kaphar physically manipulates his canvases by cutting, shredding, twisting, breaking, and tearing his paintings and sculptures, reconfiguring them into works that reveal unspoken truths about the nature of history, often in an effort to consider overlooked subjects. By transforming these styles and mediums with formal innovations, he emphasizes the physicality and dimensionality of the canvas and the materials. His practice challenges art historical images and the narratives they normalize.

Kaphar received an MFA from the Yale School of Art in 2006 and is a distinguished recipient of numerous prizes and awards including a MacArthur Fellowship (2018), an Art for Justice Fund grant (2018), a Robert R. Rauschenberg Artist as Activist grant (2016), and a Creative Capital grant (2015). His work appears in the collections of the Crystal Bridges Museum in Arkansas, the Pérez Art Museum Miami, and several New York City museums, including the Brooklyn Museum, the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art.

Kaphar lives and works in New Haven, Connecticut. In 2015, he cofounded NXTHVN, a 40,000-square-foot nonprofit arts incubator located in two former manufacturing plants in the Dixwell neighborhood of New Haven. NXTHVN offers fellowships, residencies, and other professional development opportunities to artists, curators, and students in the local community and beyond.

Lewis and Nguyen have built an art collection celebrated for its focus on contemporary women artists and artists of color and were named in the top 200 art collectors by ArtNews in 2020. Over the last thirteen years, the couple have intentionally focused on supporting a wide range of black artists and developing their local art community in Los Angeles. As a result, the core of Lewis and Nguyen’s collection features both emerging and established artists including Genevieve Gaignard, Jennie C. Jones, Titus Kaphar, Kerry James Marshall, Ebony G. Patterson, and Amy Sherald.

Lewis and Nguyen are further renowned for their intentional approach to collecting, which extends beyond building the market value for artworks. Seeing the role of the collector as one of guidance and care, the couple are active in the artist community and enjoy personal relationships with many artists represented in their collection. Lewis is creative director of United Talent Agency’s fine arts group and the UTA Artist Space in Beverly Hills, California. He is a member of the boards of the Hammer Museum and the Underground Museum in Los Angeles, as well as New York’s Studio Museum in Harlem. Nguyen is the owner and creative director of boutique hair salons.

In October 2020, Lewis and Nguyen lent Kaphar’s Enough About You (2016) to the Yale Center for British Art. This artwork was on view in the Center’s galleries for eight months in place of the eighteenth-century group portrait Elihu Yale with Members of his Family and an Enslaved Child. To learn more about why this change was made and a description of the ongoing research into this group portrait, visit New light on the group portrait of Elihu Yale, his family, and an enslaved child.

The Hyperian Fountain at Pherae, Edward Dodwell, Views in Greece (London 1821), p. 91.

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From the conference programme:

Travel and Archaeology in Ottoman Greece in the Age of Revolution, c.1800–1833
Online, British School at Athens, 16–17 September 2021

Organised by Alexia Petsalis-Diomidis

Registration due by 20 August 2021

The bicentenary of the Greek War of Independence of 1821 offers a timely opportunity for a re-evaluation of travel and archaeology in the age of revolution. The conference foregrounds diversity and small-scale engagements with the landscape and material past of Ottoman Greece at a time of political tension and explosive violence. The conference will explore the perspectives of both foreign travellers and local inhabitants in order to tease out diverse voices, keeping a sharp focus on the effects of ethnicity, race, gender, and social status.

Within this inclusive intellectual framework we will pose a series of questions to analyse the mediating role of the Greek landscape and its antiquities between travellers and local inhabitants in all their diversity. How did major intellectual and cultural developments of the late eighteenth century, ranging from revolutionary politics in France and America to scientific and museological developments, intersect with actual encounters ‘on the ground’ in Ottoman Greece, specifically with the landscape, local inhabitants, and small-scale objects and antiquities? How did the ethnic, cultural, and religious identities of Ottoman communities affect local perceptions of contemporary travel and the classical material past? How did status (including slave status) and gender shape encounters with the Greek landscape and its antiquities, not least with idealising white sculptured male bodies? How did archaeological-focused travel, with its emerging sophisticated discourses, intertwine with travel undertaken for scientific, military, and Romantic aims?

In this way the conference will give prominence to hitherto marginalised perspectives drawing on recent work to decolonise Ancient Mediterranean Studies, including sensory approaches to access silenced voices, and will develop a micro-cultural history of travel and archaeology in Ottoman Greece in this tumultuous period.

Hosted via Zoom, the conference is free and open to all who are interested, but registration is essential. Speakers’ full papers will be pre-circulated to registered participants at the end of August. To register for the conference, please email Dr Jenny Messenger at jenny@atomictypo.co.uk by 20 August. For Dr Alexia Petsalis-Diomidis’ lecture, registration is separate: a link to register will be available in the ‘Events’ section of the BSA website approximately one month in advance.

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13.00  John Bennet and Alexia Petsalis-Diomidis, Welcome and Introduction

13.15  Panel 1: Travel as a Kaleidoscope of Perspectives
Chair: Estelle Strazdins (University of Queensland)
• Charalampos Minaoglou (National and Kapodistrian University of Athens), Traveling in Europe, Exploring Greek Identity: Orientalism and ‘Westernism’ in Constantine Karatzas’ Diaries
• Federica Broilo (Universitá Degli Studi Urbino ‘Carlo Bo’), Simone Pomardi and the Rediscovery of the Modern Greek Landscape
• Jason König (University of St Andrews), Mineralogy, Ethnography, Antiquarianism: Images of Collecting in the Travel Writing of Edward Daniel Clarke
• Ayşe Ozil (Sabanci University), Local Greek Travel-Writing, Antiquities, and the Diverse Social Landscape in the Post-Revolutionary Ottoman Empire

14.15  Break

14.30  Panel 2: Ottoman Spaces and Identities
Chair: Edhem Eldem (Boğaziçi University and Collège de France)
• Nikos Magouliotis (ETH Zurich, Institute for the History and Theory of Architecture, PhD Candidate), Inside the Villager’s House: Views of European and Greek Authors on the Vernacular Architecture of Late-Ottoman Greece, ca. 1800–30
• Zafeirios Avgeris (Uppsala University, MA Candidate), From Text to Space: Mapping Sir William Gell and Edward Dodwell as Data Layers on an Ottoman Landscape
• Emily Neumeier (Temple University, Philadelphia), Orientalism in Ottoman Greece
• Elisabeth Fraser (University of South Florida), Louis Dupré in Ottoman Greece: Multiple Identities, Contradictory Encounters

15.30  Break

17.30  British School at Athens Public Lecture
• Alexia Petsalis-Diomidis (University of St Andrews), From Ottoman Smyrna to Georgian London: Travel, Excavation, and Collecting of Levant Company Merchant Thomas Burgon (1787–1858)

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13.00  Panel 3: Individuals Collecting Antiquities
Chair: Ayşe Ozil (Sabanci University)
• Estelle Strazdins (University of Queensland), Imagining Ethiopians in the Age of Revolution: Arrowheads from the Marathon Sôros and the Statue of Rhamnoussian Nemesis
• Alessia Zambon (Université Versailles Saint Quentin en Yvelines, Paris), ‘Je vois qu’à Paris on a une bien fausse idée des Grecs…’: Fauvel’s Perception of the Greeks and of the Greek Revolution
• Irini Apostolou, (National and Kapodistrian University of Athens), In Search of Antiquities: The Travels of Alexandre and Léon de Laborde during the Greek War of Independence of 1821
• Michael Metcalfe (The Syracuse Academy), Ancient Inscriptions and British Travellers to Ottoman Greece, 1800–21

14.00  Break

14.15  Panel 4: Antiquities and Official Discourses
Chair: Elisabeth Fraser (University of South Florida)
• Edhem Eldem (Boğaziçi University and Collège de France), ‘Viewing and Contemplating’ (Seyr ü Temaşa): Foreign Travelers and Antiquarians and the Sublime Porte, ca 1800–30
• Aikaterini-Iliana Rassia (King’s College London), Andreas Moustoxydes (1785–1860) and Kyriakos Pittakis (1798–1863) and the Rescue of Greek Antiquities

14.45  Break

15.15  Panel 5: Forms of Philhellenism
Chair: Jason König (University of St Andrews)
• Mélissa Bernier (Ecole Normale Supérieure de Paris, PhD candidate), Samuel Gridley Howe’s Travels: Classical, Romantic, and Philanthropic Philhellenism, 1800–30
• Fernando Valverde (University of Virginia), Greece in the Age of Revolution: An Intimate Poetics of Landscape, Travel, and Liberty

15.45  Break

16.00  Conclusions and Future Directions
• Breakout Rooms
• Roundtable Discussion

From ArtHist.net:

Re-Conceiving an Ancient Wonder: The Afterlife of the Mausoleum of Halicarnassus, 1500–1850
RWTH Aachen University (online and in-person), 9–11 September 2021

Organized by Anke Naujokat, Desmond Bryan Kraege, and Felix Martin

The importance of the Mausoleum of Halicarnassus for European culture is revealed by its very name, which—in many languages—has become a noun signifying any sufficiently monumental tomb. However, the Mausoleum was destroyed during the Middle-Ages, and many aspects of its appearance remain uncertain, even since the excavation of its foundations in the 1850s. During the Early Modern Period, the main sources of information on this building were thus ancient texts, which were the only references concerning the Mausoleum’s dimensions and appearance. Accurately reconstructing architecture according to brief written descriptions, however, is an impossible task. Yet, despite this difficulty or perhaps due to the liberty it offered the imagination, numerous artists, architects and antiquaries took a keen interest in the monument during the timeframe 1500–1856, mainly using Pliny’s description to suggest reconstructions, devise pictorial representations and seek inspiration for new funerary projects or monumental public architecture.

This workshop aims to examine the afterlife of the Mausoleum during this period. Being an invisible reference, the monument left far more leeway to the imagination than other, existing ancient buildings that also attracted scholarly and artistic attention, such as the Pantheon. The Mausoleum’s invisibility entails that it is not the monument itself that will be investigated here, but rather the ensemble of texts, images and architectural projects referring to this central but unknowable model. Drawing upon recent developments in the methodologies of intermediality and temporality, the project aims to add a new dimension to this discussion by focusing on a precise case study examining the evolution of several key themes over a long period.

The workshop will be organised as a hybrid onsite/online event. It will be possible to listen to papers and join the discussions via Zoom. All are welcome to join, we will gladly provide the event link if you write to us at halicarnassus@ages.rwth-aachen.de.

Organising Committee
• Prof. Dr. Anke Naujokat (RWTH Aachen University)
• Dr. Desmond Bryan Kraege (AHO Oslo School of Architecture and Design)
• Felix Martin M.Sc. (RWTH Aachen University)

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14.00  Welcome

14.15  Anke Naujokat, RWTH Aachen University, Introduction

14.30  I. Tombs and Widows
• Inmaculada Rodriguez Moya (Universitat Jaume I Castellón) and Victor Minguez (Universitat Jaume I Castellón), The Mausoleum of Halicarnassus in the Renaissance Imagination: Royal and Noble Tombs, 1384–1545
• Simone Salvatore (Sapienza Università di Roma), The Iconographic Fortune of Artemisia and the Mausoleum of Halicarnassus in Early Modern Italy, 1500–1630
• Sheila Ffolliott (George Mason University), Embodying the Mausoleum: Artemisia as Model for 16th- and 17th-Century Women and Regents

18.00  Evening Lecture
• Poul Pedersen (University of Southern Denmark / The Danish Halikarnassos Project), The Maussolleion at Halikarnassos and the Ionian Renaissance in Greek Architecture

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9.30  II. The Sangallo Circle
• Peter Fane-Saunders (Birkbeck, University of London), The Mausoleum, Architectural Theory, and the Renaissance Church
• Andreas Raub (Alte Pinakothek, Munich), Antonio da Sangallo the Younger: Mausolea for St. Peter and the Popes
• Fabio Colonnese (Sapienza Università di Roma), Porsenna, Mausolus, and the Pyramids of Antonio da Sangallo the Younger
• Marco Brunetti (Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte), Dream of a Shadow: The Mausoleum of Halicarnassus and the Accademia della Virtù

12.00  Lunch Break

13.30  III. Print Culture and the Seven Wonders
• Katharina Hiery (Universität Tübingen), Maarten van Heemskerck’s Images and the Mausoleum in Print Culture
• Ainhoa de Miguel Irureta (Universidad Católica de Murcia), The Mausoleum of Halicarnassus in 17th-Century Series of the Seven Wonders: Following in the Wake of Maarten van Heemskerck
• Marco Folin (Università degli studi di Genova) and Monica Preti (Head of Academic Programmes, Musée du Louvre, Paris), Fischer von Erlach’s Mausoleum of Halicarnassus

15.00  Coffee Break

15.30  IV. The Mausoleum and the City
• Raphaëlle Merle (Université Paris 10 Nanterre), Travellers and Topography in Early Modern Halicarnassus, 1656–1857
• Daniel Sherer (Princeton University School of Architecture), Architecture and Print Culture in the Late 17th- and Early 18th-Century English Reception of the Mausoleum of Halicarnassus: Intermedium Signification in Hawksmoor’s St George’s Bloomsbury and Hogarth’s Gin Lane, 1670–1751

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9.30  IV. The Mausoleum and the City, continued
• Stefan Hertzig (Architectural Historian and Heritage Specialist, Dresden), An Ancient Wonder for Dresden: The So-Called Pyramid Building of Augustus the Strong on the Neustadt Bridgehead as a Paraphrase of the Mausoleum à la Heemskerck
• Desmond-Bryan Kraege (AHO Oslo School of Architecture and Design), Imaginary Architecture and the Mausoleum’s Move to a Peri-Urban Environment, France, ca. 1750s–1790s

10.30  Coffee Break

11.00  V. Scholarship and a New Vision of History
• Felix Martin (RWTH Aachen University), Building for Posterity: Friedrich Weinbrenner, the Mausoleum at Halicarnassus, and the Pursuit of Permanence around 1800
• Christian Raabe (RWTH Aachen University), Karl Friedrich Schinkel’s Tomb of King Mausolus of Caria

12.00  Lunch Break

13.30 V. Scholarship and a New Vision of History, continued
• Marina Leoni (Université de Genève), Quatremère de Quincy’s Mausoleum of Halicarnassus and French Scholarship
• Lynda Mulvin (University College Dublin), Charles Robert Cockerell (1788–1863): A Pioneering Study of the Mausoleum of Halicarnassus as Part of a Wider Project to Locate Other Unknown Sites and Monuments in ‘Ionian Antiquities’

14.30  Concluding Discussion

From ArtHist.net:

Die Kraft der Einbildung: Physiologie, Ästhetik, Medien
Online, 8–9 July 2021

Registration due by 6 July 2021

Die Einbildungskraft steht am Kreuzungspunkt der Problemlinien, die in der DFG-Kolleg-Forschungsgruppe »Imaginarien der Kraft« nachgezeichnet werden. Zum einen reguliert sie als menschliches Vermögen die Vermittlungen zwischen sinnlicher Wahrnehmung und begrifflichen Vorstellungen, zum anderen ist sie als ausgezeichnete Kraft des Menschen selbst Gegenstand unterschiedlicher, ja widersprüchlicher Konzeptualisierungen. Der Workshop diskutiert historische und gegenwärtige Modelle der Einbildungskraft, um ihre je unterschiedlich gefassten Fähigkeiten und Leistungen, aber auch ihre Grenzen und immer wieder besprochenen Gefahren zu beschreiben. Entwirft man sie als somatische Disposition oder pathologische Abweichung, als regelhaften kognitiven Prozess oder Effekt numinoser Einflüsse, als Reproduktion von Wahrgenommenem oder kreatives Potential?

Kontakt und weitere Informationen:
DFG-Kolleg-Forschungsgruppe “Imaginarien der Kraft”
Gorch-Fock-Wall 3, 1. Stock (links)
20354 Hamburg
Email: imaginarien.der.kraft@uni-hamburg.de

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15.00  Begrüßung, Frank Fehrenbach, Cornelia Zumbusch

15.30  Claudia Swan (St. Louis), Shells, Ebony, and the Dutch Colonial Imaginary

16.15  Rüdiger Campe (New Haven), Vorstellungskraft und Einbildungskraft. Leibniz’ vis repraesentativa und die ästhetischen Folgen
Moderation: Dominik Hünniger

17.00  Pause

17.30  Birgit Recki (Hamburg), Synthesis als bildgebendes Verfahren. Kant über Funktionen und Formen der Einbildungskraft

18.15  Rahel Villinger (Basel), ‘…wir können alles dieses aus der bildenden Kraft herleiten’. Kant und die Einbildungskraft der Tiere
Moderation: Adrian Renner

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15.00  Öffnung des Konferenzraums

15.15  Daniel Irrgang (Berlin), Siegfried Zielinski (Saas-Fee), Die neue Einbildungskraft bei Vilém Flusser

16.00  Thomas Jacobsen (Hamburg), Träume, Wünsche, Fantasien … und divergentes Denken
Moderation: Lutz Hengst

17.15  David Freedberg (New York), VR, AR and Einbildungskraft
Lorraine Daston (Berlin): Respondenz
Moderation: Frank Fehrenbach

18.15  Schlussdiskussion

From the symposium programme:

Kaleidoscope Conversations
Online, Masterpiece London Symposium, 16–17 June 2021, 5.00–6.30pm (BST)

Organized with Thomas Marks

Masterpiece is delighted to host a programme of digital debate and discussion co-organised by the Fair and Thomas Marks, editor of Apollo, to bring together preeminent museum curators and conservators with the leading figures in the art and antiques trade, with the aim of encouraging constructive discussion, networking, and the exchange of knowledge and practical advice.

Kaleidoscopic Conversations is the fifth in a series of events that Masterpiece launched in 2018—and which in the past twelve months have fully embraced the possibilities of digital discussion, with recent online events focusing on conservation and artistic materials. This June the spotlight is on the history of colour, and particularly how the colours and pigments of artistic materials—and how those have been harnessed in works of art—have borne specific meanings in different times and cultures.

Over two days, experts will discuss how the local significance of colours should be fundamental to how we interpret and appreciate a range of artistic fields and how best the history and science of colour can be communicated to as wide an audience as possible in museums and other contexts. How do we move beyond the aesthetic presentation of paintings or brightly coloured objects to discussion of what colours once meant? How can we perceive or reimagine colours that have changed or faded over time? How do museums allow us to see colours in the best possible light and provide an understanding of the role that colour plays in display? As ever at the Masterpiece Symposium, attendees will be invited to participate in the discussion during break-out sessions that will follow the panels—with the aim of stimulating vibrant debate.

“This event builds on our online programme, which has aimed to foster a better understanding of works of art through the exploration of materials,” says Philip Hewat-Jaboor, Chairman of Masterpiece London. “The fifth Masterpiece Symposium will continue this thread by looking at the often forgotten role that colour plays in works of art themselves, as well as in historical interiors, and how colour is reconceived and communicated in modern museum displays.”

Register for the Masterpiece Symposium here»

All times listed are BST

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5.00  Introduction by Philip Hewat-Jaboor and Thomas Marks

5.05.  Panel Discussion: Vivid Histories
The inclusion of specific colours in paintings and works of art has rarely, if ever, been merely decorative. From the value historically associated with splendid raw materials, such as lapis lazuli or natural dyes for textiles, to the symbolic meanings that different hues have held in different times and places, colour contains and reflects meaning—even if that meaning may fade over time. From magnificent marbles to splendid stained glass, vibrant colours or their combinations have not only awed viewers but have historically also spoken to them of a wide spectrum of significance. This panel will explore: the fastness or fleeting nature of some of the meanings historically attached to colour; the relationship between colour and style; that between colour and power or status; the challenges of retrieving the historical significance of color; the role of heritage scientists in recovering the history of colour; and the role of art historians in telling its stories.
• Renée Dreyfus | Distinguished Curator and Curator in Charge, Ancient Art and Interpretation, Fine Arts Museums of San Francisco
• Alexandra Loske | Curator, Royal Pavilion, Brighton
• Georges Roque | Philosopher, art historian, and author of La cochenille, de la teinture à la peinture: Une histoire matérielle de la couleur
• Matthew Winterbottom | Curator of Sculpture and Decorative Arts, The Ashmolean Museum, Oxford

6.00  Break-out Session: Bright Ideas
All symposium participants will be split into small discussion groups. In this 25-minute session, they will be invited to continue the conversation of the preceding panel, drawing on their own knowledge and experience to explore how the history of colour can and should still be integral to how we think about art—and why this might be more urgent that ever as we strive to understand objects in global and local contexts.

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5.00  Panel Discussion: The Chromatic Museum
In our memories, perhaps, museums sometimes exist in black and white—or in sepia tones. But working with colour—working in colour, even—is fundamental to museum installations and displays. And interpreting the historical meaning of colours is vital to how collections are communicated to the public. Richly coloured objects may be eye-catching, certainly, but how do curators and museum professionals translate that into significance for as broad an audience as possible? And how far do decisions made by curators and exhibition designers affect how we perceive and appreciate colour—or even reconstruct it—in the museum? This panel will explore: communicating the history of colour and its relationship to materials in the museum; lighting and colour; white cubes and wall colours; and how far new technologies can help in the understanding of colour.
• Emerson Bowyer | Searle Associate Curator of European Painting and Sculpture, Art Institute of Chicago
• Lisa O’Neill | Projects & Company Director, Centre Screen
• Philippa Simpson | Director of Design, Estate and Public Programme at the Victoria & Albert Museum, London
• Jennifer Sliwka | Deputy Director of the VCS project, Senior Research Fellow and Visiting Lecturer at King’s College London

5.55  Break-out Session: Widening the Spectrum
All symposium participants will be split into small discussion groups. In this 30-minute session, they will be invited to discuss how museums, academics, and the art market can work together to build a better understanding of displaying colour, and how such knowledge can be communicated to a wide public. What practical steps would further public engagement with the colourful history of art?

6.25  Closing Remarks by Philip Hewat-Jaboor

From ArtHist.net and The Society for the History of Collecting:

The Evolving House Museum: Art Collectors and Their Residences, Then and Now
Online, The Society for the History of Collecting, 18–19 June 2021

Organized by Margaret Iacono and Esmée Quodbach

House museums are founded for a variety of reasons, from preserving architecturally significant structures to safeguarding the former homes of historically or culturally noteworthy men and women and their legacies. In other cases esteemed art collectors, such as Henry Clay Frick or Albert C. Barnes, established museums in their former residences to house their collections in perpetuity rather than donating them to preexisting institutions. While many successful examples like the Isabella Stewart Gardner Museum continue to thrive, other lesser-known house museums do not attract enough support to remain operational. House museums, it seems, must evolve in order to remain relevant and to continue to attract visitors.

This conference explores a variety of themes relating to art collectors as founders of house museums. Among these are discussions about the motivates that encouraged collectors to establish private house museums instead of donating their collections to preexisting institutions; how collectors’ original intention have manifested themselves in their museums; how house museums’ collections or buildings have evolved over time; and how museums have reinterpreted their collections to remain relevant to contemporary and diverse audiences. Other issues concern how major historic events like the 2008 financial crisis or the recent COVID-19 pandemic have impacted house museums. To attend the event, please register at events@societyhistorycollecting.org.

All times are given in Eastern Daylight Time (EDT)

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11.00  Welcome and Introductory Remarks

11.15  Keynote Address
• Inge Reist (Director Emerita of the Center for the History of Collecting, The Frick Collection, New York), Whose House Is It Anyway?

11.45  Early Beginnings, the Gilded Age, and Beyond
• Anne Nellis Richter (Independent Scholar and Adjunct Faculty, Smith College, Northampton, Massachusetts), Cleveland House as Art Museum: ‘The Louvre of London’ (1806)
• Evelien de Visser (Curator of Fine Arts from 1750 and Information Specialist Van Gogh Worldwide, RKD—Netherlands Institute for Art History, The Hague), The Mesdag Collection in The Hague: The Lasting Legacy of Hendrik Willem Mesdag and Sientje van Houten

12.25  Q & A, followed by break

12.45  Early Beginnings, the Gilded Age, and Beyond, continued
• Mia Laufer (Associate Curator, Minnesota Museum of American Art, St. Paul), A Tale of Two Museums: The Legacies of the Parisian Collectors Isaac and Moïse de Camondo
• Lynne Ambrosini (Deputy Director/Chief Curator Emerita, Taft Museum of Art, Cincinnati, Ohio), The Evolution of Charles and Anna Taft’s Art Museum: Display, Space, Audience, and Acquisitions
• Martha Easton (Assistant Professor of Art History, St. Joseph’s University, Philadelphia), Medievalism, Museums, and Modern Audiences: The Case of the Hammond Castle Museum in Gloucester, Massachusetts

1.45  Q & A

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11.00  Looking Back, Looking Forward: The Evolving House Museum over the Past Century
• Welcome and Introductory Remarks
• Marissa Hershon (Curator of Ca’ d’Zan and Decorative Arts, The John & Mable Ringling Museum of Art, Sarasota, Florida), The Ringling Museum’s Ca’ d’Zan: Its Evolution from Winter Residence to Historic House Museum
• Anne Hilker (Independent Scholar, New York), The Fortunes of War: The Brief Life of the Jules S. Bache House Museum in New York, 1937–1943
• Rebecca Tilles (Associate Curator of 18th-Century French & Western European Fine and Decorative Arts, Hillwood Estate, Museum & Gardens, Washington, DC), Marjorie Merriweather Post’s Hillwood and the Vision from a Private Collection to Public Museum

12.15  Q & A, followed by break

12.35  Looking Back, Looking Forward: The Evolving House Museum over the Past Century, continued
• Chih-En Chen (PhD Candidate, History of Art and Archaeology, SOAS, University of London), Hung’s Art Gallery: Shaping the History of Collecting in Taiwan in the New Millennium
• Georgina Walker (Honorary Research Fellow, University of Melbourne), A New Type of House Museum: Lyon Housemuseum, Melbourne (2009)
• Julie Codell (Professor, Art History, Arizona State University, Tempe), Ecologies of House Museums: Some Final Thoughts

1.40  Q & A

From ArtHist.net (8 June) and the programme (as a PDF file) . . .

La Storie dell’Arte Illustrata e la Stampa di Traduzione, 18 e 19 Secolo
Online, Università di Chieti Gabriele d’Annunzio, Chieti, 10–11 June 2021

La storia dell’arte illustrata e la stampa di traduzione tra XVIII e XIX secolo

«Un coup d’oeil sur l’objet ou sur sa représentation en dit plus qu’une page de discours». Così scrive Diderot nel 1751 nell’Encyclopédie, introducendo un concetto rivoluzionario nella metodologia storico-artistica, che dalla descrizione letteraria passava all’analisi dei monumenti attraverso la loro riproduzione o supposta «replica». Nel XVIII secolo si assiste infatti alla «difficile nascita del libro d’arte» (F. Haskell) che segnerà un punto di non ritorno nella storiografia artistica. Prima dell’avvento della fotografia, infatti, è la stampa di traduzione, spesso al semplice contorno lineare ed eseguita rigorosamente al cospetto dell’opera, a essere la protagonista indiscussa della nuova storia dell’arte.

La cattedra di “Storia della Critica d’arte” del Dipartimento di Lettere, Arti e Scienze Sociali dell’Università degli Studi di Chieti-Pescara “G. D’Annunzio” organizza un convegno internazionale di studi dedicato a quel particolare momento aureo della stampa di traduzione come parte integrante della produzione storico-artistica tra XVIII e XIX secolo, indagandone i vari aspetti metodologici e i molteplici apporti nazionali e internazionali.

Le giornate di studio si svolgeranno in modalità online, sulla piattaforma Microsoft Teams. Per partecipare e registrarsi inviare una mail a lastoriadellarteillustrata@gmail.com. Si rilasciano attestati di frequenza su richiesta.

Responsabilità scientifica
Ilaria Miarelli Mariani con Valentina Fraticelli, Tiziano Casola, Vanda Lisanti

Segreteria organizzativa
Laura Palombaro, lastoriadellarteillustrata@gmail.com

T H U R S D A Y ,  1 0  J U N E  2 0 2 1

9:45  Apertura del collegamento e introduzione

10.00  Sezione 1 | LA STAMPA DI TRADUZIONE TRA RIFLESSIONE E DIBATTITO
Chair: Ilaria Miarelli Mariani (Università degli Studi di Chieti-Pescara “G. D’Annunzio”)
• Stefano Ferrari (Accademia Roveretana degli Agiati), I “Monumenti antichi inediti” di Winckelmann e la riproducibilità dell’opera d’arte
• Paolo Pastres (Deputazione di Storia Patria per il Friuli), Tradurre o tradire? Il dibattito sulle stampe di traduzione in Italia nella seconda metà del Settecento
• Sara Concilio (Università degli Studi di Torino), Giovanni Gaetano Bottari e il libro illustrato: «un’opera utilissima e immortale»
• Susanne A. Meyer (Università degli Studi di Macerata), Una storia dell’arte da leggere in biblioteca: la “Geschichte der zeicnenden Künste” (1796–1821) di J. D. Fiorillo

11.15  Sessione 2 | STORIOGRAFIA E IMPRESE EDITORIALI
Chair: Gaetano Curzi (Università degli Studi di Chieti-Pescara “G. D’Annunzio”)
• Chiara Lo Giudice (Università degli Studi di Padova), Stampe di traduzione come modelli: il caso della calcografia Wagner
• Tomáš Valeš Masaryk (University, Brno; The Czech Academy of Sciences, Praha), Between Original and Reproduction: Jakob Matthias Schmutzer as a Reproductive Engraver
• Antonella Bellin (ricercatrice indipendente) / Elena Catra (Università Ca’ Foscari di Venezia), “Quaranta quadri fra i più celebri della scuola veneziana”. Il progetto di Leopoldo Cicognara per la conoscenza del patrimonio pittorico veneziano
• Valentina Borniotto (Università di Genova), Pittura stampata. Scelte iconografiche nella “Storia della Pittura Italiana” di Giovanni Rosini: il caso genovese
• Raffaella Fontanarossa (ricercatrice indipendente), «Di queste pitture ne disegnai un riparto che il fu Gio. Rosini pose nelle tavole della sua Storia della Pittura»: il contributo di Santo Varni alla storia dell’arte illustrata
• Luca Mattedi (Fondazione Federico Zeri), Bologna, “Un grand nombre de productions des maîtres les plus célèbres, ignorées depuis longues années”: una panoramica sui dipinti di epoca rinascimentale della Recueil di Jean-Baptiste-Pierre Lebrun

12.45  Discussione

14.30  Sessione 3 | LA STAMPA DI TRADUZIONE OLTRE I CONFINI STORIOGRAFICI
Chair: Francesco Leone (Università degli Studi di Chieti-Pescara “G. D’Annunzio”)
• Jessica Calipari (Università degli Studi di Chieti-Pescara “G. D’Annunzio”), Il racconto biografico tradotto nella pubblicistica romana della prima metà dell’Ottocento
• Giuliano Colicino (Università degli Studi di Salerno), Illustrare la storia dell’arte per le famiglie: il “Poliorama Pittoresco” (1836–1846)
• Ilenia Falbo (Università della Calabria), I giornali eruditi dell’ultima Roma papalina (1846-1870). Illustrazioni e cronache d’arte
• Fernando González Moreno / Alejandro Jaquero Esparcia (Universidad de Castilla-La Mancha), Guido Reni’s Pietà and Edgar A. Poe’s “The Assignation”: A Singular Case of Reception in 19th-Century North American Literature through the Reproductive Print

15.45  Sessione 4 | MUSEI E COLLEZIONISMO
Chair: Paolo Coen (Università degli Studi di Teramo)
• Martina Lerda (Università di Pisa), Le pinacoteche illustrate. L’uso delle riproduzioni in cataloghi e guide delle raccolte pittoriche italiane nel corso dell’Ottocento
• Francesco Paolo Campione (Università degli Studi di Messina), Le “Dipinture scelte del Morrealese” di Agostino Gallo (1821): stampa di traduzione e divulgazione artistica nella Sicilia del primo Ottocento
• Sandra Condorelli (Università di Catania), La “Descrizione de’ principali quadri esistenti nelle pinacoteche di Catania” di Agatino Longo
• Antonella Gioli (Università di Pisa), Circolazione e fortuna delle “Vedute del Museo Pio Clementino” (1791–1796)
• Ilaria Arcangeli (Università di Roma Sapienza), I “Disegni litografici dei Quadri Classici della Galleria di S. S. R. M. il Re di Sardegna”: un’impresa associativa promossa da Carlo Felice (1825–1840)
• Vanda Lisanti (Università degli Studi di Chieti-Pescara “G. d’Annunzio”), I cataloghi illustrati del Museo Capitolino nell’Ottocento e l’équipe di artisti per la “Descrizione del Campidoglio” di Pietro Righetti (1833–1836)
• Elisa Acanfora (Università della Basilicata) I rapporti tra centro e periferie: la diffusione delle stampe di traduzione nell’Italia meridionale nel Settecento

17.30  Discussione

F R I D A Y ,  1 1  J U N E  2 0 2 1

9.30  Apertura collegamento

9.45  Sessione 5 | RIPRODURRE LE GLORIE LOCALI TRA MEDIOEVO E PRIMO RINASCIMENTO
Chair: Alessandro Tomei (Università degli Studi di Chieti-Pescara “G. D’Annunzio”)
• Paolo Delorenzi (Università Ca’ Foscari, Venezia), «Ces morceaux viennent d’être gravés pour la première fois». L’arte quattrocentesca nell’incisione veneta del XVIII secolo
• Manuela Gianandrea (Università di Roma Sapienza), Illustrare la storia della scultura romana dei bassi tempi: Ferdinando Mazzanti e il suo corpus di disegni
• Daniel Crespo Delgado (Universidad Complutense de Madrid), Tradurre un’architettura eterodossa. Sessanta stampe e poche parole per le “Antigüedades Árabes de España” (1787–1804)
• Elena Dodi (Università degli studi di Chieti-Pescara “G. d’Annunzio”), La diffusione e ricezione europea degli affreschi del Camposanto di Pisa attraverso le incisioni di Carlo Lasinio

11.00  Sessione 6 | LE STAMPE CHE IMITANO I DISEGNI
Chair: Tiziano Casola (Università degli studi di Chieti-Pescara “G. d’Annunzio”)
• Benedetta Spadaccini (Veneranda Biblioteca Ambrosiana), Le stampe che imitano i disegni dal XVII al XIX secolo
• Francesca Guglielmini (The British Museum, Prints and Drawings Department), Giovanni Antonio Armano and the Publication of Zanetti’s Parmigianino Drawings
• Laura Palombaro (Università degli Studi di Chieti-Pescara “G. d’Annunzio”), La Raccolta di incisioni di Francesco La Marra e la fortuna della pittura barocca napoletana nella stampa del Settecento
• Hannah Lyons (Birkbeck College University of London, with the Victoria & Albert Museum), Imitations, Impressions, and Female Industry: Maria Cosway (1760–1838) and the British Print Market
• Gennaro Rubbo (Università degli Studi di Chieti-Pescara “G. d’Annunzio”), La stampa di traduzione nel collezionismo inglese tra la fine del Settecento e gli inizi dell’Ottocento. Il caso di Francesco Bartolozzi: un italiano a Londra nel fondo Douce

12.15  Discussione

14.30  Sessione 7 | TRADURRE I GRANDI MAESTRI
Chair: Carla Mazzarelli (Università della Svizzera italiana)
• Anna Cerboni Baiardi (Università degli Studi di Urbino), Raffaello e i testi illustrati tra Sette e Ottocento
• Elena Petracca (Università degli Studi di Firenze), L’eredità romana di Robert van Audenaerde e Nicolas Dorigny nel Settecento.
• Francesca Cocchiara (Fondazione Centro Studi Tiziano e Cadore, Pieve di Cadore), Tiziano nelle stampe di traduzione tra XVIII e XIX secolo
• Ilaria Fiumi Sermattei (Istituto Centrale per la Grafica), La fortuna critica e visiva del Sassoferrato nella committenza della Calcografia Camerale negli anni della Restaurazione pontificia
• Michela Gianfranceschi (Università di Roma Sapienza), La sfida della pittura caravaggesca alla cultura classicista. Recueils di stampe e fogli sciolti tra XVIII e XIX secolo
• Alessio Costarelli (Università degli Studi di Bologna), Antonio Canova, gli Inglesi e la circolazione delle immagini
• Angelo Maria Monaco (Università Ca’ Foscari, Venezia), Veronese e i monumenti dei Dogi nelle incisioni di Giacomo Barri. Episodi singolari e precursori nel collezionismo veneziano nella seconda metà del Seicento

16.30  Sessione 8 | LE TECNICHE E IL COLORE
Chair: Valentina Fraticelli (Università degli Studi di Chieti-Pescara “G. D’Annunzio”)
• Chiara Piva (Università Ca’ Foscari, Venezia), Stampare a colori nel Settecento: sperimentazioni e dibattito critico
• Teresa Montefusco (Università della Svizzera Italiana), «La vera idea di quel magico incanto dei colori»: l’incisione e la traduzione del colorito nella pubblicistica romana (XVIII–XIX secolo)
• Maria Beatrice Failla (Università degli Studi di Torino), La litografia e la sfida del colore nel XIX secolo
• Alessandro Botta (Università degli Studi di Udine), Pittura divisionista e stampa di traduzione

17.30  Discussione