Enfilade

From H-ArtHist:

Morgan: Mind of the Collector
Wadsworth Atheneum Museum of Art, Hartford, CT, 10–11 November 2017

J. Pierpont Morgan (1837–1913) spent over twenty years traveling the globe to amass the largest collection of art and cultural artifacts of his time. Estimated to have exceeded 20,000 works of art, Morgan’s collections represent a broad historical and geographic range of art and cultural artifacts. Acting on his father’s wishes, J.P. Morgan’s son, Jack, donated more than 1,350 works collected by his father to the Wadsworth Atheneum in his native Hartford. In fall 2017, the Wadsworth Atheneum will mark the centennial anniversary of Morgan’s gift and its historical impact with an exhibition, Morgan: Mind of the Collector. The Wadsworth Atheneum will host an international symposium in conjunction with the exhibition to reexamine and showcase the latest research about Morgan’s collection and how he shaped the identity of the collector in the modern age.

For more information or to register, please contact faculty@wadsworthatheneum.org. Hotel discounts are available for the attendees of the conference at the Hartford Marriott Downtown.

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12:00  Registration

1:15  Introduction
• Neil Harris (University of Chicago), Morgan the Collector

1:45  1 | Morgan and the Biblical Lands (chair, Steven Tinney, University of Pennsylvania)
• Yelena Rakic (Metropolitan Museum of Art, New York), Discovering the Ancient Near East
• Lyle Humphrey (North Carolina Museum of Art, Raleigh), Morgan in Egypt
• John Bidwell (Morgan Library & Museum, New York), Morgan’s Bibles

3:30  Break

3:45  2 | The Romance of History (chair, Christine Brennan, Metropolitan Museum of Art)
• Christine Brennan (Metropolitan Museum of Art, New York), Morgan and Medieval Art
• Roger Wieck (Morgan Library & Museum, New York), Morgan and Manuscripts

5:15  Exhibition Viewing and Reception

6:30  Speakers’ Dinner

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10:00  3 | Building a Beautiful Life (chair, Colin Bailey, Morgan Library & Museum)
• Wolfram Koeppe (Metropolitan Museum of Art, New York), Gold and Garnets: A Love of Precious Objects
• Linda Roth (Wadsworth Atheneum Museum of Art, Hartford), Prince’s Gate, London
• Alice Cooney Frelinghuysen (Metropolitan Museum of Art, New York), From Gilded Age Interior to Renaissance Palazzo: Morgan’s New York House

12:00  Lunch

1:00  4 | The Politics of Collecting: The Global Network (chair, Inge Reist, Center for the History of Collecting at the Frick Collection)
• Catherine Scallen (Case Western Reserve University, Cleveland), Turning to the Experts
• Jennifer Tonkovich (Morgan Library & Museum, New York), Morgan’s Experts and Dealers in London and Europe
• Barbara Pezzini (National Gallery, London), Collecting British Paintings

3:00  Break

3:15  5 | Crafting a Legacy (chair, Jennifer Tonkovich, Morgan Library & Museum)
•  Charlotte Vignon (Frick Collection, New York), Morgan and Duveen: The Formation and Dispersal of a Collection
• Jo Briggs (Walters Art Gallery, Baltimore), Morgan and His Fellow American Collectors

5:00  Reception and Exhibition Viewing

From H-ArtHist:

Beyond Reproductive Printmaking: Prints and the Canon of European Painting, ca. 1500–1810
Diesseits und jenseits von Reproduktion: Druckgrafik und der Kanon der europäischen Malerei
Dresden, 18–19 September 2017

Registration due by 8 September 2017

Eine kooperative Veranstaltung des Kupferstich-Kabinetts der Staatlichen Kunstsammlungen Dresden und des Institutes für Kunst- und Musikwissenschaft der TU Dresden (Lehrstuhl für Mittlere und Neuere Kunstgeschichte) / joint conference of the Cabinet of Prints, Drawings and Photographs of the Dresden State Art Collections and the Institute of Art and Music of the Technical University Dresden

Venues
Studiensaal des Kupferstich-Kabinetts und Hans-Nadler-Saal im Residenzschloss, Gemäldegalerie Alte Meister im Zwinger / Print room of the Cabinet of Prints, Drawings and Photographs, Hans-Nadler-Saal and Old Masters Picture Gallery, Dresden

Organization Team
Susanne Magister, M.A.
Sabine Peinelt-Schmidt, M.A.

Contact
beyond-reproduction-2017@gmx.de

For the lectures on 19th September we kindly ask for registration via email no later than 8th September 2017. We would like to invite all interested guests to the public evening lecture of Dr. Rudolf Rieger in the print room of the Cabinet of Prints, Drawings and Photographs on 18th September 2017 at 6.30pm.

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18:30 Öffentlicher Abendvortrag im Studiensaal des Kupferstich-Kabinetts
• Rudolf Rieger (Bonn), Adam von Bartsch (1757–1821) als Graphiker: Die Reproduktion von Handzeichnungen alter Meister zwischen Faksimileanspruch, normativen Rezeptionsvorgaben und künstlerischer Interpretation

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9:30  Registration

10.00  Section I | Collecting Interpretative Prints: Now and Then
Moderated by Jürgen Müller (Dresden)
• Gudula Metze (Dresden), Königliches Kunst-Kompetenzzentrum. Das Dresdener Kupferstich-Kabinett als Kunstsammlung, Wissensspeicher und Forschungsstelle im 18. Jahrhundert
• Rieke van Leeuwen (Den Haag), Reproductive Prints in the Collection of the Rijksbureau voor Kunsthistorische Documentatie (RKD)

11.25  Section II | Translation and Technique
Moderated by Stephanie Buck
• Rena M. Hoisington (Baltimore), Étienne Fessard’s Prints of the Chapel of the Hôpital des Enfants Trouvés in Paris, 1751–59
• Caroline O. Fowler (New Haven), Defacing Raphael in the Eighteenth Century

12:30  Lunch

14.00  Section III | Mobile Motifs and Changes of Meaning
Moderated by Susanne Magister (Dresden)
• Ralf Bormann (Frankfurt a.M.), Das Nachleben reproduzierter dionysischer Sarkophagmotive im Kunstbetrieb der Académie Royale
• Christine Moisan-Jablonski (Warsaw), Geographical Metamorphoses: The influence of a composition attributed to Justus van Egmont and that of the “Elements” cycle, engraved by Jeremias Falck, on print series produced by German publishing houses
• Aude-Line Schamschula (Heidelberg), Der Herkules-Zyklus von Frans Floris. Druckgrafik als Medium der Rezeption

15.50  Section IV | Interpretative Prints as Sources for the History of Reception
Moderated by Sabine Peinelt-Schmidt (Dresden)
• Uta Neidhardt (Dresden), Gillis van Coninxloo – ein Meister des Spätwerks? Die Bedeutung grafischer Reproduktionen für die Rekonstruktion und Rezeption des Schaffens eines Hauptmeisters der flämischen Landschaftskunst
• Marina Daiman (New York), ‘Diverse opere grandi le quale vanno in stampa’: Rubens’s Fame, Theft, and the Business of Prints
• Alice Ottazzi (Torino / Paris), The Role of Mezzotint in Shaping International Reputations: An Aspect of the Reception of the English School in France

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The following lectures of the first day of the conference are reserved for the speakers due to space limitations of the print room.

11:00  Registration

11:45  Welcome by Stephanie Buck, Jürgen Müller, Susanne Magister, and Sabine Peinelt-Schmidt

12:30  Jaqueline Klusik-Eckert (Erlangen), Stichkopien: Phänomen der Rezeption oder Hinweis auf einen Paragone?

12:50  Christien Melzer (Bremen), Im Zeichen der Lilie. Französische Druckgraphik zur Zeit Ludwigs XIV.

13:10  Evelyn Wöldicke (Berlin), Gemäldereproduktionen im Clairobscur-Holzschnitt? John Baptist Jackson und die Geschichte eines gescheiterten Versuchs

13:30  Zalina V. Tetermazova (Moskow), Colour Prints by Gabriel Scorodoomoff (1754–1792): Between Painting and Graphic Arts

13:50  Giorgio Marini (Firenze), Giuseppe Longhi’s La Calcografia: Theory and Techniques of Neoclassical Reproductive Printmaking

14:45  Pause and Change of Location
Gemäldegalerie Alte Meister der Staatlichen Kunstsammlungen Dresden, im Zwinger, Dresden

15:45  Martin Schuster (Dresden), Moderation and Introduction
Visit to the Old Masters Picture Gallery with presentation of preparatory drawings and prints from the Recueil d’Estampes d’après les plus célèbres Tableaux de la Galerie Royale de Dresde

From H-ArtHist:

Translation Phenomena: Texts as Artistic Intermediaries
Übersetzungsphänomene: Texte als künstlerische Vermittlungsinstanzen
Friedrich-Alexander-Universität Erlangen-Nürnberg, Erlangen, 17–18 July 2017

In der Epoche der Frühen Neuzeit war Kunstproduktion in hohem Maße konditioniert durch die zentrale und ubiquitäre Kulturtechnik des Übersetzens. Die Übersetzung und Relektüre antiker Texte befeuerte das humanistische imitatio-Denken und inspirierte vielfältige Adaptionen theoretischer Konzepte, vorbildhafter Werke und motivischer Konstellationen. Der Workshop wird sich jedoch nicht primär auf die verhältnismäßig gut erforschte Antikenrezeption konzentrieren, sondern die konsekutiven Übersetzungswellen in den Blick nehmen, die bislang wenig Aufmerksamkeit gefunden haben. Die Veranstaltung thematisiert Konzepte und Praktiken des Übersetzens in ihrer Relation zu Bildender Kunst und Architektur im Zeitraum ca. 1550–1800. Vorrangig sind dabei zwei Prozesse zu untersuchen, die transnationale kulturelle Transfers betreffen: Zum einen geht es um die frühneuzeitlichen innereuropäischen Übersetzungsdynamiken (die Übertragung von Kunst- und Architekturtraktaten z. B. aus dem Italienischen ins Deutsche und Englische und die dabei vorgenommene Kommentierung bzw. Neu-Interpretation plurivalenter Passagen), zum anderen gilt es, die künstlerische Transformation der in solchen Traktaten kodifizierten Vorbilder und Normen sowohl innerhalb als auch außerhalb Europas zu analysieren.

Ort: Haus „kreuz + quer“, Bohlenplatz 1, 91054 Erlangen. Der Eintritt ist frei; eine Anmeldung ist nicht erforderlich.

Konzeption und Kontakt: Prof. Dr. Christina Strunck (Friedrich-Alexander-Universität Erlangen-Nürnberg), christina.strunck@fau.de

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14.15  Christina Strunck (Friedrich-Alexander-Universität Erlangen-Nürnberg), Begrüßung und Einführung

14.30  Ulrike Kern (Goethe-Universität Frankfurt am Main), Vom Festland zur Insel: Kunsttheoretische Übersetzung im frühneuzeitlichen England

15.30  Kaffeepause

16.00  Constanze Keilholz (Georg-August-Universität Göttingen), Vignolas Regola in Europa: Zur Transformation der Titelillustration eines frühneuzeitlichen Bestsellers

17.00  Paolo Sanvito (Università degli Studi di Napoli Federico II), Übersetzung und Interpretation von Textquellen zum antiken Theaterbau: Debatten an der Accademia Olimpica in Vicenza, von Daniele Barbaro (1567) bis Enea Arnaldi (1762)

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9.00 Kristoffer Neville (University of California, Riverside), Leonhard Christoph Sturm as Reader and Critic: Architectural Translation and Synthesis in Germany in the Early Eighteenth Century

10.00  Carolin Scheidel (Friedrich-Alexander-Universität Erlangen-Nürnberg), Palladios I Quattro Libri in England: Transformation und Rezeption der illustrativen Elemente

11.00  Kaffeepause

11.30  Daniela Lunger-Šterbová (Univerzita Karlova, Prag), Johann Ferdinand Schor und seine Architekturmanuskripte: Erforschung der theoretischen Quellen seiner Vorlesungen

12.30  Abschlussdiskussion

Design for a Carriage Built by Andrea Cornely after a design by Ciro Ferri, engraving published in An Account of His Excellence, Roger Earl of Castelmaine’s Embassy from His Sacred Majesty James the II King of England, Scotland, France and Ireland &c. To His Holiness Innocent XI (London, ca. 1687). London: V&A 19393. Inscriptions read: “The Tritons behind support two Majestic figures of Neptune & Britannia who extend each / an Arm & rear up the Imperial Crown of England’ and in the lower center of the plate, “A Marine Lion with two Genii each curbing ye Lion & Unicorn, one next Neptune holds his Trident.”

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From the programme:

A donde Neptuno reina: Water, Gods and the Iconography
of Early Modern Power (16th–18th Centuries)
CHAM Conference—Oceans and Shores: Heritage, People, and Environments
Lisbon, 13 July 2017

Organized by Pilar Diez del Corral

Since Antiquity, the personification of water—rivers or seas—has been a recurrent elements in the iconography related to power. From the Tigris to the Ganges, from the Mare Nostrum to the Atlantic Sea, water seems to have been an essential element in the visual display of powerful monarchies and empires. After the European discovery of the Americas, oceans started also to play an extraordinary role in allegorical representations, especially in Spain and Portugal, though elsewhere, too. This panel approaches water iconography, especially as related to oceans, as a mode of representation of power during the early modern period, addressing its role in politics and culture.

Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas
Room 2, Edificio I+D, Avenida de Berna, 26-C

P R O G R A M M E

9.30  Welcome by Pilar Diez del Corral (Technische Universität, Berlin)

9.40  Morning Session, Part I
• Liana De Girolami Cheney (University of Massachusetts, Lowell), Giorgio Vasari’s Neptune as Cosimo I de’ Medici: Element of Water as a Political Symbolism
• Ilaria Bernocchi (University of Cambridge), Heroic Portraiture and Political Supremacy: ‘Andrea Doria as Neptune’ in Medals, Plaquettes, and the Heroic Portrait by Agnolo Bronzino
• Linda Briggs (University of Manchester), Gods and Monsters: Representations of Water in the Royal Entries of Henri II and Charles IX of France

11.00  Coffee break

11.30  Morning Session, Part II
• Jeremy Roe (Universidade Nova de Lisboa), From Image to Allegory: Faria e Sousa on Camoes’ Poetic Images of Neptune
• Carla Alferes Pinto and Cristina Brito (Universidade Nova de Lisboa), About Gods, Neptunian Man, and Horse Mackerels: The Ocean in the Representation of Power in Infanta Beatrice’s Wedding Theatre Play (1521)
• Christopher Kreutchen (Technische Universität, Dortmund), Moved by the Elementary Power of Neptune

13:00  Lunch break

14:00  Afternoon Session, Part I
• Laura García Sánchez (Universidad de Barcelona), The Vision of the New World through the Literature and Theatre of the Golden Age: Oceans and Seas, Myths and Gods
• Diego Solá (Universidad de Barcelona), ‘Iberi Imperii finis limes et orbis erit’: China, Spain, and the Ocean through Propagandistic and Cartographic Representations (XVI–XVII Centuries)
• Filipa Araujo (Universidade de Coimbra), Reis d’ Aquém e d’Além-Mar: Emblematic Representations of Water in Portuguese Royal Festivities (17th Century)
• Álvaro Pascual Chenel (Universidad de Valladolid), Rivers and Oceans in Royal Iconography and Spanish Monarchy Representation during the Modern Age

15:40  Coffee break

16:00  Afternoon Session, Part II
• Giacomo Montanari (Università degli Studi di Genova), The Neptune’s Palace: Iconographies of the Power into the House of Stefano Durazzo in Genova
• Fernando Miguel Jalôto (Universidade Nova de Lisboa), ‘Il gran Monarca è questi, che sempre dominò su’l Gange e’l Tago’: Aquatic Metaphors and Allegories to the Reign of John V in Contemporary Musical Works
• Fernando Morato (Ohio State University), Mar Portuguez: The Atlantic Ocean as Stage for Portuguese Domination of the Americas

17:00  Concluding discussion

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From the symposium flyer:

Full Circle: The Medal in Art History — A Symposium in Honor of Stephen K. Scher
The Frick Collection, New York, 8 September 2017

On the occasion of the exhibition The Pursuit of Immortality: Masterpieces from the Scher Collection of Portrait Medals, The Frick Collection will hold a symposium on Friday, September 8, 2017, in honor of Stephen K. Scher’s many contributions to the study of medals. This symposium builds on the work of Scher and others who have sought to re-center the medal in art-historical discourse, and aims to bring this important class of object to the attention of the broader scholarly community and the public. The symposium is free, but registration is required.

• Susan Dackerman (Visiting Scholar, Getty Research Institute), Making Prints, Making Medals
• Ilaria Bernocchi (Doctoral Candidate, University of Cambridge), ‘Inventing’ Identity: Medals and Heroic Portraits in the Italian Renaissance
• Emily Fenichel (Assistant Professor, Florida Atlantic University), Michelangelo’s Portrait Medal: Thee Penitent Artist in His Final Years
• Jeffrey Collins (Professor, Bard Graduate Center), Egentium Votis: Francesco Riccardi, Giovacchino Fortini, and the Art of Self-Promotion
• Martin Hirsch (Curator, Staatliche Münzsammlung, Munich), Papal Medals and the Interplay of Prints, Paintings, and Numismatics
• Hannah Williams (Leverhulme Early Career Research Fellow, Queen Mary University of London), Portrayal and Commemoration: Medal Engravers at the French Academy of Painting and Sculpture
• Iris Moon (Visiting Professor, Pratt Institute), Kneeling Man in Chains: Recasting Invisibility and Absence in the Wedgwood Anti-Slavery Medallion
• Anna Seidel (Researcher, Hamburger Kunsthalle), ‘The Revival of the Medal’: Medals and Plaquettes at the Origin of Alfred Lichtwark’s Sculpture Collection at the Hamburger Kunsthalle
• Emerson Bowyer (Searle Associate Curator of European Painting and Sculpture, Art Institute of Chicago), History in Relief

The above order of speakers is provisional.

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Gammel Estrup Manor, a Renaissance manor house 12 miles east of Randers in Jutland, Denmark.

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From the conference programme:

A Manorial World
Gammel Estrup Manor (near Randers, Denmark), 21–23 September 2017

Registration due by 1 September 2017

Manors and country houses were for centuries a fundamental characteristic of European societies. Notwithstanding national and regional differences across Europe, manors and country houses were in most countries an economic, administrative, and political cornerstone in society. Historical processes towards democratization have pushed the manors and country houses towards the periphery, but still manors and country houses occupy an important position in society, not least in the public memory and the heritage sector. They continue to capture the imagination of tourists and visitors, as well as the scholarly interest from researchers from a wide range of academic fields such as history, architecture, archaeology, art history, anthropology, geography, and heritage studies.

The conference will examine transnational similarities and differences in the historic role, the management and the functions of manors and country houses, as well as the present-day influence and use of estate landscapes. Not just the grand estates but all manors and country houses, large and small, have had a notable influence, and they still play an important role in the physical outline as well as the identity of place in contemporary European rural communities.

The conference will bring together curators and academics with an ambition to expand and nuance the notion of manors and country houses as European cultural heritage. In order to encourage the interdisciplinary discussion among participants, the conference does not schedule parallel sessions—all presentations will be addressed to the assembled conference audience.

The programme includes two conference days and one excursion day with visits to outstanding country houses in Jutland. The conference is held 21–23 September at Gammel Estrup – The Manor Museum, Denmark and it is organized by the Danish Research Centre for Manorial Studies at Gammel Estrup. The conference fee is 195€; the fee includes two conference days and an excursion day, catering during the conference, and a conference dinner on Thursday. The closing date for registration is 1 September 2017. To register, please send an e-mail to mf@gammelestrup.dk. More information about the programme, excursion, and how to register is available here.

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8.15  Bus from Randers to Gammel Estrup

8.45  Coffee and registration

9.15  Welcome (Mette Bock, Danish Minister of Culture), Else Søjmark (Chair for Culture Municipality of Norddjurs), and Britta Andersen (Gammel Estrup – the Manor Museum)

10.00  Keynote
• Carsten Porskrog Rasmussen (Museum Sønderjylland, DK), The Creation of a Manorial Landscape in Schleswig

11.00  Dutch Landscapes and Country Houses
Chair: Yme Kuiper (University of Groningen, NL)
• Yme Kuiper (NL), The Invention of the Dutch Landscape in the Golden Age?
• Gerrit van Oosterom (NL), The Danish Connection: How Dutch-Danish Oxen Trade Influenced the Development of the Manorial Landscape South of Amsterdam
• Lenneke Berkhout (NL), Joseph Dinant: Fontanier-grottier to the Prince of Orange, Successful Client, and Transnational Broker
• Martin van den Broeke (NL), Trying a New Research Model: Country House Culture on the Island of Walcheren

12.20  Lunch

13.30 Keynote
• Arne Bugge Amundsen (University of Oslo, N), Manorial Landscape of Norway

14.30  The House and the Family
Chair: Mikkel Venborg Pedersen (The National Museum of Denmark, DK)
• Stefanie Schuldt (D), Christina Piper’s Manorial World in Skåne
• Kristine Dyrmann (DK), The Social World of Funens Country Houses: The Pocket Books of Sybille Reventlow, Countess at Brahetrolleborg, 1779–1787
• Jon Stobart (UK), Ancient and Modern, English Country House, ca. 1700–1830
• Tora Holmberg (S), Choosing a Manor Dwelling? Class, Gender, and Housing Choices in Contemporary Sweden

16.15  Bus from Gammel Estrup to Hotel Randers

18.15  Bus from Hotel Randers to Clausholm

19.00  Conference dinner at Clausholm

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8.15  Bus from Randers to Gammel Estrup

9.00  Keynote
• Heike Düselder (Museum Lüneburg, D), Heritage Management, Museums, and Manors

10.00  Gardens and Landscapes
Chair: Jonathan Finch (University of York, UK)
• Ismo Häkkinen (SF), Kultaranta: Three Lives of a Garden
• Lars Jacob Hvinden-Haug/Aina Aske (N), Reconstructing Historical Gardens: Negotiations and Debates, the Larvik Case
• Annegreth Dietze-Schirdewahn/Lei Gao (N), New Knowledge about the Manorial Austrått Landscape in Ørland, Norway

11.00  Coffee

11.30  Sustainability in the Country House Landscape
Chair: TBC
• Gerdy Verschuure-Stuip (NL), The Regional Country House Landscape
• Els van der Laan (NL), Gardens and the Green Heritage Landscape
• Rodrigo Dias (P), The Tagus Estuary Quintas: Lisbon Estate Landscape

12.30  Lunch

13.30  Managing the Manorial Landscape
Chair: Paul Zalewski (Europa-Universität Viadrina, D)
• Elyze Storm-Smeets (NL), Heritage Lost and Found
• Garry Keyes (DK), To Be or Not to Be a Manor House?
• Willemieke Ottens (NL), Who Is Better in Landscape Management? Private Owners vs. Heritage Organisations?
• Janneke van Dijk (NL), Private Heritage and Public Functions

15.00  Keynote
• Fred Vogelzang (Kenniscentrum voor kasteel en buitenplats, NL), New Functions for Castles and County Houses: The Fall and Rise of Heritage?

15.00  Coffee

16.15  Discussion

16.45  Guided tour at Gammel Estrup – the Manor Museum

18.15  Bus from Gammel Estrup to Randers

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Attributed to Johann Zoffany, The Antique Room of the Royal Academy at New Somerset House, 1780–83
(London: Royal Academy of Arts)

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From the symposium schedule (which includes abstracts of the papers). . .

The Pleasures of the Historical Imagination: A Dialogue with John Brewer
European University Institute, Villa Salviati, Florence, 22–23 June 2017

Organized by Silvia Sebastiani, Matthew Hunter, and Fredrik Albritton Jonsson

John Brewer’s work has cut a wide swathe through political, cultural, and economic history. To mark his retirement from teaching, this symposium gathers his former students, interlocutors, and friends for an exchange of conversation, discussion, and convivial disagreement, along with an update from John on his current research. These twenty-one papers are not retrospective tributes in the manner of a traditional Festschrift but rather an occasion to report on exciting new findings in the many different fields touched by John’s scholarship.

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9.30  Welcome and Introduction

9.45  1. Politics and the State
Chair: Eckhart Hellmuth (Ludwig-Maximilians Universität, München)
• Joanna Innes (University of Oxford), Britain and the Liberation of Europe: Napoleon and After
• Paul Monod (Middlebury College), Eighteenth-Century European Politics: Ideology or Culture?
• Holly Brewer (University of Maryland), Creating a Fashion for Slavery in the Stuart Court(s)
• Kathleen Wilson (Stony Brook University), Provincializing Britain: English Theatre in an Imperial Public Sphere, or, Modernity at the Margins

11.15  General Discussion

12.15  Lunch

14.00  2. Cultural History
Chair: Arthur Legger (University of Amsterdam)
• Xenia von Tippelskirch (Humboldt-Universität zu Berlin), Imagining the Italian Renaissance around 1900
• Sophie Maisonneuve (Université Paris Descartes/IIAC), Collecting Recorded Music, 1877–2017: From Document to Experience
• Alexis Schwarzenbach (Lucerne University), The Great Wave: Katagami, Mangas and Other Japanese Artefacts Exported to the West around 1900
• Michèle Cohen (UCL Institute of Education, University of London), The Grand Tour: Fashioning ‘Citizens of the World’ or ‘Worthy Citizens of England’?

15.00  General Discussion

16.00  Coffee Break

16.30  3. Art History and Visual Culture
Chair: Malcolm Baker (University of California Riverside)
• Davide Lombardo (NYU in Florence), Repressed? Daumier and the Massacres of June 1848: Drawings, Paintings, and Lithographs
• Flaminia Gennari Santori (Gallerie Nazionali d’Arte Antica di Palazzo Barberini e Palazzo Corsini), ‘Your Reader Is a Martian Who Understands Everything’: Readers, Viewers, and Visitors, Past and Present
• Mark Hallett (Paul Mellon Centre), The War of the Portraitists: Artistic Competition and the Dynamics of Exhibition Culture in Georgian London
• Matthew C. Hunter (McGill University), Thick Slicing: Frederic Edwin Church’s Actuarial Imagination

17.30  General Discussion

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10.00  4. Intellectual History and History of Science
Chair: Lawrence Klein (Unversity of Cambridge)
• Silvia Sebastiani (EHESS, Paris), At Tea with Madame Chimpanzee: A ‘société de spectacle’ in 1730s London
• Jan Albers (Independent Writer and Museum Consultant), ‘I Don’t Like History, But Do You Know What Happened Here?’ Writing a Cultural History of the Landscape
• Alexander Geppert (NYU), The Pleasures of the Imagination in Space, or: the Alien Contact Phenomenon
• Nick Wilding (Georgia State University), Forging the Moon

11.30  General Discussion

12.30  Lunch

14.00  5. Consumption and Economic History
Chair: Laurence Fontaine (CNRS)
• Fredrik Albritton Jonsson (The University of Chicago), Anthropocene History
• John Styles (University of Hertfordshire), Industrial Revolution: From Production to Consumption, and Back Again
• Dawn Lyon (University of Kent), What is a Fish Worth? Sensory Knowledge, Labour, and the Production of Value at Billingsgate Fish Market
• Frank Trentmann (Birkbeck, University of London), Material Histories: Scales, Objects, and Networks

15.00  General Discussion

16.00  Coffee Break

16.30  John Brewer, Remarks and new projects

17.00  Concluding Discussion

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From H-ArtHist:

Landscapes of the Long 18th Century
Mediating Places, Powers, and Pasts in South Asia and Beyond
Forum Transregionale Studien and the Museum for Asian Art, Berlin, 21–23 June 2017

Organized by Dipti Khera and Hannah Baader

This workshop seeks to explore how painters, poets, historians, and intellectuals have imagined landscapes and urbanisms in and of early modern South Asia, particularly over the course of the long eighteenth century. The mediation of memory and place in pictorial and literary practices in this time period was shaped by aesthetic and philosophical ideas and an epistemic situation that had deeper genealogies in the subcontinent and the broader Asian and Islamic world. Nonetheless, images, moods and ideologies encapsulated in British landscape painting and colonial photography have constructed the dominant lens that has shaped historical inquiries into spatial imaginings in the South Asian context. The focus on the long eighteenth century enables us to establish conversations between the intersections, connections, and comparisons that emerged in visual practices commissioned by diverse patrons from regional kings, Mughal emperors, trans-regional merchants, and British officers.

W E D N E S D A Y ,  2 1  J U N E  2 0 1 7

18.00 Evening Lecture
• Tim Barringer (Yale University), The Panorama as Global Landscape

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

10.00  Welcome and Introduction from Hannah Baader (Arthistories/ Kunsthistorisches Institut in Florenz, Max-Planck-Institut)  and Dipti Khera (NYU/ Arthistories Fellow 2015–16)

10.30 Morning Session
Chair: Lamia Balafrej (ArtHistories Fellow 2016–17/Wellesley College)
• Sunil Sharma (Boston University), The Pastoral Landscape in Early Modern Persian Poetry and Painting
• Chanchal Dadlani (Wake Forest University), History Without Words: Mughal Architecture in the ‘Amal-i Salih.
• Hannah Baader (Forum Transregional Studies/Kunsthistorisches Institut in Florenz, Max-Planck-Institut), Seascape and Landscape, Florence 1604

14.30  Afternoon Session, Part I
Chair: Monica Juneja (Universität Heidelberg)
• Yuthika Sharma (Edinburgh College of Art), Picturing Place: Topography as Mughal Identity in Late 18th-Century Delhi
• Dipti Khera (NYU, Arthistories Fellow 2015-16), The Art of Feeling Place: Udaipur’s Affective Assertions

16.40  Afternoon Session, Part II
Chair: Ning Yao (CAHIM Fellow 2016-17)
• Nobuko Toyosawa (Oriental Institute of the Czech Academy of Sciences), Mediating the Sense of Place from Tokugawa to Meiji Japan
• Lihong Liu (Rochester University), Long Day and Sleepless Night: Temporal Sensitivity in Chinese Landscape Painting

F R I D A Y ,  2 3  J U N E  2 0 1 7

9.45  Study Session in the Museum for Asian Art with Raffael Gadebusch, New ‘Perspectives’: Landscape and Architecture as Subject Matter in Late 18th-Century Indo-Islamic Painting (speakers and invited guests only)

14.00  Afternoon Session
Chair: Venugopal Madipatti (Art Histories Fellow 2016–17/Ambedkar University Delhi)
• Francesca Orsini (SOAS University of London), The Work of Description: Shifting Modes of Poetic Description of Places in 19th-Century Urdu Narratives
• Tim Barringer (Yale University), The Proleptic Picturesque of Joseph Bartholomew Kidd

From H-ArtHist and the Freie Universität Berlin:

At Home and Abroad: Movement, Influence, and Circulation in North American Art
John F. Kennedy Institute for North American Studies, Freie Universität Berlin, 28–29 June 2017

This international symposium will explore transcultural exchanges of North American artists and art objects from the late eighteenth century to the early twentieth century. Papers will address the movement and displacement of North American artists and the circulation of physical art objects in North America and Europe, such as paintings and prints, during a broad time frame. Issues of audience and viewership across North America and Europe will also be considered, along with the varied forms of influence and knowledge from sources such as newspapers, letters, and copies of graphic material.

Seeking to stimulate an interdisciplinary exchange, this symposium brings together invited scholars and curators working in universities and museums in the United States, Canada, Germany, and the United Kingdom.

The symposium is organized by Dr. Allison Stagg, Terra Foundation for American Art Visiting Professor at the John F. Kennedy Institute for North American Studies, Freie Universität Berlin.

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W E D N E S D A Y ,  2 8  J U N E  2 0 1 7

18:15  Allison Stagg (John F. Kennedy Institute for North America Studies), Transatlantic Visual Humor and the Political Caricature Portrait

T H U R S D A Y ,  2 9  J U N E  2 0 1 7

13:30  Welcome and Introduction from Winfried Fluck (Professor, Department of Culture, John F. Kennedy Institute for North American Studies) and Allison Stagg (Terra Visiting Professor of America Art, John F. Kennedy Institute)

14:00  Nancy Siegel (Professor, Art History, Towson University, Maryland), The Bitter Draught and a Bloody Massacre: Political Satire by Paul Revere

14:45  Martin Myrone (Curator, Tate Britain, London), The American School in London: Privilege and Preference at the Royal Academy Schools, 1769–1830

15:30  Coffee break

16:00  Dominic Hardy (Professor, Art History, Université du Québec à Montréal), Cross-readings: Colonial Canadian Identities and Transatlantic Graphic Satire in the 1840s

16:45  Larne Abse Gogarty (Terra Foundation Postdoctoral Fellow, Humboldt Universität, Berlin), Entertainment for Moralists: The Politics of Figuration in 1950s Chicago

17:30  Closing remarks

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From the programme (which includes additional information on participants). . .

Watteau, Gersaint, et le Pont Notre-Dame en 1720: Exploration
virtuelle du pont habité le plus monumental de l’histoire de Paris
Pôle Sciences et Cultures du Visuel, Tourcoing, 30 June 2017

Journée-atelier organisée dans le cadre de la restitution du projet PEPS – CNRS Réseau National des MSH

À l’intersection de l’histoire urbaine, de l’histoire de l’art, de la culture matérielle et visuelle, de la musicologie et de l’informatique, la restitution numérique du pont Notre-Dame offre une exploration visuelle, spatiale et sonore inédite du pont habité le plus monumental de l’histoire de Paris. Mené par une équipe pluridisciplinaire de chercheurs en informatique, en sciences historiques et de professionnels spécialisés en infographie 3D et en traitement sonore, il s’attache à restituer non seulement le sens des espaces, des matériaux et des volumes de cette architecture disparue, mais aussi à rendre sensible l’ambiance lumineuse et sonore de son environnement. Ces relectures du passé (tant du point de vue de l’éclairage que du son) offrent l’intérêt de recontextualiser finement la maquette du pont Notre-Dame et de révéler la distance qui existe entre passé et présent par le prisme du sensible. Une attention particulière sera portée à la restitution de la boutique du plus célèbre marchand du pont, Edme-François Gersaint, pour qui Jean-Antoine Watteau peignit, en 1720, la fameuse Enseigne de Gersaint, (Berlin, Schloss Charlottenburg). Le choix de la date retenue se justifie donc par un évènement artistique majeur dans l’histoire du pont Notre-Dame et plus généralement dans l’histoire de l’art : la présentation éphémère, en façade de la boutique de Gersaint, de ce tableau singulier, unique en son genre. L’apport de la restitution en 3D permettra d’avancer de nouvelles propositions quant au dispositif de présentation de cette peinture qui permettront de mieux en apprécier l’originalité et la portée provocatrice.

Cette journée-atelier offrira l’occasion à des chercheurs partageant un intérêt commun pour le potentiel offert par les outils numériques d’échanger sur les expériences et projets en cours dans les domaines de l’histoire urbaine, de l’histoire de l’art et du patrimoine.

Entrée libre sous réserve des places disponibles. Inscription obligatoire, avant le 22 juin 2017, auprès de Sophie Raux, sophie.raux@univ-lyon2.fr.

Pôle Sciences et Cultures du Visuel
99 Bld Descats, 59200 Tourcoing
Métro ligne 2, arrêt Alsace

P R O G R A M M E

9.30  Accueil des participants

10.00  Table ronde organisée par l’équipe projet
Youri Carbonnier, Frédéric Foveau, Claudio Gallego, Quentin George, Prosper Groux, Laura Louvrier, Mylène Pardoen, Sophie Raux, Sophie Reculin, Christophe Renaud, François Rousselle En présence de Guillaume Glorieux

11.15  Restitutions visuelles et sonores
• Expériences immersives visuelles, sonores, interactives ou non avec casques HTC VIVE
• Découverte de la maquette virtuelle du Pont Notre-Dame sur écran géant 4K
• Présentation par Julien Wylleman et Samuel Degrande du dispositif de réalité virtuelle du pôle SCV

12.30  Déjeuner

14.00  Partage d’expériences autour des enjeux du numérique dans la restitution du patrimoine matériel et sonore
• Nicolas Moucheront, L’histoire du pont Notre-Dame vue au XVIIIe siècle par l’architecte Pierre-Louis Moreau
• Renato Saleri, Le pont au Change, Lyon
• Patrick Callet, Polychromie, dorures et effets merveilleux médiévaux Mylène Pardoen : Entendre l’histoire est-ce possible ?

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