Study Day | Close-up and Personal: Eighteenth-Century Gold Boxes
In conjunction with the exhibition Close-up & Personal, The Fitzwilliam is hosting a study day in June:
Gold Boxes: Manufacture and Marketing from the 18th Century to the Present Day
A Rosalinde and Arthur Gilbert Collection Study Day
The Fitzwilliam Museum, Cambridge, 26 June 2015
Lavish and intricate gold boxes of the eighteenth century are amongst the most beautiful objects ever made. These delicate and refined miniatures contained snuff—powdered tobacco. These boxes enjoy a unique status as objects of desire. Speakers including expert auctioneers, conservators, curators, goldsmiths, and scholars will celebrate their exquisite materials and subtle significance. The day is made possible through the generosity of the Gilbert Trust for the Arts, London. £10. Booking is essential: telephone 01223 332904 or email education@fitzmuseum.cam.ac.uk.
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P R O G R A M M E
10:30 Registration and coffee
11:00 Welcome and introduction, Heike Zech, Senior Gilbert Curator, Victoria and Albert Museum
11:10 ‘Buying and Selling Gold Boxes’, Vanessa Brett, Independent Scholar, Wiltshire
11:35 ‘Swiss Automata of the Late Eighteenth and Early Nineteenth Centuries’, Julia Clarke, Independent scholar and consultant to Sotheby’s, London
12:00 ‘From London to St Petersburg: The Career of the Swiss Craftsman Jean-Pierre Ador’, Roger Smith, Independent scholar, London
12:25 ‘In a Rush: California’s Twentieth-Century Collectors of Gold Boxes’, Rosie Mills, The Rosalinde and Arthur Gilbert Foundation Associate Curator, Los Angeles County Museum of Art
12:50 Discussion
13.00 Lunch provided
14:00 ‘Attention to Detail: Case Studies’, chaired by Tessa Murdoch, Deputy Keeper, Sculpture, Metalwork, Ceramics and Glass
14:10 ‘Diamonds and Coloured Gems: What Lies Beneath’, Joanna Whalley, Gemmologist and Senior Metals Conservator Victoria and Albert Museum
14:30 ‘Micromosaics’, Heike Zech, Rosalinde and Arthur Gilbert Senior Curator, Victoria and Albert Museum
14:50 ‘Enamels’, Sheila McDonald, Enameller and Jeweller, in conversation with Mélodie Doumy, Rosalinde and Arthur Gilbert Assistant Curator, Victoria and Albert Museum
15:10 ‘Chasing Gold’, Rod Kelly, Contemporary goldsmith, Norfolk
15:30 Discussion
15:45 Tea and coffee
16:00 Study visit to Close-Up and Personal: Eighteenth-Century Gold Boxes from the Rosalinde and Arthur Gilbert Collection accompanied by the curators
16:45 Fitzwilliam Museum closes
Please be aware this programme may be subject to change.
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At the V&A’s blog, Assistant Curator Melodie Doumy also notes the following lunchtime talks at the Fitzwilliam Museum:
• ‘Snuff-taking, fashion and accessories‘ by Tessa Murdoch, 27 May 2015
• ‘François Boucher on enamelled snuffboxes: The art of adapting Rococo engravings‘ by Mélodie Doumy, 10 June 2015
• ‘Inside a Paris goldsmiths’ workshop: from design to gold box‘ by Heike Zech, 1 July 2015
Workshop | Collections in Use
From the conference website:
Collections in Use
Anatomy Lecture Theatre, King’s College London, 6 July 2015
Over the past few decades, material turns taking place across a number of disciplines have established the importance of placing objects within their broad geographical, conceptual, social and cultural contexts in order to understand the multiplicity of meanings with which they were invested within past societies. Objects are understood to have their own ‘social lives’, illustrated in the various ways in which they were exchanged, acquired, accumulated and displayed.
The history of collecting, in particular, has been a central node in discussions regarding the meanings of objects in the past, because it encompasses a range of activities within and across societies around the world. As such, scholars working on early modern material culture are amassing a great deal of knowledge regarding the precise motivations for collecting objects, how specific objects entered into collections, and which people facilitated this.
Much less is known, however, about what happened within collections, both to the objects and the people who interacted with them. In order to fully understanding the role of objects, collections and collectors within early modern society, therefore, we need to generate more discussion around this issue using the broadest possible sense of the word ‘collection’, including but not limited to: cabinets, museums, sculpture galleries, literary miscellanies, menageries, herbaria, gardens, and houses.
Collections in Use is a one-day workshop designed to bring together early modern scholars across several disciplines to showcase their work across a variety of collections: anatomical, medical, domestic, princely, antiquarian, natural historical, literary, and artistic. To book tickets and for more information, please go to the Eventbrite page.
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P R O G R A M M E
9:30 Registration and coffee
9:50 Welcome by Alice Marples and Victoria Pickering
10:00 Managing Collections: Collecting, Cataloguing, Curating
Chair: Felicity Roberts (King’s College London/British Museum)
• Bert van de Roemer (Universiteit van Amsterdam) – The Act of Assembling Objects
• Mia Jackson (Queen Mary University of London) – The Collections of the Illustres: Collections in Use in the Louvre
•Fabio Morabito (King’s College London) – In Search of His Own Signature: Luigi Cherubini’s Collection of Autographs by Other Composers
11:15 Coffee break
11:45 Experimental Collections: In, With, For
Chair: Alice Marples (King’s College London/British Library)
• Sally Osborn (University of Roehampton) – ‘To be placed with experements’: Developing Knowledge through the Collection and Use of Medical Recipes
• Helen McCormack (Glasgow School of Art) – Superb Cabinets or Splendid Anachronisms? ‘Experimental’ Collecting in Early Scientific Interiors
• Reese Arnott-Davies (Birkbeck University) – ‘Some Dark Emblem’: Visibility, Obscurity and Exhibiting Egypt at Montagu House
1:00 Lunch
2:00 Disseminating Collections: Publication and Practice
Chair: Victoria Pickering (Queen Mary University of London/Natural History Museum)
• Barbara Furlotti – Through Drawings and by Word of Mouth: Circulating Information on Antiquarian Collections in the Early Modern Period
• Isabelle Charmantier (The Linnean Society) – The Linnaean Workshop: Practices of Disseminating Botanical Knowledge
• Dominik Huenniger (University of Göttingen) – ‘Academies of Natural History’: Continental Utilisation of Collections in Eighteenth-Century Britain
3:15 Coffee break
3:45 Researching Collections: Current Methods
Chair: Martha Fleming (Reconstructing Sloane Project)
• Jed Foland (Bodleian Library) – Museums as Laboratories: Reenacting Scientific Discovery Using the Microscope
• Clare Hickman (King’s College London) – Reconsidering the Role of Botanic Gardens
• Alexandra Cook (University of Hong Kong) – Looking at the Herbarium as a Robust Scientific Object
5:00 Roundtable
Chair: Elizabeth Eger (King’s College London)
• Anne Goldgar (King’s College London)
• Alexander Marr (University of Cambridge)
• Mark Carnall (Grant Museum of Zoology)
• Lisa Skogh (Victoria and Albert Museum)
6:00 Wine reception
Conference | Orientality: Beyond Foreign Affairs
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From the conference website:
Orientality: Beyond Foreign Affairs
National Portrait Gallery, London, 2–3 June 2015
A biennial conference series developed by the Orientalist Museum, Doha
The inaugural conference Orientality: Cultural Orientalism and Mentality took place at Cambridge University in 2013. The subsequent conference is scheduled for the National Portrait Gallery, London, 2015. The only conference of its kind, Orientality gives international art and museum professionals an opportunity to come together and discuss the art, history, politics and future of the Orientalist art movement. The conference aims to develop understanding between east and west, and showcase the continued vibrancy of the Orientalist art movement in the 21st century.
The conference title orientality is a combination of two terms—orientalism and mentality. The term orientalism has been used in art history since the early nineteenth century in association with works of art on Middle Eastern and North African subjects pioneered by French artists. The term mentality is defined as “way of thinking of a person or a group,” and can be metaphorically translated as an “opinion,” formed and shaped, in our case, under various historical, political, social and cultural circumstances and environments, what allows the orientalism to be seen and interpreted in various ways by different societies. The theme of cultural orientalism and mentality captured the scholarly imaginations largely because we were able to articulate the dialog in both artistic and sociological terms, spanning the geographical area of orientalism and widening its historical borders.
We hope that our interpretation of orientality will influence many other disciplinary areas in the social sciences, humanities and beyond. Orientalism as a historical and cultural event has been uniting various aspects of cultural life for a number of centuries—literature, fine arts, architecture, music, philosophy—and generating an exotic image within our consciousness, one that had a right to its own existence.
Entry to the conference is free, and all are welcome. We do ask that you register your attendance ahead of time to ensure we have adequate seating available.
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T U E S D A Y , 2 J U N E 2 0 1 5
8:30 Coffee and registration
9:30 Opening and welcome
9:45 Art and Nation Building
• The Somerset House Painting of 1604: How a Turkey Carpet Became a Symbol of British Imperialism, Gerald MacLean
• Design Reform at the British Embassy: James Wild’s Arabesque Hall in Qajar Tehran, Moya Carey
• Ottoman Photography and Late Nineteenth-Century Modernity, Zeynep Çelik
11:45 Lunch break
13:15 Diplomatic Gifts
• Across Religious Borders: Diplomatic Gifts at the Mamluk Court, Doris Behrens-Abouseif
• Pearls, Bezoar Stones, Carpets and Diplomatic Gifts: The Portuguese Luxury Trade in the North of the Indian Ocean and the Gulf, Jean Michel Massing
• Illustrated Manuscripts as Persian Diplomatic Gifts to the Russian Court, Firuza Melville
W E D N E S D A Y , 3 J U N E 2 0 1 5
8:30 Coffee and registration
9:30 Opening and welcome
9:45 Art and Politics
• Bellini, Bronze and Bombards: Sultan Mehmed II’s Requests Reconsidered, Antonia Gatward Cevizli
• Collecting Arts for Imperial Needs: Acquisitions of Russian Military Men and Diplomats in Levant during the Russo-Turkish war of 1768–1774, Elena Borisovna Smilyanskaya
• The Von Celsing Family History and the Eighteenth-Century Collection of Ottoman Art at Biby, Anna-Sophia von Celsing
• Searching for the Meaning of the Rare Mughal Animal Carpet in David Wilkie’s Painting The Preaching of Knox before the Lords of the Congregation, 10th June 1559, Dorota Chudzicka
12:25 Lunch break
14:00 Oriental Encounters
• ‘Speak of Me as I Am’: A Portrait of a Moorish Ambassador to Queen Elizabeth I, Sophie Bostock
• Iconographies of the Levant, ca. 1800, Paolo Girardelli
• Mme Lucas-Robiquet’s Artistic Portrayal of Late Nineteenth-Century Algeria, Mary Healy
Colloquium | Perception Machines
From the University of Geneva:
Machines à Percevoir / Perception Machines
Université de Genève, 29–30 May 2015
Organised by Marie Theres Stauffer and Stefan Kristensen
Le colloque traite des différents types de machines construites entre le 17e et le 20e siècle et dont la fonction consiste à produire des expériences esthétiques. Il sera question, d’une part, des processus et phénomènes perceptifs déclenchés par les machines et, d’autre part, de la conception souvent complexe de ces dispositifs. La période historique très large, qui est envisagée, permettra de dégager des liens thématiques et structurels, de localiser des processus d’innovation et de discuter la signification de la conception, de l’usage et des transformations de l’usage de ces machines dans une perspective d’histoire des savoirs. Enfin, il s’agit également de dégager les différences entre les objets particuliers et leurs contextes historiques.
Le colloque réunira des perspectives de l’histoire des arts visuels et scéniques, de l’histoire des techniques, ainsi que de la philosophie. Il est organisé par l’Unité d’histoire de l’art et la Société suisse de théorie de la culture et de sémiotique.
L’entrée est libre et toute personne intéressée est la bienvenue.
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F R I D A Y , 2 9 M A Y 2 0 1 5
9:30 Welcome
9:45 Julia Zons, Universität Konstanz: Qui a tué le beau monstre noir? Life and death of the pantelegraph (1855–1867)
10:30 Veronica Peselmann, Freie Universität Berlin: The Kaiser-Panorama. Mobilizing spaces of perception in the late 19th century
11:15 Break
11:45 Benoît Turquéty, Université de Lausanne: Machines imageantes, machines- images
12:30 Lunch break
14:30 Guillaume Sibertin-Blanc, Université de Toulouse: Désir et perception chez Deleuze et Guattari
15:15 Bianca Westermann, Ruhr-Universität Bochum: Biomorphic automats in the 18th century
16:00 Break
16:30 Marie Theres Stauffer, Université de Genève: La reconstruction de machines catoptriques. L’intérêt et ses défis
17:15 Philip Ursprung, ETH Zürich: Olafur Eliasson’s machines
18:15 Assemblée générale de l’ASSC
S A T U R D A Y , 3 0 M A Y 2 0 1 5
9:30 Nina Zschokke, ETH Zürich: Machines, instructions, skills, rewards. Jon Kessler’s The Web (2012) and the production of perception in the 21st century
10:15 Dieter Dietz, EPF Lausanne: Immersive devices. The expanded eye in space
11:00 Break
11:30 Holle Rössler, Herzog August Bibliothek Wolffenbüttel: Spectacular Delusions. Perception Machines and the Perception of Machines in the History of Theater
12:15 Lunch break
14:00 Stefan Kristensen, Université de Genève: Les « machines à influencer » entre esthétique et psychopathologie
14:45 Felix Thürlemann, Universität Konstanz: Le miroir-transparent chez Lee Friedlander ou l’alternative rendue simultanée
15:30 Closing remarks
Conference | Archival Afterlives
From The Royal Society:
Archival Afterlives: Life, Death, and Knowledge-Making
in Early Modern British Scientific and Medical Archives
The Royal Society, London, 2 June 2015
William Derham’s annotated proof of Philosophical Transactions (RS L&P/121/1/5)
Early modern naturalists collected, generated, and shared massive amounts of paper. Inspired by calls for the wholesale reform of natural philosophy and schooled in humanist note-taking practices, they generated correspondence, reading notes (in margins, on scraps, in notebooks), experimental and observational reports, and drafts (rough, partial, fair) of treatises intended for circulation in manuscript or further replication in print. If naturalists claimed all knowledge as their province, natural philosophy was a paper empire. In our own day, naturalists’ materials, ensconced in archives, libraries, and (occasionally) private hands, are now the foundation of a history of science that has taken a material turn towards paper, ink, pen, and filing systems as technologies of communication, information management, and knowledge production. Recently, the creation of such papers, and their originators’ organization of them and intentions for them have received much attention. The lives archives lived after their creators’ deaths have been explored less often. The posthumous fortunes of archives are crucial both to their survival as historical sources today and to their use as scientific sources in the past.
How did (often) disorderly collections of paper come to be “the archives of the Scientific Revolution”? The proposed conference considers the histories of these papers from the early modern past to the digital present, including collections of material initially assembled by Samuel Hartlib, John Ray, Francis Willughby, Isaac Newton, Hans Sloane, Martin Lister, Edward Lhwyd, Robert Hooke, and Théodore de Mayerne. The histories unearthed—of wrangling over the control and organization of the papers of dead naturalists (and by extension, of the legacies of the dead and the living), of putting the scraps and half- finished experiments cast off by fertile minds to work, of extending and preserving their legacies in print —serve not only as an index of the cultural position of scientific activity since the early modern period. They also engage us in thinking about genealogies of scientific influence, the material and intellectual resources that had to be deployed to continue the scientific project beyond the life of any one individual, the creation and management of scientific genius as a posthumous project, and scientific activity as a collective endeavor in which scribes, archives and library keepers, editors, digital humanists and naturalists’ surviving friends and family members had a stake.
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P R O G R A M M E
9:15 Registration and coffee
9:30 Welcome and Introduction by Vera Keller, Anna Marie Roos, and Elizabeth Yale
9:45 Session I | Archival Afterlives: Miscellanies and Method
Chair: Anna Marie Roos, University of Lincoln
• Vera Keller, University of Oregon: Scarlet Letters: The Mayerne Papers within the Royal Society Archives
• Richard Serjeantson, Trinity College, Cambridge University: University Natural Philosophy in the Archives
11:00 Tea and coffee
11:15 Session II | Archival Afterlives: Natural Histories
Chair: Felicity Henderson, University of Exeter
• Elizabeth Yale, University of Iowa: ‘A Dying Hand’: Crafting the Posthumous Legacies of John Ray
• Anna Marie Roos, University of Lincoln: ‘Fossilised Remains’: William Huddesford, and the Lhwyd and Lister Ephemera in the Bodleian Library
12:30 Lunch
1:45 Session III | Archival Afterlives: Script and Print in the Sloane Collections
Chair: Anne Goldgar, King’s College, London
• Arnold Hunt, King’s College London, Under Sloane’s Shadow: The Archive of James Petiver
• Alison Walker, British Library: Collecting Knowledge: Annotated Material in the Library of Sir Hans Sloane
3:00 Session IV | Archival Afterlives: Archiving for Future Pasts
Chair: TBA
• Leigh Penman, University of Queensland: ‘Omnium exposita rapinae’: A Biography of the Papers of Samuel Hartlib, 1662–2015
•Victoria Sloyan, Wellcome Library: Collecting Genomics: Archiving Modern, Collaborative Science
4:15 Tea and coffee
4.30 Commentary and discussion led by Michael Hunter, Birkbeck College, University of London
5:30 Plenary Session
• Lauren Kassell, Pembroke College, Cambridge: Stars and Scribes, Astrology and Archives (simulcast University of Oregon)
Abstracts are available here»
Conference | Representing the Habsburg-Lorraine Dynasty, c. 1618–1918
From the conference programme:
Representing the Habsburg-Lorraine Dynasty in Music,
Visual Media, and Architecture, c. 1618–1918
Institute of History of Art and Musicology, Austrian Academy of Sciences, Vienna, 8–10 June 2015
This international conference will take place in Vienna from the 8th to the 10th of June 2015. It will be devoted to the new interdisciplinary research program ‘Representing Habsburg’—one of the main current research fields of the Institute for History of Art and Musicology (IKM) of the Austrian Academy of Sciences focusing on the history of fine arts and music in Austria and Central Europe in their general European context. Please register at:
kunstgeschichte@oeaw.ac.at.
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M O N D A Y , 8 J U N E 2 0 1 5
10:30 Registration
11:00 Opening, Werner Telesko, Director of the Institute of History of Art and Musicology
11:30 Topics and Media of Representation
Chair: Alexander Rausch, Werner Telesko
• Andrea Lindmayr-Brandl, University of Salzburg | Vom Volkslied zur Kaiserhymne: „Gott erhalte, Gott beschütze / unsern Kaiser, unser Land!“
• Friedrich Polleroß, University of Vienna | Repräsentation und Reproduktion. Der „Kaiserstil“ in den zeitgenössischen „Massenmedien“
13:00 Lunch Break
14:30 Topics and Media of Representation, Part 2
• Adriana De Feo, Mozarteum Foundation, Salzburg | Selbstdarstellung und höfische Repräsentanz: dramatische Sujets zur Glorifizierung des Geschlechts der Habsburger in der barocken Librettistik
• Irena Veselá, Moravian Museum, Brno | „Venga quel dì felice!“ Dynastisch-politische Botschaften in musikali- schen Huldigungswerken für Karl VI. und Elisabeth Christine (1723)
• Allison Goudie, The National Gallery, London | Habsburg Portraiture face-to-face with the French Revolution
• Olivia Gruber Florek, Delaware County Community College | The Absent Empress: Photomontage, the Habsburg Monarchy, and Celebrity in the Nineteenth Century
18:30 Evening Lecture
• Michael Yonan, University of Missouri, Columbia | Interdisciplinary Material Culture Studies and the Problems of Habsburg Representation
T U E S D A Y , 9 J U N E 2 0 1 5
9:00 Dynasty, State, and Nation
Chair: Richard Kurdiovsky, Stefan Schmidl
• Andrea Baotic-Rustanbegovic, University of Sarajevo | Presentation of the Habsburg Dynasty in Bosnia and Herzegovina under the Austro-Hungarian Rule, 1878–1918: The Case of Public Monuments
• Nataša Ivanovic, ́Research Institute for Visual Culture, Ljubljana | State and National Representation in the Case of Ljubljana Town Hall
• Timo Hagen, Kunsthistorisches Institut in Florenz | K.u.k. Militärbauten als Repräsentanten der Gesamtmonarchie in der siebenbürgischen „Peripherie“
• András Gero, Eötvös Loránd University, Budapest | Francis Joseph: The Hungarian Hero
12:30 Lunch Break
14:00 Agencies and Networks
Chair: Anna Mader-Kratky, Stefan Schmidl
• Milan Pelc, Institute of Art History, Zagreb | Leopold I. in der Sammlung Valvasor – Ikonographie des Kaisers aus der Perspektive eines Zeitgenossen
• Stefan Seitschek, Austrian State Archives, Vienna | Der Wiener Hof in den Tagebüchern Kaiser Karls VI.
• Martin Krummholz, The Czech Academy of Sciences, Prague | Habsburgische Propaganda in Rom zur Zeit des Botschafters Johann Wenzel von Gallas
• Jana Perutková, Masaryk University, Brno | Die von der mährischen Aristokratie in der ersten Hälfte des 18. Jahrhunderts veranstalteten musikdramatischen Aufführungen als Spiegel der musikalischen Feste am Wiener Kaiserhof
W E D N E S D A Y , 1 0 J U N E 2 0 1 5
9:00 Ceremonial Spaces and the „Public“
Chair: Elisabeth Hilscher, Herbert Karner
• Thomas Hochradner, Mozarteum University Salzburg | Spielball der Repräsentation? Überlegungen zur Kirchenmusik von Johann Joseph Fux
• Andrea Zedler, University of Regensburg / Michael Pölzl, University of Vienna | Tafelzeremoniell, „Schau-Essen“ und Musik als Mittel der Repräsentation im Zuge der Hochzeitsfeierlichkeiten von Erzherzogin Maria Amalia und Kurprinz Karl Albrecht in Wien (1722)
• Mirjana Repanic ́-braun, Institute of Art History, Zagreb | Representation of Habsburgs in the Croatian Historical Lands: Public Spaces and Art as Political Apparatus
• Anne-Marie Wurster, University of Freiburg i.B. | „Unter Trompetten- und Paucken-Schall“: Die Fronleichnamsfeierlich- keiten zur Zeit Maria Theresias als Demonstration imperialer Macht
12:30 Lunch Break
14:00 Ceremonial Spaces and the „Public,“ Part 2
• Peter Konecný – Miroslav Lacko, Slovak Academy of Sciences, Bratislava | Der Herrscher im Bergwerk: Die Visitationsreisen der Habsburg- Lothringer in die ungarischen (slowakischen) Bergstädte (1751–1852)
• Filip Šimetin Šegvic, University of Zagreb | Zagreb/Agram als zeremonieller Raum im Jahr 1895: Kaiser Franz Joseph und die dynastische Repräsentation
15:30 Concluding Discussion
Colloquium | Charles de La Fosse and the Arts in France, ca. 1700
I posted notice of the exhibition last week; here’s the programme for the colloquium, with additional information available from the Centre de recherche du château de Versailles. –CH
Charles de La Fosse et les arts en France autour de 1700
Château de Versailles, 18–19 May 2015
En complément de l’exposition Charles de La Fosse, le triomphe de la couleur, le Musée national des châteaux de Versailles et de Trianon et le Centre recherche du château de Versailles ont souhaité organiser un colloque international sur l’artiste. L’exposition, organisée en cinq grandes sections (les commandes pour les maisons royales ; La Fosse dessinateur ; la tradition académique ; le triomphe du coloris ; un précurseur du XVIIIe siècle) a été l’occasion de faire le point sur un artiste majeur de la seconde moitié du règne de Louis XIV. Le colloque doit permettre, quant à lui, de mieux situer Charles de La Fosse (1636–1716) dans les enjeux de la pratique artistique autour de 1700 dont l’étude a été profondément renouvelée depuis les travaux d’Antoine Schnapper.
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L U N D I , 1 8 M A I 2 0 1 5
9:00 Accueil
9:30 Introduction
• Les enjeux du colloque, Béatrice Sarrazin, conservateur général du patrimoine, chargé des peintures du xviie siècle, musée national des châteaux de Versailles et de Trianon; et Olivier Bonfait, professeur en histoire de l’art moderne, université de Bourgogne, Centre Georges Chevrier (CNRS)
• Charles de La Fosse, dix ans après, Clémentine Gustin-Gomez, docteur en histoire de l’art
10:30 L’art de Charles de La Fosse
Présidents de séance : Clémentine Gustin-Gomez et Nicolas Milovanovic, conservateur en chef, département des Peintures, musée du Louvre, Paris
• Charles de La Fosse et la peinture d’histoire autour de 1700, Karen Chastagnol, docteur en histoire de l’art
• Between ‘coloris’ and ‘dessein’, Hector Reyes, Assistant Professor, University of Southern California, Los Angeles
• La peinture religieuse de La Fosse et de Jouvenet, ou les vicissitudes de la grâce, Aaron M. Wile, Ph.D. candidate, Harvard University, Cambridge
13:00 Pause
14:30 Charles de La Fosse et le grand décor
Présidents de séance : Thomas Kirchner, directeur, Centre allemand d’histoire de l’art de Paris et Béatrice Sarrazin
• Le décor plafonnant à l’époque de Charles de La Fosse: vers une émancipation des influences italiennes? Moana Weil-Curiel, docteur en histoire de l’art
• Les galeries de Charles de La Fosse, Bénédicte Gady, collaboratrice scientifique, département des
Arts graphiques, musée du Louvre, Paris
• Vendages de Malapeire, le décor de la chapelle du Mont-Carmel à Toulouse et sa description, Stéphanie Trouvé, docteur en histoire de l’art
M A R D I , 1 9 M A I 2 0 1 5
9:00 Accueil
9:30 Charles de La Fosse et la mythologie
Présidents de séance : Olivier Bonfait et Patrick Dandrey, professeur de littérature française du xviie siècle, université Paris-Sorbonne
• La tenture des Métamorphoses des Gobelins : émulation artistique et stratégies commerciales, Pascal-François Bertrand, professeur d’histoire de l’art, université Bordeaux Montaigne (EA 538)
• The Fall of Gods: Charles de La Fosse’s Allegory of Autumn as Theme and Variation, Tatiana Senkevitch, The Sarah Campbell Blaffer Foundation, Museum of Fine Arts, Houston, Research Associate Rice University, Lecturer
• Le royaume des dieux : la représentation de l’Olympe dans les grands décors de Charles de La Fosse, Nicolas Milovanovic, conservateur en chef, département des Peintures, musée du Louvre, Paris
12:00 Pause
14:00 Charles de La Fosse et les capitales artistiques
Présidents de séance : Pierre Rosenberg, de l’Académie française, président-directeur honoraire, musée du Louvre, Paris et Margret Stuffmann, conservateur émérite, Städel Museum, Francfort-sur-le-Main
• Jacques Rousseau et Charles de La Fosse chez le duc de Montagu à Londres, Virginie Bergeret, diplômée de master II, École du Louvre
• Nouvelles hypothèses sur le décor peint de la salle à manger de Pierre Crozat, François Marandet, enseignant, Institut Supérieur des Arts (IESA), Warwick
• Charles de La Fosse et Venise : regards croisés au xviiie siècle, Valentine Toutain-Quittelier, docteur en histoire de l’art, chargée de cours, université de Poitiers
16:30 Conclusion et synthèse
• Olivier Bonfait et Béatrice Sarrazin avec Pierre Rosenberg
Exhibition | Charles de La Fosse: The Triumph of Color
Now on view at Versailles:
Charles de La Fosse, le triomphe de la couleur
Château de Versailles, 24 February — 24 May 2015
Musée des Beaux-Arts, Nantes, 19 June — 20 September 2015
Curated by Béatrice Sarrazin, Adeline Collange-Perugi, and Clémentine Gustin-Gomez
Although almost forgotten over the past two centuries, Charles de La Fosse (1636–1716) introduced a great many new ideas during the reign of Louis XIV, of whom he was a contempory. His work bears testimony to the artistic development of Charles Le Brun under whom he studied, and that of Antoine Watteau, a close friend. Considered to be one of the greatest painters of his time, Charles de La Fosse contributed to all the royal worksites at the Tuileries, the Palace of Versailles and the Invalides, while still devoting a large amount of time to private commissions. His body of work is equally exceptional for his numerous drawings, in particular those using the ‘trois crayons’ technique (black, red, white).
Charles de La Fosse’s work can be admired throughout the Palace, as an introduction to the monographic exhibition devoted to him in Madame de Maintenon’s Apartement. The display of major compositions in the Royal Chapel, the Diana Room and the Apollo Room—restored for the occasion—reveals La Fosse to be one of the main creators behind the decoration in Versailles.
The exhibition at the end of the tour of the State Apartments highlights the different aspects of the artist’s talent, inspired by the masters of the Académie (Poussin and Le Brun), and strongly influenced by contact with Venetian (Titian and Veronese) and Flemish (Rubens and Van Dyck) paintings to produce light seductive paintings with glowing colours. Preferring colour to lines, La Fosse’s work was extremly innovative and makes him one of the great pioneers of the 18th century.
A colloquium Charles de La Fosse et les arts en France autour de 1700 is scheduled for 18–19 May 2015 (see the website for the Centre de recherche du château de Versailles).
The full press packet for the exhibition is available as PDf file here»
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From Dessin Original:
Béatrice Sarrazin, Adeline Collange-Perugi et Clémentine Gustin, Charles de La Fosse (Paris: Somogy, 2015), 240 pages, ISBN: 978-2757209158, 35€.
Publié à l’occasion de la première exposition monographique consacrée à Charles de La Fosse, l’ouvrage met en lumière les différentes facettes du talent de l’artiste qui, puisant ses racines chez les maîtres de l’Académie (Nicolas Poussin et Charles Le Brun), sait se renouveler au contact de la peinture vénitienne (Titien et Paul Véronèse) et flamande (Pierre Paul Rubens et Antoine Van Dyck) pour créer une peinture séduisante et légère, aux coloris chatoyants. Favorisant la couleur plutôt que la ligne, l’œuvre de La Fosse, extrêmement novatrice, fait de ce peintre l’un des grands précurseurs du XVIIIe siècle.
Quelque peu tombé dans l’oubli ces deux derniers siècles, Charles de La Fosse (1636–1716) est pourtant le grand introducteur des idées nouvelles sous le règne de Louis XIV dont il est l’exact contemporain. Son œuvre témoigne de l’évolution de la création artistique, de Charles Le Brun, dont il fut l’élève, à celle d’Antoine Watteau, un ami proche. Considéré comme l’un des meilleurs peintres de son temps, Charles de La Fosse participe à tous les chantiers royaux des Tuileries, du château de Versailles et des Invalides, tout en consacrant une grande part de son activité aux commandes privées. Son œuvre est aussi remarquable par ses nombreux dessins, notamment ceux à la technique des trois crayons (pierre noire, sanguine, rehauts de blanc).
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S O M M A I R E
Charles de La Fosse tel qu’en lui-même, ALAIN MÉROT
Charles de La Fosse: un parcours novateur, CLÉMENTINE GUSTIN-GOMEZ
Charles de La Fosse à Versailles, BÉATRICE SARRAZIN
Charles de La Fosse: de Le Brun à Louvois, NICOLAS MILOVANOVIC
Charles de La Fosse: Les amours des dieux, ADELINE COLLANGE-PERUGI
Entre ligne et couleur: Réflexions sur les dessins de Charles de La Fosse, BÉNÉDICTE GADY
Charles de La Fosse en son temps, FRÉDÉRIQUE LANOË
Un coup de tonnerre (ou plutôt un coup de foudre), PIERRE ROSENBERG
Colloquium | Ces architectes qui ont bâti l’Europe
From H-ArtHist:
Les Européens: Ces architectes qui ont bâti l’Europe, 1450–1950
Institut national d’histoire de l’art, Paris, 23–25 April 2015
Organisé avec le soutien de LabEx EHNE : Ecrire l’Histoire Nouvelle de l’Europe (Université de Paris-Sorbonne); Centre André Chastel (CNRS, Université de Paris-Sorbonne); et Centre Jean Pépin, THETA (CNRS-ENS, Paris)
2 3 A V R I L 2 0 1 5
9.30 Ouverture du colloque par Alexandre Gady, directeur du centre André Chastel et Dany Sandron, responsable du LabEx EHNE pour le centre André Chastel
10.00 Olga Medvedkova (CNRS, centre Jean Pépin, Paris), Les « vitae» des architectes-migrants et la notion de l’Europe architecturale
10.30 L’Europe face à l’Europe à l’époque de la Renaissance
Président de séance : Alexandre Gady
• Marco Folin (Université de Gènes), Le cosmopolitisme d’un artiste de la Renaissance: Léonardo da Vinci (1442–1519) en France
• Sabine Frommel (EPHE, Paris), A la cour de France : Sebastiano Serlio (1475-1554) et Francesco Primaticcio (1504–1570)
• Agnieszka Wiatrzyk (EPHE, Paris), Le problème de la ville idéale : Bernardo Morando (1540–1600) et Zamosc
13.00 Pause déjeuner
14.30 Les architectes-migrants auprès des Cours européennes du XVIIe siècle
Président de séance : Claude Mignot
• Hélène Vérin (CNRS, centre Alexandre Koyré, Paris), De Princes en Monarques : Salomon de Caus (1576–1626) et l’art des grottes, fontaines et jardins
• Linnéa Tilly (AUSser umr 3329), De maître maçon à architecte, Simon (1590?–1642) et Jean (1624-1696) de la Vallée en Suède
• Jorge Fernández-Santos Ortiz-Iribas (E.T.S.A. Universidad San Jorge, Saragosse), Un polymathe à la recherche de l’obliquité architecturale : Juan Caramuel Lobkowitz (1606–1682)
• Raphaël Tassin (EPHE, Paris), Un Milanais, architecte du duc de Lorraine : Giovan Betto (1642–1722)
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9.30 L’Europe élargie au Siècle des Lumières
Président de séance : Pascal Liévaux
• Alexandre Gady (Université de Paris-Sorbonne), Faire l’Europe sans bouger : Robert de Cotte (1656–1735) et l’architecture royale
• Ekaterina Orekhova (Musée de l’Ermitage, Saint-Pétersbourg), Deux Italiens parisiens à Saint-Pétersbourg dans la première moitié du XVIIIe siècle : les Rastrelli, père et fils
• Jérôme de La Gorce (CNRS, centre André Chastel, Paris), Un artiste florentin dans l’Europe des Lumières : Jean Nicolas Servandoni (1695–1766)
• Dimitri Ozerkov (Musée de l’Ermitage, Saint Pétersbourg), Les antiquités romaines sans frontières : Vincenzo Brenna (1747–1820) en Pologne et en Russie
13.00 Pause déjeuner
14.30 L’Europe face au Monde Nouveau (XVIIIe et XIXe siècles)
Président de séance : Jean-Philippe Garric
• Emilie d’Orgeix (Université de Bordeaux-III), Un ingénieur, architecte, théoricien français à travers l’Amérique et l’Europe : Amédée Frézier (1682–1773)
• Alberto Garin (Universidad Francisco Marroquín Lives, Antigua Guatemala), L’ingénieur militaire espagnol, entre l’Antigua et la Nouvelle Guatemala : Luis Díez Navarro (1699–1776)
• Philippe Malgouyres (Musée du Louvre), Un architecte néoclassique espagnol au Mexique au crépuscule de l’empire espagnol : Manuel Tolsa (1757–1816)
• Pascal Dubourg-Glatigny (CNRS, centre Alexandre Koyré, Paris-Berlin), Un architecte-ingénieur français au service des méandres politiques de la Colonie du Cape : Louis-Michel Thibault (1750–1815)
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9.30 Les architectes émigrés et la modernité architecturale du XXe siècle
Président de séance : Pierre Caye
• Orfina Fatigato (Laboratoire ACS, ENSA Paris-Malaquais – DiARC, Università degli Studi di Napoli Federico II), Un ‘gothique’ devenu ‘latin’ : Le Corbusier (1887–1965)
• Nabila Oulebsir (Université de Poitiers, Centre Georg Simmel, CNRS-EHESS), Un architecte moderne méditerranéen : Léon Claro (1899–1991)
• Martin Pozsgai (Stiftung Bibliothek Werner Oechslin), Entre Bauhaus et exile : Fred Forbát (1897–1972), un architecte hongrois en Allemagne et en Suède
• Anat Falbel (Instituto de Filosofia e Ciencias Humanas. Universidade Estadual de Campinas. IFCH/UNICAMP), Architecture, histoire et engagement politique : Anatole Kopp
• Clôture du colloque par Pierre Caye, directeur du centre Jean Pépin, CNRS-ENS
Exhibition | George Morland: In the Margins
George Morland, Easy Money, 1788 (Huddersfield Art Gallery)
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Now on view at the University of Leeds:
George Morland: In the Margins
The Stanley & Audrey Burton Gallery, University of Leeds, 18 March — 11 July 2015
Curated by Nicholas Grindle
This exhibition looks at migrants and margins in the work of the painter George Morland (1763–1804), a popular painter whose lifestyle and early death earned him lasting notoriety. Over 250 of his works are held by public collections in the UK and US alone. His paintings of smugglers, gypsies, pedlars, soldiers, and families, which represent some of his best compositions, as well as how they mirrored his own life, raise compelling questions about who, and where, is ‘marginal’ in society. There has been no exhibition of his work since a small show in Reading in 1975 and no substantial discussion of his work since a thesis written in Stanford in 1977 and a chapter in John Barrell’s book Dark Side of the Landscape in 1980. His pictures resonate with contemporary issues such as migration and marginality in a way that was not evident thirty years ago.
The exhibition will run at The Stanley & Audrey Burton Gallery from 18 March 2015 until 11 July 2015, with a possible UK tour from August 2015 onwards.
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A symposium is scheduled for the end of May:
Bohemians and Marginal Communities in the 18th Century: George Morland in Context
The Stanley & Audrey Burton Gallery, University of Leeds, 29 May 2015
The Stanley & Audrey Burton Gallery presents a free symposium, bringing together academic discussion of the work of late 18th-century English painter George Morland. To coincide with our current exhibition George Morland: In the Margins, the Gallery is delighted to welcome experts and academics from a range of fields, to discuss the wider context of Morland’s work. These speakers will include the exhibition’s guest-curator Dr Nick Grindle (UCL); Professor of History of Art at Oxford Brookes University, Christiana Payne; social geographer, Dr Martin Purvis; independent art historian, Dr Anthony Lynch; and UEA MPhil student Francesca Bove.
The speakers will address representations of social margins in Morland’s artistic output and look at the parallels between his life and works. What can his representation of gypsies, smugglers, pedlars and families tell us about the societal conditions of the late 1800s and how do they reflect our own times? Morland was living on the brink of industrialisation, witnessing an increasingly capitalist culture and significant, sudden movements of people around the country; conditions which are still relevant to modern-day Britain. The worries of Morland’s contemporaries about the moral character and palatability of his works raises questions surrounding class relations and art’s role as social commentary and criticism.
Friday, 29 May 2015, 9:00–17:00. Free, though booking is essential. This event is kindly supported by the Paul Mellon Centre for Studies in British Art.
More information about programming for the exhibition is available here»
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The catalogue is available from the University of Leeds online bookstore:
Nicholas Grindle, ed., with essays by David Alexander, Kerry Bristol, Sue Ecclestone, Nicholas Grindle, and Martin Purvis, George Morland: Art, Traffic and Society in Late Eighteenth-Century England (Leeds: The Stanley & Audrey Burton Gallery, 2015), 99 pages, ISBN: 978-1874331544, £12.
George Morland: Art, Traffic and Society in Late Eighteenth-Century England looks at the life and work of popular painter George Morland (1763–1804), whose remarkable talent, prodigious output, bohemian lifestyle and early death earned him lasting notoriety. Morland was the most infamous artist in Britain at the time of his death in 1804. His paintings enjoyed a stellar reputation, which was enhanced by stories about his fabulous earnings, prodigal spending, legendary drinking, and staggering debt. He was renowned for his associations with smugglers, gypsies and pugilists, as well as his constant attempts to evade his creditors. His best work is breathtaking in its ambition and execution, while the popularity of his drawings, paintings, and the prints after his work rose throughout his lifetime. Within months of his death, no fewer than four books had been published packed with anecdotes—many apocryphal—about his life and work. No other artist of the late eighteenth and early nineteenth centuries commanded such a profile.
Morland was reputed to have painted thousands of canvases and made hundreds of drawings. But in spite of his immense popular and critical stature, recent scholarly attention has been patchy, and this is the first publication to seriously review the artist in over thirty years. It includes five new essays which use recent perspectives in historical geography and studies of print and exhibition culture to help us look in new ways at his work and practice, as well as catalogue entries that bring scholarship on his paintings up to date.
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