Symposium | The Greenwich and Foundling Hospitals
From The Foundling Museum:
Art, Charity, and the Navy: The Greenwich and Foundling Hospitals
Greenwich and London, 30 October 2017
In this one-day symposium explore similarities in the origins, artistic involvement, and philanthropic purpose of the Foundling Hospital and the Greenwich Royal Hospital for Seamen.
The Foundling Hospital and the Greenwich Royal Hospital are eighteenth-century institutions with many similarities, both charitable hospitals with strong ties to maritime Britain. The Foundling Hospital was the first children’s charity in Britain, established by Royal Charter in 1739 by Captain Thomas Coram, a shipwright in the American colonies. The Royal Hospital for Seamen, Greenwich, was established by Royal Charter in 1694 and from 1712 also incorporated a naval school.
Along with presentations and discussion with expert speakers, the day includes:
• A tour of the Chapel at the Old Royal Naval College, formerly the place of worship for the inhabitants of the Royal Hospital for Seamen
• The opportunity to see the Foundling Museum’s historic Court Room and Picture Gallery, displaying works of art by Hogarth, Gainsborough, Highmore, Ramsay, and many others
• A visit to the exhibition Basic Instincts
• Lunch, tea and coffee, and early evening drinks reception
Speakers include Will Palin (Director of Conservation, Old Royal Naval College), Christine Riding (Head of Arts and Curator of the Queen’s House), Caro Howell (Director of the Foundling Museum), and Jacqueline Riding (Honorary Research Fellow at Birkbeck, University of London, and Curator of the exhibition Basic Instincts).
Morning, Queen’s House, Royal Museums Greenwich and the Old Royal Naval College; afternoon, Foundling Museum. Participants will make their own way between the two sites. Tickets £50, £40 concessions and Foundling Friends.
The programme is available here»
Images: Left, Samuel Wale, Greenwich Hospital, ca. 1748 (London: The Foundling Museum) and right, Richard Wilson, The Foundling Hospital, ca. 1746–50 (London: The Foundling Museum).
Conference | Fashion and Textiles between France and England
From the conference website:
Moving Beyond Paris and London: Influences, Circulation, and Rivalries
in Fashion and Textiles between France and England, 1700–1914
IHTP and Musée Cognacq Jay, Paris, 13–14 October 2017
Co-organised by the LARCA/ Paris Diderot, the IHTP-CNRS and the Musée Cognacq Jay, the conference will take place in the IHTP 59/61 rue Pouchet, 75017 on the 13th and in the Musée Cognacq Jay, 8 rue Elzevir 75003 Paris on the 14th.
The keynote addresses will be given by Lesley Miller (Head of Textile and Dress at the V&A, London) and Zara Anishanslin (History, University of Delaware). The event is free and open to all, but registration is compulsory.
F R I D A Y , 1 3 O C T O B E R 2 0 1 7
9.00 Welcome and Coffee
9.30 Mapping Cross-Channel Textile Rivalries
• Fabrice Bensimon, Lace makers between Nottingham and Calais, 1816–1860
• Luc Rojas, Observer la fabrique de Coventry: Les rubaniers stéphanois à la recherche d’information
• Courtney Wilder, Band Apart: Printing ‘Rainbow’ Designs for Walls and Wardrobes in Alsace and Northern England, 1819–1851
11.00 Coffee Break
11.30 Keynote Address
• Lesley Miller (conservatrice en chef des collections mode et textiles au Victoria & Albert Museum, Londres), Lyon in London: Seduction by Silk at the End of the Seven Years War
12.30 Lunch
14.00 Entente cordiale ? Aesthetic and Economic Circulations of Embroidery
• Tabitha Baker, From Lyon and Paris to London: Commercial Networks within the French Embroidery Trade and the Role of the English Gentleman Consumer, 1748–1785
• Isa Fleischman-Heck, Manly French Style Versus Feminine English Taste: Pictorial Embroideries in France and England at the End of the 18th Century
15.00 Coffee Break
15.15 Competing for Cotton
• Jessica Barker, Toile de Jouy / Cloth of England: Copperplate Textile Printing in England and France, 1752–1820
• Ariane Fennetaux, Franco-British Cotton Rivalries: Empire, Trade, and Technology in the 18th Century
S A T U R D A Y , 1 4 O C T O B E R 2 0 1 7
9.30 Welcome and Coffee
9.50 Opening Remarks by Rose-Marie Mousseaux (Directrice du Musée Cognacq-Jay)
10.00 Business Means Business: Fashion Trades and Commercial Strategies
• Pierre-Henri Biger, Eventails et éventaillistes entre la France et l’Angleterre aux XVIII et XIXe siècles
• Audrey Millet, Protéger les dessins textiles: L’invention de la propriété industrielle comme négation du processus créatif, une compétition France-Angleterre (XVIIe–XIXe siècles)
• Véronique Pouillard and Waleria Dorogova, Couture Limited: The Short Lived Britanisation of French Fashion
11.30 Coffee Break
12.00 Keynote Address
• Zara Anishanslin (University of Delaware), An English and Even a Female Hand: Anna Maria Garthwaite, Anglo-French Rivalry, and the Gendered Politics of Flowered Silk
13.00 Lunch
14.30 Embodying Fashion Rivalries
• Elise Urbain Ruano, Une figure pré-romantique? La duchesse d’Orléans et la mode anglaise à la veille de la Révolution française
• César Imbert, Une garde-robe au service de l’Empire: l’influence vestimentaire d’Eugénie en Angleterre
• Matthew Keagle, More than Red and White: Franco-British Reform and Military Dress in the Late Ancien Régime
16.30 Guided Tour of the Cognacq-Jay Collections with Director Rose-Marie Mousseaux
Conference | Landscape Now
From the Paul Mellon Centre:
Landscape Now
Paul Mellon Centre for Studies in British Art, London, 30 November – 1 December 2017
Spreading Oak with Seated Figure, Unknown (British) 1850s (New York: The Metropolitan Museum of Art, Gift of Hans P. Kraus Jr., 2007).
The pictorial representation of the landscape has long played an important role in the history of British art. It has been central to writers from Gilpin and Ruskin onwards, and was the subject of sustained scholarly attention in the 1980s and 1990s with the emergence of a social history of art. Writers such as John Barrell, Anne Bermingham, Stephen Daniels, Christiana Payne, Michael Rosenthal and David Solkin not only helped transform interpretations of British landscape painting, but made the study of such imagery seem essential to a proper understanding of British art itself.
Over the past two decades the centre of gravity of British art studies has shifted. An imperial turn has characterized some of the most ambitious scholarship in the field; a raft of powerful new voices have shifted attention to the Victorian and modern periods, and to the imagery of urban life; and there has been a dramatic growth of interest in such topics as print culture, exhibition culture, and the material culture of the work of art. With these developments, existing approaches to the study of landscape pictures lost some of their urgency and relevance.
However, this same period has seen the growth of a broader interest in landscape images in adjacent disciplines, driven in part by political and environmental imperatives. A newly energised category of ‘nature writing’, associated with authors such as Robert Mcfarlane and Helen MacDonald, has gained widespread currency beyond the purely academic arena. Cultural geographers such as David Matless and film-makers such as Patrick Keillor have offered nuanced investigations of the British landscape in their work, asking us to think afresh about its relationship to national identity, memory and post-imperial decline. And while many scholars in the humanities, in an age of globalisation and deepening ecological concern, have felt compelled to think about landscape on a vastly expanded basis, others have been driven to offer a new and suggestive focus on the local.
The moment thus seems ripe for a major art-historical reassessment of the image of the British landscape, taking account these and other emergent concerns. This international conference, the third in an annual series organised collaboratively by the Paul Mellon Centre, the Yale Center for British Art, and the Huntington Library, Art Collections, and Botanical Gardens, is designed to offer an opportunity for such a reassessment.
£20 Concession Rate (students and 60+) for 30 Nov and 1 Dec (ID is required on the day). £35 Standard Rate for 30 Nov and 1 Dec. NB: We are not selling tickets to individual days.
T H U R S D A Y , 3 0 N O V E M B E R 2 0 1 7
9.30 Registration
10.00 Introduction and Welcome – Mark Hallett (Director of Studies, Paul Mellon Centre), Amy Meyers (Director, Yale Center for British Art), and Steven Hindle (W.M. Keck Foundation Director of Research, The Huntington Library)
10.30 Panel 1 | Local Landscapes
Chaired by Martin Postle (Deputy Director for Grants & Publications, Paul Mellon Centre)
• Anna Reid (PhD candidate, University of Northumbria), ‘The Nest of Wild Stones: Paul Nash’s Geological Realism’
• Anna Falcini (Associate Lecturer in Contemporary Art Practice, Bath Spa University; Ph.D. Candidate in Fine Art Practice, University of the Creative Arts, Canterbury), ‘Re-illuminating the Landscape of the Hoo Peninsula through the Media of Film (the Porousness of Past & Present)’
11.30 Coffee Break
12.00 Panel 2 | Colonial Landscapes
Chaired by Sarah Victoria Turner (Deputy Director for Research, Paul Mellon Centre)
• Julia Lum (Doctoral Candidate, History of Art, Yale University), ‘Fire-stick Picturesque: Colonial Landscape Art in Tasmania’
• Rosie Ibbotson (Lecturer in Art History and Theory, Te Whare Wānanga o Waitaha University of Canterbury, New Zealand), ‘The Image in the Imperial Anthropocene: Landscape Aesthetics and Environmental Violence in Colonial Aotearoa New Zealand’
13.00 Lunch at the Paul Mellon Centre
14.30 Panel 3 | Liquid Landscapes
Chaired by Steve Hindle (The Huntington Library)
• Stephen Daniels (Professor Emertitus of Cultural Geography, University of Nottingham), ‘Liquid Landscape’
• Kelly Presutti (Fellow at Dumbarton Oaks), ‘Strategic Seascapes: John Thomas Serres and the Royal Navy’
• Gill Perry (Emeritus Professor of Art History, The Open University), ‘Landscaping Islands in Contemporary British Art: Floating Identities and Changing Climates’
16.00 Tea Break
16.30 Panel 4 | Landscape and the Anthropocene
Chaired by Martin Myrone (Lead Curator, British Art to 1800, Tate Britain)
• David Matless (Professor of Cultural Geography, University of Nottingham), ‘The Anthroposcenic: Landscape Imagery in Erosion Time’
• Mark A. Cheetham (Professor of art history, University of Toronto), ‘Outside In: Reflections of British Landscape in the Long Anthropocene’
17.30 Drinks Reception at the Paul Mellon Centre
F R I D A Y , 1 D E C E M B E R 2 0 1 7
10.00 Keynote Lecture
Chaired by Mark Hallett (Paul Mellon Centre)
• Tim Barringer (Chair and Paul Mellon Professor of the History of Art, Yale University), ‘Thomas Cole and the White Atlantic’
11.30 Coffee Break
12.00 Panel 5 | Anglo-American Landscapes
Chaired by Scott Wilcox (Deputy Director for Collections, Yale Center for British Art)
• Matthew Hunter (Associate Professor, Department of Art History and Communication Studies McGill University), ‘Drawing By Numbers: Anglo-American Landscape and the Actuarial Imagination’
• Julia Sienkewicz (Assistant Professor of Art History, Roanoke College in Salem), ‘On Place and Displacement: Benjamin Henry Latrobe and the Immigrant Landscape’
13.00 Lunch at the Paul Mellon Centre
14.15 Panel 6 | Re-Making Landscapes
Chaired by Hammad Nasar (Senior Fellow, Paul Mellon Centre)
• Val Williams (Professor of the History and Culture of Photography and Director of Photography and the Archive Research Centre (PARC), University of the Arts London, London College of Communication) and Corinne Silva (Research Fellow, PARC, University of the Arts London, London College of Communication), ‘The Re-making of the English Landscape: In the Footsteps of W.G. Hoskins and F.L. Attenborough’
• Terry Perk (Interim Director of Research, Students, Associate Head of School of Fine Art and Photography, and Reader in Fine Art, University for the Creative Arts) and Julian Rowe (MA, visual artist), ‘Mapping the Apocalypse: Jonah Shepherd and the Kentish Landscape’
13.15 Break
15.30 Panel 7 | Exhibiting Landscape
Chaired by Martina Droth (Deputy Director of Research and Curator of Sculpture, Yale Center for British Art)
• Gregory Smith (Senior Research Fellow at the Paul Mellon Centre), The ‘Connoisseur’s Panorama’: Thomas Girtin’s Eidometroplis and a New Iconography for the City’
• Nick Alfrey (Honorary Research Associate, Department of History of Art, University of Nottingham), ‘1973 and the Future of Landscape’
16.30 Tea Break
17.00 Panel 8 | Landscape Now?
• Mark Hallett (Paul Mellon Centre) Tim Barringer (Yale University)
• Sarah Monks (Lecturer in Art History, Director of Admissions for School of Art, Media and American Studies, University of East Anglia)
• Alexandra Harris (Professorial Fellow, Department of English, University of Birmingham)
• Amy Concannon (Assistant Curator, British Art, 1790-1850, Tate Britain and Doctoral Candidate, University of Nottingham)
Journée d’étude | Jacques-François Blondel
From the conference flyer:
Jacques-François Blondel et l’enseignement de l’architecture:
La dernière leçon de l’architecture « à la française »
Cité de l’architecture et du patrimoine, Paris, 14 December 2017
Gabriel de Saint-Aubin, Blondel démontrant des machines dans l’académie d’architecture, 1770, Recueil de poésies de Sedaine, 1770 (Chantilly, Musée Condé).
Dernier héraut de l’architecture à la française, Jacques-François Blondel (1708/9–1774) a formé dans son école privée et à l’Académie royale d’architecture parmi les architectes les plus renommés de la seconde moi é du XVIIIe siècle et du début du siècle suivant : Claude-Nicolas Ledoux, Étienne-Louis Boullée, Alexandre Brongniart ou William Chambers… La pédagogie révolutionnaire qu’il développa dans l’enseignement de l’architecture tout au long de sa carrière a connu une ample diffusion en France, en Europe et même, outre-Atlantique, jusqu’au Québec. Si certains architectes l’appliquèrent à la lettre, d’autres s’en affranchirent et allèrent au-delà des leçons professées par le maître.
Organisée en partenariat avec la Ville de Metz et l’École na onale supérieure d’architecture de Nancy, cette journée d’étude internationale est centrée sur le rôle de Jacques-François Blondel dans l’enseignement de l’architecture. Elle annonce l’exposition monographique Blondel, architecte des Lumières qui sera présentée à Metz, à l’Arsenal, du 13 avril au 13 juillet 2018 et l’exposition-dossier que la Cité de l’architecture et du patrimoine lui consacrera la même année. Cette rencontre se propose de revenir sur les idées ainsi que les méthodes pédagogiques dispensées par J.-F. Blondel, et de relire, au travers d’un prisme neuf, les fondamentaux de son enseignement. La participation à cette journée est gratuite; inscription en ligne obligatoire. Contact: jean-marc.hofman@citedelarchitecture.fr.
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9.00 Accueil
9.20 Ouverture de la journée d’étude
• Corinne Bélier (Directrice du musée des Monuments français)
• Lorenzo Diez (Directeur de l’École nationale supérieure d’architecture de Nancy)
• Dominique Gros (Maire de Metz)
9.45 Jacques-François Blondel : état de la recherche, Aurélien Davrius (Maître-assistant à l’École nationale supérieure d’architecture de Paris-Malaquais, Laboratoire LIAT)
10.15 Jacques-François Blondel, un professeur innovant à l’Académie royale d’architecture ?, Hélène Rousteau-Chambon (Professeur d’histoire de l’art moderne à l’université de Nantes)
10.45 Blondel et les Mansart : une leçon particulière, Philippe Cachau (Docteur en histoire de l’art)
11.15 Pause-café
11.45 Les savoirs théoriques et techniques transmis par Blondel au travers de l’exemple du matériau plâtre, Christelle Inizan (Chargée d’études et de recherches, Médiathèque de l’architecture et du patrimoine, Centre de recherches sur les Monuments historiques)
12.15 L’influence de J.-F. Blondel sur le cours d’architecture de l’École des Ponts et Chaussées, Théodore Guuinec (Architecte DE-HNOMNP, historien du patrimoine)
12.45 Questions ouvertes aux intervenants
13.00 Pause-déjeune
14.30 L’enseignement de l’expérience architecturale chez Blondel et ses collègues anglais, Sigrid de Jong (Chercheur à l’université de Leyde, Pays-Bas)
15.00 « Como ha hecho el Sieur Blondel, en Francia… » Réflexions sur l’influence de la théorie architecturale française autour de Jacques-François Blondel en Espagne, 1750–1800, Adrián Almoguera (Doctorant contractuel en histoire de l’architecture Université de Paris Sorbonne / Centre André Chastel)
15.30 Le Précis d’architecture (1828) de l’abbé Jérôme Demers et le prolongement de l’enseignement de Blondel au Canada au XIXe siècle, Marc Grignon (Professeur d’Histoire de l’art à l’Université Laval) et Pierre-Édouard Latouche (Professeur au département d’histoire de l’art à l’Université du Québec à Montréal)
16.15 Pause
16.30 L’École des arts de Jacques-François Blondel ou l’invention d’une pédagogie des relations entre architecture, sculpture et peinture, Laure Chabanne (Conservateur du patrimoine, musée et domaine nationaux du palais de Compiègne)
17.00 « Le Grand Blondel », Jean-Marie Pérouse de Montclos (Directeur de recherche honoraire au CNRS)
17.30 Vers une conception « évolutionnaire » de l’architecture : Jacques-François Blondel et la question du jugement professionnel dans la théorie de Peter Collins, Denis Bilodeau (Professeur tulaire à l’École d’architecture de l’Université de Montréal)
18.00 Questions ouvertes aux intervenants
18.20 Conclusion de la journée, Pierre Caye (Directeur de recherche au CNRS)
19.30 Visite de la galerie des moulages
Workshop | Diderot and 18th-Century Human Simulacra
From H-ArtHist:
Diderot and 18th-Century Human Simulacra
Freie Universität Berlin, 5 October 2017
Registration due by 3 October 2017
The workshop aims to explore the different aesthetical and anthropological dimensions of the ‘mannequin’ metaphor in Diderot’s “Paradoxe sur le comédien,” which Diderot introduces as a model for actors/actresses at the very beginning of his acting theory. Central questions of the workshop include, but are not limited to, the following: Why does Diderot use a tool for visual artists to exemplify his idea of the ideal actor/actress? What is the specificity of the mannequin compared to other types of human simulacra such as the statue, the marionette, and the automat?
In order to analyse this specific metaphor and to explore possible answers to these questions, the workshop will approach the subject from two angles. The first approach consists of a comparative analysis between the mannequin’s function as an art tool for painters or sculptors and Diderot’s conception of the ideal actor/actress. Such an analysis implies a comparison between Diderot’s theoretical works on theatre and his theoretical writings on visual art, as for example his ‘Salons’. The second approach consists of a historical contextualisation of Diderot’s concept of the human body in the broader philosophical and scientific discourse of his time.
The workshop will focus on the mannequin’s specificity while comparing it to other human simulacra of that time, such as Jacques de Vaucanson’s famous automata or the moving statue of Condillac’s “Traité des sensations.” The workshop will also discuss other forms of simulacra present in Diderot’s works, as they appear for instance in the Encyclopédie.
The workshop will be held in French and English. Please register via email by October 3rd: marie.igelmann@fu-berlin.de. Freie Universität Berlin, Institut für Theaterwissenschaft, Grunewaldstr. 35, 12165 Berlin-Steglitz, Room 103. The workshop is organised by Marie-Irène Igelmann (Freie Universität Berlin) in the context of the Dahlem Junior Host Program of the Dahlem Humanities Center.
S C H E D U L E
9.45 Opening and Introduction
10.00 L’automate chez Diderot: le vivant et le mécanique (Aurélia Gaillard, Université Bordeaux Montaigne)
11.00 Coffee break
11.15 L’esthétique de la singularité: abstraction et figuration du personnage chez Condillac et Diderot (Manuel Mühlbacher, LMU München)
12.00 Aesthetic and Scientific Concepts of 18th-Century Mannequins (Marie-Irène Igelmann, Freie Universität Berlin)
12.45 Lunch break
15.00 The Encyclopédie, Similarity, and the Simulacrum (Thari Jungen, Graduate School “Performing Citizenship,” Hamburg)
15.45 The Notion of Genius in Diderot’s ‘Salon de 1767’ (Christian Hartwig Steinau, Freie Universität Berlin/LMU München)
16.30 Coffee break
16.45 Concluding Discussion
Colloquium | Eighteenth-Century Court Culture
From Munich’s Zentralinstitut für Kunstgeschichte:
Hofkultur des 18. Jahrhunderts
Teil I: Dresden, Nymphenburg, Benrath: Schlösser und Bäder
Zentralinstitut für Kunstgeschichte München, Munich, 25 October 2017
17.30 Peter Heinrich Jahn (Dresden/München), ‘Die Begierde, den Beifall aller zu erheischen, lässt ihn häufig den Plan ändern’: Der Dresdner Zwinger als Planungsproblem
Der berühmte Dresdner Zwinger war 1709 als Orangeriegarten des benachbarten Residenzschlosses begonnen worden und endete zwei Jahrzehnte später nach mehreren Konzeptwechseln, ohne dass die Ursprungsfunktion jemals aufgegeben worden wäre, als unvollendet gebliebenes Sammlungsgebäude, das einen Turnierplatz umschloss. Als sprunghaft agierender Dilettantenarchitekt war der als August der Starke bekannte königliche Auftraggeber Impulsgeber für zahlreiche „Planungsprobleme“, die sein Hofarchitekt Matthäus Daniel Pöppelmann durch In-die-Form-Bringen zu lösen hatte. Das heutzutage in durcheinander geratener Ordnung überlieferte historische Planmaterial zum Dresdner Zwinger lässt dessen kunsthistorische Auswertung ebenfalls zu einem „Planungsproblem“ werden, das durch Rekonstruktion einer logischen Planungsabfolge gelöst werden will.
18.30 Kristina Deutsch (Münster), Zwischen Rückzug und Repräsentation: Schlossbäder der Wittelsbacher in Nymphenburg und Benrath
Keine andere Dynastie des Alten Reichs hat uns so viele Schlossbäder hinterlassen, wie die Wittelsbacher. Diese sehr kunstvoll gestalteten Räume waren als Orte des Rückzugs konzipiert, zuweilen dienten sie aber auch gesellschaftlichen Anlässen. In beiden Fällen vermitteln Architektur und Ausstattung höfischer Bäder ein bestimmtes Bild des Herrschers oder der Herrscherin, das es im Rückgriff auf die tatsächliche Nutzung zu analysieren gilt.
Hofkultur des 18. Jahrhunderts
Teil II: Rom und Paris in Schwerin: Jean-Laurent Le Geay (1710–1786), Architektur und Gartenkunst
Zentralinstitut für Kunstgeschichte München, Munich, 6 December 2017
16.30 Johannes Erichsen (München), Jean-Laurent Le Geay: Architektur für den Schweriner Hof und die Quellen der Inspiration
17.30 Iris Lauterbach (München), Le spectacle de la nature: Die Gärten des Schweriner Hofes im 18. Jahrhundert im europäischen Kontext
18.30 Hans Lange (München), Die grüne Pyramide für Ludwigslust
19.00 Sigrid Puntigam (Schwerin), Herzog Friedrich von Mecklenburg-Schwerin als dilettierender Architekt
Die Teilnahme ist frei. Wir bitten um Ihre Anmeldung unter hofkultur@zikg.eu.
Study Day | Collectors and the Country House Library
John Carter, View of the Library at Strawberry Hill, watercolour, 23.7 × 28.8 cm, from Horace Walpole, A Description of the Villa … at Strawberry-Hill (Strawberry Hill, 1784). The Lewis Walpole Library, Yale University.
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From Strawberry Hill:
Collectors and the Country House Library
Strawberry Hill, 19 October 2017
The shelves of Horace Walpole’s Library at Strawberry Hill, emptied in the great sale of 1842, have recently been filled with the loan of books from the library of Aske Hall, North Yorkshire. To celebrate this event, we are holding a study day on Collectors and the Country House Library. Particular themes are the evolution of country house libraries and how the libraries of art collectors such as Walpole support and enrich our understanding of their broader collections. Country house libraries may develop over generations of owners, but they may also strongly reflect the personality and interests of one collector, whether as bibliophile or in the broader history of collections of works of art. We will be looking not only at Walpole, but at a broad range of other collectors and their collections to show how much these libraries can reveal. Refreshments including a light lunch will be provided. For further information, please contact claire.leighton@strawberryhillhouse.org.uk. This event is kindly sponsored by the Delmas Foundation
P R O G R A M M E
9.30 Coffee
9.50 Welcome
10.00 Morning Papers
• Megan Aldrich, Saxon or Gothic? An Antiquarian Library at Stowe
• Stephen Clarke, ‘Quite a Paradise of Well-Conditioned, Beautiful Books’? Horace Walpole’s Library at Strawberry Hill
11.00 Break
11.10 Keynote Paper
• Mark Purcell, The Country House Library
12.05 Claire Reed, The Library at Osterley Park House
12.35 Lunch and tours of the house
2.15 Afternooon Papers
• Giles Mandelbrote, A Metropolitan Collector: The Library of Sir Richard Ellys (1682–1742) at Blickling Hall
• David Pearson, Bugs and Bindings: Eighteenth-Century Insect Rolls
• Stephen Lloyd, The Library of the Earls of Derby at Knowsley Hall
3.30 Questions and final discussion
Symposium | Basic Instincts
Joseph Highmore, Pamela in the Bedroom with Mrs Jewkes and Mr B. (detail), 1743–44, oil on canvas, 62.7 × 75.7 cm (London: Tate). Part of the series Four Scenes from Samuel Richardson’s Pamela.
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From The Foundling Museum:
Basic Instincts: Art, Women, and Sexuality in the Eighteenth Century
Keynes Library, School of Arts, Birkbeck, University of London, 20 November 2017
This symposium has been organised alongside the Foundling Museum exhibition Basic Instincts (on view from 29 September 2017 until 7 January 2018). Curated by Jacqueline Riding, historical consultant, author, and Honorary Research Fellow in the School of Arts at Birkbeck, University of London, Basic Instincts explores Georgian attitudes to love, desire, and female respectability through the radical paintings of Joseph Highmore (1692–1780). The symposium will draw out some of the key themes of the exhibition, focusing on the depiction of women and sexuality in eighteenth-century culture. Tickets are £40 (£30 concessions and Foundling Friends), with booking information available here.
P R O G R A M M E
10.00 Coffee and registration
10.20 Welcome from Kate Retford (History of Art Department, Birkbeck, University of London)
10.30 Jacqueline Riding (Curator of Basic Instincts, and Honorary Research Fellow in the School of Arts, Birkbeck, University of London), Basic Instincts: Love, Passion, Violence
11.00 Panel 1 | Highmore and His Context
• Kate Retford (Senior Lecturer in Art History at Birkbeck, University of London), Joseph Highmore, Time, and Miss Whichcote’s Marriage
• Kirsten Tambling (PhD candidate, History of Art, Birkbeck, University of London), ‘Into the Thickest Part of the Grove’: Hogarth’s ‘outdoor’ Before and After’
• Emma Barker (Senior Lecturer in Art History at the Open University), Sentiment and Seduction: Cross-Channel Connections in Art and Literature
12.30 Lunch
14.00 Tour of Basic Instincts exhibition with Kathleen Palmer (Curator at the Foundling Museum)
15.30 Panel 2 | Art, Women, and Sexuality
• Joanne Begiato (Professor in History, Oxford Brookes University), The Tender Mother in the Eighteenth Century: Bosoms and Bliss?
• Mary Peace (Senior Lecturer in English, Sheffield Hallam University), Reversing the Harlot’s Progress? The Figuring and Refiguring of Magdalens at the London Magdalen Hospital in the Eighteenth Century
• Karen Lipsedge (Associate Professor in English Literature, Kingston University), ‘Imagine They See’: Pamela and Visual and Literary Depictions of the Eighteenth-Century Interior
17.00 Closing remarks
Workshop | Printing Time: French Almanacs
From the workshop programme:
Printing Time: Workshop on French Almanacs
Waddesdon Manor, Buckinghamshire, Monday 16 October 2017
Almanac for the Year 1683 (The Universal Festivities), detail; published by Pierre Landry (ca. 1630–1701), Paris; etching, engraving and letterpress on paper (Waddesdon / National Trust, acc. no. 2669.4.3).
This is to announce a workshop at Waddesdon Manor in conjunction with the exhibition Glorious Years: French Calendars from Louis XIV to the Revolution. The workshop will explore themes around the production and consumption of French 17th-and 18th-century almanacs (book and print formats), while also looking at the broader context of the history of Time and its depiction during this period. Our distinguished speakers are drawn from across disciplines.
To register an interest in attending please email diane.bellis@nationaltrust.org.uk. A charge of £25 covers all catering costs. To secure a place, please call the Waddesdon booking office 01296 820414 (open 10:00–16:00) to pay using either a debit or credit card. If you have any dietary requirements, please let us know when you book your place.
P R O G R A M M E
10:00 Registration and coffee (Manor Restaurant)
10:30 Welcome and introduction by Pippa Shirley (Head of Collections, Waddesdon) and Rachel Jacobs (Curator, Waddesdon)
10:50 Morning Presentations
• Maxime Préaud (formerly conservateur général, département des Estampes et de la Photographie, Bibliothèque nationale de France), Les relations entre la France et l’Angleterre pendant le règne de Louis XIV, selon les almanachs muraux français
• Stephen Boyd Davis (Professor of Design Research, Royal College of Art), La Science des Temps: New Ideas of Time in the Eighteenth Century
12:10 Visit the exhibition Glorious Years with curator Rachel Jacobs and Adam Dant (Artist), The Mother of Parliaments: Annual Division of Revenue: A Print for the British Electorate, 2017. Information on Dant’s commissioned almanac is available here.
13:00 Lunch in Manor Restaurant
14:30 Afternoon Presentations
• Véronique Sarrazin (Maître de conférence d’histoire modern, Université d’Angers, Laboratoire CERHIO), Livres et estampes, deux économies de l’almanach dans la 1ère moitié du XVIIIe siècle à Paris
• Matthew Shaw (Librarian of the Institute of Historical Research, School of Advanced Study), Almanacs for a New Era: The French Republican Calendar
16:00 Drinks with a chance to visit the manor and exhibition
Symposium | The Room Where It Happens
From Harvard Art Museums:
The Room Where It Happens: On the Agency of Interior Spaces
Harvard Art Museums, Cambridge, 13–14 October 2017
Stephen Sewall, Copy of Inscription on Dighton Rock (detail), 1768, black ink on paper (Peabody Museum of Archaeology and Ethnology, Harvard University, 967-28-10/45474, digital file 99270006).
This symposium explores the spaces of artistic, artisanal, and intellectual production. From the artist’s studio to the alchemist’s lab, from the stateroom to the secret chamber, from the brick and mortar hall to the winding corridors of cyberspace, rooms and their contents have long impacted history, and transformed their inhabitants. Held in conjunction with the Museums’ special exhibition The Philosophy Chamber: Art and Science in Harvard’s Teaching Cabinet, 1766–1820, this symposium brings together artists, architects, and historians to consider the spaces where objects and ideas are generated.
This project is supported in part by major grants from the Terra Foundation for American Art and the Henry Luce Foundation. The exhibition and catalogue were also supported in part by the following endowed funds: the Bolton Fund for American Art, Gift of the Payne Fund; the Henry Luce Foundation Fund for the American Art Department; the William Amory Fund; and the Andrew W. Mellon Publication Funds, including the Henry P. McIlhenny Fund.
All events will take place at Menschel Hall, Lower Level, Harvard Art Museums, 32 Quincy Street, Cambridge, MA. All symposium events are free and open to the public, but registration is required. For details on the programs, including how to register, visit the Harvard Art Museums website.
F R I D A Y , 1 3 O C T O B E R 2 0 1 7
6:00pm Keynote Lecture
• Making Room: Cartography, Collecting, and the Construction of Empire, Louis Nelson (Professor of Architectural History and the Associate Dean, School of Architecture, University of Virginia)
S A T U R D A Y , 1 4 O C T O B E R 2 0 1 7
10:00 Rooms for Looking: Parlor / Museum / Studio
• ‘No One Could Prevent Us Making Good Use of Our Eyes’: Enslaved Spectators and Southern Plantation Spaces, Jennifer Van Horn (Assistant Professor of Art History and History, University of Delaware)
• The Room of Broken Bodies: Civil War Wounds, the Army Medical Museum, and Perceiving Re-Unification, Julia B. Rosenbaum (Associate Professor and Chair, Art History, Bard College; Director of Research and Publications, The Olana Partnership, Olana State Historic Site)
• The Symposium on Habitability: Robert Irwin, NASA, and the Case of the Artist as a Meta-Scholar, Boris Oicherman (Cindy and Jay Ihlenfeld Curator for Creative Collaborations, Weisman Art Museum, University of Minnesota)
11:30 Rooms for Making: Library / Laboratory / Model
• ‘A Scene in a Library’: Inventing and Destroying Enlightenment Photography at Soho House, Matthew Hunter (Associate Professor, Department of Art History & Communication Studies, McGill University)
• Connected Interiors: Learning Architecture and Observation in Meiji Japan, Matthew Mullane (Ph.D. candidate, School of Architecture, Princeton University)
• Interior as Microcosm: The Production of Epistemologies, Ethics, and Identities at Biosphere 2, 1991–94, Meredith Sattler (Assistant Professor of Architecture, California Polytechnic State University, San Luis Obispo)
2:00 Virtual Rooms: Theater / Period Room / Cockpit
• A Machine of Visibility: Paul Nelson’s Surgical Theater at the Cité Hospitalière de Lille, Nicholas Robbins (Ph.D. candidate, Department of the History of Art, Yale University)
• Visiting Mrs. M.—–‘s Cabinet: Period Room as Pedagogy, Sarah Anne Carter (Curator and Director of Research, The Chipstone Foundation)
• Bedroom Aviators—Flight Simulation and the Domestic Realm, Chad Randl (Visiting Lecturer in Architecture, Cornell University)
3:45 Closing Remarks
• Follies and Wonder Rooms, Mark Dion (Conceptual Artist)
Introduced by Ruth Erickson (Mannion Family Curator, The Institute of Contemporary Art, Boston)
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