Enfilade

From St Mary’s University:

Text Artefact Identity: Horace Walpole and the Queer Eighteenth Century
Strawberry Hill, 15–16 February 2019

This conference will bring together scholars and curators from the disciplines of Literature, Cultural History, Art and Architectural History, and Heritage to investigate LGBTQ perspectives on the ‘long’ eighteenth century, and features keynotes from Walpole’s biographer, George Haggerty, and Matthew Reeve, who has written extensively on Gothic architecture, sexuality, and aesthetics.

Hosted in partnership with Horace Walpole’s Gothic villa at Strawberry Hill in west London, the conference will complement a major exhibition taking place October 2018–February 2019, The Lost Treasures of Strawberry Hill, which brings together, for the first time since 1842, masterpieces from Walpole’s collection. There will be an opportunity to visit the exhibition during the conference.

Booking is now available online via Strawberry Hill House’s website, with generous reductions for unfunded students. One and two-day tickets are available, in addition to reduced prices for those not funded by their employer or external body. The conference is a partnership between the National Trust, Strawberry Hill, and St Mary’s University. More information is available here.

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9.00  Registration and coffee

9.50  Welcome by Peter Howell, Nino Strachey, and Silvia Davoli

10.00  Keynote Lecture
• George Haggerty, Horace Walpole: ‘Queernesses’ in the Epistolary Mode

11.00  Break

11.10  Panel 1: Horace Walpole and His Network
• Eugenia Zuroski, ‘That you may show us what we have seen’: Bentley’s Drawings and the Archive of Queer Feeling
• Freya Gowrley, Inheriting Strawberry Hill: Shared Practices and Shared Spaces
• Andrew Rudd, Shut out of the Queer Family Romance: Thomas Chatterton’s Revenge on Walpole

12.40  Lunch

1.40  Keynote Lecture
• Maurice Howard, Resolving the Past without a Certain Future: Classical and Gothic in John Chute’s Ideas for The Vyne

2.40  Break

2.50  Panel 2: Queer Perspectives on Eighteenth-Century Culture (1)
• Gràinne O’Hare, Harmless Queerness: Eighteenth-Century Erasure of Female Sexual Experience
• Emily West, ‘A little play-thing-house’: Queer Childishness at Strawberry Hill
• Keiko Kimura, The Americanized Gothic Theatre: C. B. Brown’s Wieland

4.20  Break

4.30  Panel 3: Queer Perspectives on Eighteenth-Century Culture (2)
• Dominic Janes, Queer Eye for the Queer Guys?: Horace Walpole and the Macaronis
• Cameron MacDonell, Walpole’s Queer Passionometer: Britain’s Climate and Gothic Aesthetics

5.30  Tea and tours of the exhibition, The Lost Treasures of Strawberry Hill

7.00  Drinks and dinner

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9.30  Registration and coffee

10.00  Keynote Lecture
• Matthew Reeve, Queer Family Romance in the Strawberry Hill Collections

11.00  Break

11.10  Panel 4: Architecture, Display, and ‘Camp’
• Daniela Roberts, Framing Queer Identity: Gothic Revival Interior and Collection Display in Strawberry Hill
• Wojciech Szymański and Robert Kusek, Strawberry Hill and the Camp History of Architecture: The Case of Central Europe
• Luciana Colucci, ‘Well, I begin to be ashamed of my magnificence’: Horace Walpole and the Queer Eighteenth Century

12.40  Lunch

1.40  Keynote Lecture
• Daniel Orrells, Walpole, Neoclassicism, and the Erotics of Historical Debate in the Eighteenth Century

2.40  Panel 5: Neo-classicism and Sexual Identity
• Sarah Betzer, Aesthetic Antagonists? Walpole, Patch, and Queer Taste
• Caroline Gonda, Identity and the Classics in the Notebooks of Anne Damer (1748–1828)

3.40  Break

3.50  Keynote Lecture
• Ulf Hansson, ‘I Find I Cannot Live Without Stosch’s Intaglia of the Gladiator with the Vase’: The Museo Stoschiano, Male Homosociability, and the Cult of the Ancients

4.50  Panel 6: Strawberry Hill and LGBTQ Heritage
• Nino Strachey, Alison Oram, and Richard Sandell, Presentations and discussion reflecting on Strawberry Hill and the legacies of Prejudice & Pride (National Trust) and Pride of Place (Historic England)

6.00  Farewell drinks

From H-ArtHist:

Doing Connoisseurship: Yesterday, Today, Tomorrow
Bielefeld University, 11 January 2019

It has become a historiographical commonplace to describe connoisseurship as the natural forerunner of the academic history of art and visual culture. However, connoisseurship did not just end at a certain point, but it is still part of scientific practices today, and in all likelihood, it will continue to do so in the future. Therefore, this workshop is dedicated to the impact—past, present, and future—which connoisseurship has on our understanding of artistic artifacts.

In order to analyze the preconditions, merits, and problems of connoisseurship, it is worth looking at how working routines, interest in particular questions, the way of perception, and its verbalization might result from an early eighteenth-century understanding of categorizing and comparing. Therefore, it appears necessary to discuss some aspects of connoisseurship in greater detail: its actors, its discourses, its modes of visual experience, and its objects.

It is remarkable that connoisseurship, from its beginnings, particularly benefited from an interdisciplinary orientation. The biographies of early connoisseurs span a wide range from individuals with a background in the natural sciences to artists or scholars of philosophy. In light of different interests, it is not trite to examine the different preconditions of working methods applied in these fields. How did a certain technical and empirical know-how form a certain epistemological interest? What kinds of questions and requirements arose from a culture where collectors, art dealers, philosophers, artists, or natural scientists were entangled in a complex discourse on the judgment of art? While it is common practice to start with a historiographical contextualization of the eighteenth-century discourse visible in a great number of treatises and early histories on art, it might also be enlightening to look at practices prior to those written works. Distinctive modes of visual and practical experiences, the negotiation of norms, and the learning of a ‘language’ of resemblance and difference, thus the argument, shaped a professional way of viewing up to the present day. The workshop aims to critically trace its formation and develop a future perspective on connoisseurship.

P R O G R A M

9.00  Introduction by Joris Heyder

9.30  Fabienne Brugère, Inventing the Audience in the Eighteenth Century: Taste in the Arts

10.30  Break

11.00  Pascal Griener, For a New History of Connoisseurship in the Nineteenth Century: Analysis of Some Connoisseurs’ Greatest Blunders in Context

12.00  Valérie Kobi, On Spectacles And Lorgnettes: The Connoisseur’s Vision Aids

13.00  Lunch

14.15  Ingrid Vermeulen, The Connoisseurship of Forging Relations Between School and Nation, 1650–1750

15.15  Stephan Kemperdick, Connoisseurship: Looking for Masters or Looking for Connections?

16.15  Closing Remarks

In connection with the exhibition Magnificent Venice! Europe and the Arts in the 18th Century; from H-ArtHist:

La ‘diaspora’ des artistes vénitiens et les échanges artistiques en Europe au XVIIIe siècle
Auditorium du Louvre / Institut Culturel Italien, Paris, 12–13 December 2018

L’exposition Éblouissante Venise: Venise, les arts et l’Europe au XVIIIe siècle (Galeries nationales du Grand Palais, 26 septembre 2018 — 21 janvier 2019) propose un parcours de la civilisation vénitienne du XVIIIe siècle au travers d’un choix de peintures, sculptures, objets d’art, costumes et instruments de musique. À cette occasion l’auditorium du Louvre organise un colloque en collaboration avec l’Institut Culturel Italien et l’Association des Historiens de l’Art Italien (AHAI), qui portera sur la diaspora des artistes vénitiens et les échanges artistiques en Europe au XVIIIe siècle. Ce rayonnement de Venise au-delà de ses frontières constitue une singularité et s’explique par différents facteurs économiques, diplomatiques et politiques au-delà du génie propre aux artistes qui attire les mécènes les plus puissants. Le colloque se propose d’approfondir certains des aspects les plus complexes et les plus riches de ce phénomène.

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10.00  Ouverture, Auditorium du Louvre

10.30  Matin
Directeur de séance: Stéphane Loire (Musée du Louvre)
• Catherine Loisel (conservateur général du patrimoine, commissaire de l’exposition), Venise et l’Europe au 18e siècle, de la problématique historique à l’exposition
• Valentine Toutain Quittelier (Université Paris-Sorbonne), Venise et la douloureuse quête de mécènes et de subsides
• Paolo Delorenzi (Università Ca’ Foscari, Venise), Venise et la France: Antonio Maria Zanetti comme intermédiaire

12.00  Débat

15.00  Après-midi
Directrice de séance: Paola Marini (Gallerie dell’Accademia, Venise)
• Monica De Vincenti (Università Internazionale dell’Arte di Venezia), Sculptures vénitiennes du Settecento dans les jardins princiers européens
• Françoise Joulie (historienne de l’art), Les tombeaux des princes, des grands capitaines et autres hommes illustres (1735): Une entreprise franco-anglo-vénitienne
• Adrián Almoguera (Université Paris Sorbonne), L’art vénitien et la cour de Madrid au temps des Lumières: Triomphe et déclin d’une magnificence allégorique
• Viviana Farina (Accademia di Belle Arti, Naples), Passion pour la lumière: Relations entre Naples et Venise au début du XVIIIe siècle

17.00  Débat

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15.00  Ouverture, Institut Culturel Italien

15.30  Après-midi
Directeur de séance: Sergio Marinelli (Università Ca’ Foscari)
• Massimiliano Simone (École pratique des Hautes Études, Paris), ‘L’eroica poesia’ de La Jérusalem délivrée illustrée par Piazzetta: Chef-d’œuvre de l’imprimerie vénitienne
• Gabriele Rossi Rognoni (Royal College of Music, Londres), Instruments, musique et musiciens: Quand la musique vénitienne conquit l’Europe
• Anne Houssay (Laboratoire du Musée de la musique, Cité de la Musique – Philharmonie de Paris), Des violoncelles vénitiens pour créer un son nouveau: Les innovations de l’atelier de Matteo Goffriller
• Caroline Giron-Panel (École nationale des chartes, Paris), ‘Une école dans le goût des conservatoires d’Italie’: Modèles vénitiens pour le Conservatoire de Paris

17.30  Débat

20.00  Concert — La mandoline baroque à Venise au XVIIIe siècle
Ensemble Pizzicar Galante
• Anna Schivazappa, mandolino veneziano (mandoline vénitienne)
• Daniel de Moraïs, tiorba (théorbe)
• Fabio Antonio Falcone, clavicembalo (clavecin)

In conjunction with the exhibition now on view at NOMA:

The Orléans Collection: Tastemaking, Networks, and Legacy
New Orleans Museum of Art, 11–12 January 2019

The New Orleans Museum of Art and the Frick Collection’s Center for the History of Collecting will host a symposium in conjunction with The Orléans Collection exhibition, dedicated to the collecting and collection of Philippe II, Duc d’Orléans, (1674–1723) and on view at the New Orleans Museum of Art through 27 January 2019.

In the course of just two decades in the early eighteenth century, Philippe II d’Orléans amassed one of the most important collections of European paintings in the history of art, which he displayed in his Palais-Royal in Paris. This celebrated collection assembled over 500 masterpieces of European art and this landmark exhibition reunites a representative group of thirty-eight works to tell the complex story of the collection’s formation and character and the impact of the sales of the collection in London during the French Revolution, a watershed event in the history of collecting.

The symposium will consider Philippe d’Orléans’s taste and the impact the collection had for generations of collectors and artists, and an increasingly wider public throughout the eighteenth century. Subjects of interest include Philippe II’s patronage network, fellow collectors and trends in collecting in Paris, dealers and the art market in eighteenth-century Paris, connections with contemporary collections in the German principalities, the ‘Orleans Effect’ in Great Britain and later entrance into public collections.

Admission: $100 for adults | $75 NOMA members | $30 Graduate students with ID (please use a university email address). Hotel blocks have been reserved for symposium participants at the Hampton Inn on Saint Charles; register using the codeword NOMAFRICKSYMPOSIUM. Register here.

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6:00pm  Keynote Lecture
• Vanessa Schmid (Senior Research Curator for European Art at the New Orleans Museum of Art), Repositioning Philippe’s Collecting

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9:00am  Registration

9:30  Welcome
• Inge Reist (Director Emerita, The Frick Center for the History of Collecting), The Legacy of The Orléans Collection

10:30  Tastemaking in Paris: Philippe, His Circle, and Connections in Eighteenth-Century France
• François Marandet (Independent Scholar), Philippe d’Orléans and Artists and Dealers in Paris
• Aaron Wile (University of Southern California), Absolutism and the Politics of Affect in Antoine Coypel’s Aeneas Gallery
• Sophie Raux (University of Lyon), Alternatives to the French Academy: Painters and the Public Spaces during the Regency
• Everhard Korthals Altes (Delft Technical University), The Craze for Dutch Painting in Eighteenth-Century Paris

12:30 Lunch — A boxed lunch will be provided to all full-price participants, excluding graduate student admission.

1:30  The Orléans Effect in Great Britain
• Julia Armstrong-Totten (Independent Scholar), Crossing the Channel: The Orléans Pictures Arrive in London
• Peter Humfrey (Professor Emeritus, University of St. Andrews), The Orléans Collection Reborn in Regency London: The Stafford Gallery
• Elizabeth Pergam (Sotheby’s Institute), Decline and Fall: The Fate of the Orléans Pictures in Britain
• Alison Clarke (Independent Scholar), ‘Looking at the £100,000 Picture’: Responses to Raphael and Rembrandt at the National Gallery, London at the Turn of the Twentieth Century

From H-ArtHist:

Art et pouvoir, le pouvoir de l’art, III
Le séminaire annuel de l’équipe Histara, EA 7347, École Pratique des Hautes Études (EPHE)
Institut national d’histoire de l’art (INHA), Paris, 5 December 2018

P R O G R A M M E

9.30  Sabine Frommel (EPHE) Introduction

9.45  Matin
Présidence: Rachel Lauthelier-Mourier (EPHE)
• Emilie d’Orgeix (EPHE), Dessiner le vide: Vues de villes et matérialisation du pouvoir, XVIIe–XVIIIe siècles
• Marina Viallon (EPHE), Les tournois à la cour de France à la Renaissance

11.15  Pause café

11.30  Matin
Présidence: Rachel Lauthelier-Mourier (EPHE)
• Kristina Deutsch (Westfälische Wilhelms-Universität Münster), Le décor du pouvoir entre la France et l’Allemagne vers 1700: Le pavillon des bains du château de Nymphenburg à Munich
• Jean-Michel Leniaud (EPHE), Les peintures de Delacroix à la bibliothèque du Sénat

13.00  Pause déjeuner

14.15  Après-midi
Présidence: Isabelle Saint-Martin (EPHE)
• Rachel Lauthelier-Mourier (EPHE), Les monarchies de l’âge classique confrontées au dévoilement du site de Persépolis et à l’obsédante question de la décadence
• Emmanuel de Waresquiel (EPHE), La prise de la Bastille et les métamorphoses de la liberté, 1789–1830
• Barbara von Orelli (Université de Zurich), Le préventorium Le Rosaire à Les Sciernes-d’Albeuve (Suisse): Un monument Art déco entre législation, administration et philanthropie

16.30  Pause café

16.45  Après-midi
Présidence: Isabelle Saint-Martin (EPHE)
• Florence Descamps (EPHE), Bercy. Décors ministériels
• Agnès Callu (CNRS), Domination(s): Histoire politique des commandes aux artistes, de 1980 à nos jours
• Jean-Miguel Pire (EPHE), L’histoire de l’art dans le débat public: Une ‘discipline active dans la cité’ (Chastel)?

19.00  Fin des travaux

From H-ArtHist, with lots more information available from the conference programme:

Discovering Dalmatia IV
Institute of Art History – The Cvito Fisković Centre, Split, Croatia, 22–24 November 2018

The Discovering Dalmatia conference, to be held from 22 to 24 November 2018 at the Institute of Art History – The Cvito Fiskovic Centre in Split, is the fourth installment related to our interdisciplinary project Dalmatia: A Destination of the European Grand Tour in the 18th and the 19th Century. This year, alongside the traditional papers dedicated to the integration of knowledge about Dalmatia’s historical urban landscape, based on the travel writing of artists and scientists who visited it over the course of their travels, we would like to open the conference to another group of themes.

We have been inspired by the Institute’s new project, The Vocabulary of Classical Architecture, which is supported by the Croatian Science Foundation and conducted in collaboration with the Institute of Croatian Language and Linguistics, to dedicate a part of the conference to researching variations in terminology relating to historical architectural forms in Dalmatia. In addition, this year’s programme includes the presentation of two extensive garden-related projects focused on two incredibly important Croatian sites. One is dedicated to the gardens of the Benedictine Monastery and Maximilian’s summer residence on the island of Lokrum, across from Dubrovnik. These gardens form part of the city of Dubrovnik, which is itself on UNESCO’s list of World Heritage Sites. The second study, meanwhile, gave rise to the extraordinary restoration project of the classicist garden of the Garagnin-Fanfogna family, on the mainland side of Trogir, right beside the historical walls of this Romanesque-Gothic town, which is also on UNESCO’s World Heritage List.

Scientific Committee
Josko Belamaric (Institute of Art History – Cvito Fisković Centre Split)
Katrina O’Loughlin (ARC Centre of Excellence for the History of Emotions UWA)
Ana Sverko (Institute of Art History – Cvito Fisković Centre Split)
Colin Thom (The Bartlett School of Architecture, London)
Elke Katharina Wittich (Fresenius University of Applied Sciences, AMD Hamburg)

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9.30  Registration and introduction

10.00  Morning Session
Moderators: Josko Belamaric and Sinisa Runjaic
• Antonia Tomic, The Adoption and Transformation of the Meaning of Ancient Architectural Terminology during the Expansion of Christianity
• Antonia Vodanovic, The Pentagram in the Context of the Traditional Architecture of the Makarska Coast
• Jasenka Gudelj and Petar Strunje, The Eastern Adriatic Coast and the Architectural Vocabulary of the Renaissance
• Croatian Glossary of Classical Architecture (KLAS)

12.00  Internal KLAS workshop / Visit to the Ethnographic Museum

14.30  Break

17.00  Afternoon Session
• Mara Maric, Gardens of the island Lokrum during the Habsburgs
• Ivan Vigjen, An Overview of the Current Research on the Benedictine Monastery and Maximilian’s Residences on Lokrum, 1986–2018
• Igor Belamaric and Ana Sverko, The Restoration of the Garagnin-Fanfogna Park in Trogir

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10.00  Morning Session
Moderators: Danko Zelic and Sanja Zaja Vrbica
• Sarah Rengel, Writing the ‘Inner Lives’ of the East: Encounters between Women in the Work of Female Travel Writers
• Elke Katharina Wittich, Stones and Costumes: Subjects of Interest in Alberto Fortis‘s Viaggio in Dalmazia
• Colin Thom, ‘This Knotty Business’: The Making of Robert Adam’s Spalatro (1764) Revealed in the Adam Brothers’ Grand Tour Letters

11.45  Break

14.00  Afternoon Session
Moderators: Ana Sverko and Colin Thom
• Sanja Zaja Vrbica, Highlands and Islands of the Adriatic: Dubrovnik in Andrew Archibald Paton’s 1849 Text
• Josip Belamaric, Jean Baptiste Van Moer (1819–1884), Images of the Peristyle of Diocletian’s Palace
• Hrvoje Grzina, 19th-Century Dalmatia Inverted in Camera: Photographic Glass Plate Negatives by Franz Thiard de Laforest

16.00  Tour of Diocletian’s Palace

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10.00  Visit to the Museum of Fine Arts

12.00  Closing Reception

From the conference flyer:

The Roman Art World in the 18th Century and the Birth of the Art Academy in Britain
British School at Rome and the Accademia di San Luca, Rome, 10–11 December 2018

Organized by Adriano Aymonino, Carolina Brook, Gian Paolo Consoli, and Thomas Leo-True

This two-day conference focuses on the role of the Roman pedagogical model in the formation of British art and institutions in the long 18th century.

Even as Paris progressively dominated the modern art world during the 18th century, Rome retained its status as the ‘academy’ of Europe, attracting a vibrant international community of artists and architects. Their exposure to the Antique and the Renaissance masters was supported by a complex pedagogical system. The network of the Accademia di San Luca, the Académie de France à Rome, the Capitoline Accademia del Nudo, the Concorsi Clementini, and numerous studios and offices, provided a complete theoretical and educational model for a British art world still striving to create its own modern system for the arts. Reverberations from the Roman academy were felt back in Britain through a series of initiatives culminating in the foundation of the Royal Academy of Arts in London in 1768, which officially sanctioned and affirmed the Roman model.

This conference addresses the process of intellectual migration, adaptation and reinterpretation of academic, theoretical and pedagogical principles from Rome to 18th-century Britain. It responds to the rise of intellectual history, building on prevalent trends in the genealogy of knowledge and the history of disciplines, as well as the exchange of ideas translated across cultural borders. The conference concludes a series of events celebrating the 250th anniversary of the 1768 foundation of London’s Royal Academy of Arts.

It is also part of a series of conferences and exhibitions focusing on the role of the Accademia di San Luca in the spread of the academic ideal in Europe and beyond, inaugurated in 2016 with an exhibition and conference on the relationship between Rome and the French academies, held at the Accademia di San Luca and at the Académie de France à Rome.

For additional information, please write to adriano.aymonino@buckingham.ac.uk or events@bsrome.it.

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British School at Rome, Before the Royal Academy of Arts

9:45  Registration

10:00  Welcome: Stephen Milner (Director, BSR), Adriano Aymonino, Carolina Brook

10:35  Eleonora Pistis (Columbia University, New York), Visible and invisible Rome: British architectural education in the early eighteenth century and the Oxford Circle

11:10  Coffee break

11:45  Barbara Tetti (Sapienza Università di Roma), Roman influence on the development of the British academies: James Gibbs’ contribution

12:20  Ilaria Renna (Sapienza Università di Roma), La collezione di disegni dei Clerk of Penicuik e la School of St Luke di Edinburgo: Modelli classicisti romani in Scozia

13:00  Lunch break

14:30  Jason M. Kelly (Indiana University), The Dilettanti, art pedagogy, and Roman models for an art academy in London

15:05  Clare Hornsby (Independent Scholar, London), The role of the Society of Antiquaries as an ‘academy of classical taste’ in mid eighteenth-century London

15:45  Tea break

16:15  Alessandro Spila (Sapienza Università di Roma), L’Accademia delle Romane Antichità di Benedetto XIV e la Society of Antiquaries. Antiquaria istituzionale e dibattito architettonico fra Roma e Londra alla metà del XVIII secolo

16:50  Helen McCormak (University of Glasgow), Northern Italian painting and naturalism: Robert Strange, William Hunter, and the Royal Academy of Arts

17:25  Keynote by Robin Simon (University College London), Before the Royal Academy of Arts: The long search for an academy of arts in Britain

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Accademia di San Luca, The Royal Academy of Arts and Beyond

9:30  Registration

9:45  Welcome by Francesco Moschini (Segretario Generale, Accademia Nazionale di San Luca)

10:00  Katherine McHale (University of St Andrews), ‘The Truest Model of Grace’: Giovanni Battista Cipriani in London academies

10:35  Flaminia Conti (Sapienza Università di Roma), Giovanni Battista Cipriani e Agostino Carlini: Classicismo e tradizione accademica italiana presso la Royal Academy of Arts

11:10  Coffee break

11:45  Donato Esposito (Independent Scholar, London), Building a canon: Roman Baroque art, Sir Joshua Reynolds, and the Royal Academy of Arts

12:20  Elena Carrelli (Biblioteca Nazionale Vittorio Emanuele III, Naples), British painters in Italy and the Royal Academy of Arts: Landscape painting between academic practice and scientific empiricism

13:00  Lunch break

14:30  Martin Postle (Paul Mellon Centre for Studies in British Art, London), Assembling the Antique: The role of the classical cast in the pedagogy of the Royal Academy of Arts, 1769 to 1780

15:05  Susanna Pasquali (Sapienza Università di Roma), Crosscurrents: Exchanges between British and Italian architects, 1757–1796

15:45  Final discussion

16:15  Tea break

16:50  Tour of the exhibition Roma-Londra: Scambi, modelli e temi tra l’Accademia di San Luca e la cultura artistica britannica tra XVIII e XIX secolo at the Accademia Nazionale di San Luca

18:00  Concert, ContempoArtEnsemble in quartetto plays Sir Peter Maxwell Davies, Naxos Quartet No. 7, Metafore sul Borromini for String Quartet

From H-ArtHist:

Entre croyance aux miracles et iconoclasme: L’espace sacré en France au XVIIIe siècle
Deutsches Forum für Kunstgeschichte / Centre allemand d’histoire de l’art, Paris, 3–4 December 2018

Ce colloque se propose d’interroger les témoignages, les expériences religieuses et les transformations esthétiques de l’espace sacré au siècle des Lumières. Dans le contexte d’un débat caractérisé par la critique de l’Église et de l’absolutisme, l’athéisme et la démystification de la religion, mais aussi par la recherche d’une réactualisation crédible du spirituel, les conceptions (syn)esthétiques de l’espace sacré revêtent une pertinence toute particulière. L’art se révèle ici à la fois matrice, sismographe et instrument agissant. Dans quelle mesure l’église du XVIIIe siècle doit-elle être appréhendée non seulement comme un lieu sacré, mais aussi comme un endroit fréquenté par les croyants et les touristes, par les clercs et les artistes, par la noblesse et la bourgeoisie, par les hommes et les femmes, et vécu tout autant comme espace social qu’esthétique ou émotionnel ? Comment expliquer la sécularisation fondamentale, le décloisonnement puis la réactualisation du culte qui s’est opérée dans l’espace sacré entre la mort de Louis XIV et la Révolution française ? Ces questions, au cœur de cette rencontre, seront abordées dans une perspective intermédiale et transdisciplinaire.

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14.45  Begrüßung, Thomas Kirchner (Direktor des DFK Paris)

15.00  Introduction, Markus Castor (DFK Paris), Martin Schieder (Universität Leipzig), und Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf)

15.15  1. L’espace sacré comme lieu public
Moderation: Markus Castor (DFK Paris)
• Guillaume Kazerouni (Musée des Beaux-Arts de Rennes), Les aléas des dispersions révolutionnaires: Questions autour du décor de la salle du chapitre du prieuré Saint-Martin-des-Champs
• Martin Schieder (Universität Leipzig), «Un salon continuellement ouvert aux étrangers & aux curieux»: La mise en scène de la peinture religieuse au XVIIIe siècle
• Hannah Williams (Queen Mary University of London), Du salon à l’autel: Peindre les saints dans le Paris des Lumières
• Émilie Chedeville (Université Paris 1 Panthéon-Sorbonne), Partage de la Grâce et esthétique de la communion: Les embellissements de Saint-Jean-en-Grève, paroisse janséniste du XVIIIe siècle

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9.30  2. Sculpture et espace sacré
Moderation: Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf)
• Hans Körner (Heinrich-Heine-Universität Düsseldorf), Edme Bouchardons Silbermadonna für Saint-Sulpice: Materialwert, Kunstwert und religiöses Prestige
• Étienne Jollet (Université Paris 1 Panthéon-Sorbonne), Les limites du sacré: Des colosses dans et devant Notre-Dame de Paris au XVIIIe siècle
• Julie Laval (Heinrich-Heine-Universität Düsseldorf), Die Evidenz des Sakralen: Die Glorie als Vermittlungsmöglichkeit von Transzendenz im französischen 18. Jahrhundert
• Cécilie Champy-Vinas (Petit Palais, Paris), Perpétuer la mémoire d’un individu exemplaire: Le tombeau de Mignard et le monument au cardinal de Fleury par Jean-Baptiste Lemoyne

12.45  Pause déjeuner

14.15  3. Transformations de l’espace sacré
Moderation: Martin Schieder (Universität Leipzig)
• Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf), Zwischen Modernisierung und Reaktualisierung des Kultes im 18. Jahrhundert: Das Martyrium des Hl. Savinianus und der Kardinal de Luynes in Sens
• Markus Castor (DFK Paris), «Grand goût» pour le gothique – illuminer Saint-Germain-l’Auxerrois
• Emmanuel Lacam (École nationale des chartes; Université de Picardie-Jules Verne, Amiens), Les mutations d’un espace sacré en Révolution: l’église Saint-Eustache à Paris, 1789–1804
• Sébastien Bontemps (Université de Bourgogne, Dijon), Vers une révolution des espaces? De l’Église catholique au temple de la Raison
• Philipp Stenzig (Heinrich-Heine-Universität Düsseldorf), Le pèlerinage de Port-Royal – créer un espace sacré virtuel

18.00  Conclusion

Konzept und Organisation
Markus A. Castor (DFK Paris), mcastor@dfk-paris.org
Martin Schieder (Universität Leipzig), schieder@uni-leipzig.de
Wiebke Windorf (Heinrich-Heine-Universität Düsseldorf), windorf@phil.hhu.de

From The Huntington:

Moving Landscapes: Gardens and Gardening in the Transatlantic World, 1670–1830
The Huntington Library, Art Collections, and Botanical Gardens, San Marino, 7–8 December 2018

Both as physical locations and as fantasies of selfhood, gardens always speak of where and how we see ourselves in the world. Focusing on the imagination and creation of gardens in the disparate geographies of 18th-century Europe, the Caribbean, and North America, this conference explores transatlantic ideas of nation, location, and self, and asks how the experience of gardens might be shared across nations, oceans, and cultures.

Funding provided by The Huntington’s William French Smith Endowment and The USC-Huntington Early Modern Studies Institute

F R I D A Y ,  7  D E C E M B E R  2 0 1 8

8:30  Registration and coffee

9:30  Welcome by Steve Hindle (The Huntington) and opening remarks by Stephen Bending (University of Southampton)

Session 1 | Making Places in the Atlantic World
Moderator: Stephen Bending
• John Dixon Hunt (University of Pennsylvania), Raising the Veils of Isis, Then What?
• Tom Williamson (University of East Anglia), Production, Power and the Natural: Explaining the Differences between English and American Gardens in the Eighteenth Century

12:00  Lunch

1:00  Curatorial tours of the botanical collections

3:00  Session 2 | New World Landscapes and Transatlantic Imaginings
Moderator: Jennifer Milam (University of Melbourne)
• Therese O’Malley (NGA CASVA, Washington, D.C.), The Garden in the Wilderness
• Joseph Manca (Rice University), The Human Presence in George Washington’s Gardens at Mount Vernon

S A T U R D A Y ,  8  D E C E M B E R  2 0 1 8

9:00  Registration and coffee

9:30  Session 3 | Planting the Transatlantic Garden
Moderator: Stephen Bending
• Finola O’Kane Crimmins (University College Dublin), Improving the Atlantic World: Transatlantic Tourists and their Landscape Designs, Comparisons and Route
• Elizabeth Hyde (Kean University), A Reciprocal Exchange of the Productions of Nature: Plants and Place in France and America

11:00  Session 4 | Transatlantic Designs
Moderator: Jennifer Milam
• Emily Cooperman (ARCH Preservation Consulting), The Last Polish of a Refined Nation: Philadelphia and Garden Art in the Atlantic World
• Jonathan Finch (University of York), The Estate Landscape: A Transatlantic Dialogue

1:00  Lunch

2:00  Session 5 | Experiencing the Transatlantic Landscape
Moderator: Stephen Bending
• Jill Casid (University of Wisconsin-Madison), Landscape Vertigo
• Rachel Crawford (University of San Francisco), Fragmented Gardens

4:00  Roundtable

4:30  Closing remarks by Jennifer Milam

Francisca Efigenia Meléndez y Durazzo, Portrait of a Girl, ca. 1795, tempera on ivory, 5 × 5 cm (Dallas: Meadows Museum, SMU, Museum Purchase with funds from The Meadows Foundation, MM.08.01.20)

Happening now at SMU!

Art and Architecture in the Long Eighteenth Century: HECAA at 25
Southern Methodist University, Dallas, 1–4 November 201

Organized by Amy Freund

The Art History Department, its graduate program in the Rhetorics of Art, Space, and Culture (RASC/a), and the Meadows School of the Arts at Southern Methodist University are proud to announce the program for Art and Architecture in the Long Eighteenth Century: HECAA at 25, a conference to be held 1–4 November 2018 in celebration of the twenty-fifth anniversary of the founding of the Historians of Eighteenth-Century Art and Architecture.

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

9:00  Welcome and HECAA Business Meeting

10:15  Roundtable: The History of Studying Eighteenth-Century Art, the Belgium of Art History
Chair: Michael Yonan, (University of Missouri)
• Wendy Wassyng Roworth (University of Rhode Island)
• Malcolm Baker (University of California, Riverside)
• Heather McPherson (University of Alabama at Birmingham)
• Meredith Gamer (Columbia University)
• Kevin Chua (Texas Tech University)
• Sarah Betzer (University of Virginia)

1:15  Research Session: Apprehending the Spatial: Methods and Approaches
Chair: Christopher Drew Armstrong (University of Pittsburgh)
• Lauren Cannady (Clark Art Institute), The Garden in a Curiosity Cabinet
• Laurel O. Peterson (The Morgan Library & Museum), Making Spaces: Immersive Politics and the Murals at Chatsworth
• Stacey Sloboda (University of Massachusetts, Boston), St. Martin’s Lane: Neighborhood as Art World in Eighteenth-Century London

2:45  Coffee Break

3:00  Research Session: Carte Blanche
Chair: Denise Baxter (University of North Texas)
• Nina Dubin (University of Illinois at Chicago), Master of the World: Love and Other Inconstancies in Eighteenth-Century French Art
• Jessica Priebe (University of Sydney), Assembling Ambition: Leroy de Barde and the Reimagining of the Artist’s Museum in the Long Eighteenth Century
• Andrew Graciano (University of South Carolina), An Eighteenth-Century Electrical Machine and the Re-Identification of a Portrait Subject in the National Portrait Gallery, London

4:45  Buses Depart to Dallas Museum of Art

5:30  Cocktail Reception
Hosted by the Edith O’Donnell Institute of Art History, University of Texas at Dallas

7:00  Keynote Address / Michael L. Rosenberg Lecture
Horchow Auditorium, DMA
• Melissa Hyde (University of Florida), Knowing Their Place? Women Artists in Eighteenth-Century France

F R I D A Y ,  2  N O V E M B E R  2 0 1 8

9:00  Research Session: People, Places, and Things in the Global Eighteenth Century
Chair: Nancy Um (Binghamton University)
• Elisabeth Fraser (University of South Florida), The Ottoman Costume Album as Agent of Contact in the Global Eighteenth Century
• Irene Choi (University of British Columbia), ‘The Principle of Things’: Materiality and Morality from Dutch Still Life to Korean Chaekgeori
• Dipti Khera (New York University), Connected, Yet Dispersed: Pictures, Places and Histories of Art, ca. 1700
• Dawn Odell (Lewis and Clark College), Chinese Art and a South Carolina Rice Plantation

10:45  Coffee Break

11:00  Roundtable: Innovation in Teaching, Advising, Exhibiting, and Curating
Chair: Amelia Rauser (Franklin & Marshall College)
• Lilit Sadoyan (J. Paul Getty Museum)
• Kelsey Brosnan (New Orleans Museum of Art)
• Wendy Bellion (University of Delaware)
• David Pullins (Frick Collection) )
• Amelia Rauser (Franklin & Marshall College)

12:30  Lunch

2:00  Research Session: Emerging Scholars 1
Chair: Christopher Johns (Vanderbilt University)
• Danielle Ezor (Southern Methodist University), A Restaurant at the Salon: Consuming Chardin’s Still Lifes
• Ashley Bruckbauer (University of North Carolina, Chapel Hill), Dangerous Liaisons: Ambassadors and Embassies in Eighteenth-Century French Art
• Delanie Linden (Massachusetts Institute of Technology), Silver, Flesh, and Holy Water: Colonial Conversions in the French Enlightenment
• Thea Goldring (Harvard University), The Imagined Machine of the Encyclopédie Planches

3:15  Coffee Break

3:30  Research Session: Emerging Scholars 2
Chair: Christopher Johns (Vanderbilt University)
• Katherine Calvin (University of North Carolina, Chapel Hill), Merchants, Markets, and Cultural Contact in Early Modern Aleppo
• Vincent Pham (University of California, San Diego), Self-Made Men: Lord Chesterfield and His Library Portraits
• Ji Eun You (University of North Carolina, Chapel Hill), Interpretation of Neoclassical Designs in Decorative Art through Winckelmann
• Hyejin Lee (University of North Carolina, Chapel Hill), Perfumed Flights of Imagination: Reverie, Ornaments, and Elite Female Identity in Late Eighteenth-Century Boudoirs

4:45  Meadows Gallery Visit

5:15  Research Session: Things Change
Chairs: Wendy Bellion (University of Delaware) and Kristel Smentek (Massachusetts Institute of Technology)
• Jeffrey Collins (Bard Graduate Center), Repair or Reinvention? Recreating the Red Faun
• Tara Zanardi (Hunter College), Artful Nature and Material Splendor: The Dauphin’s Collection at the Royal Cabinet of Natural History
• Susan Wager (University of New Hampshire, Durham), The Sweet Hereafter: The Multiple Lives of Boucher’s Biscuit Porcelain Figures
• Jennifer Chuong (Harvard University), Wood in Transition: Veneer Furniture in the Early American Republic

7:15  Buses depart Meadows Museum for Bolsa

7:30  Dinner at Bolsa, 614 West Davis Street, 75208

S A T U R D A Y ,  3  N O V E M B E R  2 0 1 8

9:00  Keynote Address
• Daniela Bleichmar (University of Southern California), Painting and the Time and Place of History

10:30  Recent Acquisitions in Eighteenth-Century Menswear from the Texas Fashion Collection
• Annette Becker (Director, Texas Fashion Collection at University of North Texas)

11:00  Breakout Sessions
Participants will convene in small pre-assigned groups for discussion.

12:30  Roundtable: How to Art History: A Workshop for Emerging Scholars
Chair: Elizabeth Bacon Eager (Southern Methodist University)
• Michael Yonan (University of Missouri)
• Nicole Myers (Dallas Museum of Art)
• Kimberly Chrisman-Campbell (Independent Scholar)
Come with questions about job hunting, professional networking, publishing, and balancing life and work. Boxed lunches provided for preregistered guests.

2:00  Research Session: Art and Political Authority in the Long Eighteenth Century
• Meredith Martin (New York University) and Aaron Wile (University of Southern California)
• Sarah Grandin (Harvard University), Font Fit for a King: The Romain du Roi, Print, and the Mechanical Arts under Louis XIV
• Douglas Fordham (University of Virginia), Free Market Patriotism
• Ünver Rüstem (Johns Hopkins University), Ottoman Baroque Architecture and the Aesthetics of Power
• Jennifer Van Horn (University of Delaware), Slavery and Portraiture in a New Nation

3:45  Coffee Break

4:00  Roundtable: The Future of Studying Eighteenth-Century Art: HECAA at 50
Chair: Amy Freund (Southern Methodist University)
• Ewa Lajer-Burcharth (Harvard University)
• Cassie Mansfield (Penn State University)
• Catherine Girard (Eastern Washington University)
• Paris Spies-Gans (Harvard Society of Fellows)
• Andrei Pop (University of Chicago)

5:45  Closing Cocktail Reception

S U N D A Y ,  4  N O V E M B E R  2 0 1 8

Afternoon at the Kimbell Art Museum, Fort Worth.

Organizing Committee
Denise Baxter (University of North Texas)
Kelly Donahue-Wallace (University of North Texas)
Lindsay Dunn (Texas Christian University)
Elizabeth Bacon Eager (Southern Methodist University)
Daniella Ezor (Southern Methodist University)
Amy Freund (Southern Methodist University)
Jessica Fripp (Texas Christian University)
Nicole Myers (Dallas Museum of Art)
Alexandra Perez (Southern Methodist University)
Beth S. Wright (University of Texas at Arlington)