Enfilade

From The George Washington University Museum:

The Cotsen Textile Traces Global Roundtable: From India to the World
Online, 17–18 November 2021

Panel fragment, painted and resist dyed, India, ca. 1770, 96 × 46 cm (Cotsen Textile Traces Study Collection T-2021, The George Washington University Museum and The Textile Museum).

More than 200 textiles from India form a cornerstone of the Cotsen Textile Traces Study Collection at The George Washington University Museum and the Textile Museum in Washington, D.C. They testify to cross-cultural exchanges, offer a rich resource for artistic inspiration and cross-disciplinary research, and serve as the inspiration for the Center’s second annual Cotsen Textile Traces Global Roundtable. On November 17, the theme is ‘Embroidered Textiles’; on November 18, ‘Painted and Printed Textiles’.

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

To join us for the roundtable, please register early to reserve your space. Once you have registered, we will email you links and details for joining each day of the roundtable on Zoom. We will also email registered participants a full program with a detailed schedule.

This program is made possible through funding from the Cotsen Textile Traces Study Collection Endowment, as well as support from Barbara Tober in honor of Dr. Young Yang Chung.

W E D N E S D A Y ,  1 7  N O V E M B E R  2 0 2 1

Embroidered Textiles

9.00  Welcome and Introduction to Indian Embroidered Textiles from the Cotsen Textile Traces Study Collection
• Lori Kartchner, curator of education
• John Wetenhall, director
• Marie-Eve Celio-Scheurer, academic coordinator for the Cotsen Textile Traces Study Center

9.20  Keynote Conversation: Indian Textiles: Conversing with the Transcendent
• Ghiora Aharoni, Cotsen Studio artist-in-residence
• Mayank Mansingh Kaul, independent curator and writer, New Delhi

10.00  Panel 1: Chikankari and Inspiration for Today’s Fashion
• Shalini Sethi, creative head, Good Earth, New Delhi
• Paola Mandfredi, independent researcher and consultant, Milano, Italy
• Jaspal Kalra, social entrepreneur, design educator, executive director of Kalhath Institute, Lucknow, India

11.00  Panel 2: Kantha, Then and Now
• Ruchira Ghose, former director, National Crafts Museum, New Delhi
• Niaz Zaman, advisor, Department of English and Modern Languages, Independent University, Dhaka, Bangladesh
• Pika Ghosh, visiting associate professor, Haverford College, Haverford, Pa.

Noon  Panel 3: Embroidered Traditions From Kashmir and Beyond
• Monisha Ahmed, independent anthropologist, Mumbai, India
• Asaf Ali, co-founder of the Kashmir Loom Company, New Delhi and Srinagar, Jammu and Kashmir

1.00  Reflections on Day 1
• Maximiliano Modesti, craft and fashion entrepreneur, Paris and Mumbai, India
• Attiya Ahmad, associate professor of anthropology and international affairs, George Washington University, Washington, D.C.

T H U R S D A Y , 1 8  N O V E M B E R  2 0 2 1

Painted and Printed Textiles

9.00  Introduction to Indian Painted and Printed Textiles from the Cotsen Textile Traces Study Collection
• Lori Kartchner, curator of education
• Marie-Eve Celio-Scheurer, academic coordinator for the Cotsen Textile Traces Study Center

9.15  Keynote Lecture: Indian Printed and Painted Textiles, a Global Phenomenon
• Lee Talbot, curator, The Textile Museum Collection
• Ben Evans, editor, Hali Publications, London
• Rosemary Crill, former senior curator, Victoria and Albert Museum, London

10.00  Panel 1: Hand Painted and Printed in India Today
• Brigitte Singh, artist, artisan and designer, Jaipur, India
• Renukha Reddy, artist, Red Tree Studio, Bangalore, India
• Sufiyan Ismail Khatri, Ajrakh craftsman, Kutch, India

11.00  Panel 2: From India to the World (Asia and Africa)
• Sae Ogasawara, professor emeritus, Japan Women’s University, Tokyo
• Ruth Barnes, curator, Yale University Art Gallery, New Haven, Conn.
• Sarah Fee, senior curator of global fashion and textiles, Royal Ontario Museum, Toronto

Noon  Panel 3: From India to the World (Europe and America)
• Helen Bieri Thomson, director, Musée national suisse, Zürich, Switzerland
• Sylvia W. Houghteling, assistant professor, Department of History of Art, Bryn Mawr College, Bryn Mawr, Pa.
• Amelia Peck, Marica F. Vilcek Curator of American Decorative Arts and supervising curator of the Antonio Ratti Textile Center, The Metropolitan Museum, New York

From ArtHist.net:

Insects and Colours between Art and Natural History
Online, 29–30 November 2021

Organized by V. E. Mandrij and Giulia Simonini

This two-day online workshop addresses the issue of recording colours in entomology during the 17th and 18th centuries. Because of the bewildering variety of insect colours, artists and naturalists had difficulty describing and reproducing them with pigments. Some early modern scholars disapproved of using colours to depict insects in entomological illustrations. Other naturalists instead collaborated with artists to document the colours and shapes of insects.

Centuries later, this cooperation continues. Although irrelevant for the study of their anatomy, colour was significant for the identification of different species. However, artists and naturalists had different ways of tackling the problem of recording the appearances and names of the chromatic variety that exists in the insect world. Despite the variety of approaches and techniques used or proposed to record the colors of insects, this issue has not received the scholarly attention it deserves.

This workshop investigates the relationship between colours and insect images and aims to answer questions such as: Why in entomology, more than in any other discipline, were so many different approaches developed to address the problem of recording colours? Why did painters and scholars not agree on one unique method? To what extent did their subjectivity play a role in their choice of approach?

Speakers from several fields will discuss the topic of recording the colours of insects in art and natural history. They will touch on topics such as the significance of entomology in the development of color standardization practices, new artistic techniques (such as lepidochromy) and optical theories.

To attend the online workshop and receive the zoom-link, please register by emailing the organisers Giulia Simonini (giulia.simonini[at]tu-berlin.de) and V.E. Mandrij (v.e.mandrij[at]uni-konstanz.de). The maximum number of participants is 40. Listed times correspond with Central European Time (CET).

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14.00  Zoom room opens

14.15  Introduction
Giulia Simonini (she) and V. E. Mandrij (they), Translating Natural Colours of Insects

15.00  Break

15.10  Depicting Insects and Colouring Practices
Panellist: Florike Egmond
• Erma Hermens, Painting Insects in 17th-Century Netherlands: Written Instruction and Practice
• Giulia Simonini, Painting by Numbers and Entomology
• Beth Tobin, Colouring Drawings of Insects at Home and Abroad

17.10  Break

17.20  Colours of Insects
Panellist: Hanneke Grootenboer
• Kay Etheridge, The Biology of Colour

18.00  Break

18.10  Aperitivo

T U E S D A Y ,  3 0  N O V E M B E R  2 0 2 1

14.00  Zoom room opens

14.05  Entomologists and Colours
Panellist: Friedrich Steinle
• Katharina Schmidt-Loske, Observation and Depiction: Maria Sibylla Merian’s Individual Style of Drawing Insects and Plants
• Stefanie Jovanovic-Kruspel, The Somber and Opaque Colors of Butterflies: Schiffermüller and His Attempt of a Colour System

15.25  Break

15.35  Lepidochromy
Panellist: Karin Leonhard
• V.E. Mandrij, ‘Butterflies Truer-to-nature than Paintings’: Colours in Lepidochromy Technique
• Grace Touzel, Lepidochromy at the Natural History Museum (London): Butterfly Wings as a Printing Medium

16.55  Break

17.05  Colours of Insects
Panellist: Hossein Rajaei
• Brian Ogilvie, Catching the Rainbow: Iridescent Insects Before Iridescence

17.45  Break

18.00  Final Discussion with Dominik Hünniger

From the BBAW:

Antiquitatum Thesaurus: Antiken in den Wissensspeichern der Frühen Neuzeit und heute
Online, Berlin-Brandenburgische Akademie der Wissenschaften, 10 November 2021, 8pm

Registration due by 9 November 2021

Please join us for the inaugural online event of the Antiquitatum Thesaurus project, a long-term project initiated at the beginning of 2021 at the Berlin-Brandenburg Academy of Sciences and Humanities and devoted to documenting the tradition of antique material culture in visual sources from the 17th and 18th centuries. Under the direction of Elisabeth Décultot, Arnold Nesselrath, and Ulrich Pfisterer, the project aims to study a large corpus of diverse source material ranging from printed books to drawing collections and culminating in Bernard de Montfaucon’s L’Antiquités expliquée et représentée en figures in order to contribute to our understanding of the early modern views of the remains of Antiquity throughout Europe and the Mediterranean by identifying and cataloguing objects that—beyond ancient literary texts—served as reference points for antiquarians. All the information gathered in the process will be stored in a digital research platform that will illustrate and visualize the complex relationships between objects, sources, places, and people over time.

Register here»

P R O G R A M M

Grußworte
• Christoph Markschies (Akademiepräsident)
• Tonio Sebastian Richter (Sprecher des Zentrums Grundlagenforschung Alte Welt Akademiemitglied, Freie Universität Berlin)

Der Antiquitatum Thesaurus
• Elisabeth Décultot (Projektleitung, Martin-Luther-Universität Halle-Wittenberg)
• Arnold Nesselrath (Projektleitung, Rom / Berlin)
• Ulrich Pfisterer (Projektleitung, Ludwig-Maximilians-Universität München Zentralinstitut für Kunstgeschichte)

Investigating Cassiano dal Pozzo’s ‘Paper Museum’: Lights and Shadows
• Eloisa Dodero (Musei Capitolini, Rom)

Thesauri antiquitatum: storie e sfide
• Elena Vaiani (Pisa)

Paris–Province (XVIIIe–XIXe siècle): à chacun son Antiquité?
• Véronique Krings (Université de Toulouse – Jean Jaurès)

Antiquitatum Thesaurus – Fallstudie und digitale Strategie
• Cristina Ruggero (BBAW)
• Timo Strauch (BBAW)

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

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

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.

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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