Enfilade

Garniture of Three Vases (vases des âges), Sèvres, 1781
(Los Angeles: J. Paul Getty Museum, 84.DE.718).

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From the FPS:

The Art of the Dealer: Selling Antique Ceramics, 1850 to 2000
Online, 12–13 June 2021

The French Porcelain Society is delighted to announce a two-day webinar on selling antique ceramics in the pre-digital age from 1850 to 2000.

The first day will focus on the dealer in the long nineteenth century, emerging from his chrysalis as a seller of ‘curiosities’ and ‘Old Sèvres porcelain’ to modern scholar-dealer, trading on an international stage, selling to museums through antiques fairs, themed exhibitions, lectures, specialist monographs, and catalogues devoted to ceramics. Papers will consider the Parisian dealer Beurdeley, the furnishing of J. Pierpont Morgan’s London home and the dealers who supplied him, and the rising market for oriental ceramics popularised by Edgar Gorer.

On day two, speakers will consider the legacy and change that characterised porcelain dealing in the twentieth century with papers on Marjorie Merriweather Post and French & Company in the United States, the activities of Hanns Weinberg in the 1950s for the Antique Porcelain Company, and finally Robert Williams at Winifred Williams Antiques. Each day will conclude with a panel discussion.

Zoom link for both days on our website soon. The full programme, with abstracts, is available here. Registration in advance is required. This symposium is free and open to all, but donations (here) are appreciated.

The programme is made possible with the generous support of Richard Baron Cohen.

All times are BST/UK

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

17.00  Session 1
• Caroline McCaffrey-Howarth (Visiting Research Fellow, History of Art and Museum Studies, University of Leeds and Curator, 17th- and 18th-Century Ceramics and Glass, V&A Museum), Marks, Monographs, and Mediators: The Long Nineteenth Century
• Camille Mestdagh (Associate Researcher, LARHRA), The Importance of Porcelain in the Business of a Parisian Curiosity Dealer: The Beurdeley Dynasty, a Case Study

17.50  Break

17.55  Session 2
• Linda H. Roth (Director of Special Projects/Curatorial and Charles C. and Eleanor Lamont Cunningham Curator of European Decorative Arts, Wadsworth Atheneum Museum of Art, Hartford, Connecticut), Mr. Morgan’s London House
• Nick Pearce (Richmond Chair of Fine Art, School of Culture & Creative Arts, University of Glasgow), ‘Sheer Cleverness and Courage’: Edgar Gorer (1872–1915) and the Rise of the Specialist Dealer in Chinese Art

19.00  Panel discussion and Q&A

S U N D A Y ,  1 3  J U N E  2 0 2 1

17.00  Session 3
• Diana Davis (Independent researcher), The Twentieth Century: Legacy and Change
• Rebecca Tilles (Associate Curator of 18th-Century French and Western European Fine and Decorative Arts, Hillwood Estate, Museum and Gardens) Marjorie Merriweather Post and the Role and Influence of French & Company

17.50  Break

17.55  Session 4
• John Whitehead, FSA (Antique dealer and author), The Antique Porcelain Company: Porcelain Dealing in the Post-war Period
• Errol Manners, FSA (Antique dealer and author), Robert Williams of Winifred Williams Antiques

19.00  Panel discussion and Q&A

Begun in September 2018, ‘Shakespeare in the Royal Collection’ is a three-year AHRC funded project, focusing primarily on the period 1714–1945. From the project website:

Finding Shakespeare in the Royal Collection
Online, 17–19 June 2021

The Royal Collection contains Shakespeare-related items collected by generations of British monarchs, stretching back as far as Charles I, though principally concentrated in the eighteenth and nineteenth centuries. Including paintings, rare books, prints, watercolours, furniture, decorative objects, and photographs, these items tell a fascinating and overlapping set of stories about Shakespeare’s afterlife, the history of collecting, the histories of royalty and empire, and the histories of elite and popular culture. This conference brings together an international group of experts from fields including Shakespeare studies, history of art, collection studies, Romantic literature, and royal history.

Participants are invited to attend live online panels, or to view recorded panels for a limited time afterwards. We have speakers from Singapore to Texas, and the panels are timed across the day to maximise the possibility of attendance worldwide. A full conference programme, including abstracts and speaker bios, can be downloaded here.

The online conference platform is Zoom webinar, registered attendees will be emailed details of how to join the day before the event. To join, simply click on the join link in the email, your web browser will open up and you may be prompted to open Zoom. For further details of how to join Zoom meetings, see the company’s webpage. Live panels will be recorded, by attending you consent to the filming of the event and to being filmed yourself should you ask questions and in any other way participate live.

The conference is free to attend, but registration is essential. Tickets are available from Eventbrite. By registering, you agree to abide by the conference’s Code of Conduct. Participants violating the Code of Conduct will be removed from the event and will not be able to rejoin. For further information please email sharc@kcl.ac.uk.

All times are BST/ UTC+1 and subject to confirmation

T H U R S D A Y ,  1 7  J U N E  2 0 2 1

Panel 1 | Exhibiting Shakespeare  10.00–11.30am
Chair: Gordon McMullan
• Michael Dobson (Shakespeare Institute), Hamlet Disowned: Kemble, Lawrence, and Royal Legitimacy
• Kate Retford (Birkbeck University of London), ‘A Wild and Unruly Youth’: Princes of Wales and The Harry the Fifth Club
• Shormishtha Panja (University of Delhi), ‘Moral Painting’: Nathaniel Dance Holland’s Timon of Athens, c. 1765–70
• Rosie Dias (University of Warwick), Personalising Public Art: Royal Narratives in Boydell’s Shakespeare Prints

Panel 2 | Shakespearean Relics  1.00–2.30pm
Chair: Kirsten Tambling
• Anna Myers (University of Edinburgh), David Garrick and the President’s Chair: Embodying Shakespeare through Intermedial Adaptation
• Mark Westgarth (University of Leeds), ‘Well-authenticated Blocks’: Materiality and the Market for Shakespearean ‘Mulberry Tree’ Relics in the Late Eighteenth and Early Nineteenth Centuries
• Simon Spier (University of Leeds), For Leisure or Learning?: An As You Like It Make-up Box by Hester Marian Wagstaff

Panel 3 | Shakespearean Reputations  4.00–5.30pm
Chair: Elizabeth Eger
• Kate Heard (Royal Collection Trust), ‘Pistol’s a Cuckold – or Adultery in Fashion’: Following a Print from Performance to Portfolio
• Arthur Burns (King’s College London), George III and the Other ‘Mad King’
• Essaka Joshua (University of Notre Dame), ‘I Only Change When I Die’: Gainsborough’s Portrait of Mary Robinson and Mutable Spectatorship
• Fiona Ritchie (McGill University), Fake and Authentic Shakespeare in the Diaries of Joseph Farington

F R I D A Y ,  1 8  J U N E  2 0 2 1

Panel 4 | Shakespearean Books  10.00–11.30am
Chair: Sally Barnden
• Emma Stuart (Royal Collection Trust), Why did George IV Own a First Folio?
• Gordon McMullan (King’s College London), The ‘Disappointment’ of Charles I’s Second Folio
• Eleine Ng-Gagneux (National University of Singapore), Crossing Straits with Shakespeare Translation

‘Shakespeare in the Royal Collection’ Project Overview  12.00–1.00pm
Gordon McMullan, Kate Retford, Kirsten Tambling, Sally Barnden, and Felicity Roberts

Panel 5 | Shakespearean Interiors  2.00–3.30pm
Chair: Gail Marshall
• Elizabeth Clark Ashby (Royal Collection Trust), Shakespeare in Miniature: Shakespeare, Queen Mary, and Books for Dolls
• Kirsten Tambling (King’s College London), ‘All England in Warm Sepia’: Queen Mary and the Church of the Holy Trinity
• Morna O’Neill (Wake Forest University), Much Ado about Tapestry: Shakespeare, the Royal Family, and National Identity

S A T U R D A Y ,  1 9  J U N E  2 0 2 1

Panel 6 | Mementoes of Performance  3.00–4.30pm
Chair: Richard Schoch
• Karen Harker (Shakespeare Institute), Remediation and Memory: Egron Sellif Lundgren’s Watercolours of The Winter’s Tale in Queen Victoria’s Theatrical Album
• Sally Barnden (King’s College London), Monument and Montage: Horatio Saker’s Visual History of the Stage
• Éilís Smyth (King’s College London), The Politics of Shakespeare at Windsor Castle in Louis Haghe’s The Performance of Macbeth in the Rubens Room
• Martin Blazeby (Blazebuild), Visualising Shakespearean Spaces and Stages of Performance at Windsor Castle

Panel 7 | Education and Performance  6.00–7.30pm
Chair: Kate Retford
• Lynne Vallone (Rutgers University), Princess Victoria and the Cult of Celebrity
• Gail Marshall (University of Reading), Puck and the Prince of Wales
• Vijeta Saini (Northeastern University), Disappearances and the Durbar: The Hidden Colonial Legacy of Queen Victoria’s Shakespearean Tableaux Vivants
• Kathryn Vomero Santos (Trinity University), ‘In Shakespeare’s Land’: Education, Cultural (Dis)inheritance, and the Decline of Empire in and around The Prince’s Choice

From the Sächsischen Akademie der Wissenschaften zu Leipzig:

Friedrich Christian von Sachsen (1722–1763): Thronfolger und Förderer der Künste
Online, Saxon Academy of Sciences in Leipzig, 3-5 June 2021

Organized by Susanne Müller-Bechtel

Pierre Subleyras, Portrait of Friedrich Christian von Sachsen (Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden, Foto: Elke Estel/ Hans-Peter Klut).

Vom 3. bis 5. Juni 2021 findet an der Sächsischen Akademie der Wissenschaften zu Leipzig die internationale Tagung Friedrich Christian von Sachsen (1722–1763): Thronfolger und Förderer der Künste statt. Sie wird ausgerichtet von Dr. phil. habil. Susanne Müller-Bechtel, Mitglied des Jungen Forums der Akademie, in Kooperation mit der Strukturbezogenen Kommission „Kunstgeschichte Mitteldeutschlands“ und dem Institut für Kunst- und Musikwissenschaft der TU Dresden. Die Tagung findet als virtuelle Veranstaltung statt.

Intention der Tagung ist die Erarbeitung eines aktuellen und methodisch avancierten Kenntnisstands zum kulturellen Wirken Friedrich Christians und seines Umfelds, nicht nur am Hof in Dresden. Damit sollen zudem in mikrohistorischer Perspektive konkrete Ergebnisse zur Rolle der Künste für Thronfolger zusammengetragen werden — eine wichtige Grundlage für weitere Forschungen zum dynastischen Nachwuchs und seiner Bedeutung für Geschichte und Kultur. Außerdem bietet die Tagung methodisch zahlreiche Ansatzpunkte für die Bewältigung künftiger kunsthistorischer Forschungsfragen an den Schnittstellen zwischen Biographie, Netzwerk und kulturellen Objekten.

D O N N E R S T A G ,  3  J U N I  2 0 2 1

ab 13.30  Konferenzsaal geöffnet | Virtuelles Eintreffen

14.00  Eröffnung & Grußworte, Susanne Müller-Bechtel, Prof. Bruno Klein, Prof. Dr. Wolfgang Huschner

14.20  Susanne Müller-Bechtel (Leipzig), Einführung ins Tagungsthema

14.40  Sektion 1: Historischer Rahmen
Moderation: Susanne Müller-Bechtel
• Werner Telesko (Wien), Herrscherrepräsentation und bildende Kunst im europäischen 18. Jahrhundert – Möglichkeiten und Grenzen der Visualisierung von Macht
• Joachim Schneider (Dresden), Friedrich Christian und die sächsisch-polnische Union
• Matthias Müller (Mainz), Kranke Herrscher – mächtige Körper: zum Problem der Darstellung physisch kranker Regenten und ihrer bildlichen Sublimierung am Beispiel Karls II. von Spanien und Friedrich Christians von Sachsen

17.10  Pause | Aperitif

18.00  Keynote / Abendvortrag
Moderation: Susanne Müller-Bechtel
• Maureen Cassidy-Geiger (New York), A Princely Muse: Friedrich Christian of Saxony/Poland and our Adventures in the Archives and on the Road

19.00  Online Reception

F R E I T A G ,  4  J U N I  2 0 2 1

9.00  Sektion 2: Grand Tour
Moderation: Peter Heinrich Jahn (Dresden)
• Peter Björn Kerber (London)‚ The Adriatic Sea Receiving into Her Arms the Hope of Saxony: Friedrich Christian in Venice
• Tobias Weissmann (Mainz), Die Nation auf dem Wasser. Inszenierung venezianischer Identität bei Fürstenbesuchen von Heinrich III. (1574) bis Friedrich Christian von Sachsen (1740)
• Pilar Diez Del Corral Corredoira (Madrid), Don Carlos in Parma: A Sort of ‚Prinzenreise‘ for the King In-being

11.40  Kurzpräsentationen: Kunst und Geschichte in Dresden im 18. Jahrhundert
• Alexander Röstel (Dresden), Bernardo Bellotto und Friedrich Christian von Sachsen zwischen Venedig und Dresden
• Sabine Peinelt-Schmidt (Dresden), Im Wettstreit mit dem Kaiser von China – Digitalisierung und Erschließung der Porzellansammlung Augusts des Starken und Augusts III.
• Stefanie Wenzel (Dresden) & ANDREAS RUTZ (Dresden), Weibliche Herrschaftspartizipation in der Frühen Neuzeit. Regentschaften im Heiligen Römischen Reich in westeuropäischer Perspektive – ein DFG-Projekt des Lehrstuhls für Sächsische Landesgeschichte, TU Dresden
• Tobias Knobelsdorf (Dresden), Architektur für das Kurprinzenpaar 1747–1764

12.30  Mittagspause

14.00  Sektion 3: Kindheit
Moderation: Marina Beck (Erlangen)
• Ulrike Marlow (München), Das Taufzeremoniell anlässlich der Geburt von Friedrich Christian und seiner Kinder
• Annette C. Cremer (Giessen), Zur Materialität hochadeliger Kindheit
• Anselm Hartinger (Leipzig), Mein hoffnungsvoller Held‘ – Eine Huldigungskantate als tönender Regentenspiegel

16.00  Kaffeepause

16.30  Sektion 4: Friedrich Christian von Sachsen & Maria Antonia Walpurgis von Bayern
Moderation: Marina Beck
• Christine Fischer (Luzern), Oronte als Grenzgänger: Maria Antonia Walpurgis’ Talestri neu gedacht
• Carolin Köhler (Leipzig), Die Beziehungen zwischen dem Gelehrtenpaar Gottsched und dem sächsischen Thronfolgerpaar Friedrich Christian und Maria Antonia Walpurgis
• Sabrina Leps (Münster), Reliquien und Reliquienkult bei Friedrich Christian von Sachsen

18.45  Online Reception

S A M S T A G ,  5  J U N I  2 0 2 1

9.00  Sektion 5: Beziehungen und Netzwerke
Moderation: Annette C. Cremer
• Pablo Vázquez Gestal (Paris), Maria Amalia of Saxony, Queen of the Two-Sicilies and Spain, and the Politics of Art, 1738–1760
• Jakub Sito (Warschau), Maria Josepha und ihre Kinder als Architektur- und Kunstförderer in Warschau. Ein unbekanntes Kapitel in der Geschichte des Sächsischen Mäzenatentums in Polen
• Ute Christina Koch (Münster), Heinrich Graf Brühl und Friedrich Christian
• Wiebke Fastenrath Vinattieri (Florenz), Joseph Anton Gabaleon Graf Wackerbarth-Salmour (1685–1761): Oberhofmeister und Kunstberater des Kurprinzen Friedrich Christian von Sachsen in der Zeit von 1731 bis 1761

12.20  Abschlussdiskussion mit Kurzstatements
• Helen Watanabe O’Kelly (Oxford) und Matthias Müller (Mainz)

13.00  Susanne Müller-Bechtel, Schlusswort

This GRHAM study day takes place next month online:

Widows in the 17th and 18th Centuries: Images of Social Status—Accepted, Hidden, Claimed?
Figures de veuves à l’époque moderne (XVIIe et XVIIIe siècles): Images d’un statut social accepté, caché, revendiqué?
Online, 15 June 2021

How did the image of the widowed woman develop during the 17th and 18th centuries? This study day aims to question the identity of widows during the period—famous or unknown—in order to better understand their intellectual, political, and social influence. To register for a Zoom link for the event, please email asso.grham@gmail.com.

P R O G R A M M E

9.00  Accueil des participants

9.15  Introduction — Scarlett BEAUVALET-BOUTOUYRIE (professeure à l’Université de Picardie)

9.45  Pouvoir et rôle politique dans « l’Europe » de l’Ancien Régime
Modération : Maël Tauziède-Espariat (chercheur associé à l’Université de Bourgogne)
• Veuves royales : représentations politiques du veuvage en France et en Angleterre à l’époque moderne (XVIIe–XVIIIe) — Julie ÖZCAN (doctorante en Histoire et Civilisation, l’École des Hautes Études en Sciences Sociales)
• Christine de France, duchesse et régente de Piémont-Savoie (1619–1663). Entre l’être et le paraître, le statut politique et social d’une veuve Femme d’État — Florine VITAL-DURAND (chercheuse associée à l’Université Grenoble Alpes)
• L’obscur et l’éclat : concilier gouvernement et viduité sous la régence d’Anne d’Autriche — Damien BRIL (chercheur à l’École du Louvre)

11.30  Identité, codes et normes vestimentaires
Modération : Marine Roberton (doctorante à l’Université Paris 1 Panthéon-Sorbonne)
• Apparences et images des veuves à la cour de France au cœur du XVIIIe siècle. L’exemple des dames de la reine Marie Leszczynska (1725–1768) — Aurélie CHATENET-CALYSTE (maître de conférences en histoire moderne, l’Université Rennes 2)
• Refashioning and Identity in the Mourning Portraits of Katherine Villiers, Duchess of Buckingham — Megan SHAW (PhD Candidate in Art History, The University of Auckland)

12.30  Pause

14.00  Représentations de veuves dans la peinture
Modération : Florence Fesneau, doctorante à l’Université Paris 1 Panthéon-Sorbonne
• La Vierge-Veuve, un modèle accompli de la viduité ? — Alysée LE DRUILLENEC (doctorante à l’Université Paris 1 Panthéon-Sorbonne)
• The Virtuous Widow in Late 18th-Century Art — Emma BARKER (Senior Lecturer, The Open University)

15.00  Se distinguer ou perpétuer l’œuvre de l’époux
Modération : Maxime-Georges Métraux (Université Gustave Eiffel / Galerie Hubert Duchemin)
• Derrière la veuve, la maîtresse peintresse ? Être veuve de peintre à Paris aux XVIIe et XVIIIe siècles — Bruno GUILOIS (chercheur associé au Centre André Chastel, Sorbonne Université)
• Business ‘as Usual’: What We Know of Jane Hogarth, the Printseller — Cristina S. MARTINEZ (Adjunct Professor, University of Ottawa)

16.15  Conclusion, Pierre-Antoine FABRE (Directeur d’études à l’École des Hautes Études en Sciences Sociales)

From ArtHist.net:

Opening Up! Collection Centre Strategies
Online, SBMK and Museum Boijmans Van Beuningen, 28 May 2021

As a museum professional, how often have you invited a visitor into your museum’s storage facility? Probably never. As a museum visitor, how often have you thought, “I’d really like to see the works in storage?” Undoubtedly very often. Museum storage facilities have traditionally been invisible and inaccessible to the public, usually housed in anonymous warehouses outside the city or in cellars beneath the museum’s building. But there have been changes in recent years.

An iconic example is the new Depot Boijmans Van Beuningen in Rotterdam, which will open in the autumn of 2021. This storage facility will be fully accessible to the public and occupies a prominent position, right next to the museum. The Netherlands is not alone in developing new ideas about preserving collections and opening them up to the public. The Foundation for the Conservation of Contemporary Art (SBMK) and Museum Boijmans Van Beuningen have organised the online event Opening Up! Collection Centre Strategies about interesting international developments in the field of museum storage.

An international panel of six speakers will share their experiences of combining collection care with public access within their storage facility. How did they conceive and design the building? To what extent is it publicly accessible? How do they guarantee the safety of the collections? And how do they approach their visitors? The symposium will conclude with a round-table discussion with all speakers. As a participant, you will be actively involved in the online event: there will be lots of time for questions and comments from the international audience. The event will have a strong visual component with videos of the buildings’ architecture and internal layouts.

Participation costs €25 (€12.50 for students). You can register via the online form here. For the student registration rate, please also send a copy of your student card to aanmelden@sbmk.nl; otherwise the registration will not apply. The symposium is free for a number of museum employees who pay an annual contribution to the SBMK.

F R I D A Y ,  2 8  M A Y  2 0 2 1

2.45  Virtual Walk-in

3.00  Paulien ‘t Hoen (Coordinator SBMK) and Sandra Kisters (Head of Collections and Research, Museum Boijmans Van Beuningen), Welcome

3.10  Sjarel Ex (Director, Museum Boijmans Van Beuningen, Depot), Depot Boijmans Van Beuningen: A New Typology in Reconsidering Art and Conservation?

3.35  Joachim Huber (Consultant, Prevart GmbH, Konzepte für die Kulturgütererhaltung / Concepts for the Preservation of Cultural Assets, Winterthur, Switzerland), Clarifying Collections: An Approach in Seven Acts

4.00  Tim Reeve (Deputy Director and Chief Operating Officer, Victoria and Albert Museum, London), Designing a New Paradigm for Access to the Nation’s Attic

4.25  Break

4.45  Markus Leuthard (Head of the Collections Center, Swiss National Museum, Affoltern am Albis, Switzerland), The Swiss National Museum’s Collections Centre: Our Approach to Collections Care and Public Access

5.10  Jane Dini (Senior Curator of American Art, Brooklyn Museum, New York), Shimmering Shelves and Tiffany Lighting: Glamming-up Luce Visible Storage

5.35  Round Table Discussion with Speakers and Isabel Friedli (Curator at Schaulager, Basel, Switzerland)

Regent Street, Looking toward Carlton House, ca.1822, from The Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics.

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From The Georgian Group:

2021 Georgian Group Symposium: Georgian London Revisited
Online, 22–23 May 2021

Following the successful conferences run by the Georgian Group in previous years on Women and Architecture, on The Architecture of James Gibbs, and on The Work of the Adam Brothers, our symposium for 2021 will highlight changing perspectives and new research on the architecture of London undertaken since the publication of the latest edition of Sir John Summerson’s Georgian London (1988, reissued 2003). A series of short papers by both established and younger scholars will cover aspects of housing and estate development, public and commercial architecture, places of entertainment, and related topics.

This year’s symposium will take place online over Saturday 22nd and Sunday 23rd May. Joining details for the symposium will be sent to ticket holders on Friday 21st May. Tickets are £25; students can purchase a discounted ticket (£15) by clicking here.

The symposium will be recorded and the recording will be available to all those who have purchased a ticket for a limited period of time after the event takes place. Please read our Terms and Conditions before booking.

S A T U R D A Y ,  2 2  M A Y  2 0 2 1

9.30  Welcome

9.40  Keynote Talk
• Elizabeth McKellar — Georgian London after Summerson

10.10  Session 1 | The Restoration and After
• Frank Kelsall — Nicholas Barbon in Holborn
• India Wright — The Redevelopment of Middle Temple in the Late Seventeenth Century
• Charlotte Davis — Restoration London Reconsidered: Edward Pearce and Carved Ornament
• Helen Lawrence-Beaton — The Remodelling of Monmouth House, Soho Square by Thomas Archer

11.25  Break

11.40  Session 2 | Eighteenth-Century Town Houses and Estate Development
• Juliet Learmouth — Living amidst the Ruins: Eighteenth-Century Whitehall and the Bentinck Family
• Melanie Hayes — A Cultural Exchange: The Anglo-Irish in Hanoverian London
• Rory Lamb — Scottish Property in Georgian London: George Steuart and the Duke of Buccleuch’s Urban Estates
• Sarah Milne — Merchants’ Houses of Goodman’s Fields Whitechapel

12.55  Closing Remarks

S U N D A Y ,  2 3  M A Y  2 0 2 1

10.30  Welcome

10.35  Session 3 | The Early Nineteenth Century
• Todd Longstaffe-Gowan — Charlotte Girdlestone’s Early Nineteenth-Century Panorama of Regent’s Park
• Geoffrey Tyack — Beyond the Park: John Nash, the Park Village, and Cumberland Market
• Amy Spencer — Architectural Competition and Its Values at the London University, 1825–26

11.35  Break

11.50  Session 4 | Miscellany
• Michael Burdon — A ‘Vile and Absurd Edifice of Brick’: London’s Opera House in the Haymarket
• Gillian Williamson — Life in Lodgings in Georgian London
• Caroline Stanford — ‘The Resurrection Is upon Us!’ The Role of Sculpture in Georgian London

12.50  Closing Remarks

From the conference programme:

The Sensory Experience in 18th-Century Art Exhibitions: From Emotion to Sensation
L’expérience sensorielle dans les expositions d’art au XVIIIe siècle
Online, 10–11 June 2021

Organized by Gaëtane Maës, Isabelle Pichet, and Dorit Kluge

Registration due by 4 June 2021

The conference The Sensory Experience in 18th Century Art Exhibitions is the final part of a research project funded by the Social Sciences and Humanities Research Council of Canada (2018–2020) and led by Isabelle Pichet (UQTR, Canada), Gaëtane Maës (University of Lille, France) and Dorit Kluge (VICTORIA International University, Germany) on the question of the sensory body. The aim of the project is to define the way in which the experience of the visitor’s sensory body is shaped during the visit of temporary art exhibitions at a time when these are emerging and establishing themselves in Europe as a new social practice. This knowledge should provide a better understanding of the trajectory and inherent sensory experiences of museum and gallery visitors through the centuries up to the present day.

The 18th century, in fact, saw the birth of art exhibitions, which were part of a new field of social activities that the European population was able to enjoy from the 1730s onwards. For visitors, attending these exhibitions became a new and unique experience that challenged each of their senses. This simple observation leads us to the research fields on senses and sensibility in which the colloquium is a new research path for the history of art exhibitions in the 18th century.

Conceived as a laboratory for exchange, the conference will bring together participants from three continents and diverse backgrounds. It will be organised around two sessions: the first one initially planned at the Louvre-Lens museum will take place on 10–11 June 2021 in total distance mode via Zoom, and the second one will take place at the Vivant-Denon centre of the Louvre museum in Paris on 18–19 November 2021. The first session will focus on the experience of the work of art, from emotion to sensation, while the second will examine the question of the experience of the visit, from spectator to critic.

Registration is mandatory before 4th June 2021: irhis-recherche@univ-lille.fr.

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

12.45  Accueil

13.00  Ouverture du colloque, mot de bienvenue
• Marie Lavandier, Musée du Louvre-Lens
• Charles Meriaux, IRHiS – CNRS UMR 8529 – U Lille

13.30  Introduction par les organisatrices du colloque

14.00  La sensorialité du spectateur
• Emma Barker (Open University), Viewing Blindness at the Paris Salon
• Laura Giudici (Curatrice indépendante, Berne), Prière de toucher: La réception de la statue de l’Hermaphrodite endormi aux XVIIe et XVIIIe siècles
• Friederike Vosskamp (Université de Heildelberg), Exprimant le froid: La représentation des sensations et leur perception par le public à l’exemple de ‘L’Eté’ et de ‘L’Hiver’ de Jean-Antoine Houdon
• Markus Castor (Centre allemand d’histoire de l’art, Paris), Le langage du corps entre affection, discussion et contemplation des arts au XVIIIe siècle – Les images du spectateur et ses expressions des passions entre changement épistémologique et mentalités politiques: Gestes, mots, pas, grâce, nature et religion

17.00  Pause

17.30  Voir et sentir à l’anglaise
• Frédéric Ogee (Université Paris Diderot), L’expérience du sensible: Nature et vérité dans le premier portrait anglais, de William Hogarth à Thomas Lawrence
• Sarah Gould (Université Paris 1 – Panthéon Sorbonne), The Texture of Thomas Gainsborough’s Paintings: A Site of Tension at London Art Exhibitions

F R I D A Y ,  1 1  J U N E  2 0 2 1

11.45  Accueil

12.00  Femmes sous le regard des spectateurs I
• Gaëtane Maës (Université de Lille – IRHiS – UMR 8529), Représenter l’identité ou l’émotion ? Les actrices Clairon et Dumesnil au Salon du Louvre
• Jan Blanc (Université de Genève), Les plaisirs du public: l’érotisation du regard dans les expositions de la Royal Academy au XVIIIe siècle

13.15  Pause

13.45  Percevoir le temps : entre passion et politique
• Mark Ledbury (University of Sydney), Untimely History Painting
• Aaron Wile (National Gallery of Art, Washington, DC), Antoine Coypel’s Galerie d’Enée: Sensibility, Passion, and Politics in Regency France

15.00  Pause

15.30  Femmes sous le regard des spectateurs II
• Bénédicte Prot (University of Oxford), Nus de marbre et filles en émoi dans ‘Le Nouveau Paris’ de Louis-Sébastien Mercier
• Kim de Beaumont (Hunter College, City University of New York), Le corps et l’esprit des femmes dans les vues du Salon de Gabriel de Saint-Aubin
• Mathias Blanc (UMR 8529 – IRHiS – Université de Lille), Parcours contemporains du regard sur des œuvres du XVIIIe siècle
(restitution du projet de médiation EXART réalisé au Louvre-Lens en collaboration avec Gaëtane Maës, et avec l’aide de Laurine Delmas et de Victoria Martinez, étudiantes en Master 2 Recherche en Histoire de l’Art à l’Université de Lille)

From The Lewis Walpole Library:

Viewing Topography Across the Globe Series, Workshop II: Indigeneity
Online, The Lewis Walpole Library, 13–14 May 2021

Organized by Cynthia Roman and Holly Schaffer

Topography, from topos, is the practice of describing place through language, the features of the land, the inhabitants, and the accumulation of history. Specific to locality and the perspective of the person delineating, describing, or collecting materials, topography counters the worldliness of geography while also offering a potential tool to multiply singular approaches.

In this second workshop in the series Viewing Topography Across the Globe, we will consider approaches to place from Indigenous and European perspectives and interrogate the frame of ‘topography’ in global contexts (the first workshop was held at Brown on 11 December 2019). In two half-day virtual sessions, we will focus on topographical practices in the Americas as well as South and Southeast Asia and the Pacific Ocean as well as how the materials of art-making both locate and disrupt notions of place. We will hear from artists and academics, work with colonial-era paintings, Indigenous objects, mapping, and literature, and consider Indigenous pedagogy.

The workshop, which will take place via Zoom, has been organized by Cynthia Roman (The Lewis Walpole Library, Yale University) and Holly Schaffer (Brown University). Details, including abstracts for each talk, are available as a PDF file here. Please note that registration is required for each day’s sessions (links are available below).

Keynote Speakers
• Cannupa Hanska Luger
• Douglas Fordham

◊  ◊  ◊  ◊  ◊

T H U R S D A Y ,  1 3  M A Y  2 0 2 1

Register here»

10.00  Panel 1: The Americas
• Barbara E. Mundy (Fordham University), Indigenous Bodies and Topographical Imagination
• Emmanuel Ortega (University of Illinois at Chicago), Local vs. Universal Knowledge: Locating Place in von Humboldt’s Picturesque
• Robbie Richardson (Princeton University), Sucker-fish Writings: Indigenous Inscription and the History of Written Language in the 18th Century
• Heather V. Vermeulen (Wesleyan University), Sybil / Spider / Sibyl: On Anancy*ness, Archives, and Spider Space

12.00  Lunchtime Keynote Talk
Moderated by Marina Tyquiengco (Boston Museum of Fine Arts)
• Cannupa Hanska Luger (Artist), Artist as Social Engineer

F R I D A Y ,  1 4  M A Y  2 0 2 1

Register here»

10.00  Panel 2: South, Southeast Asia, and the Pacific Ocean
• Jinah Kim (Harvard University), Beyond Human Vision: Knowing Angkor Wat through Topography, from a Watercolor Map to LIDAR Capture
• Dipti Khera (New York University) and Debra Diamond (Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution), Unexplored Terrains: Topography, Temporality, and Emotion in 18th-Century Udaipur
• Kailani Polzak (University of California, Santa Cruz), Rising from the Ocean: Perspectives of Land and Watercraft during Cook’s Third Voyage
• Ayesha Ramachandran (Yale University), Topographies of Battle: The National War Memorial, New Delhi
• Garima Gupta (Artist and Researcher) and Chitra Ramalingam (Yale Center for British Art), Anxieties of a Bazaar: Making of Commodities in Colonial South and Southeast Asia

12.00  Lunchtime Keynote Talk
Moderated by Tim Barringer (Yale University)
• Douglas Fordham (University of Virginia), Techniques of the Imperial Observer: How Aquatint Travel Books Taught Britons to See

From CRASSH at Cambridge:

Dressing a Picture: Reimagining the Court Portrait, 1500–1800
Online, CRASSH, University of Cambridge, 6–7 May 2021

Organized by Ana Howie and Alessandro Nicola Malusà

Juan Pantoja de la Cruz, Portrait of Doña Ana de Velasco y Girón, Duchess of Braganza, 1603 (Alicia Koplowitz Collection).

As Ulinka Rublack asserts in Dressing Up, her seminal book on dress in early modern Europe, society was extremely dress-literate and nowhere more so than in the courtly environments that generated and fuelled fashion. Within these sartorially-minded elite communities, one was constantly on display. Capturing dressed sitters in paint for prosperity, portraiture was a unique vehicle for the inherent dialectic in clothing between subject and observer, and presentation and perception. As such, this conference will examine three themes surrounding early modern portraiture: the artist, the depicted material culture and the setting for its iconographic display, that is the court. We aim to examine these connections via the prism of the period’s intricate social stratification and complex gender power dynamics. To provide sufficient breadth, the conference will present papers dealing with material between 1500 and 1800.

Considering the interdisciplinary nature of our project—spanning history, dress studies, art theory, gender history, court studies and architectural history—we believe that our conference will generate exciting contributions from leading international scholars. This conference will meaningfully contribute to the wider scholarly debate on the significance of early modern portraiture as pivotal sources for numerous branches of historical research and not just art history. Our conference will both firmly enable this discussion and bring attention to this burgeoning field of interdisciplinary historical studies. Registration is available here»

Keynote Speakers
• Erin Griffey (University of Auckland)
• Karen Hearn (UCL)
• Katarzyna Kosior (Northumbria University)
• Mei Mei Rado (LACMA)
• Catherine Stearn (Kentucky University)
• Cordula van Wyhe (York University)

T H U R S D A Y ,  6  M A Y  2 0 2 1

All times are BST.

13.00  Welcome and Opening Remarks

13.20  Panel 1: Materialising Courtly Bodies
Chair: Holly Fletcher (University of Sussex)
• Panel Keynote — Karen Hearn (UCL), ‘Richly apparelled, and her belly laid out …’: Signalling (or not Signalling) Pregnancy in 16th- and Early 17th-Century Court Portraits
• Ana Howie (University of Cambridge), ‘White Ruff and Red Cuffs, on a Black Dress. The Negro Dressed in Yellow’: Materialising Bodies in van Dyck’s Portrait of Elena Grimaldi-Cattaneo
• Lisa Nunn (East Anglia), ‘A Hundred Times Fitter for a Barn than a Palace’: A Gendered Analysis of the Protectorate Portraits of Elizabeth Cromwell and Her Daughters

14.50  Break

15.00  Panel 2: Negotiating Gender in Early Modern Portraiture
Chair: Sophie Pitman (Aalto University)
• Panel Keynote — Catherine Stearn (Kentucky University), Countess or Queen, Countess and Queen: How Dress and Portraiture Illuminate the Role of Elizabeth I’s Privy Chamber Women
• Vanessa de Cruz Medina (Independent Scholar, former Prado Museum & Villa I Tatti Fellow), Ladies-in-Waiting and Portrait Galleries: Identity, Family, and Power at Early Modern Habsburg Courts
• Alice Blow (University of Cambridge), Gender Ambiguity in The Cobbe Portrait of Henry Wriothesley, Third Earl of Southampton, c.1590–93

16.30 Break

16.40  Panel 3: The Court Portrait: Global Considerations
Chair: Giorgio Riello (European University Institute)
• Panel Keynote — Mei Mei Rado (LACMA), Qing Imperial Portraits and Europe
• Jessica Hower (Southwestern University), Drawing an Empire: Elizabeth I, The Armada Portrait, and the Creation of a British Atlantic World
• Marina Hopkins (Warburg Institute), The Portrait of María Luisa de Toledo with Her Indigenous Companion
• Alejandro M. Sanz Guillén (Universidad de Zaragoza), Shoguns and Emperors: Representations of the Japanese Court in Europe during the 18th Century

F R I D A Y ,  7  M A Y  2 0 2 1

13.10  Panel 4: The Court: A Stage for Princely Society
Chair: Caroline van Eck
• Panel Keynote — Katarzyna Kosior (Northumbria University), Defining the Royal Court in Poland-Lithuania: Some Textual Evidence From Jan III Sobieski’s Lifetime (1629–1696)
• Martina Vyskupova (Slovak National Museum), Portrait Representation of Maria Theresa as a Queen of Hungary Seated on a Horse in the Context of Period Female Equestrian Portraits in the 18th Century
• Pedro Manuel Tavares (Centro de História de Arte — CHAIA), D. Joana de Áustria, Embodiment of Political/Religious Propaganda of the Habsburg Women, Beyond the Validos Power
• Anna Lisa Nicholson (University of Cambridge), The Transfiguration of Hortense Mancini: How the Vagabond Duchess Became the Patron Saint of Brides

15.20  Break

15.30  Panel 5: The Artist Behind the Portrait
Chair: Alexander Marr (University of Cambridge)
• Panel Keynote — Cordula van Wyhe (York University), Fashioning Displaced Identities: Anthony van Dyck as Portraitist of the French Exiles
• Sarah Emily Farkas (University of North Carolina at Chapel Hill), Sibylle of Cleves: Cranach, Convention, and Clothing Identity in Lutheran Saxony
• Alessandro Nicola Malusà (University of Cambridge), The Sitter as Artist: Depicting Mourning Dress and Negotiating Authority in the Regencies of Christine of France and Marie Jeanne Baptiste of Savoy-Nemours

17.00  Break

17.30  Featured Keynote Address
Chair: Ulinka Rublack (University of Cambridge)
• Erin Griffey (The University of Auckland), ‘Beauties Silken Livery’: Dressing the Face at the Early Modern Court

18.30  Final Remarks and Thanks