Enfilade

From the conference program:

Body Narratives: Motion and Emotion in the French Enlightenment
Department of Art History, The University of Chicago, 10 April 2015

Organized by Susanna Caviglia

8:30  Welcome, Christine Merhing, University of Chicago

8:40  Introduction, Susanna Caviglia, University of Chicago

9:00  Body Language: Narrative and Metaphor
Chair: Anne Leonard, Smart Museum of Art
• Anti-Pygmalion: Jean-Bernard Restout’s Diogenes Asking for Alms (1767) and the Question of Body Movement, Étienne Jollet, Université Paris 1 Panthéon-Sorbonne/Columbia University
• The Body Speaks: Anatomical Narratives in French Enlightenment Sculpture, Dorothy Johnson, University of Iowa

10:30  Coffee

11:00  The Mobile Body: Social Identity and Visual Dynamics
Chair: Nina Dubin, University of Illinois at Chicago
• Engaging Tapestries at the Hôtel de Soubise: Attention, Mobility, Intercorporeality, Mimi Hellman, Skidmore College
• Watching Her Step: Women and the Art of Walking after Marie-Antoinette, Melissa Hyde, University of Florida

12:30  Lunch

2:00  Body Temporality: Aesthetics of Walking
Chair: Robert Morrissey, University of Chicago
• Movement and Stasis: Mapping Cythera, Mary D. Sheriff, University of North Carolina at Chapel Hill
• Strolling Time, Ewa Lajer-Burcharth, Harvard University

3:30  Coffee

4:00  Roundtable
Chair: Rebecca Zorach, University of Chicago
• Basile Baudez, Université Paris-Sorbonne, Paris IV
• Richard Neer, University of Chicago
• Larry Norman, University of Chicago
• Andrei Pop, University of Chicago

5:30  Conclusions

6:00  Reception

Poster Image: Pierre Subleyras, Charon Ferrying the Shades (Paris: Louvre).

From the research program’s website (it includes lots of interesting materials in addition to details of the upcoming conference). . .

Origins and the Legitimacy of Architecture in Europe, 1750–1850
Leiden University and the Rijksmuseum van Oudheden, Leiden, 1–2 May 2015

Organised by Maarten Delbeke, Sigrid de Jong, and Linda Bleijenberg

From Thursday 30 April to Saturday 2 May 2015 we will host an international conference at the Rijksmuseum van Oudheden in Leiden, to conclude our research program at the Leiden University Centre for the Arts in Society (LUCAS). Supported with generous funding from NWO, the project aimed at understanding how, between 1750 and 1850, changing views about the origins of civilization and the arts have affected the theory and practice of architecture in Europe. More in particular, the project aimed to understand how these views of origins, and especially the primitivism they often imply, have been adopted in architectural discourse to buttress the legitimacy of architecture in society.

The questions the conference wishes to address include: how do architectural origins relate to questions of architecture’s legitimacy as an artistic and cultural practice in the period under consideration? Why are origins deemed relevant to address these questions? To which particular architectural problems does the question of origins pertain? With which intellectual contexts and debates do architectural theory and practice enter in dialogue through the matter of origins? How do architectural origins relate to the primitivism that is manifest across a wide range of intellectual and artistic practices of the period? How do notions about origins sustained in historiography writ large affect architectural history and ideas about the historicity of buildings?

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F R I D A Y ,  1  M A Y  2 0 1 5

9.30  Registration and coffee

10.00  Welcome by Maarten Delbeke

10.15  Session I. Myths
• Eric Moormann, ‘Mehr Modell und Puppenschrank als Gebäude’: How Pompeii Did Not Enhance Architectural Studies in the Eighteenth Century
• Hendrik Ziegler, Goethe and the Classical Canon in Architecture
• Sigrid de Jong, Myths of Origins: Stonehenge in the Royal Academy’s Architectural Histories

12.30  Lunch break

14.00  Session II. Histories
• Erika Naginski, On the Colonial Origins of Architecture: Building the ‘Maison Rustique’ in Cayenne, French Guiana
• Matteo Burioni, Imaginary Geographies and Imagined Beginnings: Pietro della Valle, Fischer von Erlach, Jean-Nicolas-Louis Durand
• Petra Brouwer, Origins of Architecture in the First Architectural History Survey Texts of James Fergusson, Franz Kugler, and Wilhelm Lübke

17.00  Book presentations, Sigrid de Jong and Caroline van Eck

18.00  Keynote Lecture
• Mari Hvattum, Heteronomic Historicism

19.00  Reception

S A T U R D A Y ,  2  M A Y  2 0 1 5

9.30  Registration and coffee

10.00  Session III: Objects and Language
• Christopher Drew Armstrong, Theorizing the Orient: The Discourse on Origins, Language and Identity in the Paris Académie des Inscriptions
• Maarten Delbeke, Complexity and Contradiction in Architecture around 1820
• Ralph Ghoche, ‘La pensée simple que présente un cône’: Unity and Simultaneity in Simon-Claude Constant-Dufeux’s Tomb of Dumont d’Urville

12.15  Lunch break

13.45  Session IV: Religions and Rituals
• Tomas Macsotay, The Distracted Believer and the Return to the First Basilicae: Marqués de Ureña’s Reflexiones sobre la arquitectura, ornato, y música del templo (1785)
• Caroline van Eck, Quatremère de Quincy on the Origins of Architecture, Sculpture and Society: The Debate about Primitivism among Enlightenment Critics of Religion
• Richard Wittman, The Purity of Origins: Architecture in Rome after Napoleon

From the YCBA:

The Romantic Eye, 1760–1860 and Beyond
Yale University, New Haven, 17–18 April 2015

From The Preservation Society of Newport County:

North and South: Crosscurrents in American Material Culture
23rd Annual Newport Symposium, Newport, Rhode Island, 26–29 April 2015

Despite the sometimes irreconcilable differences that culminated in the Civil War (1861–65), Newport and other Northern cities maintained close social, economic, cultural, and artistic ties with the South from the Colonial period through the Gilded Age. The 2015 Newport Symposium, North and South: Crosscurrents in American Material Culture, invites a fresh look at regional differences in American furnishings, silver, textiles, painting, architecture, and interiors to reveal the complex exchange of ideas and enduring influences.

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S U N D A Y ,  2 6  A P R I L  2 0 1 5

4:00  Opening Lecture

“Historic House Museums, North and South: Preserving Our Past, Enhancing Our Future,” George McDaniel (Executive Director, Drayton Hall, Charleston, SC)
In both the North and South, historic house museums are too often seen as staid institutions, stuck on giving only boring ‘velvet ropes’ tours and suffering from declining revenues and morale. While such examples do exist, there are also many house museums that are using their collections, their site, and their staff in innovative and strategic ways to reach out and make a difference in their communities and beyond, and to thereby play significant roles in preserving our past and enhancing our future.

5:00  Opening Reception at Rosecliff (1902)

M O N D A Y ,  2 7  A P R I L  2 0 1 5

8:00  Registration and coffee

9:00  Welcome, Donald O. Ross (Chairman of the Board, The Preservation Society of Newport County)

9:30  “Pride & Prejudice: Understanding North and South,” Tom Savage (Director of Museum Affairs, Winterthur Museum)
At the first Williamsburg Antiques Forum in 1949, Joseph Downs, then curator of the American Wing at the Metropolitan Museum of Art, announced that “little furniture of artistic merit was ever produced south of Baltimore.” A southern matron asked politely but pointedly if Mr. Downs had spoken “out of prejudice or ignorance?” The battle cry that went out from that conference spawned the landmark 1952 exhibition Furniture of the Old South, 1640–1820 at the Virginia Museum and a special issue of The Magazine Antiques dedicated to southern furniture. In 1965, The Museum of Early Southern Decorative Arts (MESDA) opened in Winston-Salem, North Carolina. This lecture will examine the historiography of southern decorative arts research and the mythological perceptions that have pervaded our understanding of American material culture, both North and South.

10:30  Break

11:00  “He Went to War a Virginian But Came Home an American: General  Washington’s Revolutionary Transformation of Mount Vernon,” Susan Schoelwer (Robert H. Smith Senior Curator, George Washington’s Mount Vernon)
George Washington’s wartime travels took him to countless communities in New England and the Middle States, giving him rich opportunities to compare country estates and city houses in these regions with more familiar examples in Virginia and Maryland. After the Revolution, he drew on these experiences to purposefully redesign Mount Vernon, his beloved home and estate on the Potomac River, to suit what he called his ‘Republican stile of living’. The resulting innovations—most notably the picturesque landscape surrounding the Mansion and the grand neoclassical interior that Washington called his ‘New Room’—vividly expressed his prescient vision for the future of the new American nation.

12:00  Lunch

1:30  Concurrent lectures and tours

“Beyond the Summer Colony: Exchange Between Charleston and Newport,” Brandy Culp (Curator Historic Charleston Foundation)
Because of its favorable climate and intellectual charm, Newport was a fashionable summer destination for many Charlestonians in the eighteenth and nineteenth centuries. In addition to being what some have called “the Bath of America,” Newport was an important partner in the coastal trade, and the two cities were economically linked. We will discuss the exchange of goods between Newport and Charleston facilitated by merchants such as Rhode Island native Nathaniel Russell, as well as the cultural connections that gave rise to Newport’s popularity among the southern colony.

“Elegant Boston Interiors 1789–1830,” Jane Nylander (President Emerita) and Richard Nylander, (Curator Emeritus, Historic New England, Boston, MA)
In two consecutive afternoon sessions, the Nylanders will discuss furnishings and interiors in the homes of Boston’s elite during the New Republic. Early nineteenth-century Boston witnessed changing styles of architecture and furniture, new technologies, increasing prosperity, and an expanded circle of world trade. Interiors featured both locally made and imported goods such as textiles and wallpaper, ceramics and glass, window curtains and carpets as well as paintings and sculpture, reflecting an increased interest in the fine arts.

3:00  Concurrent lectures and tours

“Finding the Sacred in the Secular: Eighteenth-Century Synagogue Architecture in Newport and Charleston,” Daniel Kurt Ackermann (Associate Curator, Museum of Early Southern Decorative Arts, Winston-Salem, NC)
Touro Synagogue in Newport, which opened in 1763, has long been held up as a symbol of religious tolerance in America. Indeed, both Touro and KKBE’s Synagogue in Charleston, South Carolina, were important buildings in their cityscapes. These two sacred buildings constructed in secular styles reflected the status and acceptance that Jews found in early America. They also reflected the webs of kinship, commerce, and faith that linked the Jews of Newport and Charleston to each other and to the rest of the Jewish Atlantic world.

“Elegant Boston Interiors 1789–1830,” Jane Nylander (President Emerita) and Richard Nylander, (Curator Emeritus, Historic New England)
In two consecutive afternoon sessions, the Nylanders will discuss furnishings and interiors in the homes of Boston’s elite during the New Republic. Early nineteenth-century Boston witnessed changing styles of architecture and furniture, new technologies, increasing prosperity, and an expanded circle of world trade. Interiors featured both locally made and imported goods such as textiles and wallpaper, ceramics and glass, window curtains and carpets as well as paintings and sculpture, reflecting an increased interest in the fine arts.

4:00  “Elegant Taking and Talking Tea: Gentility, Patriotism and Shared Conversations in Early America,” Martha Willoughby (Senior Specialist, Christie’s, London)
This lecture will look at the American tea party and its central role in social and cultural discourse during the eighteenth century. Throughout the colonies, the ritual of tea drinking and its symbolism of British tyranny during the Revolution provided a means for establishing and affirming bonds with neighbors, visitors and compatriots. A close look at the tea party’s guest of honor—the tilt-top tea table—will illustrate the lively and fruitful conversation of ideas between North and South.

5:00  Tea and refreshments

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8:00  Registration and coffee

9:00  “North and South: Town & Country,” Trudy Coxe (CEO & Executive Director) and Laurie Ossman (Director of Museum Affairs, The Preservation Society of Newport County)

9:30  “‘Send None but the Finest Quality’: Art and Patronage in Early Maryland–The Edward Lloyd Family and Beyond,” Alexandra Kirtley (The Montgomery-Garvan Associate Curator of American Decorative Arts, Philadelphia Museum of Art)
Edward Lloyd settled on Maryland’s Eastern Shore in 1659. There he established a dynasty of gentleman farmers, whose lands eventually stretched the entire length of the Delmarva peninsula. The Lloyds patronized artists of the first order, from the finest silversmiths and furniture makers to British marine painter Dominic Serres and American portraitist Charles Willson Peale. The family crafted an extraordinary landscape and built exceptional manor houses to reflect the most current architectural styles of the day. The story of the Lloyd family art patronage typifies the social experience in Early Maryland and the Upper South.

10:30  Break

11:00  “Five Desks for Virginia: New England Furniture in the South and the Caribbean during the Eighteenth Century,” Brock Jobe (Professor of American Decorative Arts, Winterthur Museum)
Throughout the 1700s, many New England woodworkers built furniture for export to distant ports in the South, the Caribbean, and beyond. Craftsmen often entered into contracts with ship captains, who carried the furniture from port to port in search of a market; when the pieces were finally sold, the proceeds were used to purchase timber, coffee, and molasses. The first provided the raw material for the furniture-making; the latter two offered a source of cash for craftsmen. We will trace the furniture export trade in four New England communities: Portsmouth, Salem, Boston, and Newport.

12:00  Lunch

1:30  Concurrent lectures and tours

“The Cosmopolitan Middletons: A Family’s History as Told Through Their Collections,” George McNeely (Vice President for Strategic and International Affairs, World Monuments Fund, New York)
The Middleton family established themselves in South Carolina in the early 18th century and have been prominent in politics, international affairs, commerce and culture ever since. Their remarkably grand Jacobean-style seat was completed in 1741 and the unusual ‘butterfly’ lakes and extensive gardens in the following decades. Trace the family through triumphs and despair, from Charleston to Philadelphia to Newport to London and back, through a wonderful selection of paintings, furniture and decorative arts in the family collections.

“In Search of Respite: Natchezians at the Northern Resorts,” Jeff Mansell, Historian, Natchez National Historical Park
In an attempt to escape the blistering Southern summers, wealthy Natchez, Mississippi planters sought refuge at popular watering holes and fashionable Northern resorts. From June to October, in a seemingly steady progression, Natchezians moved from Niagara Falls and Seneca Lake to Saratoga and Cape May. In August, they descended on Newport and by 1860, one planter’s wife observed, “it seems to me all of Natchez is here.” While most Natchezians spent only a few weeks of the season in Newport, others built cottages and became fixtures in the social and cultural life of the town.

3:00  Concurrent lectures and tours

“Victoria Mansion: The 1860 Maine Summer Home of a New Orleans Hotelier,” Arlene Palmer Schwind (Curator, Victoria Mansion, Portland, ME)
Maine native Ruggles Sylvester Morse began his hotel career in Boston and New York, but by 1843 he settled in New Orleans where he quickly made a sizable fortune. Between 1858 and 1860 he constructed a magnificent summer home in Portland, Maine. This Italian villa style mansion is largely intact, with interiors that are exceptional for their brilliant wall and ceiling paintings, marble fireplaces, and stained glass. Over ninety percent of the original furnishings remain from 1860, including an important collection of furniture by Gustave Herter, who also supervised the design of the mansion’s sumptuous interiors. Learn how Morse’s background as a hotelier and a New Orleans resident influenced the design and furnishing of this unique example of pre-Civil War grandeur, a National Historic Landmark that has been a historic house museum since 1941.

“The North in the South: Furnishings in Antebellum Natchez,” Caryne Eskridge (Project Manager and Research Curator, The Classical Institute of the South, New Orleans)
In the mid-nineteenth century, the elite ‘Natchez Nabobs’ possessed the wealth, taste, and connections that allowed them to order the most fashionable furnishings from Philadelphia, New York, and Massachusetts. As a result, many of the parlors, dining rooms, and bedrooms in Natchez resembled what was found in elite households in the Mid-Atlantic and New England. These objects challenge the distinction of ‘northern’ versus ‘southern’ and reveal significant paths within the dynamic movement of goods and people. The presentation will highlight objects that remain extant in Natchez, in some cases in a nearly complete context.

7:00  Dinner at The Breakers (1895)

W E D N E S D A Y ,  2 9  A P R I L  2 0 1 5

8:30  Registration and coffee

9:30  “‘The Largest Assortment Constantly on Hand’: Furniture in New Orleans, 1840–1900,” Stephen Harrison (Curator of Decorative Art and Design, The Cleveland Museum of Art)
Recent research suggests that the story of household furnishings in the South’s most prosperous port city is far richer in its associations with Europe and the American style centers of the North both before and after the Civil War than ever imagined before. This fully illustrated lecture will discuss the many furniture emporiums that lined Royal Street and the bounty they displayed. Familiar purveyors such as Barjon, Mallard, and Siebrecht will come to life again along with the storied plantations and fashionable city residences they furnished and adorned with furniture of ‘fancy and fashion’ they kept ‘constantly on hand’.

10:30  Break

11:00  “Painting in the American South, 1730–1790,” Carolyn Weekley (Juli Grainger Curator Emerita, Colonial Williamsburg)
Portraiture dominated the activity of painters who worked in the early South. Most artists were trained in trades techniques such as signboard and coach painting. Both resident and traveling painters were the chief providers of portraits, although Southerners occasionally commissioned pictures from artists elsewhere in America and abroad, chiefly in London. Most of the painters engaged by Southerners had contact with others in the trade. Some were directly trained by fellow painters while others imitated the idiosyncratic styles of other artists.

12:00  Lunch

1:00  Optional independent touring
Symposium attendees will be admitted free of charge by presenting their symposium badges at the following properties: Redwood Library and Athenaeum (1748), Newport Art Museum, J.N.A. Griswold House (1864),  The International Tennis Hall of Fame, Newport Casino (1881), The Museum of Newport History at Brick Market. Preservation Society Properties: Chateau-sur-Mer (1852), Marble House (1892), The Breakers (1895), The Elms (1901), Rosecliff (1902)

From the conference programme and The Georgian Group:

Robert Adam and His Brothers
Burlington House, Piccadilly, London, 23–24 September 2015

Adam Staircase Compartment of the 1770s, Mansfield Street, London, (Chris Redgrave, English Heritage)

The Adam style revolution transformed British architecture in the latter half of the eighteenth century. The brothers’ unique and inventive approach to design, based on a modern reinterpretation of the art of antiquity, found widespread popularity and was to have a lasting impact on European and American architecture. The movement and surface variety inherent in their buildings, combined with the lightness and informality of their interiors, set new standards of elegance and were widely imitated.

This two-day Georgian Group symposium, led by the architectural historians Colin Thom of UCL and Georgian Group Journal editor Dr Geoffrey Tyack, will highlight new research and findings on Robert Adam and his brothers across all aspects of their life and work, including architecture, interior decoration, the use of colour, the influence of classical sources, drawing office procedure, the art market, town-planning and building speculation. The symposium will offer interpretations by a mix of established scholars and a younger generation of historians and doctoral students, one of the main objectives being to stimulate further study on the Adams.

The Symposium papers will form the basis of a monograph to be published by Historic England in association with The Georgian Group. £100 per person for both days, or £60 for a single day. Buffet lunch included on both days. Book online or print and mail this form, with full payment, to: The Georgian Group, 6 Fitzroy Square, London W1T 5DX. Please make cheques payable to The Georgian Group. For further information, telephone 020 7529 8920.

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W E D N E S D A Y ,  2 3  S E P T E M B E R  2 0 1 5

9.30  Registration and coffee

9.50  Opening address and welcome by Geoffrey Tyack and Colin Thom

10:00  Session 1: Scotland
• Alistair Rowan (University College, Cork), Johnie, the Eldest Adam Brother
• Simon Green (Royal Commission on the Ancient and Historical Monuments of Scotland), John, Robert and James Adam Build a House in Ayrshire
• Anthony Lewis (Curator of Scottish History, Glasgow Museums), The Adam Brothers and Their Building Tradesmen in Scotland

11:30  Tea and coffee

12:00  Session 2: Italy
• Jonathan Yarker (Lowell Libson Ltd, Art Dealers), ‘Antique Mad’: The Adam Brothers, Their Collection of Antiquities and the Roman Art Market in the Eighteenth Century
• Maria Celeste Cola (Department of Art History, Sapienza Università di Roma) Travelling to Naples: Drawings and Views by Robert Adam

1:00  Lunch

2:00  Session 3: Interior Design and the Adam Style: Antique and Etruscan
• Adriano Aymonino (Lecture in Art History, University of Buckingham), Robert Adam and the birth of the ‘true style of antique decoration’: the interiors at Kedleston Hall and their antiquarian sources
• John Wilton-Ely (Emeritus Professor in the History of Art, University of Hull) Piranesi and the Etruscan Style of Robert Adam: a Stylistic Revolution

3:15  Tea and coffee

3:45  Session 4: Interior Design and the Adam Style: Adam’s Painters and Chinoiserie
• Flaminia Conti (MA in History of Art, Sapienza Università di Roma), Reinvoking the Antique in Interior Design: The Work of Giovanni Battista Cipriani in the Houses of Robert Adam
• Katherine McHale (PhD candidate, School of Art History, University of St Andrews) Adam and the Academicians: The Contributions of Leading Italian Artists
• David Pullins (PhD candidate, Harvard University), Robert Adam’s Neoclassical Chinoiseries

T H U R S D A Y ,  2 4  S E P T E M B E R  2 0 1 5

9:30  Tea and coffee

10:00  Session 5: Interior Design and the Adam Style: Light, Colour, and Theatre
• Richard Ireland (Conservator, historic paint and plaster), The Adam Brothers at Kenwood: Reconsidering
• Conor Lucey (Irish Research Council Elevate Postdoctoral Fellow, Trinity College Dublin), From Developed Surfaces to Misapprehended Plans: Robert Adam’s Interiors for Headfort House
• Miranda Hausberg (PhD candidate, University of Pennsylvania), Robert Adam’s Scenographic Interior

11:15  Tea and coffee

11:45  Session 6: Later Adam: Metropolitan Speculation, Villas, Castle Style and Picturesque
• Colin Thom (Senior Historian, Survey of London, UCL Bartlett School of Architecture), Portland Place: A Reassessment
• Sue Berry (Sussex Archaeological Society, former Associate Lecturer, Sussex University), Robert Adam’s Seaside Villa in Brighton
• Marrikka Trotter (PhD Candidate, Harvard University), Temporal Sublime: Robert Adam’s Castle Style and Picturesque Landscapes

1:00  Lunch

2:00  Session 7: Adam Drawings and Plans
• Stephen Astley (Curator of Drawings, Sir John Soane’s Museum), The Adam Office and Adam Drawings
• David King (Emeritus Professor, Economics, University of Stirling), The Ingenious Mr Adam

3:00  Session 8: The Adam Legacy
• Eileen Harris (historian and author), The Parent Style or the Original Sin? The Adam Revival in America

From The Paul Mellon Centre for Studies in British Art:

Challenging Materials: Joshua Reynolds and Artistic Experiment in the Eighteenth Century
The Wallace Collection, London, 15 May 2015

Organized by The Paul Mellon Centre for Studies in British Art and The Wallace Collection

Joshua Reynolds, Portrait of Mrs Mary Robinson, ‘Perdita’ , 1783–84 (London: The Wallace Collection)

This on-day conference, which accompanies the exhibition Joshua Reynolds: Experiments in Paint at the Wallace Collection, is designed to investigate and contextualise the artist’s famously experimental practice. Building upon the technical findings of the Reynolds Research Project at the Wallace Collection, and also on a range of recent conservation projects on Reynolds’s paintings, it will explore his distinctive manipulation of paint as a medium. Papers will explore new perspectives on Reynolds’s experimental forms of pictorial composition, narrative and allusion, and to look afresh at the dynamic interactions between the artist, his sitters and his models in the studio. As well as focusing on Reynolds’s own art in detail, the conference seeks to place his experimental activities within the context of wider artistic, cultural and scientific practices of the eighteenth century.

Confirmed Speakers: Mark Aronson, Helen Brett, John Chu, Cora Gilroy-Ware, Matthew C. Hunter, Rica Jones, Andrew Loukes, Martin Myrone, Marica Pointon, Martin Postle, Sophie
Reddington, Lisa Renne and Iris Wien.

The conference will take place on 15th May 2015 in London at The Wallace Collection. Tickets can be purchased via Eventbrite. General Admission: £65 (+ admin fee) / Concession Ticket: £45 (+ admin fee).

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F R I D A Y ,  1 5  M A Y  2 0 1 5

9.00  Private view of Joshua Reynolds: Experiments in Paint

10.00 Introduction: Mark Hallett and Christoph Vogtherr

10:15  Session 1
• Marcia Pointon (Professor Emeritus in History of Art, The University of Manchester), Known Knowns, Known Unknowns and Unknown Unknowns: Finish and unfinish, in a portrait by Reynolds from the 1750s (?)
• Helen Brett (Painting Conservator, Tate and Martin Postle, Deputy Director, The Paul Mellon Centre), ‘New Light on an old Warhorse’: Joshua Reynolds’s portraits of Lord Ligonier

11:15  Coffee Break

11:45  Session 2
• John Chu (Research Cataloguer, Tate Britain), Experiment, Excess, Patronage: Joshua Reynolds and the 3rd Duke of Dorset
• Iris Wien (Marie Curie/IPODI Fellow, Technical University Berlin), Character as experiment: Reynolds’s A Strawberry Girl and his Boy Holding a Bunch of Grapes
• Rica Jones (Conservator of Paintings, formerly at Tate Gallery), ‘I can vouch for them to be authentick and just, either from my own experiments and observations, the information of persons of undoubted veracity who have practised them, or clear deductions from unquestionable principles’: An appraisal of Robert Dossie’s ‘Handmaid to the Arts’ and the climate in which it was produced in the 1750s

13:15  Lunch Break

14:15  Session 3
• Sophie Reddington (Paintings Conservator, Private Studio and Andrew Loukes, Curator of Exhibitions and Collections, Petworth House, National Trust), Toil and Trouble: The history, materials and restoration of Reynolds’s largest work
• Mark Aronson (Chief Conservator, Yale Centre for British Art), Canvas, a Time Based Media: Joshua Reynolds’s portraits revealed through X-radiography
• Elizaveta Renne (Keeper of British and Scandinavian Paintings at the State Hermitage Museum in St Petersburg), The painting which ‘might be called great if it were more correct: it might perhaps have been correct had it not attempted to be great’

16:00  Coffee Break

16:30  Session 4
•  Matthew Hunter (Assistant Professor and Graduate Program Director, Department of Art History and Communication Studies, McGill University), ‘The Unique Art of Hightening and Preserving the Beauty of Tints to Futurity without a Possibility of Changing’: William Birch’s Chemical Gambits
•  Cora Gilroy-Ware (from September 2015, Huntington Library/California Institute of Technology), ‘Her swelling breast palpitates’: Life and death in the works of William Hilton
•  Martin Myrone (Lead Curator for Pre-1800 British Art, Tate Britain), Painting after Reynolds (around 1820)

18.00  Drinks Reception

From H-ArtHist:

Ordo inversus: Formen und Funktionen einer Denkfigur um 1800
Weimar, Goethe- und Schiller-Archiv, Weimar, 26–28 March 2915

Tagungsleitung: Andrea Albrecht, Franziska Bomski, Lutz Danneberg

Die Jahrestagung des Zentrums für Klassikforschung wendet sich der ideengeschichtlichen Zäsur des ordo inversus um 1800 zu. Diese Denkfigur meint eine zirkuläre Bewegung des Ausgehens von einem Anfangs- zu einem Endpunkt, der durch ein Zurückkehren wieder mit dem Ausgangspunkt verbunden wird. Als Methodenkonzept spielt der ordo inversus von der Antike über das Mittelalter und die Frühe Neuzeit eine zentrale Rolle in den verschiedensten Wissensbereichen und Disziplinen, in denen er vor allem epistemische Sicherheit garantiert. Der Verlust seiner Plausibilität im 18. Jahrhundert provoziert eine Reihe von Restitutionsversuchen, die sich auf vielfältige Weise nicht nur in der Naturphilosophie und Hermeneutik, sondern auch in Kunst, Literatur und Ästhetik niederschlagen. So lässt sich mit Beginn der ›Moderne‹ ein Funktionswandel des ordo inversus beobachten, der mit modifizierten Formen der Denkfigur einhergeht.

Diese Veränderungen sollen in ihrem historischen Kontext nachgezeichnet und analysiert werden. Ein wesentliches Ziel besteht dabei darin, das derzeit vor allem einzeldisziplinär behandelte Phänomen des ordo inversus in seinen grundlegenden, verschiedene Wissensbereiche gleichermaßen durchgreifenden Formen und Funktionen sichtbar zu machen und auf diese Weise einen disziplinenübergreifenden Einblick in den historischen Wandel im Übergang zur ›Moderne‹ zu liefern. Dabei sollen insbesondere Antike, Mittelalter und Frühe Neuzeit als ideengeschichtlich relevante Traditionen für die Verhandlung des Konzepts im späten 18. Jahrhundert und frühen 19. Jahrhundert deutlich gemacht werden.

Gäste sind herzlich willkommen, eine Anmeldung ist nicht erforderlich.

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D O N N E R S T A G ,  2 6  M Ä R Z  2 0 1 5

14.00  Andrea Albrecht, Franziska Bomski, Lutz Danneberg, Begrüßung und Einführung

15.00  Christel Meier-Staubach, Reditus omnium quae in suas causas reversura sunt: Figurationen des ordo inversus in der pseudo-dionysischen Tradition

16.00  Kaffeepause

16.30  Anselm Steiger , Inversio: Zu einer Matrix der Theologie Martin Luthers und des frühneuzeitlichen Luthertums

20.00  Wolfgang Proß, Herders Epitaph: Anfang, Ordnung und Neuanfang in Kultur- und Geschichtsphilosophie der Neuzeit (1500–1800)

F R E I T A G ,  2 7  M Ä R Z  2 0 1 5

9.00  Violetta L. Waibel, Denken und Fühlen: Zum ordo inversus in Hardenbergs »Fichte-Studien«

10.00  Andrea Albrecht, Zirkelschmiede und Sphärometer: Jean Pauls humoristischer Blick auf den ordo inversus

11.00  Kaffeepause

11.30  Maarten Bullynck, In und außer der Ordnung: Mathematische Denkfiguren der Klassik

12.30  Mittagspause

14.30  Mitgliederversammlung des Zentrums für Klassikforschung

17.00  Franziska Bomski, Revolutionen des Weltsystems: Empirie und Kalkül bei Kopernikus und Laplace

17.00  Tilman Venzl, Johann Wolfgang Goethe: »Urworte. Orphisch«

18.15  Britta Hochkirchen, Subversion oder Restitution einer Denkfigur? Christian Rohlfs Weimarer Landschaftsbilder

18.15  Thomas Lange, Zeit sichtbar machen: Überlegungen zur Veranschaulichung des Raum/Zeit-Komplexes in den vier Dimensionen von Runges »Zeiten«

20.00  Gemeinsames Abendessen

S A M S T A G ,  2 8  M Ä R Z  2 0 1 5

9.00  Olav Krämer, Vom vollendeten Kunstwerk zu den allgemeinsten Prinzipien der Ästhetik und zurück: Wilhelm von Humboldts Versuch »Über Göthes Herrmann und Dorothea« (1799)

10.00  Pierfrancesco Basile, Emersons naturalistischer Idealismus

11.00  Kaffeepause

11.30  Laurenz Lütteken, ›Zeit seines Lebens nicht an seinem Platze‹ Rochlitz und Mozart

Informationen und Kontakt
Klassik Stiftung Weimar
Referat Forschung und Bildung
Burgplatz 4 | 99423 Weimar
forschung.bildung@klassik-stiftung.de

From NYU’s Institute of Fine Arts:

Surfaces, 15th–19th Centuries
Institute of Fine Arts, New York University, 27 March 2015

Organized by Noémie Etienne, Mellon Postdoctoral Fellow, Institute of Fine Arts-NYU

This one-day symposium addresses the issue of surface in paintings, architecture and photography in Europe between the 15th and 19th centuries. The focus of this reflection is an examination of how
surfaces function: how do their specific properties challenge representation or the viewer? How do they determine the consumption and engagement with the object? Later variations such as graffiti, repairs, or traces of multiple hand, may also be of interest in understanding how the surface of an artwork is redefined over time.

P R O G R A M M E

9:30  Introduction, Noémie Etienne (Andrew W. Mellon Postdoctoral Fellow, Institute of Fine Arts-NYU)

9:45  Session I: An Anthropology of Surfaces
• Charlotte Guichard (Researcher, Centre National de la Recherche Scientifique (CNRS), Paris), Scratched Surfaces: Graffiti in Early Modern Rome
• Catherine Girard (Lecturer and Andrew Mellon Postdoctoral Fellow, Columbia University), Ambiguous Ref(l)ection: Experiencing French Rococo Paintings of Hunting Meals
• Juanita Solano (PhD Candidate) and Laura Panadero (MA Candidate in Conservation, Institute of Fine Arts-NYU),  Search of Depth: Deterioration and Consumption of Daguerreotype and Albumen Photographs

11:45  Lunch Break

1:00  Session II: Making and Seeing
• Diane Bodart (Assistant Professor, Department of Art History and Archaeology, Columbia University), Los borrones de Ticiano: The Venetian Brushstroke and Its Spanish Translations
• Francisco Chaparro (PhD Candidate) and Matthew Hayes (PhD Candidate, Institute of Fine Arts-NYU), ‘Distant Strokes’: The Surface and the Painter in Las Meninas
• Daniella Berman (PhD Candidate) and Kari Rayner (MA Candidate in Conservation, Institute of Fine Arts-NYU), ‘Is this the stuff of painting?’: The Question of Finish in Eighteenth-Century France

3:00  Break

3:30  Session III: Surface as Contact Zone: Texture and Touch
• Étienne Jollet (Professor, Paris 1 Panthéon-Sorbonne), The Touch of Things: Surface Contacts in Chardin’s Still-lives
• Christina Ferando (Visiting Assistant Professor, Williams College, Williamstown), The Deceptive Surface: Perception and Sculpture’s Skin
• Susan Sidlauskas (Professor, Department of Art History, Rutgers, University), John Singer Sargent and the Physics of Touch