Symposium | Fluctuating Alliances: Art, Politics, and Diplomacy
From the programme for the upcoming conference:
Fluctuating Alliances: Art, Politics, and Diplomacy in the Modern Era, 16th–18th Centuries
Technische Universität, Berlin, 21–22 September 2017
Sebastiano Conca, The Education of Achilles, 1727, oil on canvas, 59 × 74 cm (Madrid, Museo del Prado, inv. P02869).
In January 1722 after a few days of heavy rain in Rome the ephemeral ‘macchina d’arti cio’ built to celebrate the wedding between the Prince of Asturias and Isabel d’Orleans was finally burnt before the Palazzo di Spagna. The machine, designed by Domenico Paradisi, showcased a clear message of unity and power between the former enemies, France and Spain. At the summit, allegories of both countries shook hands before the representation of the Four Continents. This functioned as a gentle reminder to their enemies after the years of turmoil surrounding the War of Spanish Succession, which had deeply affected the balance of power in Europe.
Fluctuating Alliances: Art, Politics, and Diplomacy in the Modern Era (s. XVI–XVIII), the first International Symposium on Transnational Relations and the Arts, seeks to explore the role played by prints, drawings, and others kinds of artistic production, such as music and literature, which represented the changing alliances among kings, rulers, and countries in the fluctuating early modern political environment. Taking as an example the War of Spanish Succession, but not limited to it, we encourage researchers to explore the uses of art for that purpose.
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9:15 Welcome by the convenor
9:30 War and Peace
Chair: Guy Rowlands (University of St. Andrews, UK)
• Alberto Rodríguez Martínez (UPO, Sevilla), An Impossible Peace: Views and Representations of the Twelve Years Truce from 1609 to 1621
• Anna Lisa Schwartz (Germanisches Nationalmuseum, Nuremberg), Iunguntur Iupiter et Sol: Picturing Peace between Louis XIV and Charles VI after the Treaty of Rastatt (1714)
• Francisco Zamora Rodríguez (CHAM-Centro de Humanidades, UNL-Lisboa), Microcon ictos e imagen en espacios portuarios ‘neutrales’ durante la Guerra de Sucesión Española
11:20 Coffee break
11:40 Jesuits and Diplomacy
Chair: Pilar Diez del Corral Corredoira (TU, Berlin)
• Lise Puyo (University of Pennsylvania), The 1676 Huron-Wendat Wampum Belt: Indigenous Negotiations with the Divine
• Mar García Arenas (CHAM-Centro de Humanidades, UNL-Lisboa), Las implicaciones diplomáticas de la reconciliación entre Roma y Lisboa a través de la numismática conmemorativa, 1769–70
13:00 Lunch break
14:30 Negotiating with Faith
Chair: Francisco Zamora Rodríguez (CHAM-Centro de Humanidades, UNL-Lisboa)
• Amanda Van der Drift (The University of Queensland, Brisbane), Picturing Politics and Diplomacy in the Early Years of the Franco-Ottoman Alliance (XVI)
• Pierre-Olivier Oullet (Université du Québec à Montréal, Canada), France Bringing Faith to the Hurons of New France: The Regent Anne of Austria and the Taking over of the Colony by Louis XIV
• Iris Haist (Graphischen Sammlung, Kunstsammlungen Chemnitz), Herrschaft aus Marmor und Papier – Die Grabmonumente für Maria Clementina Sobieska und Jacob III. Stuart als Repräsenta- tionsinstrumente der römisch-katholischen Kirche
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9:00 Court and Diplomatic Celebrations
Chair: Nicole Hegener (Humboldt Universität, Berlin)
• Philippa Woodcock (University of Warwick/ Oxford Brookes/ CNAM Paris), L‘ambition de l‘Espagnol: Reworks and Frontiers in Bourbon Paris
• Roland Béhar (École Normale Supérieure, Paris), Le héros qui sauve du monstre marin : les fêtes de 1612 et l’émulation symbolique franco-espagnole
10:10 Coffee break
10:30 Court and Diplomatic Celebrations, continued
Chair: Pilar Diez del Corral Corredoira (TU, Berlin)
• Danièle Lipp (Wien Universität), The Habsburg Emperor Charles VI and the Politics of Recruitment for His Music Chapels
• Luis Méndez Rodríguez and Rocío Orellana (Universidad de Sevilla), Arte y diplomacia en el siglo XVIII: La corte española en el Lustro Real
11:20 Final discussion with closing remarks by Diego Valverde Villena (Director of the Instituto Cervantes)
Conference | The Art of the Box
From the conference summary:
The Art of the Box
15th Annual National Trust / Waddesdon Manor Conference
Waddesdon Manor, Buckinghamshire, 3 October 2017
Late 19th-Century Box, for Seated Nymph, attributed to Étienne Maurice Falconet (Waddesdon / National Trust; acc. no. 5615; photo by Mike Fear © National Trust, Waddesdon Manor).
This year the National Trust/Waddesdon Manor conference explores boxes made for storing, packing, and transporting works of art. Speakers will consider what these boxes tell us about the perception, protection, and mobility of works of art (in times of peace and war), about the categorization, use, and sensory appreciation of the objects they were designed to contain.
The conference will begin with registration and coffee at 10.00 and end with a glass of wine at 6.00. Lunch and tea will be provided, and there will be an opportunity to look round Waddesdon Manor and the current exhibitions. To book a place, please email diane.bellis@nationaltrust.org.uk. There is a charge of £25, which covers all catering costs (please indicate any specific dietary requirements). This can be paid with a debit or credit card by telephoning the Waddesdon Booking Office 01296 820414.
P R O G R A M M E
10.00 Registration and coffee
10.30 Welcome and introduction by Pippa Shirley and Christopher Rowell
10.45 Juliet Carey (Senior Curator, Waddesdon Manor/The Rothschild Collection), Storing and Staging: Edmond de Rothschild’s Boxes for Porcelain and Sculpture
11.30 Olivia Fryman (Exhibition Assistant Curator, Royal Collection), Trunks, Cases, and Cabinets for Royal Furnishings and Household Goods, 1660–1714
12.15 James Rothwell (National Trust Adviser on Silver), Fit for the Cart, the Battleship, and the Palace: Boxes for Silver in Stuart and Georgian Britain
1.00 Lunch and opportunity to see Manor and exhibitions
2.30 Tessa Murdoch (Deputy Keeper, Victoria and Albert Museum, Department of Sculpture, Metalwork, Ceramics and Glass), Framing Time: Cases for English and French Clocks, 1660–1760
3.15 Laura Langelüddecke (Assistant Curator, Wallace Collection), Mobile Make-up: Travelling Toilette Services in the Eighteenth Century
4.00 Tea
4.30 Anita Bools (National Trust Adviser on Photographic Materials), An Open and Shut Case: Cased 19th-Century Photographs from the National Trust
5.15 A display of boxes from the collection at Waddesdon, introduced by Mia Jackson (Curator of Decorative Arts, Waddesdon Manor/The Rothschild Collection), followed by closing discussion
6.00 Drinks
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Note (added 13 September 2017) — In the original posting, I misidentified the box as being for the Nymph Entering the Water. In fact, as indicated in the the French, it was created to hold the Seated Nymph. The updated posting also includes a full schedule with times. –CH
Exhibition | Becoming a Woman in the Age of Enlightenment
Jacques-Antoine-Marie Lemoine, Woman Standing in a Garden, 1783, black chalk and brush with gray wash on off-white laid paper; Antoine Vestier, Allegory of the Arts, 1788, oil on canvas; and Louis-Léopold Boilly, Conversation in a Park, oil on canvas. All on loan from The Horvitz Collection.
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From the Harn Museum of Art:
Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection
Harn Museum of Art, University of Florida, Gainesville, 6 October — 31 December 2017
Ackland Art Museum, The University of North Carolina at Chapel Hill, 26 January — 8 April 2018
Crocker Art Museum, Sacramento, 13 May — 19 August 2018
Smith College Museum of Art, Northampton, MA, dates TBA
Curated by Melissa Hyde and Mary D. Sheriff
Organized by Alvin Clark
Becoming a Woman in the Age of Enlightenment: French Art from the Horvitz Collection is primarily an exhibition of drawings but will include pastels, paintings, and sculptures selected from one of the world’s best private collections of French drawings. The exhibition will feature nearly 120 works by many of the most prominent artists of the eighteenth century, including Antoine Watteau, Nicolas Lancret, François Boucher, Jean-Honoré Fragonard, as well as lesser-known artists both male and female, such as Anne Vallayer-Coster, Gabrielle Capet, François-André Vincent, Philibert-Louis Debucourt. Ranging from spirited, improvisational sketches and figural studies, to highly finished drawings of exquisite beauty, the works included in the exhibition vary in terms of style, genre, and period.
Becoming a Woman will be organized into thematic sections that address some of the most important and defining questions of women’s lives in the eighteenth century. These include: how the stages of a woman’s life were measured; what cultural attitudes and conditions in France shaped how women were defined; what significant relations women formed with men; what social and familial rituals gave order to their lives; what pleasures they pursued; and what work they accomplished. The aim is to bring new insights to the questions of what it meant to be a woman in this period, by offering the first exhibition to focus specifically on representations of women of a broad range of ages and conditions.
The exhibition will offer fresh perspectives on a subject that still has direct relevance to our times but that has not been the focus of a significant exhibition for decades. Through its conceptual framework, thematic organization, and its emphasis on historical context, the exhibition will provide viewers opportunities to consider what issues pertaining to women’s lives seem to have changed or persisted through time and across space. Although the circumstances and the specifics have changed, many issues remain with us today and can still provoke contentious debates. Pay equity, reproductive rights, gender-discrimination, violence against women, work-family balance, the ‘plight’ of the alpha-female, and the devaluation of the stay-at-home mom, are but a few of the women’s issues that are still hotly contested in the media, in cultural production of all kinds, in politics, and in public and private life.
Becoming a Woman is curated by Melissa Hyde, Professor of Art History, University of Florida Research Foundation Professor, University of Florida, and the late Mary D. Sheriff, W.R. Kenan J. Distinguished Professor of Art History, University of North Carolina, Chapel Hill; the exhibition is organized by Alvin L. Clark, Jr, Curator, The Horvitz Collection and The J.E. Horvitz Research Curator, Harvard Art Museums/Fogg.
The catalogue is available from ArtBooks.com:
Melissa Hyde, Mary D. Sheriff, and Alvin Clark, Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection (Boston: The Horvitz Collection, 2017), 208 pages, ISBN: 978 099126 2526, $39.
François Boucher, Young Travelers, black chalk on cream antique laid paper, framing line in black ink, laid down on a decorated mount, 295 × 188 mm; Jacques-Louis David, Andromache Mourning the Death of Hector, pen with black ink and brush with gray wash over traces of black chalk on cream antique laid paper, 293 × 248 mm; Jean-Baptiste Greuze, The Chestnut Vendor, brush with gray and brown wash on cream antique laid paper, 385 × 460 mm. All works on loan from The Horvitz Collection.
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From the Lecture and Symposium Schedule:
Thinking Women: Art and Representation in the Eighteenth Century
A Symposium in Honor of Mary D. Sheriff
Harn Museum of Art, University of Florida, Gainesville, 20–22 October 2017
• Keynote Address: “The Woman Artist and the Uncovering of the Social World,” Lynn Hunt, Distinguished Research Professor, University of California, Los Angeles
Art, women, and society came together in surprising ways at the end of the eighteenth century. ‘Society’ only began to be conceptualized as an object for study at the end of the 1700s, in particular in reaction to the French Revolution. Art, especially engraving and painting, helped make society visible to itself. Women could join the art world but rarely as fully fledged members, and as a consequence they occupied a kind of in-between position that made them especially attuned to social relations. The life and work of Marie-Gabrielle Capet will be highlighted to show how the social world could be uncovered.
• “Fashion in Time: Visualizing Costume in the Eighteenth Century,” Susan Siegfried, Denise Riley Collegiate Professor of the History of Art and Women’s Studies, Department of Art History, University of Michigan
• “Beauty Is a Letter of Credit,” Nina Dubin, Associate Professor, Department of Art and Art History University of Illinois, Chicago
• “Chardin: Gender and Interiority,” Ewa Lajer-Burcharth, William Dorr Boardman Professor of Fine Arts, Department of History of Art and Architecture, Harvard University
• “The Global Allure of the Porcelain Room,” Meredith Martin, Department of Art History, New York University
• “Pictured Together? Questions of Gender, Race, and Social Rank in the Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray,” Jennifer Germann, Associate Professor, Department of Art History, Ithaca College
• “Becoming an Animal in the Age of Enlightenment,” Amy Freund, Associate Professor & Kleinheinz Family Endowed Chair in Art History, Southern Methodist University
• “Marguerite Lecomte’s Smile: Portrait of a Woman Engraver,” Mechthild Fend, Reader in the History of Art, Department of History of Art, University College London
• “Exceptional, but not Exceptions: Women Artists in the Age of Revolution,” Paris Spies Gans, Doctoral Candidate, Department of History, Princeton University
The final program, with times, is available here»
At the Ackland Art Museum at UNC, Chapel Hill, there will be a sister symposium in Mary’s honor entitled “Taking Exception: Women, Gender, Representation in the Eighteenth Century,” 1–3 February 2018.
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Note (added 14 October 2017) — The posting has been updated with additional information, including details on the catalogue, venues, and the conferences.
Conference | Collections, Displays and the Agency of Objects
From the conference programme:
Collections, Displays and the Agency of Objects
Cambridge University, 20–22 September 2017
Registration due by 10 September 2017
Conference organized as part of the BMBF project Parerga and Paratexts – How Things Enter Language: Practices and Forms of Presentation in Goethe’s Collections in collaboration with the Department of Art History in Cambridge.
Brückenzimmer of Goethe’s House, Weimar.
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6:00 Welcome and Introduction
6:30 Opening Lecture
• Ivan Gaskell (Bard Graduate Center), Display Displayed
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9:00 Session I
Moderator: Johannes Grave (Universität Bielefeld)
• Ruth Bielfeldt (Ludwig-Maximilians-Universität München), Do Things Talk? On the Practice of Epigraphein in Greek Sanctuaries
• Elsje van Kessel (University of St. Andrews), The Street as Frame
• Peter Schade (National Gallery, London), The Framing of Sebastiano del Piombo’s The Raising of Lazarus
• Hannah Williams (Queen Mary University of London), Staging Belief: Immersive Encounters and the Agency of Religious Art in 18th-Century Paris
12:15 Lunch break
2:00 Encounters with Objects
4:15 Session II
Moderator: Wolfgang Holler (Klassik Stiftung Weimar)
• Eelco Nagelsmit (ETH Zürich), Interiority on Display: Models of Holy Sites in Halle Pietism
• Thomas Schmuck (Klassik Stiftung Weimar), Vestiges of Earth History: Objects and Order in Goethe’s Geological Collections
• Diana Stört (Martin-Luther-Universität Halle-Wittenberg), Goethe’s Cabinets as Epistemic Furniture
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9:00 Session III
Moderator: Cindy Kang (The Barnes Collection)
• Mechthild Fend (University College London), Order and Affect: The Museum of Dermatological Wax Moulages at the Hôpital Saint Louis in Paris
• Juliet Carey (Waddesdon Manor, The Rothschild Collection), Staging Things: Framing the Rothschild Collection at Waddesdon Manor
• Dario Gamboni (Université de Genève), Ready-made Eye-opener: Models, Functions and Meanings of the Ironwork in Albert C. Barnes’s Displays
11:45 Lunch break
2:00 Encounters with Objects
4:15 Session IV
Moderator: Valérie Kobi (Universität Bielefeld)
• Noémie Étienne (Universität Bern), Unfolding the Specimen: Display and Diorama in New York, 1900
• Angela Matyssek (Philipps-Universität Marburg), Death by/Life by Wall Label
5:45 Final Discussion and Conclusions
Conference | Digital Art History: Practice and Potential
From the Paul Mellon Centre:
Digital Art History: Practice and Potential
Paul Mellon Centre and the Courtald Institute of Art, London, 11 October 2017
Organized by Hana Leaper, Sophie Hatchwell, and Fern Insh
The first conference of the Early Career Researchers in British Art Network in partnership with The Courtauld Institute of Art’s Digital Art History Research Group (#DAHRG) and the Paul Mellon Centre for British Art
This conference, organised under the auspices of the Early Career Researchers in British Art Network, and Digital Art History Research Group (#DAHRG), provides a platform for Early Career Researchers engaged or interested in digital art history to showcase their work, develop skills, and think broadly about how digitisation can innovate, challenge convention, and inform art-historical practice.
In recent years, academics and institutions engaged in the Digital Humanities have brought together new technologies with historical research and scholarship. As a result, departments and institutions dedicated to the study of the Digital Humanities are becoming increasingly commonplace. Concurrently, art historians have sought to define what Digital Art History is, with eminent scholars such as Johanna Drucker and Diane M. Zorich interrogating its place within disciplinary practice and theory and many conferences and publications devoted to specifically defining what Digital Art History means. By inviting an emergent generation of scholars together, this conference intends to move beyond defining Digital Art History. Instead, we consider how digital technology integrates with and enhances art historical methodologies and theories in today’s digital world.
Convened by Dr Hana Leaper (Paul Mellon Centre), Dr Sophie Hatchwell (University of Bristol), and Dr Fern Insh (Courtauld Institute of Art)
S C H E D U L E
9.30 Registration and introduction at the Paul Mellon Centre
10.00 Panel 1 | Practice: Exploring the Nexus of Digital Technologies and Art Historical Research
• Élodie Gössant, Reconstructing a Lost Country House: The Case of Erlestoke Park (Wiltshire)
• Phillippa Plock and Colette Warbrick, Digital/ized Art History at Waddesdon Manor
• Shu-Chi Shen, Revisualising, Reconstruction and Recreation: The Case Study on a Digital Exhibition in the National Palace Museum
11.30 Break
12.00 Panel 2 | Potential: Evolution and Synthesis of Art Historical Methodologies
• Nirmalie Alexandra Mulloli and Christina Bartosch, Exhibitions of Modern European Art, 1905–15: Building Metadata to Reveal Artist Exhibition Strategies and Advance Theoretical Possibilities of Exhibition Spaces
• Ricarda Brosch and Adam Knight, The Quantitative Turn: Big Data Ethics in Digital Art History
• Rosário Salema de Carvalho and Inês Aguiar, Match! Image recognition issues on Az Infinitum: Azulejo Indexation and Referencing System
1.30 Lunch
1.30 Workshop Session
• Fern Insh, App Building for History and Heritage
3.30 Break
4.00 Roundtable Discussion
• Early Career Researchers’ Role in Developing Digital Practice
6.00 Lecture, at the Courtauld Institute of Art
• Emma Stanford, The Art of Losing: A Wishlist for Responsible Digitization
7.15 Reception
Abstracts are available here»
Symposium | Art of Power: The 3rd Earl of Bute, Politics, and Collecting
From the symposium flyer:
Art of Power: The 3rd Earl of Bute, Politics, and Collecting in Enlightenment Britain
The Hunterian Art Gallery, University of Glasgow and Mount Stuart, Isle of Bute, 2–4 October 2017
In 2017, the Mount Stuart Trust and The Hunterian Art Gallery, University of Glasgow, are hosting a major exhibition merging art, biography, politics, and cultural history. Art of Power: Masterpieces from the Bute Collection uncovers the fascinating Enlightenment figure, John Stuart, 3rd Earl of Bute (1713–1792), and his collection of rarely-seen masterpieces. A three-day interdisciplinary symposium inspired by themes of the exhibition will explore the dynamic interplay between art, politics, and collecting so evident in the life of the 3rd Earl of Bute. In sessions open to the public, papers will be delivered on day one in Glasgow. Days two and three will take place at Mount Stuart (with only a very limited number of spaces) and will include tours of the house, archives, and collection highlights.
Confirmed Speakers
Desmond Shawe-Taylor (Royal Collection), Rosie Razzall (Royal Collection), Anne T. Woollett (J. Paul Getty Museum), Anthony Lewis (Glasgow Museums), Wayne E. Franits (Syracuse University), Graham Rowe (University of Derby), Heiner Krellig (independent), Janet Stiles Tyson (Birkbeck), Oliver Cox (Oxford), Peter Black (Hunterian), Mungo Campbell (Hunterian), and Caitlin Blackwell (Mount Stuart)
Symposium | Saint-Cloud to Bernardaud: French Porcelain, 1690–2000
From The French Porcelain Society:
Saint-Cloud to Bernardaud: New Horizons in French Porcelain, 1690–2000
The French Porcelain Society Symposium
The Wallace Collection, London, 20–21 October 2017
Organized by Aileen Dawson
From top left: Saint-Cloud Vase, 1695–1710 (New York: The Metropolitan Museum of Art); Bastien & Bugeard Clock, 1848–58 (Paris: Musée des Arts décoratifs); Mennecy Jug, 1760 (London: Victoria and Albert Museum); Villeroy Monkey, 1745 (New York: The Metropolitan Museum of Art); Guérhard & Dihl Vase, 1797–1804 (Clandon Park, National Trust); and Bernardaud Vase, 2015, by Hervé Van Der Straeten.
The symposium will present ground-breaking new research on a broad range of French porcelain factories operating from the late 17th century up to the present day. Many of these factories have at times been unjustly neglected in favour of the royal factory at Sevres, even though their productions could at times rival its splendid output, and all were responding to the same changes in taste and fashion. Papers will focus on Saint-Cloud, Chantilly, Mennecy, and factories in Eastern France, such as Strasbourg and Niderviller, those operating in Paris in the late 18th and 19th centuries, such as Dihl, Shoelcher and Dagoty, and the Limoges factories in production in the 19th century and up to the present day. The location, capitalisation, techniques of manufacture, employment of artists, sculptors and designers, marketing and clientèle will be explored by some twenty leading international scholars.
The symposium is organized by Dr Aileen Dawson, former curator at The British Museum. It is open to members and non-members of The French Porcelain Society, and bursaries may be available for scholars who wish to attend. The registration fee is £100 (non-FPS members £110, students £70) with additional fees for lunches and an evening reception. Please contact FPSenquiries@gmail.com.
P A P E R S
17th and 18th Centuries
• Errol Manners, The Porcelain of Villeroy
• Nicole Duchon, Mennecy Villeroy: Some Surprising New Discoveries
• Pamela Roditi, Two Travellers: Robinson and Clara
• John Whitehead, The Painter Piat-Joseph Sauvage: his work on porcelain at Dihl
• Iris Moon, Use Your Illusion: Niderviller Ceramics and Rococo Aesthetics at the 18th-Century French Border
19th Century
• Tamara Préaud, Brongniart and the ‘Exposition des Produits de l’industrie (1819–1844)
• Audrey Gay-Mazuel, Parisian Porcelain Makers and the Mid-19th-Century Rococo Revival
• Sonia Banting, A Little-Known Maker of pâte-sur-pâte: Charles Pillivuyt (1810–1872) and His Porcelain Factory in the Berry Region
• Virginie Desrante, Jules Lesme and Limoges in the Style of Bernard Palissy
• Howard Coutts, Paris and Other French Porcelain in the Bowes Museum
• Régine de Plinval de Guillebon, Dagoty, Porcelain Manufacturer to the Empress Josephine: Designs and Their Realisation
20th Century
• Hélène Huret, Arists and Designers at Bernadaud, Limoges, from Kees Van Dongen to Jeff Koons, Know-How and Invention
Conference | Early Modern Collections in Use
From the conference flyer:
Early Modern Collections in Use
The Huntington Library, Art Collections, and Botanical Gardens, San Marino, 15–16 September 2017
Ferrante Imperato, Dell ’Historia Naturale, 1599, detail from a double plate (Los Angeles: Getty Research Institute).
From cabinets of curiosities, auction houses, and libraries to stables, menageries, and laboratories, early modern collections played a key role in the creation and transmission of knowledge. But how were these collections used in their own time? Speakers will explore the relationships between space and knowledge through the discussion of a range of themes in the history of collecting: from management to performance, from visitation to dissemination. Cumulatively, the papers will offer a new basis for thinking not only about the origins and content, but also about the functions and dynamics of early modern collections.
Conference registration and optional lunches by reservation only. The registration fee is $25 (students free), with buffet lunches for $20 each day. Please visit The Huntington website for more information. Funding provided by The Huntington’s William French Smith Endowment and The USC-Huntington Early Modern Studies Institute.
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8:30 Registration and coffee
9:30 Welcome by Steve Hindle (The Huntington) and remarks by Elizabeth Eger and Anne Goldgar (King’s College London)
10:00 Session 1 | Conceptualizing
Moderator: Anne Goldgar
• Paula Findlen (Stanford University), Why Put a Museum in a Book? Ferrante Imperato and Natural History in Sixteenth-Century Naples
• Peter Mancall (University of Southern California and The USC-Huntington, Early Modern Studies Institute), Birds of (Early) America
12:00 Lunch
1:00 Session 2 | Displaying
Moderator: Elizabeth Eger
• Vera Keller (University of Oregon), Johann Daniel Major (1634–1693) and the Experimental Museum
• Mark Meadow (University of California, Santa Barbara), Quiccheberg, Prudence, and the Display of Techne in the Brueghel/Rubens Allegories of the Senses
2:45 Break
3:00 Session 3 | Performing
Moderator: Arnold Hunt (University of Cambridge)
• Dániel Margócsy (University of Cambridge), Stables as Collections for Breeding: The Production of Knowledge and the Reproduction of Horses
• Anne Goldgar (King’s College London), How to Seem a Connoisseur: Learning to Perform in Early Modern Art Collections
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9:00 Registration and coffee
9:30 Session 4 | Hiding
Moderator: Peter Mancall
• Jessica Keating (Carleton College), Hidden in Plain Sight: The Kunstkammer of Holy Roman Emperor Rudolf II
• Victoria Pickering (The British Museum), Sealed and Concealed: The Visible and Not-so-Visible Uses of a Botanical Collection
11:30 Lunch and time to view exhibition, Visual Voyages: Images of Latin American Nature from Columbus to Darwin (led by exhibition curator Daniela Bleichmar)
1:00 Session 5 | Visiting
Moderator: Kim Sloan (The British Museum)
• Elizabeth Eger, Collecting People
• Felicity Roberts (King’s College London), Sir Hans Sloane’s Museum and Animal Encounters
2:45 Break
3:00 Session 6 | Disseminating
Moderator: Miles Ogborn (Queen Mary University of London)
• Alice Marples (The John Rylands Research Institute, University of Manchester), ‘Raised to High Eminence By the Excitement’: Collections and the Creation of ‘Provincial’ Medical Education
• Daniela Bleichmar (University of Southern California), The Interpretation of Mexican Indigenous Objects in Collections in Early Modern Europe and New Spain
4:45 Concluding Roundtable
Arnold Hunt (University of Cambridge), Miles Ogborn (Queen Mary University of London), Kim Sloan (The British Museum), and Mary Terrall (University of California, Los Angeles)
Study Day | 300 Years of Silk
One of a pair of shoes, ca 1720; leather sole, with brocaded silk uppers with silk woven in Spitalfields
(London: V&A, T.446&A-1913)
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300 Years of Silk: A Study Day at Gainsborough’s House
Gainsborough’s House, Sudbury, Suffolk, 26 September 2017
Join us for 300 Years of Silk, an exclusive Silk Study Day held at Gainsborough’s House in Sudbury, Suffolk. Hosted by textile specialists Mary Schoeser and Kate Wigley of the School of Textiles, Coggeshall, and Keeper of Art & Place Louisa Brouwer of Gainsborough’s House, this event will feature a series of informative lectures, interactive handling sessions and a curator-led tour of the current exhibition, Silk: From Spitalfields to Sudbury (17 June — 8 October 2017). The daylong programme will include opportunities to study a range of silk textiles from the eighteenth to twentieth centuries in close detail and will offer privileged access to the Sudbury silk mill Vanners Silk Weavers, with guided tours led around this vibrant working factory in the afternoon.
Organised to accompany the current exhibition Silk: From Spitalfields to Sudbury at Gainsborough’s House, this Study Day will explore the fascinating history of the English silk industry, focussing on the town of Sudbury, Suffolk—regarded today as Great Britain’s most important centre for silk manufacture. Sudbury now produces more woven silk textiles than anywhere else in the nation, with four working firms still in operation: Vanners Silk Weavers, The Gainsborough Silk Weaving Company, Stephen Walters & Sons, and The Humphries Weaving Company. Dating back to the early years of the nineteenth century, Sudbury’s nascent silk industry was facilitated by the town’s former history as a wool centre, to which many family members of the Sudbury-born artist Thomas Gainsborough, R.A. (1727–1788) plied their trade.
Open to students, curators, and textile enthusiasts alike, this Study Day offers full access to Gainsborough’s House in the historic market town of Sudbury, located just 1 hour 20 minutes by train from London Liverpool Street. The day will run from 10am to 5pm and cost £80 per person (inc. VAT). Tickets will include tea, coffee, and biscuits upon arrival, followed by a light sandwich lunch in the afternoon. For further enquiries and to reserve your place, please contact louisa@gainsborough.org. Limited places are available so early booking is recommended.
Symposium | Enlightened Princesses: Britain and Europe, 1700–1820
From the Paul Mellon Centre for Studies in British Art:
Enlightened Princesses: Britain and Europe, 1700–1820
Kensington Palace, Hampton Court Palace, and the Tower of London, 29–31 October 2017
Caroline of Ansbach (1683–1737), Augusta of Saxe-Gotha (1719–1772), and Charlotte of Mecklenburg-Strelitz (1744–1818), three Protestant German princesses, became variously Princess of Wales, Queen Consort, and Princess Dowager of Great Britain. Recent research has explored how in fulfilling these roles they made major contributions to the arts, the development of new models of philanthropy and social welfare, the promotion and support of advances in science and medicine, as well as trade and industry, and the furthering of imperial ambition. While local contexts may have conditioned the forms such initiatives took, their objectives were rooted in a European tradition of elite female empowerment.
This symposium, Enlightened Princesses: Britain and Europe, 1700–1820, will bring together eminent academicians and museum scholars to investigate the role played by royal women-electresses, princesses, queens consort, reigning queens, and empresses—in the shaping of court culture and politics in Europe of the long eighteenth century.
Papers will explore the following themes:
• Royal women as political agents
• Royal women: networks and conversations
• Royal women as patrons of art and architecture
• Royal women and the crafting of image
• Royal women: engaging with nature and technology
The symposium will take place 29–31 October 2017 at Kensington Palace, Hampton Court Palace, and the Tower of London. The programme will include special tours of the Enlightened Princesses exhibition at Kensington Palace, followed by two full days of lectures, themed panels, and discussions at Hampton Court Palace and the Tower of London.
The fee for attending the conference is £100. Reduction are available for a limited number of students on application to the symposium organiser. The symposium organiser can be contacted at emily.knight@hrp.org.uk.
Co-organised by Historic Royal Palaces, the Yale Center for British Art, and the Paul Mellon Centre for Studies in British Art, London, in association the exhibition Enlightened Princesses: Caroline, Augusta, Charlotte, and the Shaping of the Modern World, on view at Kensington Palaces, 22 June – 12 November 2017.
S U N D A Y , 2 9 O C T O B E R 2 0 1 7
14.00 Exhibition tour 1
15.00 Exhibition tour 2
16.00 Exhibition tour 3
Tea served in Orangery from 14.00 to 17.00
M O N D A Y , 3 0 O C T O B E R 2 0 1 7
9.00 Registration and coffee
9.30 Welcome from Adrian Phillips and Amy Meyers
9.45 Keynote Lecture
• Joanna Marschner, Enlightened Princesses: Britain and Europe, 1700–1820
10.30 Break
10.45 Session 1 | Royal Women as Political Agents
Moderator: Lisa Ford
• Elise Dermineur, Queens Consort as political agents: A tentative research framework through the example Queen Louisa Ulrika of Sweden (1720–1782)
• Heather Carroll, ‘Charlotte has the breeches’: The shifting political perception of Queen Charlotte
• Allison Goudie, ‘A woman of great feminine beauty, but of a masculine understanding’: Queen Maria Carolina of Naples and Canova’s statue of the king ‘as Minerva’
• Martin Eberle, Luise Dorothea: Duchess of Saxony-Gotha-Altenburg
13.00 Lunch
14.00 Session 2 | Royal Women: Networks and Conversations
Moderator: Lucy Peltz
• Elizabeth Montagu, ‘Queen of the Bluestockings’: Women and literary authority in the age of Enlightenment
• Lisa Skogh de Zoete, Queen Hedwig Eleanora—A Liebhaberin of the arts: Political culture and sources of knowledge as part of Northern German Court Culture
• Merit Laine, Creative conversations: Queen Louisa Ulrika and the formulation of Swedish court culture in the Age of Liberty
• Sonja Fielitz, ‘A silent but impressive language’: The quietly worked female empowerment of Charlotte of Mecklenburg-Strelitz
16.00 Tea
16.30 Discussion
Moderators: Sebastian Edwards and Desmond Shawe-Taylor
17.30 Drinks and musical programme with harpsichord virtuoso Nathaniel Mander
T U E S D A Y , 3 1 O C T O B E R 2 0 1 7
9.00 Registration and coffee
9.30 Welcome by Joanna Marschner and Amy Meyers
9.45 Session 3 | Royal Women as Patrons of Art and Architecture
Moderators: Aurélie Chatenet-Calyste and Desmond Shawe-Taylor
• Tara Zanardi, Material Temptations: Isabel de Farnesio and the politics of the interior
• Veronica Biermann, ‘Let’s have a look’: G.L. Bernini’s mirror for Queen Christina and her self-image
• Christopher Johns, Two Queens and a villa: Enlightenment sociability in Turin
• Christopher Baker, Augusta, Princess of Wales and Jean Etienne Liotard
• Heidi Strobel, Queen Charlotte as patron of female artists
13.00 Lunch
14.00 Session 4 | Royal Women and the Crafting of Image
Moderator: Matthew Storey
• Heather Belnap Jensen, Dynastic dressing: The portraits of Caroline Bonaparte Murat, Queen of Naples and the art of costume
• Eva-Lena Karlsson, Sofia Albertina: A Swedish princess from Rococo to Biedermeier
15.00 Session 5 | Royal Women: Engaging with Nature and Technology
Moderator: Joanna Marschner
• Tessa Murdoch, Measuring time at the Hanoverian Court: Caroline, Augusta and Charlotte as promoters of clock and watch-making in London
• Emily Roy, Catherine the Great’s Russian mountain: The imagery of the Thunder Stone
16.25 Tea
17.00 Discussion
Moderator: Helen Watanabe-O’Kelly
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Note (added 19 September 2017) — An updated schedule has replaced the previous, provisional programme.
Note (added 26 October 2017) — Several small changes were made to the programme and corrected in the posting above; a final copy is available here.
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