Enfilade

Johan Cornelius Krieger, Ledreborg Castle, Denmark (about 30 miles west of Copenhagen). Most of the house was constructed in the 1740s.

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From ENCOUNTER:

Servants, Labourers, and the Manorial World: Alternative Perspectives

9th ENCOUNTER Conference

Ledreborg Castle, Denmark, 9–11 October 2025

The European Network for Country House and Estate Research (ENCOUNTER) is pleased to host its ninth conference, organized in collaboration with The Danish Research Centre for Manorial Studies and Gammel Estrup, The Danish Manor Museum.

The manor or country house is often viewed exclusively as a stage for the economic and political elite of the past, a setting for splendour, luxury, and self-presentation. However, the world of the manor also included a well-defined hierarchy consisting of landowning families, tenant farmers, servants, craftsmen and labourers, all negotiating the dynamics of power. Ideally, the manor operated as a paternalistic institution built on mutual obligations: masters provided care and protection and subordinates offered work, loyalty and obedience. This relationship was both a practical arrangement and an ideological framework, a power dynamic and a manifestation of social inequality.

These historical structures could however be a source of both resistance and conflict as well as support and benevolence. On a larger scale, country houses became both targets and symbols during major confrontations, from peasant revolts to revolutions and civil wars. On a smaller scale, historical court records reveal conflicts involving servants and owners or the owners’ representatives. Conversely, the manor provided the social framework for many people’s lives, offering employment, housing, and protection. Country house owners offered patronage and sought to cultivate the religious and moral development of their staff and communities. Loyal service was rewarded with promotions and comfortable living conditions. Manors funded churches, schools, alms-houses, and gave donations. However, the nineteenth century brought dramatic social changes, as industrialisation drew labor and wealth into the urban centres. To what extent were these changes driven by further political developments and societal reforms? Was social change in a rural context a one-way phenomenon dictated by landowners?

This ENCOUNTER conference will explore these dynamics, primarily focusing on a bottom-up perspective, highlighting the master-servant relationship in its full paternalistic scope, and addressing household, villages, rural communities, etc. This includes shedding light on the conditions and material realities for servants and workers, as well as the organisational structures. And to explore conflicts/resistance and limits within the relationship, as well as changes in the nature and conditions of the relationship over time.

ENCOUNTER was founded in Denmark in 2015 and has since provided a framework for interaction between scholars and cultural institutions in Europe sharing a professional interest in the research and interpretation of manor and country house history. The conference thus also marks the network’s 10th anniversary.

Abstracts for each paper are available here»

t h u r s d a y ,  9  o c t o b e r

8.40  Bus departure from Scandic Roskilde

8.55  Bus departure from Roskilde Station

9.15  Arrival Ledreborg Estate

10.00  Welcome — Kasper Steenfeldt Tipsmark (Gammel Estrup The Danish Manor & Estate Museum) and Signe Boeskov (The Danish Research Centre for Manorial Studies)

10.15  Keynote
• Aristocratic Servants in 17th-Century Sweden: Gender, Recruitment, and Career — Svante Norrhem (Lund University)

10.55  Session 1 | Servants
Chair: Kasper Steenfeldt Tipsmark
• Servants’ Property and Material Culture on Swedish Manors, 1770–1870 — Göran Ulväng (Uppsala University)
• The Organisation of the Household: The Role of High-Ranking Servants at 19th-Century Danish Manors — Signe Boeskov and Søren Broberg Knudsen (The Danish Research Centre for Manorial Studies)
• Behind the Scenes of the Manor — Aina Aske (Vestfoldmuseene IKS) and Lars Jacob Hvinden-Haug (Norwegian Institute for Cultural Heritage Research, NIKU)
• Hidden Doors and Secret Passages: Telling the Story of Servants in Eidsvoll House — Solveig Therese Dahl (Eidsvoll 1814, The Norsk Folkemuseum foundation)

13.00  Lunch

14.10  Guided tour Ledreborg

15.25  Session 2 | Labour and Estate Community
Chair: Paul Zalewski (European University of Viadrina)
• The Transition from Serfdom to the Industrial Worker in the Vodka Distillery of the Estonian Manor during the 19th Century — Mirje Tammaru (Estonian Academy of Arts)
• Arm Wrestling: Agency and Negotiations between Tenant Farmers and the Big House: An Alternative Perspective from Four 18th-Century Estates in the Netherlands — Gerrit van Oosterom, (independent researcher)
• Labourers on the Estate—Esbogård, 1770–1920 — Tryggve Gestrin (Espoo City Museum)
• Work, Family, Security: The Relationships and Life Strategies within the Håkansböle Manor Community — Eeva Kotioja (Vantaa City Museum)

17.30  Discussion and break

18.45  Dinner at Restaurant Herthadalen

f r i d a y ,  1 0  o c t o b e r

8.10  Bus departure from Scandic Roskilde

8.25  Bus departure from Roskilde Station

8.45  Arrival Ledreborg Estate

9.30  Early Career Keynote
• Early Modern Estates as Communities of ‘Care’: Medical Practice across the Social Hierarchy in Rural England, 1650–1750 — Emma Marshall (University of Birmingham and University of York)

10.10  Session 3 | Care and Crisis
Chair: Hanneke Ronnes (University of Groningen)
• A Manorial World in Miniature? The Hospital of Laurvig County in the 18th Century — Arne Bugge Amundsen (University of Oslo)
• The State, the Subjects, and the Lord: Conflicts at Ängsö Manor, 1690–1710 — Joakim Scherp (Stockholm University and The Riksdag Library)
• Caring Beyond the Grave? The Estate of Denis Roest van Alkemade (1720–1791) — Thijs Boers (Amsterdam Museum and University of Amsterdam)

12.15  Lunch

13.35  Bus departure for Gisselfeld

14.30  Guided tour of Gisselfeld

16.45  Departure for Vallø

17.20  Guided tour of Vallø

19.00  Dinner at Vallø Slotskro

s a t u r d a y ,  1 1  o c t o b e r

8.10  Bus departure from Scandic Roskilde

8.25  Bus departure from Roskilde Station

9.30  Guided tour of Gjorslev

11.15  Departure for Gavnø

12.35  Lunch at Café Tulipanen / Guided tour of Gavnø

14.45  Bus departure

16.15  Arrival Scandic Roskilde

16.30  Arrival Roskilde Banegård

From the Meissen Porcelain Museum:

1st Meissen Symposium: Höroldt’s Legacy

Meissen Porzellan-Stiftung, Meißen, 7–9 November 2025

The Meissen Porcelain Foundation is hosting the Meissen Symposium, part of what is envisioned as a regular series of symposia aimed at facilitating exchanges on ceramic history at the birthplace of European porcelain. The subject of this year’s symposium is Höroldt’s Legacy, with an emphasis on ceramic pigments, their historical and contemporary development, and their use within the Meissen Manufactory and beyond. The occasion for this year’s symposium is the 250th anniversary of the deaths in 1775 of Meissen’s two towering figures, Johann Gregorius Höroldt (1696–1775) and Johann Joachim Kaendler (1706–1775).

Höroldt’s arrival in Meissen in 1720 signaled a breakthrough in porcelain painting. Höroldt was an innovative artist with a natural and intuitive understanding of pigment chemistry without any formal training. He developed the proper technology for the enameling of porcelain using metal-oxide-based pigments at high temperatures. Today, his initial set of 16 enamel colors has grown to around 10,000.

Augustus the Strong’s initial objective was the making of blue-and-white porcelain, similar to that of the Chinese. With Höroldt’s arrival the success story of overglaze polychrome painting began. Inspired initially by East Asian decors it was expanded to include European flower painting, the classic harbor scenes, hunting scenes, and scenes after Watteau, Ridinger and others. In the 19th century it was expanded to royal blue ground, to include platinum, pâte-sur-pâte, and Limoges painting. Experiments with tinted porcelain paste can be traced to the 18th century. Exploring the miscibility of colorants was intensely investigated as documented by the hundreds of surviving, meticulously documented and archived color samples in the Meissen Manufactory Museum. In-glaze painting, and the invention of soluble and high-temperature resistant colorants that could be used underglaze were significant additional technological developments. Advances in scientific analysis are expected to provide new insights.

f r i d a y ,  7  n o v e m b e r

10.00  Morning Session
1  Frank Löchelt, Meissen — Color Laboratory / Farblabor der Manufaktur
2  Nicholas Zumbulyadis, USA — Influencing the Influencer: Thoughts about the Origins of Höroldt’s Technological Advances / Wer beeinflusste Höroldt: Gedanken zu den Ursprüngen von Höroldts technologischen Fortschritten
3  Ullrich Knüpfer — Insights into the Technological Basics of Polychrome Porcelain Decoration / Technologische Grundlagen der farbigen Porzellan-Dekoration
4  Annett Lorenz, Meissen — Porcelain Painter: Aspects of Figure Painting / Porzellanmaler: Aspekte der Figurenmalerei
5  Maureen Cassidy-Geiger, USA — Glazed Canvases: New Approaches to the Study of (Miniature) Painting on Meissen Porcelain / Neue Ansätze zur Erforschung der (Miniatur-)Malerei auf Meissener Porzellan
6  Holger Schill, Meissen — Head of Bundling and Finishing: A Practical Report on Customer Requests, Color Palettes, and New Decors / Leiter Bund- und Endfertigung: Ein Praxisbericht über Kundenwünsche, Farbpalletten und neue Dekore

1.30  Lunch

3.00  Afternoon Session
7  Sebastian Bank, SKD — Frankenthal Colors: From Meissen to the Palatinate / Die Entwicklung der Frankenthaler Farben aus kunsthistorischer Sicht
8  Uwe Marschner, Meissen — About Pate-sure-pate Painting / Leiter Modellherstellung und Formenarchiv: Zur Pate-sure-pate Malerei
9  Lena Hensel, Meissen — Meissen Today / Leiterin Produktentwicklung: Meissen heute

s a t u r d a y ,  8  n o v e m b e r

9.30 Welcome

10.00  Morning Session
1  Susanne Bochmann, Meissen — Porzellan-Stiftung Color Samples and Patterns in the Collections of the Meissen Porcelain Foundation / Farbproben und Farbmuster in der Sammlung der Meissen Porzellan-Stiftung
2  Jens Petzold, KI-Institut Meißen — The Influence of Firing on Ceramic Colors / Einfluss der Brandführung auf keramische Farben
3  Lena Kaapke, Künstlerin — Inquiring the Red: A Visually and Sensually Organized, Tactile Archive of Various Red Ceramic Surfaces / Befragungen an das Rot: ein visuell und sinnlich geordnetes, haptisches Archiv verschiedener keramisch roter Oberflächen
4  Zhong Zhenhua, Deputy Dean of the School of International Exchange and Education and the Deputy Director of the Ceramic Culture Exchange and Research Center at Jingdezhen College — Johann Gregorius Höroldt and Jingdezhen Porcelain: The Historical and Aesthetic Connections between Höroldt’s Chinoiserie and Jingdezhen’s Ceramic Heritage / Johann Gregorius Höroldt und Jingdezhen-Porzellan: Die historischen und ästhetischen Verbindungen zwischen Höroldts Chinoiserie und dem keramischen Erbe von Jingdezhen
5  Vanessa Sigalas, Wadsworth Atheneum, USA — Where Are All the White Figures? Later Decorated Meissen Porcelain / Wo sind all die weißen Figuren? Später dekoriertes Meissener Porzellan
6  Valérie Montens, Curator of European Ceramics and Glass Collections, Royal Museums of Art and History, Brussels; and Sofia Cruz Oulhaj, student in conservation and restoration of ceramic and glass, ENSAV La Cambre, Brussels — From Restoration to Attribution: Scientific and Stylistic Reassessment of a Meissen Huntress Figurine / Von der Restaurierung zur Zuschreibung: Wissenschaftliche und stilistische Neubewertung einer Meissener Jägerinnenfigur

1.00  Lunch

2.30  Afternoon Session
7  Bernd Ullrich — Initial Analytical Material Investigations on Historical Products from the Meissen Porcelain Manufactory Using X-ray Fluorescence, Scanning Electron Microscopy, and Electron Beam Microprobe Technology in the 1980s at the TU Bergakademie Freiberg / Erste analytische Werkstoffuntersuchungen an historischen Erzeugnissen der Porzellanmanufaktur Meissen mittels Röntgenfloureszenz, Rasterelektronenmikroskopie und Elektronenstrahlmikrosondentechnik in den 1980er Jahren an der TU Bergakademie Freiberg
8  Philippe Colomban, Sorbonne University — How to Extract the Maximum Information on Enamels in a Non-invasive Way with Mobile Instrumentation (Raman + pXRF), Explaining which Results Can Be Reliable and What the Difficulties Are, with the Example of This France/Italy/Germany/China Comparison / Wie man mit mobilen Messgeräten (Raman + pXRF) auf nicht-invasive Weise möglichst viele Informationen über Glasur gewinnt, wobei anhand des Vergleichs zwischen Frankreich, Italien, Deutschland und China erläutert wird, welche Ergebnisse zuverlässig sind und wo die Schwierigkeiten liegen
9  Christian Lechelt, Fürstenberg — For Some Years Now, the Museum Schloss Fürstenberg and the Freundeskreis Fürstenberger Porzellan e. V. Have Collaborated with Cranfield University and Leiden University on a Project Aimed at Gaining New Insights into 18th-Century Fürstenberg Porcelain Production Using X-ray Fluorescence Analysis / Seit einigen Jahren verfolgen das Museum Schloss Fürstenberg und der Freundeskreis Fürstenberger Porzellan e. V. zusammen mit den Universitäten in Cranfield (UK) und Leiden (NL) ein Projekt, um mittels Roentgenfluoreszenzanalyse zu neuen Erkenntnissen über die Fürstenberger Porzellanproduktion des 18. Jahrhunderts zu gelangen

4.15  Panel Discussion / Podiumsdiskussion

From ArtHist.net and the conference programme:

Académies, écoles et ateliers privés :

Conditions pratiques du dessin dans l’enseignement artistique au XVIIIe siècle

École des Beaux-Arts de Paris, 16 October 2025

Dans le cadre de l’ANR FabLight, et en partenariat avec l’École des Beaux-Arts de Paris, Marlen Schneider (Université Grenoble Alpes/LARHRA) organise une journée d’étude intitulée Académies, écoles et ateliers privés : Conditions pratiques du dessin dans l’enseignement artistique au XVIIIe siècle.

Au cœur de la formation artistique au XVIIIe siècle, le dessin constitue une base fondamentale pour comprendre l’évolution de la peinture et de la sculpture, mais aussi d’autres formes d’art et d’artisanat. Des études récentes se sont intéressées à la diffusion des modèles au sein des réseaux des académies d’art et écoles de dessin, en France et en Europe, à la circulation des pratiques et à la constitution de collections pédagogiques servant de support à l’enseignement du dessin. La journée d’étude entend approfondir la question des conditions matérielles et de l’organisation pratique du dessin, dans une perspective comparatiste internationale et selon une approche attentive aux différents lieux de la formation artistique. Comment furent aménagés les espaces destinés au dessin, quel mobilier et quels outils étaient nécessaires à l’apprentissage ? Quels étaient leurs coûts et qui les finançait ? Que sait-on des pratiques d’éclairage, des horaires et du déroulement des séances de pose ? Pouvons-nous constater des différences entre l’enseignement académique et celui des ateliers privés ou des écoles de dessin ? Quelles furent les conséquences des conditions de travail sur la réalisation des dessins — par exemple l’emploi du clair-obscur, le choix des matériaux ou des compositions ? La journée sera consacrée à ces questions selon une perspective européenne, et à une période qui a vu naître un nombre considérable d’académies d’art et d’écoles de dessin, tout en étant marquée par des innovations technologiques importantes, notamment en termes d’éclairage.

Organisée en partenariat entre les Beaux-Arts de Paris et le projet ANR FabLight, la journée d’étude vise à faire dialoguer les recherches récentes en Histoire de l’art sur la pratique du dessin, croisant les études visuelles et matérielles avec les humanités numériques, afin d’évaluer l’apport de ces dernières pour une meilleure compréhension des conditions de travail des artistes.

Cette journée aura lieu à l’École des Beaux-Arts de Paris, 14 rue Bonaparte, le 16 octobre 2025. Les séances de l’après-midi sont ouvertes au public, sans inscription mais dans la limite des places disponibles.

p r o g r a m m e

Matinée réservée aux intervenants (visite et présentation de dessins)

14.00  Introduction — Alice Thomine-Berrada et Hélène Gasnault (Beaux-Arts de Paris), Marlen Schneider (UGA/LARHRA)

14.15  Papiers, crayons, bougies et autres fournitures utiles à l’apprentissage : les supports pédagogiques dans les écoles de dessin provinciales — Anne Perrin-Khelissa (Université Toulouse – Jean Jaurès / FRAMESPA) et Émilie Roffidal (CNRS/FRAMESPA)

15.00  Local Academy, Global Ambition: The Garemijn Booklets and Life Drawing in Bruges, c. 1770 — Thijs Dekeukeleire (Musea Brugge)

15.45  Pause

16.00  On the Conditions in Life Rooms, Their Impact, and the Agency of Drawn Academic Nudes — Susanne Müller-Bechtel (Universität Würzburg)

16.45  Lighting and Learning: Sir John Soane, Turner, and the Early 19th-Century Royal Academy of Arts, London — Rebecca Lyons (Pitzhanger Manor & Gallery, London)

17.30  Une Académie en 3D : table ronde avec des membres du projet Fablight autour d’une reconstitution numérique d’une salle de dessin académique

18.30  Conclusion

Poster Image: Martin Ferdinand Quadal, The Drawing Room of the Vienna Academy in the St. Anne Building, detail, 1787, 56 × 81 inches (Vienna: Gemäldegalerie der Akademie der bildenden Künste).

From ArtHist.net:

Lost Cities in a Global Perspective:

Sources, Experience, and Imagery, 15th–18th Centuries

University of Campania ‘Luigi Vanvitelli’, Caserta, 16–17 October 2025

Organized by Giulia Ceriani Sebregondi, Francesca Mattei, and Danila Jacazzi

In conjunction with the Research Project “The Vesuvian Lost Cities before the ‘Discovery’: Sources, Experience, and Imagery in Early Modern Period” (VeLoCi)

Many cities, all over the world, have disappeared over the centuries, abandoned—but perhaps never forgotten—destroyed by natural disasters or buried under new urban layers, re-emerging for different reasons. Fascinating historians, explorers, archaeologists, architects, and artists, the ‘lost cities’—both literally and metaphorically—have continued to exist in literary sources, descriptions, chronicles, and sometimes in iconographic representations. Starting from the case study of the Vesuvian cities, this international conference will investigate in an interdisciplinary and comparative way the material and imaginary dimensions assumed by the lost cities in a global perspective, before the birth of archaeology as a science in the 18th and 19th centuries.

The full program is available here»

t h u r s d a y ,  1 6  o c t o b e r

10.00  Welcome

10.30  Session One | Textual Sources for the Reconstruction of Lost Cities
Chair: Giulia Ceriani Sebregondi (Università degli Studi della Campania ‘Luigi Vanvitelli’)
• Il territorio di Pompei in età moderna — Danila Jacazzi (Università degli Studi della Campania ‘Luigi Vanvitelli’)
• In Search of the Lost Palace: The First Attempts at an Ideal Reconstruction of Diocletian’s Palace in Split — Josip Belamarić (Institute of Art History in Split; Department of Art History, University of Split)
• Pirro Ligorio e le città vesuviane — Francesca Mattei (Università degli Studi Roma Tre)

11.30  Coffee Break

12.00  Session One, continued
• Views of Palmyra in the 17th and 18th Centuries — Gregorio Astengo (IE School of Architecture and Design, Madrid/Segovia)
• Il mito etrusco nelle narrazioni dell’origine delle città campane scomparse — Concetta Lenza (Università degli Studi della Campania ‘Luigi Vanvitelli’)

13.10  Light Lunch

14.10  Session Two | Lost Cities between Antiquarian Research and Material Exploration
Chair: Francesca Mattei (Università degli Studi Roma Tre)
• ‘Certi belli sassi et prede piccade antiquissime’: il Lapidarium quattrocentesco di Brescia — Alessandro Brodini (Università degli Studi di Firenze)
• When Were the Vesuvian Lost Cities Discovered? Traces and Evidence about Ancient Stabiae in the Early Modern Period — Giulia Ceriani Sebregondi (Università degli Studi della Campania ‘Luigi Vanvitelli’)
• La rocca Paolina di Perugia: una città sepolta che ha custodito la memoria della città medievale — Paolo Belardi (Università degli Studi di Perugia), Francesca Funis (Università degli Studi di Perugia)

15.10  Tea Break

15.40  Session Two, continued
• Beneath Resina: Traces of Herculaneum before the Excavations — Giorgia Pietropaolo (Università degli Studi della Campania ‘Luigi Vanvitelli’)
• Il luogo del convento francescano di San Gabriel a Cholula (Messico) — Daniel Fernando Macìas Parra (Università Iuav di Venezia)
• Da Corpus Civitatis a casale collinare: Distruzioni e rifondazioni della Città Nova dell’Annunziata di Massa Lubrense — Giuseppe Pignatelli Spinazzola (Università degli Studi della Campania ‘Luigi Vanvitelli’)

f r i d a y ,  1 7  o c t o b e r

9.30  Session Three | Visual Culture and Cartography, Travel, and Exploration Reports
Chair: Alessandro Brodini (Università degli Studi di Firenze)
• The City of Soltaniyeh in Northern Iran — Lorenzo Vigotti (Alma Mater Studiorum, Università di Bologna)
• Percorrendo le città vesuviane di XV e XVI secolo tra narrazione e osservazione dell’antico — Giorgia Aureli (Università degli Studi Roma Tre)
• Phantom Cities of the Living Library: The Early Modern Imagining of Amazonian Urbanscapes — Juan Carlos Mantilla (King’s College London)

10.30  Coffee Break

11.00  Session Three, continued
• La presenza delle città sepolte nella produzione vedutistica cinque e seicentesca — Milena Viceconte (Universitat de Lleida)
• La morte o la sopravvivenza della città antica per eccellenza: Atene osservata da Cornelio Magni (1674), viaggiatore parmigiano nel mondo ottomano — Alper Metin (I Tatti, The Harvard University Center for Italian Renaissance Studies)
• La riscoperta delle città perdute in Abruzzo nel periodo del Grand Tour — Diletta Haberl (Università degli Studi dell’Aquila)
• La ‘riscoperta’ della città maya di Palenque: vedute e interpretazioni tra il XVIII e XIX secolo — Arianna Campiani (Sapienza Università di Roma)

12.50  Light Lunch

13.50  Session Four | Myth, Imaginary, and Cultural Memory
Chair: Milena Viceconte (Universitat de Lleida)
• Frammenti di Roma perduta: l’immagine della Domus Aurea nella prima età moderna — Federica Causarano (Università degli Studi Roma Tre)
• Hochelaga’s Transatlantic Afterlife, 1535–1678 (Canada) — Lorenzo Gatta (I Tatti, The Harvard University Center for Italian Renaissance Studies)
• Gladiators in Altera Roma: Tenochtitlan in the European Imagination (Mexico) — Delia Cosentino (DePaul University, Chicago)

14.50  Tea Break

15.20  Session Four, continued
• L’oro, le conchiglie, l’assenza: identità e memoria della Taranto ‘perduta’ negli appunti di viaggiatori europei ed eruditi tra Settecento e Ottocento — Stefania Castellana (Università del Salento)
• Costantinopoli ‘seconda Pompei’: il mito della città sepolta dai Patria Costantinopolitana alla letteratura odeporica di epoca moderna — Maria Carolina Campone (Scuola Militare ‘Nunziatella’ di Napoli)
• The Lost City of Oyo-Ile in Yoruba Cultural Memory and Identity — Adekunle Adeyemo (Redeemer’s University, Ede, Nigeria)

16.50  Closing Roundtable — Giulia Ceriani Sebregondi, Francesca Mattei, Danila Jacazzi

From ArtHist.net:

Bertoli (1677–1743): Zeichnerische Eleganz in den Diensten des Kaiserhofes

Italian Embassy, Vienna, 25 September 2025

Organized by Rudi Risatti

Registration due by 19 September 2025

Ab 1707 ‘Dissegnatore di camera’ (Kammerzeichner) seiner Majestät Kaiser Karls VI., jahrzehntelang Kostümbildner des Hoftheaters, früh Zeichenlehrer der jungen Erzherzogin Maria Theresia und ab 1731 sogar Galerie- und Kunstkammerinspektor des Hofes … Antonio Daniele Bertoli, geboren in San Daniele del Friuli und in Venedig künstlerisch ausgebildet, war ein Mann mit weitreichenden Ansichten. Ein Gemälde von Martin van Meytens zeigt ihn während eines Aufenthalts in Rom in Begleitung seines Windhundes Pattatocco, der damals vielleicht ebenso berühmt war wie sein Herrchen. Ziel dieser internationalen Konferenz ist es, die Persönlichkeit Bertolis in ihren verschiedenen Facetten wiederzuentdecken. Dabei soll der Schwerpunkt auf seinem grafischen Werk liegen, das über Sammlungen in aller Welt verstreut ist und zu lange unbeachtet blieb. Ein Großteil seiner exquisiten Zeichnungen, etwa rund 280 Kostümfigurinen von beispielloser Eleganz, werden im Theatermuseum in Wien verwahrt und stehen im Mittelpunkt der Tagung. Die Konferenz ist öffentlich, Anmeldung bis zum 19.9.2025 an vienna.eventi@esteri.it.

Kuratiert von Rudi Risatti, Theatermuseum Wien. Eine Kooperation zwischen dem Theatermuseum und der italienischen Botschaft in Wien.

p r o g r a m m

9.15  Eröffnung der Tagung — S.E. Giovanni Pugliese (Ambasciatore d’Italia in Austria) und Franz Pichorner (Direktor des Theatermuseums)

9.30.  Einführung
Rudi Risatti (Wien, Theatermuseum) — Die Eleganz zeichnen: Bertolis Kostümentwürfe im Theatermuseum

9.50  Artist Statement
Monika von Zallinger (Wien) — Bertolis Kostümkunst: Apotheose des Floralen

10.00  Enrico Lucchese (Trieste/Napoli) — I disegni di Daniele Antonio Bertoli a Dresda

10.30  Kaffeepause

11.00  Andrea Sommer-Mathis (Wien) — Bertoli und der kaiserliche Kostümfundus

11.30  Jean-Philippe Huys — Bertoli, disegnatore cortigiano: Grafica e fortuna critica

12.30  Caterina Pagnini (Firenze) — La danza teatrale sulle scene del Settecento

1.00  Pause

14.00  Çiğdem Özel (Wien) — Bertoli als kaiserlicher Gallerie- und Kunst-Cammer Inspector, 1731–1743

14.30  Nadja Pohn (Theatermuseum), Martina Griesser, Nikoletta Sárfi, Katharina Uhlir (Kunsthistorisches Museum, Naturwissenschaftliches Labor) — Bertoli’s Drawing Art: Scientific Investigations with a Focus on Photographic and Other Non-Destructive Techniques

15.00  Paolo Pastres (Udine) — Le Antichità di Aquileja: Un’allegoria di Carlo VI protettore delle arti

15.30  Kaffeepause

16.00  Alexander McCargar (Vienna/Boston) — From Scottish Kings to Chinese Emperors: On Bertoli’s Exoticism

16.30  Juergen Hagler, Nils Gallist, Kurt Korbatits (FH Oberösterreich) — Bertoli Goes Digital: New Horizons

From ArtHist.net:

The Business of Art, au féminin:

Women’s Enterprise in the French Art Economy, Late 1600s to 1945

Institut National d’Histoire de l’Art (INHA), Paris, 26–27 September 2025

Bringing together the history of art, the history of women, and economic history, this colloquium investigates women’s role in the financing of artistic production and development in France (painting, sculpture, architecture, decorative arts, engraving, photography, etc.). Embracing an extended time frame, we intend to interrogate both continuities and transformations in their roles across a significant period, starting from the policies and practices of artistic patronage initiated by Louis XIV up to the particular circumstances of the Occupation. Across this longue durée, women are approached as agents making and moving the money required for artistic invention and production (their own as well as others’) and as integral actors in the operation of art markets, within the bounds imposed by their marital and legal status.

The colloquium focuses particularly on strategies of adapting, circumventing, and assertion deployed by French women or women working in France to negotiate masculine circuits of capital(ists)—strategies that may have gone beyond a mere male/female coexistence to include collaboration, emulation, competition, and conflict. Determined by their access to education, knowledge, and economic information, this positioning emerges clearly in discussions about the financial and legal subordination of women, whether single, married, or widowed. We study their ability to assemble capital, invest in their own names or via proxies, operate shops, form enterprises, and organize companies. We will also interrogate the limits of their range of action and empowerment, and inquire into the possible existence of economic practices specific to women in the arts.

f r i d a y ,  2 6  s e p t e m b e r

9.45  Welcome

10.00  Introduction

10.15  Session 1 | Patrons and Philanthropists of the Arts
Moderator: Élodie Vaudry (maîtresse de conférences, Sorbonne Université)
• Aux origines du Comité des Dames de l’UCAD : des femmes actrices de l’économie des arts décoratifs — Coline Dupuis (PhD candidate, UVSQ-Paris Saclay)
• L’art comme instrument d’ascension socio-économique. Le cas Nélie Jacquemart (1841–1912) — Claire Dupin de Beyssat (post-doctoral researcher, École des chartes et Centre national des arts plastiques)
• Et si la « duchesse de Guermantes » (Proust) était réellement engagée dans l’économie des arts ? La comtesse Greffuhle (1860–1952), mécène, collectionneuse et médiatrice des arts — Emma Bayle (Ma2 student, Université de Poitiers)
• Mécène et créatrice : la Baronne d’Oettingen et les avant-gardes —Gwendoline Corthier‑Hardoin (deputy curator, Musée d’art moderne de Céret and associate researcher, Framespa, Université Toulouse Jean Jaurès)

12.30  Lunch break

2.30  Session 2 | Art Dealers and
Moderator: Julia Drost (director of research, Centre allemand d’Histoire de l’Art, DFK Paris)
• Marchandes d’art : place et rôle des femmes dans le commerce des œuvres d’art à Paris dans l’entre-deux-guerres — Olivia Delporte, (PhD candidate, Université de Tours)
• « Femmes d’affaires !! / Ton domaine est la création d’art et non le commerce ». Marie Cuttoli : collectionneuse, marchande et éditrice (1922–1935) — Laura Pirkelbauer (PhD candidate, EPHE, Saprat)
• Innovation Irregardless: the entrepreneurship strategies of women artists in 1930s Paris — Charlotte Greenaway (Ma2, IntM, Glasgow University)
• Femmes pionnières du marché de l’art extra-européen durant première moitié du XXe siècle — Nathalie Bertrand (associate professor) and Coralie Panizza (Ma2 student, TELEMMe CNRS, Aix Marseille Université)
• Berthe Weill : s’imposer par la modernité, parcours d’une marchande d’art, éditrice et mécène — Marianne Le Morvan (founder and director of the Berthe Weill Archives, independent scholar, and curator of the exhibition Berthe Weill: Galeriste d’avant-garde at the Musée de l’Orangerie)

s a t u r d a y ,  2 7  s e p t e m b e r

9.30  Welcome

9.45  Session 3 | Self-Financing and Creation
Moderator: Justine Lécuyer (Sorbonne Université)
• The Business of Teaching Female Artists in Paris (1848–1870) — Alison McQueen (professor, McMaster University)
• The Woman Artist as a Collector: The Avuncular Economies of Claudine Bouzonnet Stella (1636–1697) — Yasemin Altun (PhD candidate, Duke University)
• Femmes copistes à Versailles : stratégies économiques et institutionnelles sous la Monarchie de Juillet — Agathe Arrighi (PhD candidate, Sorbonne Université)
• Les métiers de la haute couture – les « arts alimentaires » des intellectuelles russes en exil à Paris (1920–1930) — Diana Plachendovskaya (PhD candidate, EHESS)

11.30  Coffee break

11.45  Session 4 | The Economic Life of the Workshop
Moderator: Elsa Jamet (researcher, CNRS, Centre André-Chastel)
• Julie Lavergne (1823–1886) : Une femme au cœur de l’économie d’un atelier de vitrail au XIXe siècle — Auriane Gotrand (Sorbonne Université)
• Au-delà de la muse : Gala Diakonova, Simone Kahn et les engagements économiques des femmes dans les premières années du mouvement surréaliste — Domiziana Serrano (Université Jean Monnet Saint-Étienne, France)

12.45  Lunch break

2.30  Session 5 | Promoting and Financing the Performing Arts
Moderator: Nastasia Gallian (associate professor, Sorbonne Université)
• Mademoiselle Castagnery et l’édition gravée de la danse à Paris (1760–1789) — Pauline Chevalier (professor, Université de Tours) and Johanna Daniel
• « C’est une très mauvaise tête, mais l’on ne peut s’en passer ». Antoinette de Saint Huberty et la place des femmes dans l’économie des arts au sein de l’Académie royale de musique à fin du XVIIIe siècle — Caroline Giron-Panel (archivist, Université de Grenoble, Università Ca’Foscari, École nationale des chartes)

3.30  Conclusion