Enfilade

From the seminar programme:

The Furniture History Society’s Research Seminar on European Furniture
The Wallace Collection, London, 20 November 2015

Following the success of its two previous FHS Research Seminars, held in London in 2012 and in New York in 2014, The Furniture History Society is delighted to announce that a third Research Seminar will take place, once again hosted by the Wallace Collection, on 20 November 2015.  This year, the Seminar will be held in honour of Sir Nicholas Goodison, in celebration of his 25 years as President of the Society. Ten speakers—all at an early stage of their career—will present short papers on their current research, with papers encompassing a broad chronological and geographical representation of European furniture history.

Tickets are priced at £15 (£5 for student concessions) and are available from the Grants Secretary, Joanna Norman, grants@furniturehistorysociety.org or 07790 669240. The FHS Research Seminar is generously supported by the Oliver Ford Trust and the Wallace Collection.

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P R O G R A M M E

10.00  Registration and coffee

10.20  Welcome

10.30  Ada de Wit (Radboud University, Nijmegen / The Wallace Collection), Anglo-Dutch relationships in seventeenth-century wood carving

10.55  Olivia Fryman (Historic Royal Palaces), A leather chest of drawers from the household of Queen Anne

11.20  Esther van der Hoorn (Rijksmuseum), Patterns of production, invention and taste in a late 17th-century design for a chaise à porteurs in the Rijksmuseum

11.45  Jean-Baptiste Corne (Ecole du Louvre), Georges Jacob and the Rousseau Brothers: Enlightenment of a brief cooperation

12.10  Annemarie Klootwijk (Duivenvoorde Castle, The Netherlands), A set of rococo trumeaus at Duivenvoorde castle

12.35  Discussion

13.00  Lunch (not included in ticket price)

14.00  Julie Godin (Université de Nantes), Regency furniture at Chatsworth: From classical revival to chinoiserie

14.25  Christiane Ernek-van der Goes (Staatliche Kunstsammlungen Dresden), Johann August Türpe: Rebel, entrepreneur and court cabinetmaker

14.50  Tea

15.15  Thomas Deshayes (Cultural Property section, Ministry of Defence, Paris), Léopold Double: A French Lord Hertford?

15.40  Caroline McCaffrey (University of Leeds), Design influences on the furniture of Robert Lorimer

16.05  Benjamin Zurstrassen (Musée Horta, Brussels), Henry van de Velde’s furniture: Between making and thinking

16.30  Discussion

16.50  Concluding remarks

From Lorenzo de’ Medici:

Collecting and Empires: The Impact of the Creation and Dissolution
of Empires on Collections and Museums from Antiquity to the Present
San Jacopo in Campo Corbolini and Kunsthistorisches Institut in Florenz, Florence, 5–7 November 2015

The creation and dissolution of empires has been a constant feature of human history from ancient times through the present day, especially if one passes from a historical to a theoretical definition of empire as an open expanding global frontier. Establishing new identities and new power relationships to coincide with changing political boundaries and cultural reaches, empires also destroyed and/or irrevocably altered social structures and the material culture on which those social structures were partly based. The political activities of empires—both formal and informal to use Doyle’s definition—find their material reflection in the creation of new art forms and the reevaluation of old art forms which often involved the movement of objects from periphery to center (and vice versa) and promoted the formation of new collections. New mentalities and new social relationships were represented by those collections but they were (and are) also fostered through them.

In recent decades such issues surrounding objects and empire have become important components of our understanding of British colonialism, and to a lesser extent of anthropological approaches to colonial studies more broadly conceived. Concurrent with these developments, comparative studies of the political forms of empires have also appeared, though the baseline for such comparisons is invariably the Roman Empire, from whose imperium we derive our word, but which is ill-suited to describe post-WW-II hegemonies or even Asian historical examples. This conference seeks to cast a wider net temporally, spatially and conceptually by exploring the impact of the expansion and contraction of empires on collecting, collections, and collateral phenomena such as cultural exchange in a selection of the greatest empires the world has known from Han China to Hellenistic Greece to Aztec Mexico to the Third Reich without privileging particular political models and always with an eye to how these historical situations invite comparisons not only with each other but also with contemporary imperial tendencies.

While some scholars would argue that the term empire no longer applies to today’s global and transnational environment, others have redefined ‘empire’ in terms of contemporary capitalism and a developing post-modern global order. Exclusively based on political and economic concerns (including identity politics) and for the most part distressingly Eurocentric, these analyses of empire or its evolution into something else yet to be defined, also neglect the impact of material culture, even though material culture studies have made great strides in recent decades by addressing issues of the migration of objects and people for both political and non-political reasons. Therefore by investigating empires and imperialism in a comparative manner through the lens of collecting practices, museum archetypes and museums proper, it is hoped that this conference workshop will help shape our understanding of what is indeed imperial about our own approach to material culture.

While individual empires have been studied extensively, it is only in recent decades that they have been examined from comparative political, social and cultural perspectives. It is also only recently that scholarship in history of collecting and anthropology has begun to address the role imperial expansion on collecting and museums in reference to European and particularly British colonialism. Still there is very little written on the history of collecting from any perspective outside of the European tradition or from before the Renaissance. This conference would—for the first time—approach the subject of collecting and empires from a global and inclusive comparative perspective, from which it is hoped that significant conclusions may be drawn about the social, cultural and political impact of collecting and display across the centuries and down to present times.

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T H U R S D A Y ,  5  N O V E M B E R  2 0 1 5

8:30  Welcome and Opening Remarks – Rappresentanti degli enti coinvolti

Royal Collections in the Ancient World
Chair: Maia Wellington Gahtan

9.00  Zainab Bahrani (Columbia University, New York), The Biopolitics of Collecting: Empires of Mesopotamia

10:00  Alain Schnapp (Université Paris 1 Panthéon-Sorbonne), The Idea of Collecting from Mesopotamia to the Classical World: Convergences and Divergences

11:30  Carrie Vout (University of Cambridge), Collecting like Caesar: The Pornography and Paideia of Amassing Artefacts in the Roman Empire

12:30  Michèle Pirazzoli-t’Serstevens (École pratique des Hautes Études, Paris), Princely Treasures and Imperial Expansion in Western Han China (Second to First Century BCE)

Collections and Questions of National Identity
Chair: Daniel J. Sherman

15:00  Enrique Florescano (Conaculta, México), The Mexica Empire: Memory, Identity, and Collectionism

16:00  Dominique Poulot (Université Paris 1 Panthéon-Sorbonne) Empire and Museums: The Case of Napoleon I

17:30  Christoph Zuschlag (Universität Koblenz-Landau, Landau), Looted Art, Booty Art, Degenerate Art: Aspects of Art Collecting in the Third Reich

18:30  Katia Dianina (University of Virginia, Charlottesville), The Dispersal of the Russian Art Empire

F R I D A Y ,  6  N O V E M B E R  2 0 1 5

Expanding Empires, Morning Session
Chair: Eva Maria Troelenberg

9:00 Gerhard Wolf (Kunsthistorisches Institut, Florence), Material versus Visual Culture: Collecting, Dispersing and Display in Imperial Dynamics, 400–1600

10:00  Catarina Schmidt Arcangeli (Kunsthistorisches Institut, Florence), Collecting in Venice and Creating a Myth

11:30  Hannah Baader (Kunsthistorisches Institut, Florence), Title to be confirmed

12:30  Michael North (Ernst Moritz Arndt Universität Greifswald), Collecting European and Asian Art Objects in the Dutch Colonial Empire, Seventeenth and Eighteenth Centuries

Expanding Empires, Afternoon Session
Chair: Francesca Baldry

15:00  Thomas DaCosta Kaufmann (Princeton University), Habsburg Imperial Collecting

16:00  Ebba Koch (Universität Wien, Vienna), The Mughal Emperors as Collectors: Jahangir (rul. 1605–27) and Shah Jahan (rul. 1628–58)

17:30  Tapati Guha-Thakurta (Centre for Studies in Social Sciences, Calcutta), The Object Flows of Empire: Cross-Cultural Collecting in Early Colonial India

18:30  Ruth B. Phillips (Carleton University, Ottawa), Imperfect Translations: Indigenous Gifts and Royal Collecting in Victorian Canada

21:00  Concert: Conservatorio Luigi Cherubini – Sala del Buonumore, Piazza delle Belle Arti 2, 50122 Florence; L’Ensemble Marâghî – Ottoman Classical Music, Music of the Habsburg Empire, directed by Maestra Daniela De Santis

S A T U R D A Y ,  7  N O V E M B E R  2 0 1 5

Late and Post-Empire, De-Colonization and Museums
Chair: Thomas DaCosta Kaufmann

9:00  Edhem Eldem (Bogaziçi University, Istanbul), Ottoman Imperial Collections in the Nineteenth Century: A Critical Reassessment

10:00 Eva Maria Troelenberg (Kunsthistorisches Institut, Florence), Collecting Big: Monumentality and the Berlin Museum Island as a ‘World Museum’ between the Imperial and Post-Imperial Age

11:30  Daniel J. Sherman (University of North Carolina at Chapel Hill), The (De) Colonized Object: Museums and the Other in France since 1960

12:30  Wendy Shaw (Freie Universität Berlin), Islam and the Legacies of Empire: Ownership of Islam in Twenty-First-Century Museums

15:00  Roundtable
Moderated by Krzysztof Pomian (Uniwersytet Mikolaja Kopernika, Torun; Ecole des hautes Études)

For more information, contact Myra Stals, myra.stals@lorenzodemedici.it.

From the conference programme (in conjunction with the exhibition Ceci n’est pas un portrait: Figures de fantaisie) . . .

Fancy‒Fantaisie‒Capriccio: Diversions and Distractions in the Eighteenth Century
Musée Paul-Dupuy, Toulouse, 3–4 December 2015

Organized by Muriel Adrien, Melissa Percival, and Axel Hémery

Associated with the imagination and not reason, fancy (fantaisie) in the eighteenth century was a sort of whimsical distraction from the everyday. For Voltaire it was ‘a singular desire, a passing whim’ (‘un désir singulier, un goût passager’), while for Samuel Johnson it was ‘something that pleases or entertains without real use or value’. Together with its near-synonym caprice (capriccio), fancy was part of a rich semantic network, connecting wit, pleasure, erotic desire, spontaneity, improvisation, surprise, deviation from norms, the trivial and inconsequential. Unpredictable and quirky, it offered many outlets for artistic creativity.

These study days will explore the expressive freedom of fancy (fantaisie, capriccio) in European culture during the eighteenth century—in figure and landscape painting, architecture, and garden design, philosophy and fiction, theatre and music.

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T H U R S D A Y ,  3  D E C E M B E R  2 0 1 5

14:00 Welcome and introduction

14:15  Chair: Melissa Percival
• Keynote Speaker — Martin Postle, Modelling for the Fancy Picture: Fact, Fiction, and Fantasy
• Frédéric Ogée, Fancying Nature: The Posterity of Joseph Addison’s’ Pleasures’ in English Enlightenment Culture

15:30 Tea and coffee

16:00  Chair: Xavier Cervantes
• John Chu, ‘The Many Peopled Wall’: Fancy Pictures and Annual Exhibitions in Eighteenth-Century London
• Isabelle Baudino, Picturing the Past: The Fancy Picture and the Historical Imagination in Britain
• Hélène Ibata, British Capricci: From the Picturesque to the Sublime

18:30  Viewing of the exhibition Fantasy Figures at the Musée des Augustins

20:30  Dinner

F R I D A Y ,  4  D E C E M B E R  2 0 1 5

9:15  Chair: Muriel Adrien
• Keynote Speaker — Guillaume Faroult
• Emmanuel Faure-Carricabururu, Figures de fantaisie de Jean-Baptiste Santerre et limites des cadres génériques d’interprétation

10:30  Tea and coffee

11:00  Chair: Frédéric Ogée
• Christophe Guillouet, La production gravée parisienne au cœur de L’invention d’un genre? Les «fantaisies» de Poilly et Courtin (1710–1728)
• Bénédicte Miyamoto, ‘As Whimsical and Chimearical as their Forms Are’: Ornamental and Fanciful Motives in English Drawing Books
• Pierre-Henri Biger, De la fantaisie des éventails aux éventails de fantaisie

12:30  Lunch

14:00  Chair: Isabelle Baudino
• Vanessa Alayrac, ‘A Butterfly Supporting an Elephant’: Chinoiserie in Eighteenth-Century England, or ‘the Luxuriance of Fancy
• Xavier Cervantes, Réminiscences vénitiennes et hybridité culturelle dans les vues et capricci anglais de Canaletto
• Adrián Fernández Almoguera, Du cabinet privé à la villa suburbaine: caprices et fantaisies artistiques dans la capitale des Lumières espagnoles

15:30  Tea and coffee

16:00  Chair: Hélène Dachez
• Laurent Châtel, Fancy a Garden? The Hortulean Pleasures of Imagination and Virtuality
• Nathalie Vincent-Arnaud, Cappricioso, Or a New ‘Grammar in Motion’ in Music and Ballet
• Alice Labourg, ‘Fancy Paints with Hues Unreal’: Pictorial Fantasy and Literary Creation in Ann Radcliffe’s Gothic Novel

From the symposium website:

Beyond Chinoiserie: A Workshop-symposium on Artistic Exchanges
between China and the West during the Late Qing Dynasty, c. 1795–1911
Seton Hall University, South Orange, New Jersey, 30–31 October 2015

The mid 1790s witnessed the abdication of the Qianlong Emperor, who had ruled China for more than sixty years (1735–1796), as well as the last Western Embassy that traveled to China, organized by the Dutch East-India Company in 1794–95. Moreover, the decade saw the rapid rise of the opium trade, leading to an edict forbidding its use by the Jiaqing Emperor in 1799. The year 1911 marked the end of the Qing dynasty. By addressing the ‘long’ nineteenth century, the workshop is intended to explore a subject that has received comparatively less  attention than East-West artistic relations during the eighteenth century, when most exchanges took place between the Beijing and European courts.

The workshop is aimed at investigating what happened when political relations between China and the West soured and when artistic contacts were no longer situated at the courts but largely took place in the context of international commerce and middle-class culture. By choosing a format that is less formal than a conference or symposium, we hope to attract to the Seton Hall workshop more speakers on a topic that has in the last few years emerged as one that is crucial for our understanding of East-West relations, and of international relations generally.

Held under the auspices of the American Council of Learned Societies, with funding from the Chiang Ching-kuo Foundation for International Scholarly Exchange, the workshop is co-sponsored by the University of Sydney and Seton Hall University. Its steering committee is comprised of Petra Chu (Seton Hall University), Yachen Ma (National Tsing Hua University), and Jennifer Milam (University of Sydney).

Attendance to the workshop is free, but registration is required. A simple registration form is found on the symposium website. Alternatively, call 973-761-7966.

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F R I D A Y ,  30  O C T O B E R  2 0 1 5

8:30  Coffee

9:30  Opening of Proceedings
Welcome: Deirdre Yates, Dean, College of Communication and the Arts, SHU
Aims of the Workshop: Petra Chu (SHU) and Jennifer Milam (U of Sydney)

10:00  Keynote Address 
Introduction of Keynote speaker: Dietrich Tschanz (Rutgers University)
Keynote: Elizabeth Chang (University of Missouri), Cultivating Chinoiserie: Organic Life and Exotic Design

11:15  Coffee Break

11:30  Panel Discussion
Cross-Disciplinary and Cross-Cultural Approaches: The Question of Exchange from the Chinese and Western Perspectives with Jennifer Milam (University of Sydney); Elizabeth Chang (University of Missouri); Stacey Sloboda (Southern Illinois University)

12:30  Lunch

1:30  Session 1: Chaired by Juergen Heinrichs, Seton Hall University
• Patricia Johnston (College of the Holy Cross, Worcester MA), The China Trade and Emerging Imperial Aesthetics in Federal America
• Kristel Smentek (Massachusetts Institute of Technology), Etienne Délécluze: Chinese Painting and Nineteenth-Century French Art
• Joyce Lindorff (Temple University), The Role of Music in George Macartney’s Embassy to China
Questions and Discussion (with coffee break)

3:30  Session 2: Chaired by Martha Easton, Seton Hall University
• Meredith Martin (New York University), Staging China and Siam in 1860s Paris
• Elizabeth Emery (Montclair State University), Appraising French Women ‘Collectors’ of Chinese Art in Fin-de-siècle France: Methods and Challenges
Questions and Discussion

5:00  Reception

S A T U R D A Y ,  3 1  O C T O B E R  2 0 1 5

8:30  Coffee

9:30  Session 3: Chaired by Charlotte Nichols, Seton Hall University
• Maggie Cao (Columbia University), Copying in Reverse: China Trade Painting
• Sarah Cheang (Royal College of Art, London), Fashion and Chinoiserie: Material Translations between China, Japan, and Britain
• Tara Zanardi (Hunter College), Fabricating the ;Manton de Manila’ as National Dress
Questions and Discussion (with coffee break)

11:30  Panel Discussion
Introduction (Katherine Paul), Some Ching Enameled Vases in the Newark Museum
The Centrality of the Object in Artistic Relations between China and the West, with Petra Chu, (Seton Hall University); Katherine Paul (Newark Museum); Kristel Smentek (M.I.T.); Mei Rado (Metropolitan Museum of Art)

12:30  Lunch

1:30  Session 4: Chaired by Dong Dong Chen, Seton Hall University
• Roberta Wue (University of California, Irvine), Xugu Abstracts
• William Ma (University of California, Berkeley), Carving between Cultures: The Woodcarving Workshop at the Shanghai Jesuit Orphanage
Questions and Discussion

3:30  Visit Newark Museum Asian collections with Dr. Katherine Paul, Curator of Asian Art, Newark Museum (transportation on your own).

From the Miriam and Ira D. Wallach Art Gallery:

Rembrandt and Printmaking: New Views on a Golden Age
Columbia University, New York, 5 November 2015

Presented by the Miriam and Ira D. Wallach Art Gallery in conjunction with the exhibition Rembrandt’s Changing Impressions and the International Fine Print Dealers Association Print Fair, this symposium will spark a new and closer look at Rembrandt’s astonishing print practice, its context, and its contributions.

Thursday, 5 November 2015, 3–6pm
612 Schermerhorn Hall, Columbia University, 116th Street & Broadway, New York City

• “Hercules Segers and Rembrandt:  Direct Influence or Kindred Spirits?” Nadine M. Orenstein, Drue Heinz Curator in Charge, Department of Drawings and Prints, The Metropolitan Museum of Art, New York
• “St. Jerome in Darkness and Light,” Clifford S. Ackley, Ruth and Carl J. Shapiro Curator of Prints and Drawings, Museum of Fine Arts, Boston
• “Rembrandt and the Faust Tradition,” Robert Fucci, exhibition curator
• “Edme-François Gersaint as Chroniqueur of Knowledge about Rembrandt’s Etchings,” Erik Hinterding, Curator of Prints, Rijksmuseum, Amsterdam
• “Desire and Disgust: Collecting Rembrandt’s Etchings in Georgian England,” Stephanie Dickey, Professor of Art History and Bader Chair in Northern Baroque Art, Queen’s University, Kingston, Ontario
• “Rembrandt as Experimental Etcher,” Jan Piet Filedt Kok, former Curator of Prints and Director of Collections, Rijksmuseum, Amsterdam

Reception and viewing of the exhibition to follow at 6pm at The Wallach Art Gallery

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Rembrandt’s Changing Impressions, on view through December 12, is curated by art history PhD candidate Robert Fucci. This extraordinary project highlights Rembrandt’s most dramatically altered prints. It gathers 52 seventeenth-century impressions from 14 major U.S. collections to best examine his manipulations and transformations, and is an unprecedented opportunity to examine the range, power, and nuance of Rembrandt’s fine prints. A fully illustrated, 160-page catalogue, co-published by The Wallach Art Gallery and Verlag der Buchhandlung Walther König, Köln is available for $35.

This exhibition and related programming received generous support from the Netherland-America Foundation, the Dutch Culture USA program by the Consulate General of the Netherlands in New York, the IFPDA Foundation, and the European Institute at Columbia University. We are especially grateful for our collaboration with the European Institute and the Department of Art History and Archaeology in presenting this symposium.

From the Yale Center for British Art and the conference program:

Portraiture as Interaction: The Spaces and Interfaces of the British Portrait
The Huntington, San Marino, California, 11–12 December 2015

This two-day international symposium has been inspired by the important collections of British portraits at the Huntington Art Gallery and the Yale Center for British Art, and by an upsurge of scholarly interest in the interactive nature of portraiture—both in its intrinsic character and as a curatorial construct.

Portraiture implies an interaction between the sitter and the spectator. It often rehearses an interaction between two or more protagonists and regularly focuses on the interaction between the person(s) represented and his, her, or their surroundings. Portraits—of husbands and wives, sisters and brothers, friends, and colleagues—are often depicted by artists and arranged by curators so as to interact with each other in meaningful ways. As they are created, and once they are completed, portraits (and the figures they represent) interact with their settings: with the studio, the exhibition space, the domestic interior, the public building or square; and with the objects, people, and spaces found in those settings. The same portrait, or portraits of the same sitter, can also find themselves interacting with each other across different media—paint, print sculpture, and more.

Furthermore, curators are continually thinking about the ways in which the portraits they display—and the individuals these pictures portray—will relate with each other across and around a gallery. The Thornton Portrait Gallery at the Huntington and the galleries at the Yale Center for British Art exemplify portraiture’s continuing forms of interaction: implied and actual, pictorial and physical, and formal and figural.

This symposium, which is jointly organized by the Yale Center for British Art, the Paul Mellon Centre for Studies in British Art, and the Huntington Library, Art Collections, and Botanical Gardens, will use the rich collections at the Center and the Huntington and the different concepts of interaction outlined above as points of departure and return, in order to open up new approaches to the history and workings of British portraiture up to the present.

Registration details are available here»

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F R I D A Y ,  1 1  D E C E M B E R  2 0 1 5

8:30  Registration and coffee

9:30  Welcome by Steve Hindle (The Huntington)

9:35  Introduction
• Mark Hallett (Paul Mellon Centre for Studies in British Art) “Portraiture as Interaction”

10:00  Session 1
Moderator: Cassandra Albinson (Harvard Art Museums)
• Jack Hartnell (Columbia University), “Specimen, Surgeon, Self: Three Medical Portraits and Four Hundred Years”
• Adam Eaker (The Frick Collection), “The Scene of the Sitting”

12:00  Breakout Sessions in the Collections
• Ann Bermingham (University of California, Santa Barbara)
• Malcolm Warner (Laguna Art Museum)
• Kimberly Chrisman-Campbell (FIDM Museum & Galleries)
• Melinda McCurdy (The Huntington)
• Cora Gilroy-Ware (The Huntington and California Institute of Technology)

1:00  Lunch

2:00  Session 2
Moderator: Lars Kokkonen (Yale Center for British Art)
• Caroline Fowler (The Getty Research Institute), “Raphael’s Apostles and Portraiture in the Eighteenth Century”
• Brigid Von Preussen (Columbia University), “Wedgwood’s Portrait Medallions”

S A T U R D A Y ,  1 2  D E C E M B E R  2 0 1 5

9:30  Registration and coffee

10:00  Session 3
Moderator: Catherine Hess (The Huntington)
• Sean Willcock (Queen Mary University of London), “The Politics of Interaction between British and Indian Portraits during the Victorian Period”
• Juliet Carey (Waddesdon Manor), “Faces for a House Party: British Portraits at Waddesdon Manor”

12:00  Lunch

1:00  Session 4
Moderator: Martina Droth (Yale Center for British Art)
• Petra ten-Doesschate Chu (Seton Hall University), “Interaction and ‘Interfacing’ in Lawrence Alma Tadema’s Portrait of Ignacy Jan Paderewski”
• Linda Docherty (Bowdoin College), “Encircling Robert Louis Stevenson: The Origins and Afterlife of Augustus Saint-Gaudens’s Profile Portrait”

3:00  Break

3:15  Session 5
Moderator: Mark Hallett
• Barbara Creed (University of Melbourne), “The Interactive Eye: Portraiture in Painting and Film”
• Steven Jacobs (Ghent University), “Noir Portraits: Hollywood’s Take on British Portraiture”

2016 American Society for Eighteenth-Century Studies Conference
Pittsburgh, 30 March — 2 April 2016

The 2016 ASECS conference takes place in Pittsburgh at the Omni William Penn. HECAA will be represented by the Anne Schroder New Scholars’ Session, chaired by Janet White and scheduled for Friday morning. Our annual luncheon and business meeting is also scheduled for Friday. A selection of additional panels is included below (of the 219 sessions scheduled, many others will, of course, interest HECAA members). For the full slate of offerings, see the program.

H E C A A  E V E N T S

Anne Schroder New Scholars’ Session (Historians of Eighteenth-Century Art and Architecture)
Friday, 1 April, 8:00–9:30
Chair: Janet R. WHITE, University of Nevada, Las Vegas School of Architecture
1. Fanny BROCK, University of North Carolina Chapel Hill, “Drawing the Amateur: Draftsmanship and the Amateur in Eighteenth-Century France”
2. Daniella BERMAN, Institute of Fine Arts / New York University, “Creating French History: The Uses and Abuses of the Concours de l’An II”
3. Hannah Wirta KINNEY, Oxford University, “Con Fiducia: Commissioning Copies of Antiquities in Late-Medicean Florence”
4. Paul HOLMQUIST, McGill University, “L’harmonie tient tout dans un equilibre parfait: Re-enacting Origins in Claude Nicolas Ledoux’s Ideal City of Chaux”

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Historians of Eighteenth-Century Art and Architecture Luncheon
Friday, 1 April, 1:00–2:30

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O T H E R  S E S S I O N S  R E L A T E D  T O  T H E  V I S U A L  A R T S

T H U R S D A Y ,  3 1  M A R C H  2 0 1 5

Picturing the News
Thursday, 31 March, 8:00–9:30
Chair: Leslie RITCHIE, Queen’s University
1. Rachael KING, University of California, Santa Barbara, “The Appearance of News in The London Gazette and The Tatler”
2. Darryl DOMINGO, University of Memphis, “‘To Catch the Reader’s Eye’: Seeing the Sights in Eighteenth-Century Newspaper Advertisements”
3. Laura ENGEL, Duquesne University: “Fashioning Faces: Portraits of Actresses, Princesses, and Queens in Late Eighteenth-Century Periodicals”
4. Jocelyn ANDERSON, The Cortauld Institute of Art, “‘Discovered in the Ruins’: British Newspaper Reports of Italian Antiquities”

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Freemasonry and the Arts
Thursday, 31 March, 8:00–9:30
Chair: Rebecca Dowd GEOFFROY-SCHWIDEN, University of North Texas
1. Bethany CENCER, State University of New York, Stony Brook,
“Masonic Harmony and Masculinity in the Music of the Noblemen and Gentlemen’s Catch Club, London 1761–1794”
2. Mary GREER, Independent Scholar, “The Secret Subscribers to C. P. E. Bach’s Oratorio Die Israeliten in der Wüste: The Masonic Connection”
3. Reva WOLF, State University of New York, New Paltz, “Goya’s Art and the Spirit of Freemasonry”
4. Nan WOLVERTON, American Antiquarian Society, “Masonic Ideologies and the Visual Arts: Paul Revere as Master Artisan and Grand Master”

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Oriental Networks: Culture, Commerce and Communication, 1662–1842
Thursday, 31 March, 9:45–11:15
Chair: Greg CLINGHAM, Bucknell University
1. Noriyuki HATTORI, University of Osaka, “Trafficking Spices, Silver, and Japan: Representations of the Amboina Massacre”
2. Chihyin HSIAO, University of Glasgow, “Affordable Luxury? Chinese Porcelain in the Inventories of the London Court of Orphans”
3. Madalina VERES, Central European University/Institute for Advanced Study, “The Habsburg Monarchy’s Contribution to the Global Enlightenment”
4. James WATT, University of York, “Charles Lamb and Networks of Empire”

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In the 1720s. . . (Roundtable)
Thursday, 31 March, 9:45–11:15
Chair: Regina JANES, Skidmore College
1. Maximillian NOVAK, University of California, Los Angeles, “Masquerade, Murder and Excess: Defoe’s Roxana in the 1720s”
2. Karen LIPSEDGE, Kingston University, “Men Made Homes, and Homes Made Men”
3. William E. RIVERS, University of South Carolina, “Nicholas Amhurst’s Writing as a Window on the Complex, Interconnected World of the 1720s”
4. Celestina SAVONIUS-WROTH, University of Illinois, Urbana-Champaign, “Jovial Devotion: Attacking and Defending Ritual and Popular Culture in the 1720s”
5. Malinda Gar SNOW, Georgia State University, “The Country House in Defoe’s Tour thro’ the Whole Island of Great Britain: Money Well Spent”
6. Anne Betty J. WEINSHENKER, Montclair State University, “Tombeaux des princes: A Unique Political-Cultural Painting Cycle”
7. Mattie BURKET, University of Wisconsin, Madison, “Predatory Lending: The South Sea Bubble and The Conscious Lovers”
8. Noel CHEVALIER, University of Regina, “‘Their Crimes conspir’d to make ’em Great’: Pirate Narratives and Political Morality in the 1720s”

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Violence and Death in Eighteenth-Century Visual Culture
Thursday, 31 March, 9:45–11:15
Chair: Amy FREUND, Southern Methodist University
1. Meredith GAMER, Yale University, “‘The Sheriff’s Picture Frame:’ Art and Execution in Eighteenth-Century Britain”
2. Catherine GIRARD, Columbia University, “Embedded Oudry: Drawing with Hunters”
3. Anne Nellis RICHTER, Independent Scholar, “‘This once elegant mansion’: Representing Revolutionary Violence in England in the 1790s”
4. Lela GRAYBILL, University of Utah, “Violence, Visibility, and the Neoclassical Idiom”

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Intersections of Digital and Public Humanities: New Media and New Audiences for (Roundtable)
Thursday, 31 March, 9:45–11:15
Chair: Jessica RICHARD, Wake Forest University
1. Martha F. BOWDEN, Kennesaw State University
2. Craig HANSON, Calvin College
3. Tonya-Marie HOWE, Marymount Univeristy
4. Emrys JONES, University of Greenwich
5. John O’BRIEN, University of Virginia
6. Alaina PINCUS, University of Illinois
7. Laura RUNGE-GORDON, University of South Florida

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Widows and Working Women: Making a Living without a Husband
Thursday, 31 March, 11:30–1:00
Chair: Amber LUDWIG, Honolulu Museum of Art
1. Jaclyn GELLER, Central Connecticut State University, “Widows, Spinsters, and Other Marriage Refugees: Satiric Utopianism in Sarah Scott’s Millennium Hall”
2. Evangeline VAN HOUTEN, University of Connecticut, “Charlotte Charke’s Perilous Play”
3. Christina LINDEMAN, University of South Alabama, “Collaboration as a Veil: The Widowed Anna Dorothea Therbusch”
4. Lois LEVEEN, Novelist, “Kitty Fisher Found It: Commodity Capitalism and the Creation of Celebrity in Eighteenth-Century England”

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The Objects of Performance
Thursday, 31 March, 11:30–1:00
Chair: Ashley BENDER, Texas Woman’s University
1. Kalissa HENDRICKSON, Arizona State University, “Indian Gowns in Comedies of Seduction”
2. Daniel GUSTAFSON, The City College of New York, City University of New York, “Corpsing Lothario”
3. Deirdre O’ROURKE, Independent scholar, “The Sculptures from Elkanah Settle’s The Empress of Morocco”

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Satirical Images: Between Sociability, Animosity, and Entertainment
Thursday, 31 March, 2:30–4:00
Chair: Kathryn DESPLANQUE, Duke University AND Jessica FRIPP, Texas Christian University
1. Pascal DUPUY, Université de Rouen, “The English Caricature and its Public: An Analytical Essay”
2. Dominic HARDY, Université du Québec à Montréal, “Recovered Laughter: An Inquiry into the Role of Women in the Authorship and Circulation of Caricature in Montréal, c. 1808–1811”
3. Allison M. STAGG, Technische Universität Berlin, “Friend or Foe? The Social Atmosphere for Political Caricatures in the Early Republic”
4. Andrew SCHULZ, The Pennsylvania State University, “Reading Between the (Etched) Lines: The Anonymous Manuscript Commentaries on Goya’s Caprichos”

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Framing the Eighteenth Century: Borders and Peripheries in Visual Culture
Thursday, 31 March, 2:30–4:00
Chairs: Blythe C. SOBOL, Institute of Fine Arts / New York University AND Daniella BERMAN, Institute of Fine Arts / New York University
1. Margot BERNSTEIN, Columbia University, “Inside Out: Crossing Thresholds and Blurring Boundaries with Eighteenth-Century Sedan Chairs”
2. Laurel PETERSON, Yale University, “Taking it All In: the Unity of Painting and Carving in the Country House Interior”
3. Agueda ITURBE-KENNEDY, Université Laval, Québec/ Université Pari IV, Paris, “Framing the Eighteenth-Century City: Jean-Gabriel Legendre’s Project”

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Inside the Artist’s Studio
Thursday, 31 March, 4:15–5:45
Chair: Heather MCPHERSON, University of Alabama at Birmingham
1. Wendy Wassyng ROWORTH, University of Rhode Island, “A Celebrity Artist’s Studio in Rome”
2. Francesca BOVE, University of East Anglia, Norwich, “The Modern Artist’s Studio: George Morland and the ‘curious scenery of his painting room’”
3. Sarah BAKKALI, University of Paris X Nanterre, “Friendship, Sociability, and the Art Market inside The Isabey Studio”
4. Susanne ANDERSON-RIEDEL, University of New Mexico, “Between Studio and Academy: Shifting Training Practices for Graphic Artists”

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Members’ Reception
Thursday, 31 March, 6:00–7:00, William Penn Ballroom

F R I D A Y ,  1  A P R I L  2 0 1 5

Anne Schroder New Scholars’ Session
(Historians of Eighteenth-Century Art and Architecture)
Friday, 1 April, 8:00–9:30
Chair: Janet R. WHITE, University of Nevada, Las Vegas School of Architecture
1. Fanny BROCK, University of North Carolina Chapel Hill, “Drawing the Amateur: Draftsmanship and the Amateur in Eighteenth-Century France”
2. Daniella BERMAN, Institute of Fine Arts / New York University, “Creating French History: The Uses and Abuses of the Concours de l’An II”
3. Hannah Wirta KINNEY, Oxford University, “Con Fiducia: Commissioning Copies of Antiquities in Late-Medicean Florence”
4. Paul HOLMQUIST, McGill University, “L’harmonie tient tout dans un equilibre parfait: Re-enacting Origins in Claude Nicolas Ledoux’s Ideal City of Chaux”

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Empires of Print
Friday, 1 April, 8:00–9:30
Chair: Douglas FORDHAM, University of Virginia
1. Robbie RICHARDSON, University of Kent, “How Peter Williamson Became an Indian”
2. Holly SHAFFER, Dartmouth College, “Gods, Gold, and Antiquities: Edward Moor’s Narrative of the Anglo-Maratha Alliance Against Tipu Sultan of Mysore, 1790–1792”
3. Catriona KENNEDY, University of York, “Egypt Through Military Eyes: Illustrating the British Army’s 1801 Egyptian Campaign”

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Representing the Fragment
Friday, 1 April, 8:00–9:30
Chair: Olaf RECKTENWALD, McGill University
1. Jennifer DONNELLY, University of Pittsburgh, “‘Ces ombres immortelles’: Life and Death at the Musée des monuments français”
2. Rachel SCHNEIDER, Missouri University of Science and Technology, “Materializing the Literary Fragment”
3. Christopher Drew ARMSTRONG, University of Pittsburgh, “1700: Recasting Mediterranean Fragments in Global Context”

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Re-Framing the Picturesque
Friday, 1 April, 9:45–11:15
Chair: William C. SNYDER, St. Vincent College
1. Garland BEASLEY, University of Nevada, Las Vegas, “Observations Before the River Wye: The Rise of the Picturesque”
2. Peter C. MESSER, Mississippi State University, “Jeremy Belknap’s Picturesque Republic”
3. Tom HOTHEM, University of California, Merced, “Natural Fictions: Picturesque Aesthetics and the Eighteenth-Century Novel”

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‘The Delight of the Eye’: Eighteenth-Century Painting and/as Decoration – I
Friday, 1 April, 9:45–11:15
Chair: Yuriko JACKALL, National Gallery of Art AND Katherine BRION, Kalamazoo College
1. Aaron WILE, Harvard University, “Antoine Coypel’s Galerie d’Enée: Ancients, Moderns, and the Experience of Painting”
2. Susanna CAVIGLIA, University of Chicago, “Weighty Matters in Delightful Images: Rococo Painting and the Embodiment of a New Ideology”
3. Alden GORDON, Trinity College, “Painting and the Decorative Interior in France: The Innovations of the Marquis de Marigny for both Public and Private Patronage”

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ASECS / BSECS Plenary Lecture
Friday, 1 April, 9:45–11:15
Presiding: Heather MCPHERSON, University of Alabama, Birmingham
Shearer WEST, Sheffield University, “Selfiehood: Celebrity, Singularity and the Enlightenment”

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ASECS / BSECS Plenary Lecture Follow-up (Roundtable)
Friday, 1 April, 11:30–1:00
Chair: Michael YONAN, University of Missouri
1. Douglas FORDHAM, University of Virginia
2. Melissa HYDE, University of Florida
3. Kate JENSEN, Louisiana State University
4. Heather MCPHERSON, University of Alabama, Birmingham
5. Mary SHERIFF, University of North Carolina at Chapel Hill
Respondent: Shearer WEST, Sheffield University

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Disability Aesthetics: Tobin Sieber’s Legacy (Disability Studies Caucus)
Friday, 1 April, 11:30–1:00
Chairs: Stan BOOTH, University of Winchester AND Jason FARR, Texas A&M University, Corpus Christi
1. Abby COYKENDALL, Eastern Michigan University, “Unbecoming Aesthetics: Horace Walpole’s Castle of Otranto”
2. Jarred WIEHE, University of Connecticut, “Broken Bodies and English Taste: Samuel Foote and Disability Aesthetics”
3. Alden CAVANAUGH, Indiana State University, “Problem Skin: Greuze’s Portrait of Wille and Facial Disfigurement”
4. Tamar LEROY, University of Maryland, “Wartime and Crip Time in George Farquhar’s The Recruiting Officer”

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Sleeping through the long Eighteenth Century
Friday, 1 April, 11:30–1:00
Chair: Leah BENEDICT, University at Buffalo
1. Matt RIGILANO, University at Buffalo, “Extraordinary Sleepers and the Biopolitics of Early Modern Coma”
2. Jill CAMPBELL, Yale University, “‘Spare My Slumbers’: Sleep, Voice, and Memorialization in Eighteenth-Century Sculpture and Ekphrastic Verse”
3. Ana RUEDA,University of Kentucky, “Goya’s ‘Sleep of Reason’ and Other States of Somnolence”
4. Nicholas E. MILLER, Washington University in St. Louis, “‘My Long Sleep of Insensibility’: Corpse-Hopping and Consciousness in Robert Montgomery Bird’s Sheppard Lee”

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Historians of Eighteenth-Century Art and Architecture Luncheon
Friday, 1 April, 1:00–2:30

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Presidential Address, Awards Presentation, and ASECS Business Meeting
Friday, 1 April, 2:30–4:30
Presiding: Felicity NUSSBAUM, University of California, Los Angeles
Srinivas ARAVAMUDAN Duke University, “From Enlightenment to Anthropocene”

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‘The Delight of the Eye’: Eighteenth-Century Painting and/as Decoration – II
Friday, 1 April, 4:30–6:00
Chair: Yuriko JACKALL, National Gallery of Art AND Katherine BRION, Kalamazoo College
1. Jennifer GERMANN, Ithaca College, “The Status of the Decorative in the Portraits of Constance-Gabrielle-Magdeleine and Joseph Bonnier de la Mosson by Jean-Marc Nattier”
2. Edward STERRETT, The Getty Research Institute, “From Ornamental Print to Monumental Painting: The Elaboration of the Rococo in the Work of François Boucher”
3. Heidi STROBEL, University of Evansville, “‘A mere copier of nature can never produce anything great’: Mary Linwood, Sir Joshua Reynolds, and the Art of Making Copies”

S A T U R D A Y ,  2  A P R I L  2 0 1 5

Tableaux Vivants: Life and/as Art
Saturday, 2 April, 8:00–9:30
Chairs: Noémie ETIENNE, Getty Research Institute AND Meredith MARTIN, New York University
1. Eugenia Zuroski JENKINS, McMaster University, “The Unstill Life of the Nautilus Cup”
2. Valérie KOBI, Bielefeld University, “Staging Life: The Preparation of Medical and Natural History Specimens in Eighteenth-Century Europe”
3. Charles KANG, Columbia University, “Re/constructive Surgery: Displaying the Bodily Interior in Late Eighteenth-Century France”
4. Amelia RAUSER, Franklin and Marshall College, “Whiteness: Modern Galateas”

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Music, Art, Literature (Society for Eighteenth-Century Music)
Saturday, 2 April, 9:45–11:15
Chair: Janet K. PAGE, University of Memphis
1. Kathryn Shanks LIBIN, Vassar College, “The ‘Music Room’ in a Bohemian Castle: Gabriele von Auersperg’s Souvenir de Senftenberg en 1814”
2. Elizabeth LIEBMAN, Independent Scholar, “The Bird Organ in Eighteenth-Century Art and Sound”
3. Lisa de ALWIS, University of Colorado, Boulder, “Famous and Forgotten Works that Influenced Viennese Theatrical Censorship”

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Portraiture Before 1750 – I
Saturday, 2 April, 9:45–11:15
Chair: Jennifer GERMANN, Ithaca College
1. Allison LEIGH, The Cooper Union for the Advancement of Science and Art, “Investing the Body: Russian Portraiture Before 1750”
2. Janine Yorimoto BOLDT, The College of William & Mary, “Boys in Livery: Picturing Slavery in English and Colonial American Portraiture”
3. Tara ZANARDI, Hunter College, “Tastemaker and Policy Shaper: Queen Isabel de Farnesio as Patron and Politician”

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Queer Lives? (Roundtable)
Saturday, 2 April, 9:45–11:15
Chair: George HAGGERTY, University of California, Riverside
1. Tom KING, Brandeis University, “Elizabeth Barry”
2. Ellen LEDOUX, Rutgers University, Camden, “Hannah Snell and Mary Jane Talbot”
3. Jason FARR, Texas A&M University, Corpus Christi, “William Hay”
4. Lisa MOORE, University of Texas at Austin, “Anna Seward”
5. Margaret WALLER, Pomona College, “Napoleon and La Mésangère”
6. Caroline GONDA, St. Catharine’s College, Cambridge, “Anne Damer”

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Rethinking the Academic Conference (Roundtable) (Women’s Caucus Professional Panel)
Saturday, 2 April, 9:45–11:15
Chair: Emily FRIEDMAN, Auburn University
1. Laura MILLER, University of West Georgia, “Removing Barriers to Junior Scholars at ASECS”
2. Emily M.N. KUGLER, Howard University, “Creating Resources and Scholarly Community: Examples from FemTechNet’s DOCC Summer Workshops and Disrupting DH”
3. Lauren HOLT, The Galloway School, “From Passive to Active: Participation beyond Q&A”
4. Rebecca SHAPIRO, City University of New York, “Closed Mouths do not Mean Closed Minds”
5. Susan LANSER, Brandeis University, “Fostering Intellectual Sociability”

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Clifford Lecture
Saturday, 2 April, 11:30–12:30
Presiding: Kathleen WILSON, State University of New York, Stony Brook
John BREWER California Institute of Technology, “Fire and Ice: Travel and the Natural Sublime in the Age of Enlightenment”

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Portraiture Before 1750 – II
Saturday, 2 April, 2:00–3:30
Chair: Jennifer GERMANN, Ithaca College
1. Liza OLIVER, Wellesley College, “The Portrait Between India and France”
2. Amy FREUND, Southern Methodist University, “Full Length, Four Legs: Early Eighteenth-Century Animal Portraiture”
3. Aurore CHÉRY, Université Jean Moulin/Lyon 3, “‘Being the Second One’: Were the Marriages of Marie Lezczynska and Marie-Josèphe de Saxe Second Hand Celebrations?”

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Felines and Philosophers
Saturday, 2 April, 3:45–5:15
Chair: Michael YONAN, University of Missouri
1. Tracey HUTCHINGS-GOETZ, Indiana University, “‘Catching the Cat’; or, Feeling the Feline in Enlightenment Sensualist Philosophy”
2. Adela RAMOS, Pacific Lutheran University, “‘This admirable machine’: Mousers, Mousetraps, and Species in William Guthrie’s The Life and Adventures of a Cat”
3. Karissa BUSHMAN, University of Alabama at Huntsville, “Ferocious to Friendly Felines in Goya’s Art”

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Food and Gender: Feeding the Eighteenth Century – II (Women’s Caucus Scholarly Panel)
Saturday, 2 April, 3:45–5:15
Chair: Lucinda COLE, University of Illinois Urbana-Champaign
1. Sarah Sylvester WILLIAMS, University of Missouri, Columbia, “Pigeon Pie or Peaches? Depictions of Food and Gender in Eighteenth-Century Paintings of Hunt Luncheons”
2. Leslie ARONSON, Saginaw Valley State University, “Women, Food, and the Threat Against Manhood: Consumption in the Expedition of Humphrey Clinker”
3. Corey GOERGEN, Emory University, “‘grotesque mixtures’: Feminine Intoxication in Edgeworth’s Belinda”

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From the conference website:

A Revolution in Taste: Francis Haskell’s Nineteenth Century
St John’s College and the Ashmolean Museum, Oxford, 23–24 October 2015

A two-day conference is to be held at St John’s College, Oxford and the Ashmolean Museum to explore the work of art historian Francis Haskell (1928–2000). Writing at the intersection of cultural history, art history and the history of ideas, Haskell made a seminal contribution to the study of the formation of taste in nineteenth-century Britain and Europe.

The conference will revisit terrain mapped out by Haskell in Rediscoveries in Art, namely the transformation of the art world between the 1770s and 1870s, a period when war, revolution, plunder and state-formation brought fundamental changes to the knowledge of and trade in Old Master paintings. Distinguished speakers include scholars and curators from Britain, France and Italy. The conference aims to comprehend the forces which transformed how art was acquired, displayed and interpreted in the nineteenth century. But it will also grapple with the methodological and philosophical issues raised by Haskell’s provocative approach to the history of collecting.

Both days of the conference will be held in the auditorium of St Johns College, Oxford. Delegates at the conference will receive lunch, teas and coffee, and a wine reception at the Ashmolean on Friday 23rd from 18.00 to 19.30 (this event is free although places are limited so it is essential to register). The fee for attending both days is £80 for professionals (£35 for students); the cost of attending for just one day is £45 for professionals (£20 for students). Registration for the conference is open until October 15th. To book, please follow this link.

The conference is organized by Dr Tom Stammers, cultural historian at the University of Durham and visiting Deakin Fellow in Oxford (2014–15). For all inquiries contact Tom directly (t.e.stammers@durham.ac.uk) or write to the conference email address francishaskell2015@gmail.com.

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F R I D A Y ,  2 3  O C T O B E R  2 0 1 5

9.30  Registration

10.00  Welcome remarks by Tom Stammers

10.10  Keynote 1 | Nicholas Penny
Chair: Craig Clunas

11.00  Session 1 | Rediscoveries in Post-Revolutionary Europe
Chair: Christina Anderson
• Charlotte Guichard, Naming the Artist: Attribution and Artistic Expertise at the End of the Eighteenth Century
• Xanthe Brooke, William Roscoe (1753–1831) and His Collection of North European Renaissance Art in Liverpool
• Véronique Gerard-Powell, The Altamira Collection and the Sale of Spanish Art in London

12.30  Lunch

13.30  Session 2 | Art and Interpretation in Nineteenth-Century France
Chair: Frances Suzman Jowell
• Camille Mathieu, Breaking Up the Museum of Rome: Mobility and the Antique in the Napoleonic Era, 1796–1817
• Richard Wrigley, Ingres’ Monsieur Bertin and the Vicissitudes of Bourgeois Taste
• Juliet Simpson, Reimagining the Northern Nineteenth Century: Art and the Politics of Patrimony in the French Third Republic

15.00  Coffee

15.30  Session 3 | Private Palaces of Art
Chair: Arthur Macgregor
• Susanna Avery-Quash, Rediscovering John Julius Angerstein’s ‘Other’ Art Collection at ‘Woodlands’, Blackheath
• Stephen Lloyd, From Venice to Knowsley: The Rediscovery and Conservation of Borgognone’s Series of Paintings on Silver-gilt Leather, The Children of Israel
• Pauline Prévost-Marcilhacy, The Pereire Brothers and Collecting in the Second Empire

17.15  Keynote 2 | Charles Hope
Chair: Geraldine Johnson

18.00  Wine Reception at the Ashmolean

19.30  Dinner at the Ashmolean Restaurant

S A T U R D A Y ,  2 4  O C T O B E R  2 0 1 5

9.30  Registration

9.45  Keynote 3 | Stephen Bann
Chair: Julia Langbein

10.30  Session 4 | History, Images and Criticism
Chair: Ludmilla Jordanova
• Donata Levi, Rediscovering Crowe
• Jenny Graham, Afterlives: Rewriting Giorgio Vasari in the Nineteenth Century
• Jon Whiteley, Francis Haskell and Nineteenth-Century French Art

12.30  Lunch

13.00  Session 5 | Exhibitions and Ephemeral Museums
Chair: Linda Whiteley
• Jeremy Warren, A Nineteenth-Century Phenomenon: The Birth of the New Kunstkammer
• Cécilia Hurley Griener, Juggling with Masterpieces in the Long Nineteenth Century
• Bénédicte Savoy, Les Spoliations Napoléonniennes (communication en français)

14.30  Coffee

15.00  Session 6 | Collecting Dynasties
Chair: Adriana Turpin
• Charles Sebag-Montefiore, The Barings: A Dynasty of Art Collectors
• Dora Thornton, Reinterpreting a Rothschild Schatzkammer at The British Museum: The Waddesdon Bequest
• Tom Stammers and Silvia Davoli, Orléans and Bonaparte in Exile: Collecting at the End of the Age of Revolutions

16.30  Keynote 4 | Pascal Griener
Chair: Matthew Walker

17.15  Closing discussion, with Larissa Haskell

From the conference programme:

Oberkampf et la toile imprimée XVIIIe–XIXe siècle: Production, création, consommation
Musée de la toile de Jouy, Jouy-en-Josas, 8–10 October 2015

J E U D I ,  8  O C T O B R E  2 0 1 5

14.00  Accueil des participants par le Maire et le Secrétaire général d’HEC

14.30  L’industrie du coton en Île-de-France
Modérateur Aziza Gril-Mariotte
• Introduction par Serge Chassagne, président du comité scientifique, « Les entreprises cotonnières d’Île-de-France»
• Martine Lefèvre, conservateur en chef, Bibliothèque de l’Arsenal, « La manufacture de Jacques Daniel Cottin à l’Arsenal»
• Anne de Thoisy et le Groupe de Recherches Historiques de Jouy-en-Josas, « Les domaines textiles de la famille Oberkampf illustrés par Julie Féray »
• Karine Berthier, Laboratoire d’Archéologie et d’Histoire médiévales de l’Université de Picardie, EA 4284 TRAME, « Le centre de production des installations essonniennes : évolution, organisation et production, XVIIIe–XIXe siècle»
• Xavier Petitcol et Michel Perrier, « Chronologie de la production de la manufacture Oberkampf à partir des chefs de pièces et numéros de dessin »

17h30 Échanges avec la salle

V E N D R E D I ,  9  O C T O B R E  2 0 1 5

9.30  Accueil des participants

10.00  Innovations et transferts techniques dans l’industrie cotonnière
Modérateur Natacha Coquery
• Sophie Patte, Musée des arts décoratifs de l’Océan Indien, «Les Mascareignes, îles privées de la Compagnie des Indes, terres d’expérimentation dans la quête de la chimie de la couleur, au XVIIIe siècle »
• Marguerite Martin, « Une matière première : L’indigo, l’approvisionnement au XVIIIe siècle »
• Philip Sykas, Manchester University, « Entente cordiale: Anglo-French exchange among calico printers »
• Ezio Ritrovato, Università di Bari Aldo Moro, « L’impression et la teinture du coton dans les
études et dans la vie d’un chimiste italien du XIXe siècle »

12.00  Échanges avec la salle

14.30  Histoire industrielle
Modérateur Pascale Gorguet-Ballesteros
• Isabelle Bernier, FRAMESPA UMR 5136 Université Toulouse II Jean Jaurès, « L’indiennage, moteur de l’industrialisation à Mulhouse au début du XVIIIe siècle »
• Roberto Rossi, Dept of Economics and Statistics, University of Salerno, « The division of labor and salary skills in the Barcelona’s indianas manufactures in the second half of the XVIII Century »
•  Aziza Gril-Mariotte, « Évolution de l’impression aux plaques de cuivre à Jouy »
• Vibe Maria Martens, Ph.D Researcher European University Institute, Florence, « Cotton printing at the European fringe: the case of Denmark »

16.20  Évolution artistique
Modérateur Pascale Gorguet-Ballesteros
• William DeGregorio, PhD Candidate, Bard Graduate Center, New York, « Two newly discovered Indian chintzes copied at the Oberkampf manufactory ca. 1774: Preliminary investigations into design, origins, and context »
• Ji Eun You, Ph.D candidate, University of North Carolina, « Toile-de-Jouy at the Garde Meuble de la Couronne during the French Revolution »

17h00 Échanges avec la salle

S A M E D I ,  1 0  O C T O B R E  2 0 1 5

10.00 Accueil des participants

10.30  Histoire des collections
Modérateur Esclarmonde Monteil
• Danièle Veron-Denise, Conservateur honoraire du Patrimoine, « Destins croisés : les toiles imprimées de Jouy et de Mulhouse dans l’ameublement du château de Fontainebleau »
• Véronique de La Hougue, Conservateur en chef, Musée des Arts décoratifs, « Les toiles de Jouy dans la collection des Arts Décoratifs »
• Kirsten Toftegaard, textile curator, Designmuseum Danmark, « A study of West European printed textiles in the State Hermitage Museum’s collection focusing on the tradition of narrative prints »
• Jacqueline Jacqué, conservateur honoraire du patrimoine, «Des toiles de Jouy à Mulhouse, histoire croisée de deux collections»

Conclusion du colloque : S. Chassagne & E. Monteil

Après-midi : Visite de l’exposition Oberkampf au Musée de la Toile de Jouy