Conference | Mapping Fashion Savoir Faire, 16th–21st Centuries
From the conference website:
Mapping Fashion Savoir Faire: Craft, Space, and Scale, 16th–21st Centuries
Paris, 11–13 December 2025
Organized by Ariane Fennetaux and Emilie Hammen
A typically French and even somewhat untranslatable expression, the notion of ‘savoir-faire’ in France seems to refer to the traditional sets of specialist technical skills and know-how underpinning the fashion trades. This narrative however is predicated upon what is commonly understood as ‘the fashion system’, itself a cultural, social and economic construction invented in the nineteenth and twentieth centuries often in relation to the great Parisian fashion houses.
The notion of space invites us to recalibrate our gaze and ask new questions about fashion, its actors, its sites and its dynamics—in space and time. Looking beyond the twentieth century, and beyond the European-centric prism that often dominates thinking about fashion and dress, the conference aims to question the traditional vision of fashion as a Western invention. By looking at clothing practices, textile crafts and the materials and resources specific to other regions of the world, the conference borrows from global history and examines the links and spatial dynamics between various centres and peripheries.
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Institut Français de la Mode, Auditorium
9.00 Registration and coffee
9.30 Keynote
• Mei Mei Rado (Bard Graduate Center), Cross-cultural Savoir-faire and Remaking: Transformations of Chinese Skirts into Western Fashion
10.30 Tea and coffee break
10.45 Colonial and Post Colonial Crafts
• Pierre Jean Desemerie (Bard Graduate Center/ Musée des Arts Décoratifs), ‘Moderniser’ la Chebka (dentelle algérienne) en période coloniale
• Pragya Sharma (University of Brighton), ‘Everyone will praise you’: Fashioning the Knitted Self in 20th-Century India
11.45 Lunch break
13.00 Interlocking Networks and Scales
• Miriam Fleck-Vidal (McGill University), French Silk, Global Networks: Negotiating National Identity through Silk Production in Early Modern France
• Tristan Dot (Universitéy of Cambridge), 19th-Century Textile Design Studios as Nodes of Visual Circulation
• Victoria De Lorenzo (London College of Fashion, University of London), Crafting a Culturally-Situated Demand: A Microhistory of Market Sub-Segmentation in Chile and Peru, 1845–1855
14.30 Tea and coffee break
14.45 Transnational Circulations
• Kirsty Hassard (V&A, Dundee), Tartan: Mapping Craft, Space, and Scale in Scotland and Beyond
• Antonia Behan (Queen’s University), The Texture of Nationalism and Transnational Handweaving Revival
• Elena Kanagy Loux (Bard Graduate Center), Interlacing the Globe: Mapping the Magdalena Nuttall Lace Collection
16.15 Tea and coffee break
16.30 Workshop #1
19.00 Opening of the Savoir Faire exhibition at the Galliera Museum (for conference speakers only)
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Institut Français de la Mode, Auditorium
8.45 Coffee
9.00 Keynote
• Ulinka Rublack (Cambridge University), The Triumph of Fashion
10.15 Coffee break
10.30 Resources and Techniques: From Local to Global
• Marie Colas des Francs (EPHE), Le voyage des plumes: Provenance des matériaux et des techniques de la plumasserie parisienne autour de 1600
• Jean-Alexandre Perras (IZEA, Martin-Luther Universität, Halle-Wittenberg), Technial Expertise in 18th-Century Women’s Hairstyling: The Case of Rouen
11.30 Tea and coffee break
11.45 Colonial Couture
• Khemais Ben Lakhdar (Université Paris I-Panthéon Sorbonne), Une jubla parsie devenue dernier cri de la mode à Paris: Itinéraire d’une tunique brodée entre la Chine, l’Inde et la maison Paul Poiret dans un contexte colonial
• Tokiko Sumida (Université Toulouse Jean Jaurès), L’art du Savoir-Faire du Kimono et la Résistance Spatiale: Du japonisme aux Innovations Contemporaines en France
• Chiara Faggella (The Daniel and Gayle D’Aniello Syracuse University Program in Florence), Beyond the Tourist Gaze: Colonial Legacies and Spatial Entanglements in the Making of Italian Fashion
13.15 Lunch break
14.30 Géographies du réemploi / The Geographies of Reuse
• Miki Sugiura (Hosei University, Tokyo – University of Antwerp), Mapping Savoir-Faire in the Circulation of Second-Hand Kimono in Early Modern Japan
• Estelle Dupuis (Paris I Panthéon Sorbonne- IFM), Vraie et fausse usure dans la mode: Circulations esthétiques paradoxales à l’heure de la crise environnementale
15.30 Tea and coffee break
16.00 Workshop #2
20.00 Conference Dinner – Le Bougainville
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INHA, Galerie Colbert, salle Vasari
9.30 Keynote
• Malick N’Diaye (Cheik Antia Diop/ IFAN, Dakar), Le Musée sur le fil
10.30 Coffee Break
10.45 Museums and Decentered Narratives
• Pierre-Antoine Vettorello (Antwerp Research Institute for the Arts), Decentering the Fashion Museum: Colonial Legacies and Indigenous Voices in French Fashion History
• Chiara Tuani (École du Louvre), Tositea Moala Hoatau Broutin et le Tapa: Transmission des Savoir-Faire d’Uvéa et de Futuna en Nouvelle-Calédonie
12.15 Workshop #3
Conference | Rethinking Carlo Maratti (1625–1713)
From ArtHist.net and KNIR:
Rethinking Carlo Maratti (1625–1713): Patronage, Practice, Reception
Royal Netherlands Institute, Rome, 20–21 November 2025
Organized by Giovan Battista Fidanza, Guendalina Serafinelli, and Laura Overpelt
Carlo Maratti (1625–1713) stands as one of the most significant painters of late Baroque Rome—celebrated in his own time as the natural heir to Raphael and Carracci and the leading painter of the Eternal City. Maratti’s extraordinarily long and successful career linked the seventeenth and eighteenth centuries, shaping academic practice, taste, and artistic institutions well beyond his lifetime. His activity as painter, restorer, collector, ‘principe’ of the Academia di San Luca, and head of a large and international workshop placed him at the centre of Rome’s artistic and cultural networks.
Despite this prominence, Maratti’s reputation in art history has long oscillated between admiration and neglect. While traditional scholarship often portrayed him as the embodiment of academic classicism or as a symbol of stylistic decline after Bernini and Cortona, more recent research has begun to reassess the complexity of his artistic persona and his impact on the European art world. Yet, major questions remain regarding his patronage, his practices, his economic strategies, his workshop organisation, and his reception.
Marking the 400th anniversary of Carlo Maratti’s birth, this international conference seeks to offer a critical reassessment of the artist and his legacy. Bringing together established scholars and emerging researchers, it provides a forum for exploring new perspectives on Maratti’s art, practice, and influence. Special emphasis is placed on the study of unpublished archival materials, newly identified documents, and analytical approaches that shed light on the dynamics of patronage, artistic production, restoration, collecting, and reception.
The conference will take place in person at the Koninklijk Nederlands Instituut Rome (KNIR). Presentations will be given in English and Italian. A keynote lecture by Dr Arnold Witte (University of Amsterdam) will conclude the first day of the conference and can be attended remotely via Zoom. The conference is organized by Giovan Battista Fidanza and Guendalina Serafinelli (Università degli Studi di Roma Tor Vergata) and Laura Overpelt (Royal Netherlands Institute in Rome). It is supported by the Royal Netherlands Institute in Rome and the PhD Program of National Interest in Cultural Heritage at the Università degli Studi di Roma Tor Vergata, with the patronage of the Biblioteca Apostolica Vaticana.
In-person participation is free of charge, but places are limited. Please RSVP by 18 November 2025 by sending an email to info@knir.it. Kindly specify which part(s) of the conference you plan to attend, if not the entire programme. Zoom registration for the keynote lecture is available here.
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10.15 Welcome and Opening Remarks
• Susanna de Beer (Deputy Director of the Koninklijk Nederlands Instituut Rome); Lucia Ceci (Vice Chancellor for Communications and Head of the Dipartimento di Storia, Patrimonio culturale, Formazione e Società – Università degli Studi di Roma Tor Vergata); Tullia Iori (Vice Chancellor for Education – Università degli Studi di Roma Tor Vergata); Don Mauro Mantovani S.D.B. (Prefect of the Biblioteca Apostolica Vaticana)
• Introduction by Guendalina Serafinelli (Università degli Studi di Roma Tor Vergata) on behalf of the organizers
11.00 Session 1 | Barberini Patronage
Chair: Isabella Aurora (Biblioteca Apostolica Vaticana)
• Giovan Battista Fidanza (Università degli Studi di Roma Tor Vergata) — Carlo Maratti and His Workshop for Cardinal Carlo Barberini: Reconstructing the Significance of a Relationship
• Olga Arenga (Università degli Studi di Roma Tor Vergata) — Prince Maffeo Barberini and Carlo Maratti: New Documents in Microhistorical Perspective
• Sara Carbone (Università degli Studi di Roma Tor Vergata) — Francesco Reale in the Workshop of Carlo Maratti: Professional History in the Service of the Barberini Family
13.45 Session 2 | Transregional Patronage and Institutions
Chair: Loredana Lorizzo (Università degli Studi ‘G. d’Annunzio’ Chieti – Pescara)
• Andrea Spiriti (Università degli Studi dell’Insubria) — Maratti, the Omodei Family, and the Lombard National Church of SS. Ambrogio e Carlo al Corso in Rome: Problems and Reflections
• Laura Facchin (Università degli Studi dell’Insubria) — ‘Del signor Carlo Maratta, stimato da molti il primo che sia oggidì in quell’arte’: Reassessing the Master’s Relationship with Painting in the Savoy State
• Isabella Salvagni (Independent Scholar) — Carlo Maratti e l’ Accademia di San Luca
15.20 Session 3 | Reception and Historiography
Chair: Donatella Livia Sparti (Syracuse University)
• Guendalina Serafinelli (Università degli Studi di Roma Tor Vergata) — Niccolò Maria Pallavicini’s Ambition, the Cult of Carlo Maratti, and Bellori’s Legacy
• Laura Overpelt (Koninklijk Nederlands Instituut Rome) — A Netherlandish Perspective on Carlo Maratti: Hoogewerff and Beyond
17.00 Keynote available remotely via Zoom
Chair: Laura Overpelt (KNIR)
• Arnold A. Witte (Universiteit van Amsterdam) — Cardinals Commissioning Carlo Maratti: Shifts in Ecclesiastical Patronage around 1700
A recent biography of Maratti states that “at the turn of the century, political and economic factors caused official and aristocratic patronage to decline,” which reflects Francis Haskell’s more generic assumption of a general wane of the Roman artistic climate occurring around 1700. This keynote lecture will consider how this presumed downturn in ecclesiastical patronage in the late Seicento affected the artistic milieu in Rome and particularly how Maratti’s late career was determined by this shift.
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9.30 Session 4 | Maratti as Entrepreneur
Chair: Karin Wolfe (British School at Rome)
• Alessandro Agresti (Independent Scholar) — Nell’atelier di Carlo Maratti: Struttura, funzione e allestimento di una quadreria (con un inventario inedito del 1701)
• Adriano Amendola (Università degli Studi di Salerno) & Cristiano Giometti (Università degli Studi di Firenze) — Per un ampliamento dei committenti: Le finanze di Carlo Maratti
• Paolo Coen (Università degli Studi di Teramo) — Maratti and the Art Market: New Reflections
11.25 Session 5 | Restoration Practices
Chair: Maria Grazia D’Amelio (Università degli Studi di Roma Tor Vergata)
• Donatella Livia Sparti (Syracuse University) — The Restoration of the Loggia Farnesina Revisited (Without Bellori)
• Simona Rinaldi (Università degli Studi della Tuscia) — Materiali e tecniche nei restauri pittorici di Carlo Maratti
• Lotte van ter Toolen (Rijksuniversiteit Groningen) — From Restoring Reputations to Meddling with Memorials: Reflections on Carlo Maratti and the Pantheon
12.40 Concluding Remarks
Conference | Architecture and the Literary Imagination, 1350–1750
From ArtHist.net and the American University of Rome:
Architecture and the Literary Imagination, 1350–1750
American University of Rome, 6–8 November 2025
Organized by Fabio Barry and Paul Gwynne
Architecture & the Literary Imagination broadens the repertoire of period voices for understanding pre-modern architecture, beyond the usual theoretical tracts, to foster dialogue between scholars across disciplines, and encourage intermedial perspectives on architecture and literature.
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19.00 Introductions
19.15 Keynote
• Luis Javier Cuesta Hernández (Universidad Complutense de Madrid) — ‘Ephesians will no longer be proud of the Great Temple that Herostratus burned’: Imagined Architecture in Mexico in the 17th Century
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9.30 Medieval
• Elizabeth Pastan (Emory University) — ‘Let stond the wyndow glasid’: Writings about Windows
• Sara Ronzoni (Università di Padova) — ‘La closture et la muraille’: la costruzione della città utopica tra ‘La Cité des dames’ e ‘La città del sole’
• Hannele Hellerstedt (Lincoln College, Oxford) — Divine Inspiration: Imagining Construction in ‘La Cité des dames’
11.00 Coffee break
11.30 Interiors
• Klaus Tragbar (Zentralinstitut für Kunstgeschichte München) — Gli ambienti di Franco Sacchetti
• Caterina Cardamone (Vrije Universiteit, Brussels) — Diplomatic Reports as Sources for the Florentine Imagery of Northern Architectural Culture
• Christian Frost (London Metropolitan University) — Dante and Boccaccio and the Emergence of the Civic Palazzo in Late Medieval Florence
13.00 Lunch
14.30 Vitruvius, Pliny, and Others
• Mikel Marini (Università di Bologna) — ‘Erger cantando machina sublime’: Un’analisi vitruviana dell’architettura ecfrastica in poesia
• Fabio Colonnese (La Sapienza, Roma) — Between Text and Imagination: Reconstructions of the Tomb of Lars Porsenna
15.30 Coffee break
16.00 Gardens
• Luke Morgan (Monash University, Melbourne) — ‘Bodies without Souls’: Avatars of Circe in the Early Modern Garden
• Nicholas Temple (London Metropolitan University) — Virgil’s Eclogues and Early 18th-Century Pastoralism on the Janiculum in Rome
17.00 Break
18.00 Keynote
• Níall McLaughlin (Níall McLaughlin Architects, London) — My Portfolio in Poems
Venue: Università Roma Tre, Aula Magna Adalberto Libera, Largo G. B. Marzi 10
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9.30 Ruins and Humanists
• Theodoris Koutsogiannis (Art Gallery, Parliament, Athens) — Atene immaginaria cartacea e la tradizione letteraria nella prima età moderna
• Elisa Bacchi (Università di Pisa) — Parola come monumentum, parola al monumentum: leggere e scrivere le rovine dell’Antico nell’Umanesimo italiano
• Susanna de Beer (Royal Dutch Institute, Rome) — The Literary Imagination of Ruins and the Rebuilding of Rome(s)
11.00 Coffee break
11.30 Counter Reform
• Nathaniel Hess (Warburg Institute, University of London) — The Church between Two Temples: Poetry and Images in the Works of Marco Girolamo Vida
• Stefano Canciosi (Corpus Christi College, Oxford) — Angelo Rocca’s Approach to Classical Sources in his ‘Bibliotheca Apostolica Vaticana’
12.30 Lunch
14.00 17th and 18th Centuries
• Giovanni Santucci (Università di Pisa) — Real and Imagined Architecture in Daniel Defoe’s ‘Tour thro’ the Whole Island of Great Britain’: National Ornament and the Design of Political Ideals
• Daniela Roberts (Julius-Maximilians-Universität Würzburg) — The Perception of Medieval Architecture in the Journals and Letters of English Travelers, 1720–1750
• Maicol Cutrì (Università Cattolica del Sacro Cuore, Milan) — «quanti poetici concetti potrebbero scaturire da quelle metaforiche pietre?» Spazi architettonici e invenzioni poetiche in Emanuele Tesauro
15.30 Coffee break
16.00 Ephemera
• Micaela Antonucci (Università di Bologna) — ‘La storia è il più durevole monumento’: Le architetture effimere nelle cronache delle cerimonie pubbliche a Roma nel primo Cinquecento
• Laura García Sánchez (Universitat de Barcelona) — ‘Apparato funebre dell’anniversario à Gregorio XV celebrato in Bologna à XXIV di luglio M. DC. XXIV dall’ illustrissimo & reverendiss. sig. Cardinal Ludovisi’: Una fonte letteraria al servizio di una architettura effimera
17.00 Break
18.00 Keynote
• Shirine Hamadeh (Koç University, Istanbul) — Poetry, Epigraphy, and the Sensory World of Ottoman Architecture
Conference | Vico, Antiquity, and the Visual Arts
Starting today, from ArtHist.net and the conference programme:
Vico, l’Antiquité et les Arts Visuels
Online and in-person, Besançon, MSHE Ledoux, 3–4 November 2025
On the occasion of the tricentenary of the first edition of La Scienza Nuova (Naples, 1725), this international conference aims to analyze, in an innovative and interdisciplinary way, a central aspect of Giambattista Vico’s work: the importance he attributes to images and visual signs, which he considers the original language, historically prior to the development of spoken language. Although he rarely mentions the arts, Vico’s thought allows us to understand the visual artifact of ancient civilizations as an image-object (factum) that embodies the way in which humans perceive, experience, and interpret the world, thus constituting their reality (the historical verum).
The corpus of his ancient visual sources, as well as the influence of his thought on Antiquity and on the creative imagination of the first “universals of imagination” and “ornamental metaphors” within the disciplines of Visual Studies, have never been studied as such by specialists. The exploration of these themes raises numerous methodological challenges and requires a multidisciplinary approach. The three sessions will address theories and histories of art and collecting, literary theory, iconology, mythology, heraldry and emblem studies, the history and comparative study of law, architecture, archaeology, palaeography, anthropology, museology, semiotics, the geography of perception, as well as the psychology and sociology of art, extending to design and the pedagogy of the imagination. The symposium will be broadcast live.
Contact: anna_eleanor.signorini@umlp.fr
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Zoom link: https://us06web.zoom.us/j/85036141522?pwd=LJ4sv9sRfCIsrxMoSxTA1L9Oqlf2mG.1
9.00 Ouverture du colloque – Présentation par Anna E. Signorini
9.10 Session 1 | The Construction of Visual Knowledge from Antiquity to the Age of Vico
• Marcus Jan Bajema (Leyde) — Vico and the Longue Durée of Aegean Art (Vico et la longue durée de l’art égéen)
• Maurizio Harari (Université de Pavie) — Sul potente regno de’ toscani in Italia: architettura più antica, religione più tragica, arte militare più sapiente
• Italo Iasiello (Université de Naples Federico II) — Il contesto antiquario di Giambattista Vico: Napoli e l’Antichità nel primo Settecento
• Daniel Orrells (King’s College) — Vico and the Visual World of 18th-Century Antiquarianism
12.00 Déjeuner
14.30 Session 1 | The Construction of Visual Knowledge from Antiquity to the Age of Vico, continued
• Loredana Lorizzo (Université G. D’Annunzio de Chieti-Pescara) — Nella biblioteca di Giuseppe Valletta: Vico e la letteratura artistica
14.50 Session 2 | Semiotics, Law, Pedagogy, Design: Vico’s Iconic Thought
• Davide Luglio (Sorbonne) — La Scienza Nuova et la sémiotique figurale de G.B. Vico
• Osvaldo Sacchi (Université de la Campanie Luigi Vanvitelli) — Gli ‘universali fantastici’ di Vico e la ‘grande bellezza’ del diritto romano
• Donald Kunze (Pennsylvania State University) — Representing Nothing: Vico’s Induction and Inversion
• Marco Dallari (Bologne) — Disegno infantile e rappresentazione del mondo e di sè alla luce della théorie vichiana
• Oliver Reichenstein (Information Architects, Zurich) — (Inter)facing the Truth: Maker’s Knowledge in Human Centered Design
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Zoom link: https://us06web.zoom.us/j/89987641547?pwd=r3qY5x1duD4qhYqIU77eMJCctqv2a3.1
9.00 Dora d’Auria (UMLP Besançon, ISTA) — La connaissance des antiquités du Cilento à l’époque de Vico
9.20 Session 3 | Modern and Contemporary Receptions of Vico in the Visual Arts and Visual Studies
• Silvia Davoli (Oxford et Strawberry Hill House, Londres) — Vico and Antiquarian Collecting in Milan during the 19th Century
• Paolo Heritier (Université de Turin) — Vico, les emblèmes et les Legal Visual Studies
• Frances S. Connelly (Université du Missouri-Kansas City) — Reimagining Culture: Vico’s Poetic Monsters in Contemporary Art
• Isabela Gaglianone (Université de São Paulo) — Vico et le regard philologique d’Aby Warburg
• Anna Eleanor Signorini (UMLP Besançon, ISTA) — Vico vu par les critiques d’art du XXe siècle
Conference | Collectors, Agents, Art Dealers: Vienna’s Art Market
From ArtHist.net:
Collectors, Agents, Art Dealers:
The Rise and Expansion of Vienna’s Art Market, 17th–18th Century
Department of Art History, University of Vienna, 13–14 November 2025
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9:30 Welcome
• Thomas Wallnig, Vice Dean, Faculty of Historical and Cultural Studies
• Silvia Tammaro for the Vienna Center for the History of Collecting
10.00 Session 1 | Agents, Collectors, and Collections
Chair: Roswitha Juffinger
• Tina Košak (Maribor University) — Circulation of Artworks in the Late 17th and Early 18th Century Aristocratic Collections: Some Styrian and Carniolan Cases
• Katharina Leithner (Liechtenstein, The Princely Collections) — Viele Wege führen nach Wien. Transport, Transaktionen und Logistik am Beispiel der Fürstlichen Sammlungen Liechtenstein
• Cecilia Mazzetti di Pietralata (Università di Cassino e del Lazio Meridionale) — A Banker for Maratta: Financial and Logistical Networks between Italy and Vienna, 17th–18th Centuries
• Chiara Petrolini (Università di Bologna) — Manuscript Markets: Sebastian Tengnagel and the Trade in ‘Oriental’ Books
14.00 Session 2 | The Emergence of the Art Market
Chair: Cecilia Mazzetti di Pietralata
• Christof Jeggle (Universität Wien) — The Constitution of Art Markets: Shipping Art on the Danube to Vienna
• Anja Grebe (Universität für Weiterbildung Krems) — Art Dealing and Connoisseurship: Dürer Collectors, Dürer Forgeries, and the Viennese Art Market in the Pre-modern Era
• Gernot Mayer (Universität Wien) — Bewerten und Verwerten: Bilderschätzer als Protagonisten des Wiener Kunsthandels
• Paolo Coen (Università di Teramo) — Tra Roma e Vienna: Dinamiche del mercato artistico nel XVIII secolo
• Silvia Tammaro (Universität Wien) — The Art Dealer Artaria: At the Heart of the Network of Collectors and Artists between Italy and Vienna
17.30 Keynote Lecture
• Koenraad Jonckheere (Ghent University) — Late 17th-Century Art Markets: A Review and a Preview
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9.30 Session 3 | International Networks of Exchange and Production
Chair: Silvia Tammaro
• Marco Coppe (Università degli Studi della Campania Luigi Vanvitelli) — Networks of Taste: Silverwork and Porcelain between Tuscany and Vienna through Models and Collecting, 17th–18th Centuries
• Claudia Lehner-Jobst (Porzellanmuseum im Augarten Wien) — ‘Wisdom must be the guide to success’: Enlightened Marketing Strategies and Operations at the Imperial Porcelain Manufactory in Vienna
• Bernhard Woytek (Universität Wien) — Collecting Ancient Coins in 18th-Century Vienna: A General Framework and Some Case Studies
• Martina Fleischer (Akademie der bildenden Künste Wien) — …in Rücksicht der ausserordentlichen guten Wahl von schönsten und seltenstenn Gemälden… Die Sammlung Lamberg-Sprinzenstein und ihre Entstehung in Wien um 1800
12.00 Methodological Outlook
• Christian Huemer (Belvedere Research Center Wien) — Perspectives on the Study of Art Markets
12.30 Concluding Discussions
Journée d’études | Sculpture in Franche-Comté, 15th–20th Centuries
From ArtHist.net:
Actualité de la sculpture en Franche-Comté:
Circulations, Pratiques et Conservation, XVe–XXe siècle
Online and in-person, Université Marie et Louis Pasteur, Besançon, 4 November 2025
Organized by Hélène Zanin
Inscription et lien de visioconférence disponible sur demande: helene.zanin@umlp.fr
9.15 Introduction, Hélène Zanin (Université Marie et Louis Pasteur / Centre Lucien Febvre)
9.30 Actualité de la sculpture des XVe et XVIe siècles
Modération: Sandra Bazin-Henry (Université Marie et Louis Pasteur / Centre Lucien Febvre)
• Matthieu Fantoni (musée Fabre), en visioconférence — Retour d’expérience sur la restauration de La Pietà de Conrad Meit à la cathédrale de Besançon, 2019–23
• Thomas Flum (Université Marie et Louis Pasteur / Centre Lucien Febvre) — La Pietà de Conrad Meit et l’originalité du choix iconographique
• Lola Fondbertasse (musées de Dijon) — Quelques réflexions sur la sculpture bourguignonne du XVe siècle: Le projet d’exposition du musée des Beaux-Arts de Dijon
11.00 Pause
11.15 Sculptures et monuments des XIXe et XXe siècles: études et protection
Modération: Sara Vitacca (Université Marie et Louis Pasteur / Centre Lucien Febvre)
• Justine Vigneres (DRAC Bourgogne-Franche-Comté) et Michaël Vottero (DRAC Bourgogne-Franche-Comté), en visioconférence — Découvertes et protections récentes au titre des monuments historiques de sculptures du XIXe siècle en Bourgogne-Franche-Comté
• Charlotte Leblanc (DRAC Occitanie), en visioconférence — La protection des statuaires monumentales de Belfort: étude du groupe Quand Même d’Antonin Mercié
12.45 Pause déjeuner
14.15 Sociabilités, circulation et carrière des artistes
Modération: Claire Maingon (université Bourgogne-Europe / LIR3S)
• Virginie Guffroy (musée du Louvre) — Les réseaux de sociabilités d’un sculpteur bisontin, l’exemple de Luc Breton (1731–1800)
• Grégoire Extermann (Haute école spécialisée de la Suisse Italienne – SUPSI / Fonds National Suisse pour la recherche scientifique) — Nul n’est prophète en son pays: James Pradier et la sculpture à Genève au XIXe siècle
15.20 Pause
15.30 Œuvres multiples et leurs usages
Modération: Hélène Zanin (Université Marie et Louis Pasteur / Centre Lucien Febvre)
• Emy Faivre (Université Marie et Louis Pasteur / ISTA) — Modèles pour apprendre: Circulation et réception des plâtres dans les écoles d’art de Franche-Comté, XIXe–XXIe siècles
• Virginie Frelin-Cartigny (Musée des Beaux-Arts et d’Archéologie de Besançon) — Louis Hertig: Découverte de l’œuvre d’un sculpteur à travers la photographie
Fin de la journée vers 17h
Symposium | Vanbrugh from Stage to Stone
Sir John Vanbrugh, Seaton Delaval Hall, Northumberland, near Newcastle, 1718–28. Ravaged by fire in 1822, it is now owned by the National Trust.
◊ ◊ ◊ ◊ ◊
Next spring at the University of Cambridge:
Vanbrugh from Stage to Stone
Howard Theatre, Downing College, Cambridge, 27 March 2026
This international academic conference will explore the impact and legacy of Sir John Vanbrugh. The event marks the tercentenary of Vanbrugh’s death in March 1726 and forms part of the Vanbrugh300 festival for 2026, organised by The Georgian Group, the conservation organisation founded in 1937 to protect and promote Georgian buildings.
For those requiring hotel accommodations, there are two options nearby: the Regency Guesthouse, an independent boutique hotel, and the University Arms, a luxury hotel located directly across Regent Street from Downing College.
This conference is organised by the Ax:son Johnson Centre for the Study of Classical Architecture (CSCA) at the University of Cambridge in partnership with The Georgian Group.
Registration is now open via The Georgian Group website.
p r o g r a m m e
Detail of Blenheim Palace (Photo by Tony Hisgett CC BY-SA 2.0).
9.00 Registration breakfast with tea and coffee
9.45 Introductory Remarks — Frank Salmon (CSCA) and Anya Lucas (The Georgian Group)
10.00 Session 1 | Vanbrugh: The Writer and Herald
Chair: Charles Saumarez Smith
• Christopher Ridgway — Sir John Vanbrugh: The Letters of a ‘Great and Versatile Character’
• Annette Rubery — ‘I confess I have not at all stuck to the original’: John Vanbrugh as Translator and Adaptor
• David Roberts — The Playwright in Print
• James Peill — Vanbrugh as Herald
11.15 Coffee and tea
11.45 Session 2 | Vanbrugh: The Architect and Politician
Chair: Charlotte Davis
• Matthew Wood — Weighing Scales of Power? The State Apartments at Castle Howard
• Susie West — Vanbrugh and the Country House Plan
• Rory Fraser — John Vanbrugh: The Politician behind the Polymath
13.00 Lunch
14.00 Session 3 | Vanbrugh’s Network
Chair: Elizabeth Deans
• Melanie Hayes and Andrew Tierney — Building Relations: Collaboration, Achievement, and Artisanal Agency in Vanbrugh’s Architectural Practice
• Helen Lawrence-Beaton — Parallel Careers and Building Neighbours: The Relationship between Vanbrugh and Thomas Archer
• James Legard — Vanbrugh/Hawksmoor: The Graphic Anatomy of an Architectural Partnership
15.00 Tea and cake
15.30 Session 4 | Vanbrugh at Stowe
Chair: Frank Salmon
• Tom Nancollas — Vanbrugh’s Sleeping Parlour: Anatomy of a Lost Folly
• Michael Bevington — Vanbrugh’s Innovative Architectural Reconstructions at Stowe
• Francis Terry — Vanbrugh’s Design for Stowe
16.30 Break
16.45 Panel Discussion | Vanbrugh’s Influence
Chair: Matthew Walker
• Jeremy Musson, Frances Sands, and Owen Hopkins
17.30 Champagne reception
Conference | The Image of the Black Archive: Past, Present and Future
Anonymous (Delft), Tile panel with a Chinese landscape, ca. 1700; François Desprez, Illustration from Recueil de la diversité des habits‘, 1562; Jan Jansz Mostaert, Portrait of an African Man (Christophle le More?), 1525–30 (Rijksmuseum, Amsterdam).
◊ ◊ ◊ ◊ ◊
From The Warburg Institute:
The Image of the Black Archive: Past, Present, and Future
Online and in-person, The Warburg Institute, University of London, 7–8 November 2025
Organized by Hannah Lee and Maria Golovteeva
In 1960, Franco-American art collectors and philanthropists Jean and Dominique de Ménil initiated the Image of the Black archive. Originally begun in Paris and then expanded with an office in Houston, the research project was a response to the 1960s Civil Rights movement in the US. This two-day international conference brings together scholars who have contributed to the project over its history and those producing new research on the historic representation of African people in European and American art and culture. Attendance (online or in-person) is free with advance booking, though places are limited.
Keynote Speaker
Dr Adrienne L. Childs is an independent scholar, art historian, and curator. She is Senior Consulting Curator at The Phillips Collection. Her current book is an exploration of Black figures in European decorative arts entitled Ornamental Blackness: The Black Figure in European Decorative Arts, published by Yale University Press in 2025.
This conference is organised with the generous support of the Henry Moore Foundation, the Society for Renaissance Studies, and the Association for Art History.
f r i d a y , 7 n o v e m b e r
9.00 Registration
9.30 Opening Remarks
9.45 Panel 1
• Joaneath Spicer (Walters Art Museum), Balthazar, One of the Three Kings > Portrait: Prince Aniaba of Assinie as Balthazar, 1700
• Adam Sammut (University of York), Painted Black: Rubens’s ‘Mulay Ahmad’ after Jan Cornelisz. Vermeyen
• Edward Town (Yale Center for British Art), Framing the Black Presence in British Art: Research, Curation, and the Limits of the Archive
11.05 Tea and coffee break
11.30 Panel 2
• Najee Olya (William & Mary), The Contradictions of the Anthropological Gallery: Frank M. Snowden, Jr.’s Ethiopians and the Image of the Black in Western Art
• Jaqueline Lombard (University of New Hampshire), Coins on the Cutting Room Floor: Twelfth-Century Images of Saint Maurice in the Image of the Black Archives
• Paul Kaplan (Purchase College, SUNY), First Fruits
12.50 Lunch break
13.50 Panel 3
• Michael I. Ohajuru (Institute of Commonwealth Studies), The John Blanke Project: Artists and Historians Reimagine the Black Trumpeter to Henry VII and Henry VIII
• Sarah Thomas (Birkbeck), Facing the Inventory: WY Ottley and the Archive of Enslavement
• Nanfuka Joan Kizito (Makerere University), Decolonising the Archive: An Africanised Reflection on the History of the ‘Image of the Black in Western Art’ Project
15.10 Panel 4
• Isabel Raabe (Talking Objects) and Doreen Mende (Staatliche Kunstsammlung Dresden), Plural Histories of Networked Knowledge: Cross-Collections Research at the Staatliche Kunstsammlungen Dresden
• Sarah Okpokam (National Portrait Gallery), TBC
16.10 Tea and coffee break
16.30 David Bindman: In Memoriam
Drinks Reception
s a t u r d a y , 8 n o v e m b e r
9.30 Registration
10.00 Keynote
• Adrienne L. Childs, The Ornamentality of Blackness
11.00 Tea and coffee break
11.30 Panel 5
• Jacopo Gnisci (UCL), European Perceptions of Ethiopia’s Material Past in the Renaissance
• Patricia Simons (University of Michigan Ann Arbor \ University of Melbourne), Heat and Wind: Renaissance Representations of Black Men in Material Culture
• Riccardo Tonin (Ca’ Foscari University of Venice), Musi da porton: The Image of the Black on the Doors of Venice
12:50 Lunch break
13:50 Panel 6
• Amber Burbidge (European University Institute), Blackness and Bathing: The ‘Black Venus’ in the Image of the Black Archive
• Denva Gallant (Rice University), Afterlives of the Black Body: Dismemberment and the Black body in Matteo di Pacino’s Miracle of the Leg
• Nancy Ba (Sorbonne Université), Ethnographic Sculpture as Visual Archive? The Politics of Flesh, Complexion, and Scientific Image-Making in the Colonial Context, 1859-1931
15.10 Panel 7
• Borja Franco Llopis (Universidad Nacional de Educación a Distancia), Misconceptions and Silences: Black Representation and Slavery in Iberian Art
• Ekaterini Kepetzis (Rheinland-Pfälzische Technische Universität, Landau), ‘Only a lodger, and hardly that’: The Representation of Blacks on Eighteenth-Century English Trade Cards
• C.C. McKee (Bryn Mawr), Forms of Blackness from Fireburn to Sale: Painting Labor, Race, and the Environment in the Post-Emancipation Danish West Indies
16.30 Closing Remarks
Conference | 18th-C. Painting between Italy and the Hapsburg Empire
From the Department of Art History at the Universität Wien:
Settecento Malerei: Cultural Transfer between Italy and the Habsburg Territories
Online and in-person, Department of Art History of the University of Vienna, 23–24 October 2025
Organized by Eleonora Gaudieri and Erika Meneghini
Registration due by 19 October 2025
The beginning of the Settecento was characterised by a considerable expansion of the transalpine art market, driven by a strong interest in collecting Italian artworks. This phenomenon attracted numerous Italian artists, including many painters, to Vienna and its allies, the courts of the German prince-electors of Schönborn, Wittelsbach and others. At the same time, a number of Austrian painters were encouraged to further their training in Italy, where they were profoundly influenced by the local visual language. The high quality and renowned tradition of Italian painting, fostered by a dense network of international connections, enabled numerous artists of Italian origin, as well as Italians by adoption, to pursue successful careers at the Habsburg imperial court in Vienna. This phenomenon must be understood within the broader context of the diplomatic and artistic networks that connected Vienna with key centres on the Italian peninsula, such as Venice, Bologna, Rome, and Naples.
The two-day workshop will provide a wide-ranging exploration of 18th-century Italian painting as a focal point for transfer phenomena between the Italian peninsula and the domains of the Habsburg Empire, with a special focus on Vienna as the imperial capital. The proceedings will open with the keynote speech by Cecilia Mazzetti di Pietralata. The subsequent sixteen presentations have been organised into four sections, reflecting the variety of perspectives through which these historical and artistic phenomena can be approached: Collecting Italian Painting in the Habsburg Empire; Artworks and Material Objects as Vehicles of Cultural Transfer; Artists as Transregional Agents Between Italy and the Habsburg Regions; and The Role of Academies and Museums in the Transfer of Knowledge. The objective of this study day is on one hand to examine the meanings and functions of Italian painting within the socio-political and cultural context of the Habsburg imperial court in Vienna and its allied courts; and on the other hand, to explore the various dynamics that fostered the transfer of Italian painting and Italian artistic knowledge to Vienna and the territories of the then Habsburg Empire.
The conference languages are English, German, and Italian. A livestream of the event will be available. Please confirm your attendance in-person or online via email to settecentomalerei@gmail.com by 19 October. If you have any questions, please contact the organisers: Eleonora Gaudieri and Erika Meneghini.
Dr. Eleonora Gaudieri, eleonora.gaudieri@univie.ac.at
Postdoctoral Researcher (APART-GSK funding programme, ÖAW)
Department of Art History, University of Vienna
Erika Meneghini MA, erika.meneghini@univie.ac.at
PhD Candidate
Department of Art History, University of Vienna
The workshop is supported by the Department of Art History and the Vienna Center for the History of Collecting at the University of Vienna. Funding is provided by the Faculty of Historical and Cultural Studies at the University of Vienna, the City of Vienna, and the Austrian Academy of Sciences.
t h u r s d a y , 2 3 o c t o b e r
9.00 Welcome
9.30 Keynote
• Cecilia Mazzetti di Pietralata (University of Cassino and Southern Lazio) — Vienna italiana: Forme e attori dello scambio culturale tra Sei e Settecento, tra immigrazione artistica e vocazione internazionale dell’aristocrazia europea
10.30 Coffee Break
10.50 Section 1 | Collecting Italian Painting in the Habsburg Empire
Moderator: Silvia Tammaro
• Stefan Albl (Schloss Eggenberg & Alte Galerie, Graz) — Il dilemma della scelta: L’arrotino di Giacomo Francesco Cipper
• Ilaria Telesca (University of Naples ‘Federico II’) — Arte e potere: La committenza artistica dei viceré austriaci di Napoli
• Jiří Štefaňák (Masaryk University, Brno) — Non multa, sed multum: Italian Painting in the Collections of the Moravian Aristocracy at the End of the 18th Century
12.30 Lunch Break
14.00 Section 2 | Artworks and Materials Objects as Vehicles of Culture Transfer
Moderator: Eleonora Gaudieri
• Ada Berktay (Sakıp Sabancı Museum, Istanbul) — Lepanto as Material Allegory: Naval Triumph and the Politics of Display in Italian and Habsburg Visual Culture
• Tomáš Kowalski (Monuments Board of the Slovak Republic, Bratislava) — Baroque Illusion: Italian Settecento Frescoes in Slovakia
• Beatrice Bolandrini (Università e-Campus; Accademia del Lusso, Milan) — Anton Giorgio Clerici ed Annibale Visconti, ‘consiglieri intimi’ di Carlo VI e Maria Teresa, committenti di Giambattista Tiepolo e Mattia Bortoloni
• Tomáš Valeš (Masaryk University, Brno) — Shared, ‘Recycled’, Reinvented: Art of Venetian Settecento in the Hands of ‘Viennese’ 18th-Century Painters
• Erika Meneghini (University of Vienna) — From Naples to Vienna and the Habsburg Lands: The Artistic Reception of Francesco Solimena’s Oeuvre beyond the Alps
19.00 Conference Dinner
f r i d a y , 2 4 o c t o b e r
9.00 Section 3 | Artists and Transregional Agents between Italy and the Habsburg Regions
Moderator: Erika Meneghini
• Francesco Ceretti (University of Pavia) — Pietro Bellotti: Da Venezia alle corti mitteleuropee
• Eleonora Gaudieri (University of Vienna) — Daniele Antonio Bertoli: Traces of his Activity at the Habsburg Court in Vienna
• Enrico Lucchese (University of Campania ‘Luigi Vanvitelli’) — I soggiorni viennesi e nei territori asburgici di Antonio Pellegrini (1675–1741)
• Sanja Cvetnić (University of Zagreb) — Federico Bencovich as Transregional Artist
• Laura Facchin (University of Insubria, Varese) — Angelica Kauffmann: Painter of the Habsburg Court from Milan to Vienna
12.00 Lunch Break
13.30 Section 4 | The Role of Academies and Museums in the Transfer of Knowledge
Moderator: Stefan Albl
• Susanne Müller-Bechtel (University of Würzburg) — Figur–Pose–Wissen: Das akademische Aktstudium als epistemische Kunstpraxis in Rom, Wien und Mailand
• Lorenzo Giammattei (Sapienza University of Rome) — The Antique in the Drawings of Austrian Artists in Rome in the Second Half of the 18th Century
• Paolo Pastres (Independent Researcher, Udine) — Vienna e Firenze nel Settecento: Due modelli museali a confronto
15.00 Coffee Break
15.20 Final Discussion
16.45 Optional visit to the Schönbrunn Chapel and the Blue Staircase
Poster Image: Sebastiano Ricci, Allegory of the Princely Virtues, Blue Staircase, Schönbrunn Palace, 1702 (Vienna).
Symposium | The French Influence in Newport
From Newport Mansions:
The French Influence in Newport
Rosecliff and Marble House, Newport, Rhode Island, 6–7 November 2025
French art, architecture, design and cuisine permeated the lifestyles of the Gilded Age elite as they looked to the French aristocracy for inspiration. Richard Morris Hunt, the first American architect trained at the Ecole des Beaux-Arts in Paris, modeled the architecture of Alva Vanderbilt’s Marble House after the Petit Trianon at Versailles. Horace Trumbauer’s inspiration for The Elms came from the 18th-century Château d’Asnières, while Stanford White’s design for Rosecliff incorporated elements of another Versailles palace, the Grand Trianon. Furniture maker and interior designer Jules Allard et Fils furnished Newport’s summer ‘cottages’ with treasures inspired by and imported from France, and French chefs created magnificent culinary confections. Learn about all of this and more during the symposium’s morning lectures and guided afternoon tours (Thursday at Rosecliff and Friday at Marble House). Registration includes special access to the exhibition Richard Morris Hunt: In a New Light at Rosecliff.
Scholarships are available to assist undergraduate and graduate students interested in attending the symposium.
t h u r s d a y , 6 n o v e m b e r
Speakers
• Keynote Speaker: Mathieu Deldicque, Chief Curator and Museum Director of Château de Chantilly
• Margot Bernstein, Private Collection Curator
• Becky Libourel Diamond, Food Culture Historian
• Leslie Jones, Director of Museum Affairs and Chief Curator, the Preservation Society
• Laura Bergemann, former Preservation Society Conservation Research Fellow and PhD candidate at Vanderbilt University
• Théo Lourenço, Preservation Society Curatorial Research Fellow
f r i d a y , 7 n o v e m b e r
Speakers
• Justine De Young, Associate Professor and Chair of the History of Art Department, Fashion Institute of Technology (SUNY) in New York City
• Natalie Larson, Interior Textile Historian, Historic Textile Reproductions LLC
• Nadia Albertini, French Heritage Society Scholar, Franco-Mexican embroidery and textile designer
• Bob Shaw, HBO’s The Gilded Age Production Designer
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