Enfilade

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

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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

James Gillray, Enchantments Lately Seen upon the Mountain of Wales, 1796
(New College, Oxford)

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From New College, Oxford:

James Gillray@200: Caricaturist without a Conscience?
Ashmolean Museum, Oxford, 28–29 March 2015

Organised by Todd Porterfield, Université de Montréal; Martin Myrone, Tate Britain; and Michael Burden, New College, Oxford; with Ersy Contogouris, Université de Montréal

To commemorate the 200th anniversary of Gillray’s death, and in conjunction with the Ashmolean Museum’s exhibition, Love Bites: Caricatures of James Gillray, based on New College’s outstanding collection, we are organizing a two-day symposium at the Ashmolean Museum to hear and see the latest Gillray scholarship.

James Gillray’s reputation in the two centuries since his death has been as varied and layered as his prints. Trained at the Royal Academy, he failed at reproductive printmaking, yet became, according to the late-eighteenth-century Weimar journal London und Paris, one of the greatest European artists of the era. Napoleon, from his exile on St Helena, allegedly remarked that Gillray’s prints did more to run him out of power than all the armies of Europe. In England, patriots had hired him to propagandize against the French and touted him as a great national voice, but he was an unreliable gun-for-hire. At a large public banquet, during the heat of anti-Revolutionary war fever, he even raised a toast to his fellow artist, the regicide, Jacques-Louis David. Gillray produced a highly individual, highly schooled, and often outlandish body of work with no clear moral compass that undermines the legend of the caricaturist as the voice and heart of the people.

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S A T U R D A Y ,  2 8  M A R C H  2 0 1 5

10.00  Registration and coffee

10:30  Session I: Gillray in the Media Age
• Douglas Fordham, University of Virginia, ‘A Media Critic for the Intaglio Age’
• Esther Chadwick, Yale University, ‘Gillray’s Tree of Liberty: Political Communication and Epistolary Networks in the Radical 1790s’
• Kate Grandjouan, Visiting Associate Professor, Department of Art History, University of Belgrade, ‘Gillray’s French Jokes: The “Sick-list” Casualties of the 1790s’

12.00  Lunch

1:00  Session II: Gillray in the Colonial Networks: Positionings on Race and Slavery
• Julie Mellby, Graphic Arts Curator within Rare Books and Special Collections at Firestone Library, Princeton University, ‘The Sale and Resale of English Beauties in the East Indies’
• Amanda Lahikainen, Aquinas College, ‘James Gillray and Representations of Napoleon’s Egyptian Campaign: Islam as Republican Sacrilege’
• Katherine Hart, Senior Curator of Collections & the Barbara C. and Harvey P. Hood 1918 Curator of Academic Programming, Hood Museum of Art, Dartmouth College, ‘James Gillray, Charles James Fox, and the Abolition of the Slave Trade: Caricature and Displacement in the Debate over Reform’

2.30  Coffee

3:00  Session III: The Artist and Formal Means
• Ersy Contogouris, Université de Québec à Montreal, ‘Gillray’s Preparatory Drawings’
• Cynthia Roman, The Lewis Walpole Library, Yale University, ‘James Gillray and the Satiric Alternative to Painting History’

6.30  Reception

7.00  Dinner

S U N D A Y ,  2 9  M A R C H  2 0 1 5

9.00  Visit to the exhibition, Love Bites: Caricatures of James Gillray

10:15  Session IV: The Artist and Literary Means
• David Taylor, Assistant Professor, Department of English and Comparative Literary Studies, University of Warwick, ‘Gillray, Milton, and the “Caricatura Sublime”’
• Rachel M. Brownstein, Professor of English, City University of New York, ‘James Gillray and Jane Austen: Aesthetic Affinities’

11.15  Coffee

11:45  Session V: Gillray, the People, the Academy and Revolution
• Vic Gatrell, Caius College, Cambridge, ‘Gillray Reconsidered: ‘The Voice and Heart of the People’?
• Katarzyna Murawska-Muthesius, Associate Lecturer, Department of History of Art, Birkbeck College, University of London, ‘Caricature’s Unconscious: James Gillray and the Academy’
• Ian Haywood, Professor of English Co-Director, Centre for Research in Romanticism University of Roehampton, London, ‘Gillray’s Valediction: The Life of William Cobbett’

1.15  Lunch

George Stubbs, Portrait of the Kongouro (Kangaroo) from New
Holland, 1772 (Greenwich: National Maritime Museum)

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From Royal Museums Greenwich in connection with the exhibition The Art and Science of Exploration:

Exotic Anatomies: Stubbs, Banks, and the Cultures of Natural History
Royal Museums Greenwich, London, 9 March 2015

When Joseph Banks returned from Cook’s first voyage of exploration, he brought with him a new world. Not only did he bring collections of specimens that would occupy him and his assistant Daniel Solander for a lifetime, but he brought images and accounts of the South Pacific that changed forever how Europeans saw the world.

One of the oddest was the pelt of a kangaroo, a new animal encountered by the expedition in Australia, which would tax scientists and fascinate the public for decades. Banks commissioned George Stubbs to paint the animal’s portrait, reconstructed from the inflated or stuffed skin, drawings and descriptions. The painting then hung in his house in Soho Square, part of a domestic and scholarly space that soon became a virtual institution where the scientific community gathered.

Further afield, Banks’s specimens were dissected and analysed by the famous surgeon brothers William and John Hunter. They became anatomical objects in the same spaces where the Hunters taught and studied human anatomy, and where they displayed their collections, including others of Stubbs’s ‘exotic’ animal paintings. Stubbs’s kangaroo was rapidly engraved for the published public account of Cook’s voyage, while Cook and his successors brought back live kangaroos for royal menageries and popular entertainments.

Considering the interrelationship between Stubbs, Banks, Cook and the Hunter brothers, this symposium will place Stubbs’s kangaroo at the centre of a number of burgeoning cultures of natural history in 18th-century London. From the gentleman-scholar’s fashionable home, to the practical and controversial space of the anatomy theatre, to the hyperbolic public entertainment, the kangaroo brought a new ‘exoticism’ to natural history.

Fee: £10 | Concessions £7.50. Download the booking form.

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P R O G R A M M E

9.30  Registration and refreshments

10.00  Session 1: Stubbs In Soho Square with the Bankses
• Getting To Know You: Joseph Banks, Australia and the Kangaroo after Stubbs — Jordan Goodman (University College London)
• Science and Sociability: Sarah Sophia Banks and the Domestic Quarters at 32 Soho Square — Arlene Leis, (University of York)
Chair/comment: Simon Schaffer (University of Cambridge)

11.30  Coffee and tea

12.00  Session 2: Stubbs in the Anatomy Theatre with the Hunter Brothers
• William Hunter, George Stubbs, and the Pursuit of Nature — Helen McCormack (The Glasgow School of Art)
• John Hunter (1728–93): Dr Jekyll or Dr Dolittle? — Wendy Moore (author and freelance journalist)
Chair/comment: Katy Barrett (Royal Museums Greenwich)

13.30  Lunch

14.30  Session 3: Stubbs in the London Exhibition Hall with the Public
• The Kangaroo as Scientific Curiosity and Public Spectacle in the Late 18th Century: From Sydney Cove to London — Markman Ellis (Queen Mary, University of London)
• Wonders From Down Under: Kangaroos in Popular Menageries — Helen Cowie (University of York)
Chair/comment: Christine Riding (Royal Museums Greenwich)

16.00  Round Up and Response Session
Richard Dunn (Royal Museums Greenwich)
Geoff Quilley (University of Sussex)

16.30  Curator-led tour of The Art and Science of Exploration

17.00  Wine reception

From H-ArtHist:

On Site: Western Travellers Sketching Topographies in the Ottoman Empire
Freie Universität Berlin, 19 February 2015

In the 17th and 18th centuries, the relations between the European countries and the Ottoman Empire were characterised by an increase in economic and diplomatic relations, but at the same time by military conflicts and aspirations. Europeans travelling to the Ottoman Empire in the 17th and 18th centuries were thus motivated by a variety of reasons and interests, which could be of a diplomatic, military, economic, religious, antiquarian or scholarly nature. Drawings and sketches were produced in these contexts both by travelling artists and by amateur draughtsmen.

The workshop investigates the activity of topographical sketching of landscapes or cityscapes during these travels with a particular focus on the implications of on-site sketching. The central question is how this artistic practice of sketching in a transcultural setup can be understood and conceptualised in art historical terms. We invite papers that deal with aspects of the following three fields.

Iconography
How did travelling draughtsmen choose their subjects and viewpoints? Which landscapes and cityscapes were considered significant and for what reasons (military, religious, antiquarian, aesthetic)? Did the permanent presence of conflict, both military and religious, between the Ottoman Empire and various European states, have an impact on the production and interpretation of these drawings?

Authenticity
Did these pictorial renderings aim at authenticity, and if so, how? How did travelogues testify to the authenticity of images? How did the knowledge, the preconceptions, the expectations and the fantasies of alterity that the travellers brought with them inform their practice of sketching on site; Or rather: In which way were such notions visually negotiated and thereby transformed?

Practices, Techniques, and Modes of Representation
How was the practice of drawing on site (i.e. outside, in a foreign country, as a stranger) conceived of and dealt with? Which practices, techniques and modes of representation were applied under these conditions? What effects did sketching bans and a fear of pictures and their producers have on travelling draughtsmen? How were these situations described and reflected in travellers’ writings?

Concept: Ulrike Boskamp, Annette Kranen
Venue: Freie Universität Berlin, Koserstraße 20, 14195 Berlin, Room A 163

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P R O G R A M

13.15  Ulrike Boskamp (Berlin), Welcome and Introduction

13.30  Palmira Brummett (Providence), Mapping the Ottomans: Moving from Narrative to Image at the ‘Limits’ of Empire

14.30  Irini Apostolou (Athens), The Representation of the Levant by French Travellers in the Seventeenth and Eighteenth Centuries

15.30  Coffee Break

16.00  William Kynan-Wilson (Berlin/Cambridge), Mediating Images in Jacques Carrey’s View of Athens (1674)

17.00  Annette Kranen (Berlin), Presenting Travel: Movement, Space and Places in Seventeenth-Century Western Images of the Ottoman Territories

18.00  Final Discussion

As posted at H-ArtHist:

Heroes—Heroizations—Heroisms: Tracing the Heroic through Gender
Freiburg Institute for Advanced Studies, 26–28 February 2015

In most societies the heroic is in many ways gendered. When considering the heroic, attributes of masculinity might first come to mind. Yet, from a historical perspective it becomes apparent that heroizations also often have feminine connotations. The social and cultural production of the heroic cannot be analyzed exclusively in terms of masculinity; nor can we regard women or femininity merely as exceptions in this field. Rather, we need to reconsider the relational character of the category gender. We propose to use gender as an analytical tool in a new way. Metaphorically speaking, gender as a ‘tracer’ can help us uncover new aspects of heroic ideas and concepts. In natural science experiments, a ‘tracer’ passes through different environments and reacts to each of them in a different way. Hence, the tracer is not the object of study, but is used to examine a third element: our conference shall try to use gender systematically to ‘trace’ various historical ‘environments’ of the heroic. By using gender as a tracer, the conference will explore forms, mediums and processes of heroization as well as discourses of heroic transgression, exceptionality or veneration. The conference will focus on three points in time (1650, 1750, 1850) and the continuities and transformations that may become apparent from interrelating the tracing results in a diachronic perspective.

Please register by an informal e-mail: info@sfb948.uni-freiburg.de. More information is available at the research program website. Questions may be directed to Andreas Friedrich, andreas.friedrich@sfb948.uni-freiburg.de.

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T H U R S D A Y ,  2 6  F E B R U A R Y  2 0 1 5

14:00  Introduction

Panel 1: 1650
14:30  Women in writings on the heroic in 17th-century academic instruction, Joseph Freedman (Montgomery, Alabama)
15:15  Anti-heroes: Masculinity and civic ethics in literary academies of 17th-century Florence, Eva Struhal (Québec)
16:30  Gendering fear: Transformations of courage and masculinity in heroic drama, Christiane Hansen (Freiburg)
17:15  Testing times for anxious he-roes: Tracing the end of a heroic figuration in England and France, ca. 1650, Andreas Schlüter (Freiburg)

Evening Lecture
18:30  From viragos to valkyries: Transformations of the heroic woman from the 17th to the 19th century, Helen Watanabe-O’Kelly (Oxford)

F R I D A Y ,  2 7  F E B R U A R Y  2 0 1 5

Panel 2: 1750
9:30  (Keynote lecture) When heroes sigh… Sentimental heroism in 18th-century opera, Melanie Unseld (Oldenburg)
11:00  A reigning woman as a heroic monarch? Maria Theresa and the roles of emperor, wife and mother, Anne-Marie Wurster (Freiburg)
11:45  Creating and subverting German models of ‘Galanterie’? Heroes and heroines in texts by Christian Friedrich Hunold and Maria Aurora von Königsmarck, Madeleine Brook (Oxford)

Panel 3: 1850
14:00  Heroism of a melancholy look from blue eyes, Petra Polláková (Prague)
14:45  What is the Polish peasant hero’s gender? Representations of peasant citizenship in Polish culture, ca. 1850, Alicja Kusiak-Brownstein (Ann Arbor, Michigan)
15:30  Untangling the heroic from the sacrifice: Malwida von Meysenbug’s attempt to appropriate a common female topos in and for her political novel Phädra (1885), Birgit Mikus (Oxford)

Lecture and Round-table Discussion
16:45  Rethinking the heroic: Difference as a tracer?, Monika Mommertz (Freiburg)

Concert Talk
20:00  ‘En travesti’ The female as male in early 19th-century operas, Thomas Seedorf (Karlsruhe/Freiburg)
Mezzosoprano: Felicitas Brunke / Piano: Freya Jung

S A T U R D A Y ,  2 8  F E B R U A R Y  2 0 1 5

Panel 4: Connections
9:30  Gendering the operatic sound of the heroic: 1647 – 1749 – 1843, Anke Charton (Leipzig)
10:15  Victorian male heroes and romance in Elizabeth Bowen’s short fiction, Laura Lojo-Rodríguez (Santiago de Compostela)
11:15  The tragic hero and the gendered imaginary in early modern German drama, Barbara Becker-Cantarino (Columbus, Ohio)

Herman Moll, To the Right Honourable John Lord Sommers…This Map of North America according to ye Newest and most Exact observations, 23 x 38 inches (London: H. Moll, ca. 1715). “California was depicted on maps as an island. . . even after Father Kino established its penisularity about 1705,” The Philadelphia Print Shop. The official date for the founding of the city of Los Angeles is September 4, 1781.

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2015 American Society for Eighteenth-Century Studies Conference
Los Angeles, 19–21 March 2015

Finished in 1976, the 35-story Westin Bonaventure Hotel is the largest hotel in the city, the work of John Portman, one of the world’s most influential hotel architects.

The 2015 ASECS conference takes place in Los Angeles, March 19–21, at the Westin Bonaventure. HECAA will be represented by two panels, on Friday, chaired by Amy Freund and Noémie Etienne and Meredith Martin. Our annual luncheon and business meeting is also scheduled for Friday. A selection of additional panels is included below (of the 221 sessions scheduled, many others will, of course, interest HECAA members). For the full program, see the ASECS website.

H E C A A  S E S S I O N S

Anne Schroder New Scholars’ Session (HECAA)
Friday, 20 March, 11:30–1:00, Santa Anita C
Chair: Amy FREUND, Southern Methodist University
1. Iris MOON, Metropolitan Museum of Art, “Sedimentations of the Self: A Stratigraphic Reading of Maurice Quentin de La Tour’s Pastel Portraits of Jean-Jacques Rousseau, Citizen of Geneva”
2. Joanna M. GOHMANN, University of North Carolina, Chapel Hill, “Woman’s Best Friend: The Visual Work of Madame de Pompadour’s Dogs”
3. Ashley BRUCKBAUER, University of North Carolina, Chapel Hill, “Ambassadeurs à la turc: Assimilation and Dissimulation in Eighteenth-Century Images of Franco-Ottoman Diplomacy”
4. Elizabeth Bacon EAGER, Harvard University, “Between Looking and Making: The Early Drawing Curriculum at West Point”

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Pilgrim Arts of the Eighteenth Century (HECAA)
Friday, 20 March, 4:15–5:45, San Fernando
Chairs: Noémie ETIENNE, Institute of Fine Arts AND Meredith MARTIN, New York University and Institute of Fine Arts
1. David PULLINS, Harvard University, “Multiple Hands: Workshop Practice and Masters of Eighteenth-Century French Painting”
2. Dipti KHERA, New York University and Institute of Fine Arts, “Invitations to Travel: Circulating Pontiffs, Pilgrims and Pictures in the Bazaars of Early Modern India”
3. Kristel SMENTEK, Massachusetts Institute of Technology, “Moving Across Media: The Mobile Image and Eighteenth-Century Sino-French Encounter”
4. Matthew FISK, Boston Architectural College, “A Vernacular Orientalism: Exoticizing Discourse and Amateur Japanning in the Northern Connecticut Frontier, 1725–1735”

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 ,  1 9  M A R C H  2 0 1 5

New Approaches to Material Culture
Thursday, 19 March, 8:00–9:30, San Gabriel B
Chair: Chloe WIGSTON SMITH, University of Georgia
1. Elizabeth Kowaleski WALLACE, Boston College, “The Things Things Don’t Say: Reconsidering the Rape of the Lock”
2. Karen LIPSEDGE, Kingston University, “Men at Home: Men, Domestic Space, and the Novels of Richardson”
3. Robbie RICHARDSON, University of Kent, “‘British valour, opposed to tomahawk cruelty’: First Nations Material Culture in the British Imaginary”
4. Laura ENGEL, Duquesne University, “Staging Desire: Performance, Memory, and Re-enactment in Thomas Lawrence’s Portraits of Sally, Sarah, and Maria Siddons”

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103rd Annual Conference of the College Art Association
New York Hilton Midtown, 11–14 February 2015

The 2015 College Art Association conference takes place in New York, February 11–14, at the New York Hilton Midtown (1335 Avenue of the Americas).

An ASECS session on materiality, chaired by Kristel Smentek and Michael Yonan, is scheduled for Friday at 12:30; and a HECAA session in honor of Donald Posner, chaired by Andria Derstine and Rena Hoisington, is slated for Saturday at 12:30. As 90-minute panels, both are free and open to the public with no conference registration required.

This year there’s also a HECAA reception scheduled for Thursday, from 5:30 to 7:00 in the Lincoln Suite on the fourth floor of the Hilton. With a cash bar, it’s an open invitation; so please bring friends (and, as with the lunch sessions, attendance requires neither CAA membership nor conference registration).

Other sessions that may be of interest for dixhuitièmistes are also listed. A full schedule of panels is available here»

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Historians of Eighteenth-Century Art and Architecture
Donald Posner and the Study of Seventeenth- and Eighteenth-Century French and Italian Art
Saturday, 14 February, 12:30–2:00, Sutton Parlor North
Chairs: Andria Derstine, Allen Memorial Art Museum, Oberlin College; Rena M. Hoisington, The Baltimore Museum of Art

1. A Return to Loreto: Guido Reni, Caravaggio, and Donald Posner
   Rachel McGarry, Minneapolis Institute of Arts
2. The Portrait d’apparat after Rigaud: Iconographical and Ideological Variations in Images of Louis XV and Marie Leszczynska, ca. 1723–1747
   Todd L. Larkin, Montana State University
3. Nicolas Lancret: Île de France or Île de Cythère?
   Mary Tavener Holmes, independent scholar
4. Giambattista Tiepolo’s Two Designs for the Triumph of Hercules
   William Barcham, independent scholar

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American Society for Eighteenth-Century Studies
The Materiality of Art and Experience in the Eighteenth Century
Friday, 13 February, 12:30–2:00, Beekman Parlor
Chairs: Kristel Smentek, Massachusetts Institute of Technology; Michael E. Yonan, University of Missouri–Columbia

1. Other-Worldly Encounters: Materiality and Religious Experience
   Hannah Williams, University of Oxford
2. ‘Neither Antique nor Gothic’: The Uncertainty of Sèvres Porcelain
   Susan Michele Wager, Columbia University
3. A Visual Material Turn
   Anne Higonnet, Barnard College

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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  1 8 T H  C E N T U R Y

Original Copies: Art and the Practice of Copying
Wednesday, 11 February, 9:30–12:00, Sutton Parlor South
Chair: Stephanie Porras, Tulane University

1. ‘A Miracle of a Copy’: Original Reproductions and Authentic Copies in the Holbein Dispute
   Lena Bader, German Centre for the History of Art in Paris (DFK)
2. Producing Reproducibility: John Flaxman’s Designs between Classicism and Commerce
   Brigid von Preussen, Columbia University
3. ‘The Duplication of Genius’: Domenico Brucciani (1815–80) and the Authorship and Agency of Plaster Casts, Rebecca Jayne Wade, Henry Moore Institute
4. Remaking the Readymade: Marcel Duchamp and Man Ray’s Editioned Replicas
   Adina Tamar Kamien-Kazhdan, The Israel Museum, Jerusalem
5. On Originality: Photography vs. Glass Painting in Twentieth-Century Senegal
   Giulia Paoletti, Columbia University

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The Global History of Design and Material Culture
Thursday, 12 February, 9:30–12:00, Sutton Parlor North
Chair: Paul Stirton, Bard Graduate Center

1. Writing and Editing the New History of Design: Decorative Arts and Material Culture 1400–2000
   Patricia Anne Kirkham, Bard Graduate Center
2. Writing a World History of Design: What I Have Learned
   Victor Margolin, University of Illinois at Chicago
3. Design Worlds: National Design Histories in an Age of Globalization
   Grace Lees-Maffei, University of Hertfordshire; Kjetil Fallan, University of Oslo
4. A Global History of Design: Assembling Fragments
   Daniel J. Huppatz, Swinburne University
5. The Canon and Beyond: A Proposal for Teaching the History of Modern Design
   David Raizman, Drexel University

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Unfolding the Enlightenment
Thursday, 12 February, 9:30–12:00, Beekman Parlor
Chairs: Alyce Mahon, University of Cambridge; Nebahat Avcioglu, Hunter College, City University of New York

1. William Hogarth’s ‘Bathos’ and the End of Beauty
   Thomas R. Beachdel, The Graduate Center, City University of New York
2. Embodied Cognition: Vitalism and Neoclassical Fashion
   Amelia F. Rauser, Franklin & Marshall College
3. Enlightenment Thought and the Visual Arts in Qajar Iran
   Maryam D. Ekhtiar, The Metropolitan Museum of Art
4. Producing Monsters: Eric Avery’s Prints, The Sleep of Reason from Behind and Chimera
   Rena M. Hoisington, The Baltimore Museum of Art
5. Ordnung und Reinlichkeit
   Stefaan Vervoort, Ghent University

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Historians of British Art
Home Subjects: Domestic Space and the Arts in Britain, 1753–1900
Thursday, 12 February, 12:30–2:00, Rendezvous Trianon
Chairs: Morna O’Neill, Wake Forest University; Anne Nellis Richter, American University

1. Astonishing Moderation: Robert Lord Clive at Claremont
   Stephen M. Caffey, Texas A&M University
2. Housing the Art of the Nation: The Home as Museum in Gustav F. Waagen’s Treasures of Art in Great Britain
   Emilie Oléron Evans, Queen Mary University of London
3. ‘An Alien in the Decorative Community’: The Problem of Pictures in British Domestic Advice Literature
   Nicholas Tromans, Watts Gallery
4. Discussant: Melinda R. McCurdy, The Huntington Library, Art Collections and Botanical Garden

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Association for Latin American Art
Emerging Scholars of Latin American Art
Thursday, 12 February, 12:30–2:00, Regent Parlor
Chair: Margaret Jackson, University of New Mexico

1. Filling the Lacuna: The Guatemalan Black Christ and New Spanish Art History
   Elena FitzPatrick Sifford, Louisiana State University
2. The Queen of Heaven and the Prince of Angels: Saintly Rivalry in Colonial Mexico
   Aubrey Hobart, University of California, Santa Cruz
3. Violence and Virtue in the Northern Provinces of New Spain: The Politics of Franciscan Martyr Portraits during the Period of Bourbon Reforms
   Emmanuel Ortega Rodríguez, University of New Mexico

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The Meaning of Prices in the History of Art
Thursday, 12 February, 2:30–5:00, Regent Parlor
Chairs: Christian Huemer, Getty Research Institute; Hans J. Van Miegroet, Duke University

1. Prices for Paintings and Buyer Preferences in Eighteenth-Century Paris
   Hilary Coe Cronheim, Duke University; Sandra van Ginhoven, Duke University
2. Market Valuation of Provenance: An Analysis of Collections Sold at Drouot between 1911 and 1925
   Géraldine David, Université Libre de Bruxelles; Kim Oosterlinck, Université Libre de Bruxelles
3. The Dutch Art Market during the Second World War: A New Art Price Index Using Hedonic Regression
   Jeroen Euwe, Université Libre de Bruxelles
4. The ‘Bildung’ of the American Collector
   Titia E. Hulst, Institute of Fine Arts, New York University
5. Transmission of Value through Prices: Competition and Value Formation on the Art Market
   Viktor Oliver Lorincz, Université Paris 1 Pantheon–Sorbonne and ELTE Budapest

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Artistic Exchange between the Spanish and British Empires, 1550–1900
Friday, 13 February, 9:30–12:00, Madison Suite
Chairs: Michael Brown, San Diego Museum of Art; Niria E. Leyva-Gutierrez, Long Island University, Post

1. Medical Astrology in the Codex Mexicanus, from Britain to Spain to New Spain
   Lori B. Diel, Texas Christian University
2. British Export Goods and Material Culture in Eighteenth-Century Spanish America
   James Middleton, independent scholar
3. Learning from Las Palmas: Spanish Architectural Influence in the British Empire
   George Alexander Bremner, University of Edinburgh

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The Art of Travel: People and Things in Motion in the Early Modern Mediterranean
Friday, 13 February, 9:30–12:00, Regent Parlor
Chair: Elisabeth Fraser, University of South Florida

1. Spolia and Souvenirs: Refashioning Ottoman Tents in Early Modern Poland
   Ashley M. Dimmig, University of Michigan
2. Redeeming the Redeemer: Religious Images and Captivity between Spain and North Africa
   Daniel Hershenzon,­­­ University of Connecticut
3. The Sun King at Sea: Maritime Art and Slavery in the Seventeenth-Century Mediterranean
   Gillian Weiss, Case Western Reserve University; Meredith S. Martin, New York University
4. Collecting Carthage: Thomas Reade as Cultural Intermediary for the Tunisian Elite
   Ridha Moumni, Aix–Marseille University
5. The Photographic Mediterranean: Circulation and Mobility in Nineteenth-Century Photography
   Michele A. Hannoosh, University of Michigan

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The Double-Sided Object in the Renaissance
Friday, 13 February, 9:30–12:00, Rendezvous Trianon
Chair: Shira Brisman, University of Wisconsin

1. Dealing Honestly with Two-Faced Paintings: Thinking the Paragone Beyond Deception
   Christopher J. Nygren, University of Pennsylvania
2. The Other Side of the Mirror
   Diane Bodart, Columbia University
3. Verso vs. Versa
   Maria H. Loh, University College London
4. Equivalence: Acts of Weighing in the Renaissance
   Allison Stielau, ­­­­­Yale University
5. Double-Take: The Renaissance Print in Eighteenth-Century Germany
   Gabriella K. Szalay, Columbia University

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American Society for Eighteenth-Century Studies
The Materiality of Art and Experience in the Eighteenth Century
Friday, 13 February, 12:30–2:00, Beekman Parlor
Chairs: Kristel Smentek, Massachusetts Institute of Technology; Michael E. Yonan, University of Missouri–Columbia

1. Other-Worldly Encounters: Materiality and Religious Experience
   Hannah Williams, University of Oxford
2. ‘Neither Antique nor Gothic’: The Uncertainty of Sèvres Porcelain
   Susan Michele Wager, Columbia University
3. A Visual Material Turn
   Anne Higonnet, Barnard College

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Global Baroques: Shared Artistic Sensibilities in the Seventeenth and Eighteenth Centuries
Friday, 13 February, 2:30–5:00, Sutton Parlor North
Chair: Ünver Rüstem, University of Cambridge

1. The Tree of Life and the World of Wonder: South Asian ‘Ajā’ib Imagery as Baroque Grotesque
   Sylvia Houghteling, Yale University
2. Images of Exotic Animals between East and West: The Case of an Eighteenth-Century Korean Folding Screen
   Rangsook Yoon, Cornell Fine Arts Museum, Rollins College
3. An Imperial Chinese Baroque at Yuanming Yuan
   Greg M. Thomas, University of Hong Kong
4. A Slippery Surface: The Global Aesthetic of Blue-and-White at the Shrine of Sunan Gunung Jati, Java
   Marsely L. Kehoe, Columbia University
5. Discussant: Ünver Rüstem, University of Cambridge

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White People: The Image of the European in Nonwestern Art during the Age of Exploration, 1400–1750
Friday, 13 February, 2:30–5:00, Gramercy A
Chairs: James Harper, University of Oregon; Philip Scher, University of Oregon

1. The Auspicious Other: ‘White People’ on Sri Lankan Ivories
   Sujatha Arundathi Meegama, Nanyang Technological University
2. Perfect Nobodies: Representations of Europeans in the Imperial Illustrations of Tributaries
   Daniel Greenberg, Yale University
3. Cusco School Defense of the Eucharist Paintings: A Tribute to Tinku
   Annick Marcela Benavides, Museo Pedro di Osma
4. Intimate Foreigners: Miniature Painting of Awadh, 1650–1770
   Natalia Angela Di Pietrantonio, Cornell University

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Historians of Eighteenth-Century Art and Architecture
Donald Posner and the Study of Seventeenth- and Eighteenth-Century French and Italian Art
Saturday, 14 February, 12:30–2:00, Sutton Parlor North
Chairs: Andria Derstine, Allen Memorial Art Museum, Oberlin College; Rena M. Hoisington, The Baltimore Museum of Art

1. A Return to Loreto: Guido Reni, Caravaggio, and Donald Posner
   Rachel McGarry, Minneapolis Institute of Arts
2. The Portrait d’apparat after Rigaud: Iconographical and Ideological Variations in Images of Louis XV and Marie Leszczynska, ca. 1723–1747
   Todd L. Larkin, Montana State University
3. Nicolas Lancret: Île de France or Île de Cythère?
   Mary Tavener Holmes, independent scholar
4. Giambattista Tiepolo’s Two Designs for the Triumph of Hercules
   William Barcham, independent scholar