Enfilade

From ECSSS:

Networks of Enlightenment
31st Annual Conference of the Eighteenth-Century Scottish Studies Society
University of Glasgow, 17–21 July 2018

ECSSS returns to the city of Glasgow after twenty-eight years to hold its first-ever conference at Glasgow University—one of the central sites of the Scottish Enlightenment. The theme of this conference is Networks of Enlightenment and will look at areas of interdisciplinary interest from philosophical, literary, and scientific networks through to English, Continental, and transatlantic connections.

The conference will commemorate the tercentenary of the births of two major Scottish Enlightenment figures, whose medical, literary, ecclesiastical, antiquarian, and other networks were extensive: the Glasgow-educated anatomist and collector Dr. William Hunter (1718–1783) and Hugh Blair (1718–1800), the eminent preacher and professor of rhetoric and belles lettres at the University of Edinburgh.

The conference will run from the afternoon of Tuesday 17 to lunchtime on Saturday 21 July. Registration opens on the afternoon of 17 July at 2pm, followed by the opening keynote then, in the evening, a civic reception in Glasgow City Chambers. Wednesday 18 July is the first full day of panels. Thursday has panels in the morning followed by the conference trip to Dumfries House and to Alloway in Ayshire. On Friday, we have another full day of panels followed by the conference dinner. The conference closes Saturday with panels in the morning, including special sessions in celebration of the tricentenary of William Hunter, followed by a closing keynote and reception courtesy of the Hunterian Museum.

The preliminary conference programme can be downloaded pdf file here

From the University of Delaware:

Global Impact of Asian Aesthetics on American Art and Material Culture
Winterthur, Wilmington, Delaware, 10–14 October 2018

Utagawa Yoshimori, An American Sailing Ship off Arai, 1872; polychrome woodblock print, ink and color on paper (New York: Metropolitan Museum of Art, 2007.49.243).

How do design ideas, patterns, and aesthetics travel across the globe, even when objects themselves do not?

The idea behind this project’s question grew out of a string of provocative inquiries that emerged following exhibitions and recent projects that our alumni and faculty members of the University of Delaware have worked on in the past 10 years (Collecting China [UD-Winterthur, DE], Asia in Amsterdam [PEM, MA], Made for the Americas [MFA Boston, MA], among others). While existing scholarship has recognized the global circulation of objects, artistic forms in the American field sometimes have less to do with the mobility of actual objects from Asia than with translations of Asian aesthetic influences that create new forms in new regions. This project therefore explores ideas about transcultural circulation beyond the concept of objects as commodities, by urging researchers to collaboratively study ideas and influences, across time and space, which have inspired, integrated, and re-generated new aesthetics in and beyond America.

‘Asia’ and ‘America’ are taken in this project as pointers to encourage a mapping of global and multi-directional flow of aesthetics and aesthetic translation, not merely an exchange between Asia and North America. Our long-term goal is to generate a multi-level investigation that comprehensively encompasses Asia, Europe, the Americas and other related world regions into the study of American art and material culture.

For details about the symposium, a graduate student workshop and presentation, and a living repository site for research data, please visit the website. All events are free and open to the public, but registration is required. Lodging is also available at discounted price for registered participants.

Roundtable Panelists
J. Ritchie Garrison (University of Delaware, Winterthur Program, Newark)
Michael Leja (University of Pennsylvania, Philadelphia)
Partha Mitter (University of Sussex, emeritus, Oxford)
Alexandra Munroe (Guggenheim Museum, New York, New York City)
Nasser Rabbat (MIT, Cambridge)
Moderated by Vimalin Rujivacharakul (University of Delaware, Art History, Newark)

Speakers (by the order of team members’ last names)

Team 1
Glenn Adamson (New York & London)
Ming Tiampo (Carleton University, Ottawa)

Team 2
Jens Baumgarten (Universidade Federal de Sao Paulo, Brazil)
Dennis Carr (Museum of Fine Arts, Boston)

Team 3
Ned Cooke (Yale, New Haven)
Dorothy Ko (Barnard/Columbia, New York City)

Team 4
Karina Corrigan (Peabody Essex Museum, Salem)
Femke Diercks (Rijksmuseum, Amsterdam)

Team 5
Linda Eaton (Winterthur Museum, Garden & Library)
Giorgio Riello (University of Warwick, England)

Team 6
Lee Glazer (Freer|Sackler Galleries, Washington DC)
Stacey Pierson (School of Oriental and African Studies, England)

Team 7
Medill Harvey (American Wing, Metropolitan Museum, New York City)
Forrest McGill (Asian Art Museum, San Francisco)

Team 8
Liu Chang (Tsinghua University & Palace Museum, Beijing)
Greg Landrey (Winterthur Museum, Garden & Library, Winterthur)

Team 9
Darielle Mason (Philadelphia Museum of Art, Philadelphia)
Asma Naeem (National Portrail Gallery, Washington DC)

Team 10
Marco Musillo (Kunsthistorisches Institut in Florenz, Florence)
Catharine Dann Roeber (Winterthur Museum, Garden & Library, Winterthur)

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).

From SMU:

Art and Architecture in the Long Eighteenth Century
HECAA at 25, Conference Program and Registration
Southern Methodist University, Dallas, 1–4 November 2018

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.

HECAA at 25 will present recent research on eighteenth-century visual culture, consider questions of historiography and pedagogy, and chart paths for the future of the field. The program also includes visits to the Meadows Museum, the Dallas Museum of Art, and the Kimbell Art Museum.

Come to Texas, y’all!

For the program and conference information, visit: smu.edu/HECAA25

Registration information is available here»

Questions? Contact us at hecaa25@gmail.com.

Next month at the Center for American Studies in Rome, from the conference flyer:

American Latium: American Artists and Travellers in and around
Rome in the Age of the Grand Tour
Centro Studi Americani, Palazzo Mattei di Giove, Rome, 7–8 June 2018

Organized by Christopher M.S. Johns, Tommaso Manfredi, and Karin Wolfe

American Latium addresses the pioneering origins of the artistic relations between America, Rome, and its environs from the eighteenth century up until 1870, in order to define the extraordinary impact of the arts of Rome, from antiquity through to the modern period, that in large part resulted in the birth of a national American aesthetic. Interdisciplinary in nature, this conference will put forward new research and new research approaches to the study of cultural travel and cultural exchange, including exploring the reverse side of this story of exchange, foregrounding the experiences and the contributions of the first Italians who travelled to America in search of work opportunities and cultural acclaim.

Organised by Centro Studi Americani, Roma; Accademia Nazionale di San Luca, Roma; Department of History of Art, Vanderbilt University, Nashville; and Dipartimento PAU, Università Mediterranea di Reggio Calabria.

T H U R S D A Y ,  7  J U N E  2 0 1 8

9.15   Welcome, Paolo Messa (Centro Studi Americani)

9.30  Francesco Moschini (Accademia Nazionale di San Luca), Il Principe e il Presidente: Riflessioni sull’incontro londinese tra Antonio Canova e Benjamin West

10.00  The American Grand Tour in Europe: Origins and Dynamics
Chair: Christopher M.S. Johns (Vanderbilt University)
• Jonathan Yarker (Lowell Libson & Jonny Yarker, Ltd), Copying Old Masters for the New World: American Eighteenth-Century Painters in Rome
• Sarah Cantor (University of Maryland, Adelphi), James Bowdoin III and Ward Nicholas Boylston in Italy: American Collectors in the Later Eighteenth Century
• Vincent Pham (University of California San Diego), Benjamin West, the American School, and the Remediation of History Painting
• Martin Postle (Paul Mellon Centre for Studies in British Art), London between America and Continental Europe: Art and Academies
• Duccio K. Marignoli (The Marignoli di Montecorona Foundation), Benjamin West’s Portrait of Benjamin Franklin: New Themes and New Approaches for a New Nation

13.00  Lunch Break

14.00  American Rome and Latium: Image, Sites, and Itineraries
Chair: Tommaso Manfredi (Università Mediterranea di Reggio Calabria)
• Fabrizio Di Marco (Sapienza Università di Roma), Luoghi e itinerari statunitensi a Roma dalla ne del Settecento a metà dell’Ottocento
• Nicholas Stanley-Price (Independent Scholar), The Final Destination: Early American Presence at the Protestant Burying- Ground in Rome
• Mary K. McGuigan (Independent Scholar), Scenery Found: John Gadsby Chapman and Open-Air Oil Sketching in and around Rome, 1830–77
• Luca Attenni (Università degli Studi Roma Tre), John Izard Middleton: Un archeologo americano nel Lazio
• Francesco Petrucci (Palazzo Chigi, Ariccia), La ‘Scuola dei Castelli Romani’ e la Locanda Martorelli ad Ariccia: Artisti e intellettuali dall’Europa all’America nel XIX secolo
• Lisa Beaven (LaTrobe University, Bendigo), Sense and Sensibility Part I: American Artists Experiencing the Roman Campagna
• David R. Marshall (University of Melbourne), Sense and Sensibility Part II: American Artists Experiencing the Roman Campagna, The Tor de’ Schiavi

F R I D A Y ,  8  J U N E  2 0 1 8

9.00  Americans and the Artistic Culture of Rome: From Old Masters to New
Chair: Karin Wolfe (British School at Rome)
• Wendy Wassyng Roworth (University of Rhode Island), Angelica Kauffman’s Portraits of Americans in Rome and a Self-Portrait in Philadelphia
• Christopher M.S. Johns (Vanderbilt University), John Singleton Copley in Rome: The Challenge of the Old Masters Accepted
• Tommaso Manfredi (Università Mediterranea di Reggio Calabria), La Roma di Charles Bul nch: un itinerario culturale al tempo di Pio VI
• Maria Cristina Loi (Politecnico di Milano), L’idea di Roma di Thomas Jefferson e il suo viaggio in Italia
• Francesca Orestano (Università degli Studi di Milano), John Neal, the Old Masters, and the American Muse
• John F. McGuigan Jr. (Independent Scholar), A Painter and a Diplomat: The Two Careers of James E. Freeman and Their Correspondences
• Pier Paolo Racioppi (Fondazione IES Abroad Italy, Roma), Vivere e creare nell’Antico: Le dimore e gli studi romani degli scultori Crawford, Story ed Ezekiel
• Kevin Salatino (The Art Institute of Chicago), Undressing America: Nineteenth-Century Expatriate Sculptors in Rome and the Question of Nudity

13.30  Lunch Break

14.30  Rome in America: Transpositions of Ideas, Art, and Artists
Chair Francesco Moschini Accademia Nazionale di San Luca
• Mario Bevilacqua (Università degli Studi di Firenze), Piranesi in Eighteenth-Century America: Ancient Models for the New Nation
• Karin Wolfe (British School at Rome), Imagining Liberty: The Roman Sculptor Giuseppe Ceracchi in America
• Giovanna Capitelli (Università della Calabria), An Ecclesiastical Network? Altarpieces Sent from Rome to the United States during the Second Half of the Nineteenth Century in the Papacy of Pius IX
• Tiziano Antognozzi (Independent Scholar), From One Capitol to the Other: Exploring Constantino Brumidi’s Agency across the Atlantic
• Linda Wolk-Simon (Fairfield University Art Museum), ‘In the Beginning There Was the Word’: American Writings on Raphael from the Founding Fathers to the Gilded Age

17.00 Discussion

Image: Thomas Hiram Hotchkiss, Torre di Schiavi, 1865, detail (Smithsonian American Art Museum).

From The Wallace Collection:

Collecting Murillo in Britain and Ireland
The Wallace Collection, London, 14 May 2018

Bartolomé Esteban Murillo, The Annunciation, ca.1665–70 (London: The Wallace Collection, P68).

“Oh wonderful Spain. Think of this romantic land covered in Moorish ruins and full of Murillos.” Benjamin Disraeli’s 1830 letter attests to the prominent of Murillo in the minds British travellers and collectors. In celebration of the 400th anniversary of Bartolomé Esteban Murillo’s birth, the Wallace Collection, in collaboration with the Centro de Estudios Europa Hispanica, will be exploring this further by hosting an international one-day symposium on Monday, 14th May 2018 entitled Collecting Murillo in Britain and Ireland. Speakers include Thierry Morel, Veronique Gerard Powell, Xanthe Brooke, Hugh Brigstocke, Isabelle Kent, Xavier Bray, Claudia Hopkins, Thomas Bean, Hilary Macarney and Philip McEvansoneya. The papers delivered will form the basis of a new volume on the subject which will be published by CEEH.

Registration is available here»

P R O G R A M M E

9.30  Registration

9.50  Welcome

10.00  Session 1 | Early Displays of Works by Murillo in Britain
• Thierry Morel (Director and Curator at Large, Hermitage Museum Foundation), Sir Robert Walpole’s Spanish Pictures
• Véronique Gerard Powell (Honorary Senior Lecturer, Sorbonne University), From Lord Godolphin to John Blackwood and Lawrence Dundas: The First British Purchasers of Murillo

11.00  Tea and coffee

11.30  Session 2 | British Collectors in Seville and Madrid
• Xanthe Brooke (Curator of Continental European Art, Walker Art Gallery), Collecting Murillo in Seville: The Case of Julian Benjamin Williams (d.1866) and Frank Hall Standish (1799–1840)
• Hugh Brigstocke (Independent scholar), William Eden: The Discovery of Murillo with his Friends in Spain, Travel and Collecting
• Isabelle Kent (Enriqueta Harris Frankfort Curatorial Assistant, The Wallace Collection), The Curious Case of General Meade (1775–1849): His Collection in Madrid and Its Dissemination

13.00  Break for lunch

14.00  In-Situ Talk in the Great Gallery
• Xavier Bray (Director, The Wallace Collection) and Isabelle Kent, William Buchanan and James Irvine

14.30  Session 3 | Artists and Scholars, Travellers to Spain
• Claudia Hopkins (Lecturer, University of Edinburgh), ‘All Softness’: Murillo through British Artists’ Eyes
• Thomas Bean (Independent scholar), Hand-Book for Travellers in Spain and Richard Ford
• Hilary Macartney (Lecturer, University of Glasgow), Accessing Murillo: Stirling Maxwell’s Contribution to Scholarship, Collecting, and Taste in Britain

16.00  Session 4 | Other Major Collectors
• Philip McEvansoneya (Lecturer, Trinity College Dublin), Collecting and Displaying Murillo in Ireland

From H-ArtHist and the Bavarian National Museum:

Structuring Fashion: Foundation Garments through History
Bayerisches Nationalmuseum, Munich, 13–14 September 2018

Organised by Johannes Pietsch and Jenny Tiramani

Registration due by 30 June 2018

This conference will focus on undergarments that have shaped fashionable silhouettes. It will cover a broad timespan from the Middle Ages up to the 21st century. Conducted in English, the event will be held in Munich to celebrate a special exhibition and the launch of an exciting new book. The Bayerisches Nationalmuseum preserves the world-famous pair of silk bodies worn by Countess Palatine Dorothea Sabina around 1598. This extremely rare garment will be presented to the public exclusively from September to December 2018, coinciding perfectly with the publication of this pair of bodies in the new volume of the Janet Arnold series Patterns of Fashion 5: The Cut and Construction of Bodies, Stays, Hoops and Rumps, c.1595–1795, presenting over 40 garments in great detail. Internationally renowned experts including Valerie Steele (FIT New York), Alexandra Palmer (ROM Toronto), Peter McNeil (UTS Sydney), Amalia Descalzo (ISEM Madrid), and Denis Bruna (MAD Paris) will be among the speakers of the conference.

Seats are limited to 160 (and only 50 for the excursion), so anyone planning to participate should register soon. Registration ends on 30 June 2018.

T H U R S D A Y ,  1 3  S E P T E M B E R  2 0 1 8

9:30  Morning Session
• Jenny Tiramani, Patterns of Fashion and Un-Fashion
• Beatrix Nutz, ‘Petites mameletes, … Dures comme pumete’: Shaping the Medieval Ideal of Beauty
• Amalia Descalzo Lorenzo, Spanish Artificial Undergarments in the Habsburg Period
• Johannes Pietsch, Establishing Identity: Stays and Bodices in Germany, 1600–1800

13.15 Lunch break

14:15  Afternoon Session
• Denis Bruna, Early 18th-Century Panniers in Contemporary Sources
• Sébastien Passot, From Garsault to the Encyclopedia: The Mechanical Construction of Hoops and Stays in 18th-Century French Literature
• Peter McNeil, ‘Conspicuous Waist’: From Macaroni Men to the ‘Despots of Fashion’, 1760–1830
• Thessy Schoenholzer Nichols, Bodice for an Active Life: It Does Not Have to Be ‘Hard to Hold’—Case Histories of Female Upper Dresses, from the Late Middle Ages to the 18th Century, in Italy

17:15  Guided tours

20:00  Evening event

F R I D A Y ,  1 4  S E P T E M B E R  2 0 1 8

9:00  Morning Session
• Adelheid Rasche, Crinolonomania and More: Caricatures on Hoop Petticoats
• Pernilla Rasmussen, Robe the Cour at the Swedish Court
• Luca Costigliolo, The Evolution of the Drafting Method of Patterns for Bodies, Stays, and Corsets

11:15  Lunch break and guided tours

15:15  Afternoon Session
• Kerstin Hopfensitz, From Heubach to the World: A Centre of German Corset Production
• Alexandra Palmer, The Origin of the Species: Christian Dior’s New Look Woman
• Valerie Steele, The Corset in Modern Fashion

On Saturday, 15 September, an additional excursion to the Miedermuseum will be offered; this small museum dedicated to corsetry is situated in Heubach, a former centre of the European corset industry.

From the conference website:

Collage, Montage, Assemblage: Collected and Composite Forms, 1700–Present
University of Edinburgh, 17–19 April 2018

Organized by Cole Collins and Freya Gowrley

T U E S D A Y ,  1 7  A P R I L  2 0 1 8

14.00  Registration and Coffee

14.15  Exhibiting Collage
In Conversation: FREYA GOWRLEY and PATRICK ELLIOT

15.00  Collage in the Museum and Archive
ALLAN MADDEN (The University of Edinburgh), Piecing Together the Narrative: Une semaine de bonté in the library, the archive and the gallery
BRIDGET MOYNIHAN (The University of Edinburgh), Scrappy Contexts: Archival and Digital Interventions on the Edwin Morgan Scrapbooks

15.45  Collage and Subjecthood
TOM DAY (The University of Edinburgh), Jeff Keen, Pop Film Collagist
COLE COLLINS (The University of Edinburgh), Collage as Feminist Strategy and Methodology

17.00  Wine Reception

W E D N E S D A Y ,  1 8  A P R I L  2 0 1 8

9.00  Registration and Coffee

9.35  Keynote
LUCY PELTZ (National Portrait Gallery, London), Facing the Text: An Introduction to Extra- Illustration in Britain from the Eighteenth to the Twentieth Century

10.40  Panel 1 | Publications
KAREN DI FRANCO (University of Reading and Tate Britain), The alchemical, the instruction, and the cut up: The performance of collage in the writing of Ithell Colquhoun, Carolee Scheemann, and Kathy Acker
HANNAH VINTER (Kings College London), Historical engagement as textual collage in Ursula Krechel’s Landgericht
ALISON HORGAN (University of Sheffield), ‘Gaudy colours’ and ‘disfigur’d shapes’: The patchwork and Thomas Percy’s Reliques of Ancient English Poetry (1765)
TOBIAS VOGT (Freie Universität, Berlin), Collage avant la lettre: Printed materials in drawings before 1900

10.40  Panel 2 | Bodies
LISA LEE (Emory University), Primal Gestures: Thomas Hirschhorn’s Ur-Collages
GRÁINNE RICE (The University of Edinburgh), ‘I can’t see the joins’: Collage and cut-up bodies in the work of Steven Campbell (1953–2007)
KATHERINE ISELIN (University of Missouri- Columbia), Erotic Aesthetics in Collage Inspired by Giulio Romano’s I Modi
KATIE ANANIA (Harvard University and Hunter College New York), Wheat Paste and Poor Taste: Carolee Schneemann’s Paper Performances, 1966–68

12.25  Lunch

13.25  Panel 3 | Materialities
CATRIONA MACLEOD (University of Pennsylvania), Writing with Scissors: Romantic Collage Poetics
LUCIE WHITMORE (University of Glasgow), Chic rag-and-tatter modes’: Remnant Fashions 1914–18
STEPHANIE KOSCAK (Wake Forest University), A Royal Tête-a-Tête: Decorating (and Decorating with) Engraved Pictures of Kings and Queens in Eighteenth-Century England
EKATERINA KOCHETKOVA (Lomonosov Moscow State University), Assemblage as Method of Garden-Making: The Case of Ian Hamilton Finlay

13.25  Panel 4 | Intimacies, Collaborations, and Emotions
BETHAN BIDE (Middlesex University), Stitching yourself back together: Finding memory, emotion, and creativity in the composite garments made under the ‘Make Do and Mend’ scheme in WW2 Britain
ROGER ROTHMAN (Bucknell University), Topographie Anecdotée du Hasard: A Multi-Authored Literary Collage
MAYA WASSELL SMITH (Cardiff University and National Maritime Museum), Cigarette Cards and the Sentimental: Sailor Collage in the Long Nineteenth Century
MADELEINE PELLING (University of York), ‘Your Affectionate Queen’: Queen Charlotte, Mary Delany, and the Art of Friendship

15.05  Coffee

15.35  Panel 5 | Legacies and Influences
FREYA GOWRLEY (Institute of Advanced Studies, Edinburgh), Reflective and Reflexive Forms: Intimacy and Medium Specificity in British and American Sentimental Albums, 1780–1850
IRENA KOSSOWSKA (Copernicus University in Torun and Polish Academy of Sciences in Warsaw), Modernist Synethesia and a Dialog with the Old Masters: Polish Photo-Collage and Photomontage of the 1930s
TALIA KWARTLER (The Museum of Modern Art, New York), Suzanne Duchamp’s Dada Collages, 1916–21
REBECA ACOSTA (Humboldt Universität, Berlin), ‘Composite Johnson’: Renderings of Samuel Johnson by John Hawkins and Vladimir Nabokov

15.35  Panel 6 | Technologies and Digitality
LUCY WHITEHEAD (Cardiff University), ‘Inlaid’ and ‘Intercalated’: Victorian Biography as Collage Form
BROOKE LEETON (University of Georgia), Meaning and/in Digital Collage
CRAIG BUCKLEY (Yale University), An Architecture of Clippings: Reyner Banham and the Redefinition of Collage
CAITLIN WOOLSEY (Yale University), Imaging Orality in the Sound and Visual Collages of Henri Chopin

17.30  Performance
FLORIAN KAPLICK, Kurt / ANNA \ Paul
A recital collage using texts from Kurt Schwitters and Paul Auster

18.30  Wine Reception

T H U R S D A Y ,  1 9  A P R I L  2 0 1 8

9.00  Registration and Coffee

9.15  Panel 7 | Identities
RACHEL MIDDLEMAN (California State University, Chico), Collage as a Feminist Strategy in the Work of Anita Steckel
SUSAN LAXTON (University of California, Riverside), Psicofotógrafa: Grete Stern and the Administration of the Unconscious
KATE SCHNEIDER (University of Cambridge), A Short History of Postwar Reconstruction via Humphrey Jennings’s Swiss Roll Collages
BEATRIZ MANTEIGAS (University of Lisbon), Collage on the Life and Work of R.B. Kitaj

9.15  Panel 8 | Intermedialities
PATRICIA ZAKRESKI (University of Exeter), A Patchwork Novel: Tessellation and Women’s Writing in the 1870s
FLORIAN KAPLICK (Musician and Speech Performance Artist), Composing collages with texts and collaging compositions with music
CHRISTINA MICHELON (University of Minnesota, Twin Cities), Printcraft: Reclaiming and Renaming Early Collage Practices
DAVID NELSON (University of Pennsylvania), City of Paper: The Materiality of Montage in Alfred Döblin’s Berlin Alexanderplatz

10.55  Coffee

11.25  Panel 9 | Ethnographies and Geographies
ORLA FITZPATRICK (National Museum of Ireland), From the medieval to the modern: Decoration, collage, and photography in the album work of Lady Louisa Tenison (1819–1882)
MOLLY DUGGINS (National Art School, Sydney), Crafting the Colonial Environment through Album Assemblage
JOANNA PAWLIK (University of Sussex), Collaging Surrealism in Ted Joans’ The Hipsters (1961)
DEBRA HANSON (Virginia Commonwealth University in Qatar), Interventions: Collage, Black Bodies, and a New History of Modernism

13.10  Lunch

14.15  Panel 10 | Display and Dissemination
COLE COLLINS (The University of Edinburgh), Loss of Texture: Displaying the Collages of Kurt Schwitters
ROCÍO ROBLES TARDÍO (Universidad Complutense de Madrid), Mies van der Rohe: Working with Collage, Thinking about Replicas, 1939–43
KAYLEE ALEXANDER (Duke University), Cut, Copy, Paste: A Truthful Picture of the Paris Catacombs

14.15  Panel 11 | Historiographies
JESSICA BARNESS and STEVEN MCCARTHY (Kent State University and University of Minnesota, Twin Cities), Coding and Decoding: Collage as Communication Design Scholarship
ZOE KINSLEY (Liverpool Hope University), Coherence and Customisation in the Scrapbooks of Dorothy Richardson (1748–1819)
MATTHEW BOWMAN (University of Suffolk), Collage as Model
SAMUEL BIBBY (Art History), ‘How to present your ideas effectively and make them stick’: Historiography as Collage

16.00  Keynote
ADRIAN SUDHALTER (Art Historian and Curator, New York), The Museum of Modern Art’s 1948 Collage Exhibition

17.00  Closing Remarks

Jan van Huchtenburg, La Bataille de Ramilies entre Français et Anglais le 23 mai 1706, 1706–33, 116 × 153 cm
(Amsterdam, Rijksmuseum)

◊  ◊  ◊  ◊  ◊

As noted at Groupe de Recherche en Histoire de l’Art Moderne (GRHAM). . .

Représenter le conflit et le désordre au XVIIIe siècle (1715–1799)
Institut national d’histoire de l’art (INHA), Paris, 13 April 2018

Cette journée d’étude est consacrée au thème du conflit au XVIIIe siècle, et plus particulièrement sur ses représentations, ses significations et les manières de le mettre en scène. La borne chronologique choisie inclut tous les supports visuels (gravure, peinture, sculpture, architecture) afin de voir comment, mises en synergie, les différentes formes d’art expriment, de façon plus ou moins évidente, la notion de conflit, de trouble et de désordre.

Comment figure-t-on le conflit ou l’idée de conflit au XVIIIe siècle ? Quelles sont les ruptures visuelles éventuelles avec le XVIIe siècle ? La Révolution française semble résumer le XVIIIe siècle or, pendant toute la première partie du règne, il existe des conflits religieux, militaires ainsi que des troubles liés à la politique intérieure. C’est aussi l’époque où l’aspect scientifique et les sciences naturelles font l’objet de nombreuses représentations. Ainsi, on s’aperçoit que la nature et ce qui l’environne, peut faire écho à l’idée de désordre (peinture de paysage, grandes fêtes révolutionnaires…). Il serait donc intéressant de mettre en valeur l’aspect technique : existe-t-il une technique propre à la représentation du conflit ? Quels liens entre technique et expression picturale pouvons-nous établir dans ces représentations de conflits ? Enfin, au-delà d’un désordre dans l’espace public, il serait également intéressant de traiter l’aspect conflictuel au sein de l’espace privé, dont l’intimité des familles entre en résonance avec l’essor de la bourgeoisie au XVIIIe siècle.

Comité organisateur: Lucille Calderini (Paris 1/INHA), Bastien Coulon (Paris 1) et Charlot te Rousset (Lille 3).

P R O G R A M M E

9.45  Accueil des participants

10.00  Introduction, Etienne Jollet et Lucille Calderini

10.30  Conflit et Animalité
• Loreline Pelletier (Doctorante, Université Lille 3), Comme chien et chat: Représenter le conflit animal dans la peinture du XVIIIe siècle
• Lydia Vazquez (Professeure, Université du Pays Basque, UPV/EHU) et Juan Manuel Ibeas Altamira (Professeur Adjoint, Université du Pays Basque, UPV/EHU), Le monde à l’envers chez Goya: Pouvoir féminin, puissance animale
• Chloé Perrot (Doctorante, Université Paris 1 Panthéon-Sorbonne), Fouler le joug rompu, représenter des actes d’insurrection dans l’Iconologie par figures (v. 1795)

12.15  Discussion et déjeuner

14.30  Conflit et Royauté
• Clara Auger (Doctorante, Université Rennes 2), Portraits et représentations allégoriques de Philippe V d’Espagne: Une interprétation française du triomphe royal ?
• Charlotte Rousset (Doctorante, Université Lille 3), Les victoires militaires de Louis XV dans ses médailles: Justifier la guerre au nom de la paix

15.30  Pause

15.45  Conflit et Politique
• Camilla Murgia (Professeure, EPSU et Université de Genève), Représenter la guerre, fabriquer la paix: Les éventails de la période révolutionnaire et du Directoire
• Bastien Coulon (Doctorant, Université Paris 1 Panthéon-Sorbonne), Le désordre et la paix: La peinture d’histoire en France à l’épreuve du Traité de Paris (1763)

16.45  Discussions et conclusion de la journée

From the conference website:

Fashioning the Early Modern Courtier, 1550–1750
St John’s College Cambridge, 16 May 2018

This one-day conference will explore the ways in which clothing contributed to the gendered (self)fashioning of the courtier in early modern Europe (ca. 1550–1750), examining both its symbolic significance and its action on and interaction with the body.

Recent historical research has emphasised how early modern courts were crucial sites for the elaboration and diffusion of specific corporeal models aspiring to shape the ideal man and woman. Fashion, then as now, provides a very material setting that has the power to promote specific patterns of thought and action.

Our speakers will explore how male and female courtiers skilfully constructed their identity and negotiated their social status through sartorial trends and beautification techniques. Rooted within a broader culture of corporeal interpretation, fashion represented an effective way of asserting political allegiance and even expressing criticism ad hominem. Sovereigns could assert their power by clothing the royal entourage and enforcing vestiary policies. Courtiers in turn could play a role in shaping the image and body of the monarch through gift-giving.

Embracing a corporealist perspective, we endeavour to integrate a semiotic reading of dress with accounts of its fundamentally embodied nature, both in its creation and in its wearing. Symbolic sartorial practices engaged directly with the material body, re-shaping and de-forming the silhouette. Clothes and accessories could provide support and protection, whilst sometimes constituting a hindrance to even the simplest of movements.

We will also investigate the diffusion of new fashions, materials, and techniques. Circulation patterns within the court will be analysed alongside interactions with the city and mutual influences between international centres of power. We will reconstruct the complex network of tailors, craftsmen and merchants which orbited around the court, moving across all social classes and providing a key point of connection between aristocratic courtiers and urban bourgeoisie. We will also consider alternative dissemination mediums such as portraits, early examples of single-leaf broadsheets and bound books displaying fashion plates.

Gathering an international group of speakers including fashion curators, makers, and academics from a variety of fields, the aim of our conference is to challenge traditional top-down models of fashion circulation as well as provide a more nuanced and complete narrative bringing into play all the different actors involved. We also seek to demonstrate how a study of the clothed body provides a privileged gateway into the world of court politics and a unique opportunity to access the courtiers’ embodied experiences.

Registration details are available here»

P R O G R A M M E

9:15  Registration

9:45  Welcome Address

10:00  Panel 1
• Mark De Vitis (University of Sydney), The Fashioned Body as Materialised Critique at the Court of Louis XIV
• Jemma Field (Brunel University London), Between Scotland and England: The Journey of Elite Female Fashion in 1603
•  Catherine Stearn (Eastern Kentucky University), She-Wolves in Queen’s Clothing: Exploring the Relationship between Dress, Female Courtiers and Monarchical Authority at the Court of Elizabeth I

11:15  Coffee and tea

11:30  Panel 2A
• Natasha Awais-Dean (King’s College London), Three Houres a Buttoning: Embellishing Male Dress in Early Modern England
• Sarah Crowe (Goethe University & Staedel School, Frankfurt), The Semiology of the Ruff in the Early Dutch Golden Age to 1648
• Jane Partner (University of Cambridge), Reading the Early Modern Body: The Case Study of Textual Jewellery

11:30  Panel 2B
• Lacy Gillette (Florida State University), Cataloguing the Character of Couture: An Examination of Jost Amman’s Sixteenth-Century Printed Costumes
• Abigail Gomulkiewicz (University of Cambridge), From Subject to Monarch: Male Gift-Giving at the Court of Elizabeth I
• Juliet Claxton (King’s College London), ‘His Wife Was the Rich China-Woman That the Courtiers Visited So Often’: The Role of the Merchant at the Stuart Court

12:45  Lunch

13:30  Keynote Address
• Evelyn Welch (King’s College London)

14:45  Panel 3A
• Rebecca Morrison (QMUL and the V&A), The Diplomacy of the Dress Fitting: Exploring Relationships between the Mantua-Maker and Client in the Construction of Eighteenth-Century Court Dress
• Astrid Castres (École nationale des chartes, Paris), Producing Garments for the Court: Innovations and Technical Transfers in Parisian Fashion Workshops during the Sixteenth Century
• Moïra Dato (European University Institute, Florence), The Lyonnais Silks as Objects of Conspicuous Consumption in Eighteenth-Century French Court

14:45  Panel 3B
• Beth Walsh (University of East Anglia), The Late Stuarts and Their Political Cravats
• Isabella Rosner (University of Cambridge), ‘Grave Hogen Mogen, High and Mighty Frogs!’: The Mysteries of Seventeenth-Century Frog Pouch Fashion
• Kimberley Foy (Durham University), Points of Connection: Lace, Internationalism, and Political Authority in England, 1565–1625

16:00  Coffee and tea

16:15  Panel 4
• Marc W. S. Jaffré (University of St Andrews), Adorned with Stones of Inestimable Size and Value’: Tailors, Taste and Fashion at the Court of Louis XIII, 1610–1643
• Lindsay Dupertuis (University of Maryland), Dressed for Battle: Military Costume and Aristocratic Fashion in Sixteenth-Century Italy

17:15  Keynote Address
• Maria Hayward (University of Southampton)

18:00  Closing Remarks

18:15  Wine Reception