Conference | Animating the 18th-Century Country House
From The National Gallery:
Animating the 18th-Century Country House
The National Gallery, London, 5 March 2015
When we visit a Georgian country house and wander through its interiors, the impression we get is of a moment frozen in time. In fact the country house was anything but a static, unchanging entity. This one-day scholarly conference encourages fresh thinking about 18th-century country houses as environments that were always evolving, animated by interactions between objects and people.
The conference will look at the ways in which objects, when placed on display within a particular space, entered into different kinds of dialogue with the contents, decoration and associations of that space. It will also explore the ways in which the evolving environment of the country house, and the forms of display found within it, were experienced; by those who lived in the house, by those who visited as tourists or invited guests, and by those who engaged vicariously through the process of ‘armchair travel’.
Organised by the National Gallery, Birkbeck (University of London), and the Paul Mellon Centre, the conference is designed for art historians and scholars of 18th-century fine and decorative arts, architecture, and garden history; curators and custodians of historic houses; and the general public interested in historic houses of the period.
• Buying, collecting and display: the purchase, commissioning, inheritance, gifting of works of art, furniture, books and other materials; picture hangs; room arrangements.
• The country house as a complete environment: the total effect of the 18th-century country house, and the ways in which its various elements—works of art, furniture, decorative schemes—worked together to create a complete experience.
• The country house and visitor experience: country house tourism; visitor experience of houses and gardens; the multifarious literature related to country houses, including guidebooks, regional guidebooks, and periodical articles.
Book tickets here»
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P R O G R A M M E
10.00 Registration
10.30 Welcome and Introduction by Nicholas Penny
10.45 Panel 1: Buying, Collecting and Display
Chair: Jonathan Yarker
• Silvia Davoli, Paul Mellon Centre Research Curator at Strawberry Hill and Susan Walker, Head of Public Services at the Lewis Walpole Library, Yale University, ‘Horace Walpole’s Strategies as a Collector and the Movement of Objects at Strawberry Hill over Fifty Years’
• Karin Wolfe, Research Fellow at the British School at Rome, ‘New Rome Animates Old Britain: The Contemporary Art Acquisitions Made in Rome by John Cecil, 5th Earl of Exeter (1648–1700), for Burghley House’
• Jon Stobart, Professor of Social History at the University of Northampton, ‘Remaking an English Country House: Craftsmen, Furnishings and Taste at Stoneleigh Abbey in the 1760s’
12.15 Lunch break
13.15 Panel 2: The Country House as a Complete Environment
Chair: Sebastian Edwards
• Richard Johns, Lecturer in History of Art at the University of York, ‘Mind the Step: Animating the Country House Staircase’
• Laurel O. Peterson, doctoral candidate in the History of Art at Yale University, ‘Decorating for the Decorated: Louis Laguerre’s Murals in the Saloon at Blenheim’
• Alison Yarrington, Professor of Art History, Dean of the School of Arts at Loughborough University, ‘Light, Camera, Action: The 6th Duke of Devonshire and the Evolution of Chatsworth’
14.45 Refreshment break
15.15 Panel 3: The Country House and Visitor Experience
Chair: Stephen Lloyd
• Anthony Geraghty, Senior Lecturer in History of Art at the University of York, ‘Experiencing Castle Howard’
• Stephen Bending, Senior Lecturer in English at the University of Southampton, ‘Experiencing the Country House Pleasure Garden’
• Jocelyn Anderson, Visiting Lecturer at the Courtauld Institute of Art, ‘Visitors’ Experiences and Travellers’ Writings: The 18th-Century Country House as Tourist Attraction’
16.45 Closing comments and thanks from Susanna Avery-Quash, Research Curator in the History of Collecting, National Gallery and Kate Retford, Senior Lecturer in Eighteenth- and Early Nineteenth-Century Art, Birkbeck, University of London
Conference | The Legacy of Carlo Fontana
As posted at H-ArtHist:
L’eredità di Carlo Fontana nell’architettura del tardo-barocco europeo
Istituto Svedese di Studi Classici, Rome, 5 December 2014
Convegno organizzato da: Istituto Svedese di Studi Classici, Roma -Svenska Institutet i Rom.
Con la collaborazione di: Università degli Studi di Camerino; Dipartimento di Ingegneria dell’Impresa, Università di Roma “Tor Vergata”
9:30 I sessione | La famiglia Fontana e l’Europa
Coordina Elisabeth Kieven (Bibliotheca Hertziana)
• Giuseppe Bonaccorso (Università degli Studi di Camerino), I Fontana dopo Fontana. L’epilogo di una dinastia familiare: da Mauro Fontana ai numerosi “nipoti” in Europa
• Antonio Russo (La Sapienza, Università di Roma), Architettura e scenografia negli altari a tabernacolo di Carlo Fontana: persistenze, innovazione e fortuna
• Jasenka Gudelj (Università di Zagabria), Carlo Fontana e l’Adriatico orientale: il caso di Dubrovnik
• Andrzej Betlej (Jagiellonian University, Kraków), The Current State of Research on the Influence of Carlo Fontana and His Pupils on Art in the Polish-Lithuanian Commonwealth
• Francesco Amendolagine, Abdul Kader Moussalli (Università degli studi di Udine), La famiglia Fontana all’estero: architetture e decorazione in terra polacca
14:00 II sessione | Cultura e professione architettonica nel Settecento europeo
Coordina Aloisio Antinori (Università degli Studi del Molise)
• Martin Olin (Istituto Svedese di Studi Classici), Architectural Culture in Northern Europe During the Eighteenth Century
• Aloisio Antinori (Università degli Studi del Molise), Circolazione e uso delle stampe romane di architettura al tempo di Carlo Fontana e durante il XVIII secolo
• Mauro Volpiano (Politecnico di Torino), Formazione e aggiornamento degli architetti sabaudi a Roma tra Seicento e primo Settecento
• Simonetta Ciranna (Università degli Studi dell’Aquila), L’eredità di Carlo Fontana nella formazione dell’architetto-ingegnere di fine Settecento. Disegno e geometria nel lavoro di un professionista
integrale
Workshop | The Enlightenment and Sacred Space
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From the Kunsthistorisches Institut at Tübingen:
Aufklaerung und sakraler Raum
Ästhetische Strategien und religiöses Wissen im katholischen Milieu des 18. Jahrhunderts
Eberhard Karls Universität Tübingen, Kunsthistorisches Institut, 29 November 2014
In Kooperation mit dem Graduiertenkolleg 1662 „Religiöses Wissen im vormodernen Europa (800–1800)“
Der Workshop thematisiert theologische und ästhetische Strategien der Kirchenerneuerung im monastischen Milieu der zweiten Hälfte des 18. Jahrhunderts. Im Austausch zwischen kunst- und kirchenhistorischer Forschung werden Ausstattungen sakraler Räume und Predigttexte im Kontext einer katholisch motivierten Aufklärung in den Jahrzehnten vor der Säkularisation diskutiert: die Rolle von Bildern, Objekten und Dekorationen, theologischen und künstlerischen Konzepten bei der Vermittlung religiösen Wissens in Auseinandersetzung mit im weitesten Sinne aufklärerischen Denkmustern und Handlungsfeldern.
Die Entscheidungen über die Neuordnung der Kirchenräume hingen von diversen thematischen, formalen und liturgischen Postulaten ab. Über eine Dichotomie von Barock und Klassizismus hinaus geraten Bildordnungen und Raumstrukturen, die Inszenierung figürlicher Darstellungen, ihre Einbindung oder Nichteinbindung in rituelle Praktiken und die offensive Zurschaustellung historischer Überlieferung im Spannungsfeld von institutioneller Legitimation und inhaltlicher Neubewertung in den Blick. Im Fokus der Beiträge stehen konkrete Phänomene – Predigten, ortsfeste und mobile Ausstattungen, Fresken, Stuck, Altarbilder, Grabmonumente und liturgisches Mobiliar bzw. ihre diskursive Reflexion –, die auf ihre mediale Funktion hin untersucht werden.
P R O G R A M M
9.10 Birgitta Coers und Markus Thome (Tübingen), Begrüßung und Einführung
9.30 Florian Bock (Tübingen), Inszenierung oder Entzauberung der Liturgie? Katholische Predigten und Kirchenraum zwischen 1650 und 1800
10.40 Dörte Wetzler (Jena), Aufgeklärte Wies? Überlegungen zum Einfluss der katholischen Aufklärung auf das Bild- und Ausstattungsprogramm der Wallfahrtskirche zum gegeißelten Heiland (1745–1754)
11.30 Lorenz Enderlein (Tübingen), „Umbettungen“. Retrospektive Sepulturen in barocken Klosterkirchen
14.00 Ute Engel (München), „Simplicitet, welche mit sanfter Gefaelligkeit verschwetert“. Deckengemälde von Johann Baptist Enderle in Kurmainz
15.10 Katinka Häret-Krug (Mainz), Die Ausstattung der Bronnbacher Klosterkirche in der zweiten Hälfte des 18. Jahrhunderts – Reaktion auf die katholische Aufklärung in den Bistümern Mainz und Würzburg?
16.00 Meinrad von Engelberg (Darmstadt), Aufklärung und Renovatio – Ergebnisse und Abschlussdiskussion
Organisation
Dr. Birgitta Coers
Jun.-Prof. Dr. Markus Thome
Conference | Diocletian’s Palace for Adam, Clérisseau, and Cassas
Robert Adam, Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia (1764), Plate XIX, general section of the palace from east to west. Image from the University of Wisconsin’s Digital Library for the Decorative Arts and Material Culture; click here for higher resolution.
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As noted at H-ArtHist:
Diocletian’s Palace in the Works of Adam, Clérisseau, and Cassas
Split City Museum, Split, Croatia, 27–29 November 2014
This international conference organized by the Institute of Art History at Cvito Fiskovic Centre Split arises out of the installation research project Dalmatia: A Destination of the European Grand Tour in the 18th and the 19th Centuries (2014–17) of the Institute of Art History, under the aegis of the Croatian Science Foundation. The conference is financed by the Croatian Ministry of Science, Education and Sports, and the City of Split. Researchers from several countries responded to the invitation to explore the role of Diocletian’s Palace in the work of Robert Adam, Charles-Louis Clérisseau, and Louis-François Cassas, as well as the influence of Diocletian’s Palace on the development of European neo-classicism.
The papers are divided into four groups. The section Reading the Place brings together papers devoted primarily to the ways in which the space is understood and recorded in image and word, based on the direct observation of the monuments and their surroundings. Representing the Past collects works in which the emphasis is placed on depictions of Diocletian’s Palace as sources for scholarship. From today’s perspective, they are important documents for the state of the monument of that time. Here there is also a contribution about the only extant specimen of the Livorno edition of Adam’s Diocletian’s Palace. The third section Diocletian’s Palace and the Adam Style presents works in which there is discussion of the direct influence of Diocletian’s Palace on the work of Robert Adam, while Lessons of Diocletian’s Palace focuses on the later influences of the works of Adam, Clérisseau, and Cassas about the Palace on neo-classicist architecture and culture, as well as on later periods and on the conservation of the palace itself.
Scientific Committee
Josko Belamaric (Institute of Art History – Centre Cvito Fiskovic Split)
Milan Pelc (Institute of Art History Zagreb)
Pierre Pinon (ENSA de Paris-Belleville, École de Chaillot, Institut national d’Histoire de l’Art Paris)
John A. Pinto (Princeton University)
Ana Sverko (Institute of Art History – Centre Cvito Fiskovic Split)
Organizing Committee
Josko Belamaric, Milan Pelc, Ana Sverko
Assistants
Marina Horvat, Ivana Tadic
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T H U R S D A Y , 2 7 N O V E M B E R 2 0 1 4
9.00 Registration
10.00 Welcome
10.30 I: Reading the Place (Moderators: Frances Sands and Milan Pelc)
• Heather Hyde Minor, Robert Adam as Author
• Angelo Lorenzi, The Adam Point of View
• Ana Sverko, ‘The View from the Palace Is No Less Beautiful’: The Context of Diocletian’s Palace in Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia
• Isabelle Warin, The Ornamentation of Diocletian’s Palace in the Work of Louis-François Cassas (1756–1827)
12.10 Coffee
12.40 Discussion
13.30 Lunch
16.00 II: Representing the Past (Moderators: Flora Turner-Vucetic and John Pinto)
• Josko Belamaric, The Split Peristyle as Interpreted by Robert Adam
• Krasanka Majer Jurisic, The Eighteenth-Century Graphics of the Porta Ferrea and the Communal Square In
• Ivan Mirnik, Ante Rendic-Miocevic, Another Look at the Livorno Edition of Adam’s Diocletian’s Palace
17.15 Discussion
17.45 Coffee
18.30 Lecture by John Pinto, ‘The Most Glorious Place in the Universal World’: Rome in the Age of the Grand Tour
F R I D A Y , 2 8 N O V E M B E R 2 0 1 4
9.30 III: Diocletian’s Palace and the Adam Style (Moderators: Heather Hyde Minor, Ante Rendic-Miocevic)
• Frances Sands, Reconstructed and in Ruins: The Influence of Diocletian’s Palace within the Drawings of Robert Adam
• John Pinto, ‘The Beautiful Spirit of Antiquity’: Robert Adam and Diocletian’s Palace
• Colin Thom, ‘Spalatro’ on Thames: Or How Diocletian’s Palace Inspired Robert Adam’s Most Audacious Development – the Adelphi
• Elke Katharina Wittich, Variety and Elegance: Details of Diocletian’s Palace in Architectural Decorations
11.15 Coffee
12.15 IV: Lessons of Diocletian’s Palace (Moderators: Barbara Vujanovic, Fabien Bellat)
• Annie Gilet, Dessins et gravures du Palais de Dioclétien à Split par Louis-François Cassas, un exercice préparatoire aux relevés des grands sites archéologiques du Levant en 1785
• Amanda Green, Experiential Neoclassicism and the Adam ‘Revolution’ in English Architecture
• Stephen Caffey, Imperial Capriccio: The Palace of Diocletian and England’s Visual Cultures of Empire
14.30 Lunch
16.30 IV: Lessons of Diocletian’s Palace (Moderators: Elke Katharina Wittich, Josko Belamaric)
• Viktor Lorincz, Local Antiquities and Architecture in Eighteenth-Century Central-Europe: The Case of Cardinal Migazzi and I.M.A. Ganneval
• Olivia Sara Carli, The Influence of Adam, Clérisseau, and Cassas on Diocletian’s Palace Restoration
• Fabien Bellat, Stalinists Avatars of Diocletian Palace
18.15 Coffee
18.45 Lecture by Ivan Mirnik, Ante Rendic-Miocevic, Sheila Mc Nally and Excavations of Diocletian’s Palace, 1968–75
S A T U R D A Y , 2 9 N O V E M B E R 2 0 1 4
9.30 Walking Tour of Diocletian’s Palace
12.30 Conference Summary
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Note (added 23 November 2014) — The full conference programme with abstracts is available here. More information is available here regarding the larger research project Dalmatia: A Destination of the European Grand Tour in the 18th and the 19th Centuries (2014–17).
Conference | Memoria and Souvenir, 1700–1800
From H-ArtHist:
Memoria and Souvenir: Mediality and Materiality of Remembering in the Arts, 1700–1800
Memoria und Souvenir: Medialität und Materialität des Erinnerns in den Künsten, 1700–1800
Universität Zürich, 5–6 December 2014
This conference aims at discussing historical concepts of memory and remembering with a focus on seventeenth- and eighteenth-century painting, art theory, and science. In suggesting that a fundamental shift in traditional concepts of human memory in relation to changing information management systems took place in the long eighteenth century, focus will be placed upon questions of how changing theories of remembering and forgetting were reflected within new artistic topics and media as well as in art theoretical discourses. Our intention is to explore the pictorial modes of displaying souvenirs, personal memories, and knowledge management by taking into account both eighteenth-century memory theories and the cultural role and development of external memory storage systems. Key issues include the interrelationship of the history of memory and the culture of seeing, the role of memoria within the context of rhetoric and art theory, scientific and artistic reflections on new paradigms of systematization and on the problem of dealing with large quantities of information, and the role of portrait genres and personal souvenirs.
Concept and Organisation: Bettina Gockel and Miriam Volmert (Kunsthistorisches Institut, Universität Zürich)
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F R I D A Y , 5 D E C E M B E R 2 0 1 4
19.00 Abendvortrag, Katia Saporiti, Universität Zürich, “Erinnerung und Repräsentation”
S A T U R D A Y , 6 D E C E M B E R 2 0 1 4
9.00 Bettina Gockel und Miriam Volmert, Begrüssung und Eröffnung der Tagung
9.15 Miriam Volmert, “Introduction: Art, Memory and Knowledge in the Seventeenth and Eighteenth Centuries”
9.30 I: Concepts of Memory and Knowledge Transfer, 1600–1800
• David Allan, University of St Andrews, “Remembering Reading: The British Commonplace Book in the Long Eighteenth Century”
• Valeska von Rosen, Ruhr-Universität Bochum: “Historiographie und Wissensspeicherung: Überlegungen zu Giovanni Pietro Belloris Viten”
11.00 Coffee
11.30 II: Memoria in Art Theory and Science around 1700
• Jan Blanc, Université de Genève: “Mémoire volontaire ou involontaire? Pratiques et débats autour de l’emprunt (borrowing) dans les arts en France et en Grande-Bretagne au XVIIIe siècle”
• Reinhard Wegner, Friedrich-Schiller-Universität Jena: “Strategien visueller Erinnerung: Karl Philipp Moritz und das Bildgedächtnis”
13.00 Lunch
14.30 III: Eighteenth-Century Concepts of Memory and Remembrance in the Arts
• Andreas Gormans, RWTH Aachen: “Vergessene Bilder, erinnerte Metaphern: Mediengeschichtliche Kontinuitäten und Brüche zwischen memoria passionis und encyclopédie”
• Michael Thimann, Georg-August-Universität Göttingen: “Religiöse Empfindung: Bilderbibelprojekte um 1800 und ihr wissensgeschichtlicher Kontext”
16.00 Coffee
4.30 IV: Between Memory and Souvenir: Visual Memories around 1800
• Allison Goudie, The National Gallery, London: “Wax and the Materiality of Memory in Royal Portraiture of the French Revolutionary Period”
• Patrizia Munforte, Universität Zürich: “Remembered by the Pose: Nineteenth-Century Mourning Portraits”
Colloquium | Smyrna: The Eye of Asia
William Pars, Sepulchral Monument at Mylasa, 1765
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From The British Museum:
The British Museum Classical Colloquium | Smyrna: The Eye of Asia
The British Museum, London, 5–6 December 2014
This colloquium over two days, in honour of Charles Sebag-Montefiore, will celebrate the 250th anniversary of the first Ionian expedition to the west coast of Turkey, commissioned by the Society of Dilettanti. The travellers were to settle at Smyrna, modern Izmir, the home of the Levant Trading Company, traditionally an international centre for foreigners travelling in the Ottoman world. Together with its unscheduled sequel in mainland Greece, the expedition was one of the most important cultural enterprises of the 18th century. It comprised a team of three talented men: the Classical scholar Richard Chandler, the architect Nicholas Revett, and the young painter and draughtsman William Pars. The published record of their experience had far- reaching consequences for modern understanding of Classical Turkey.
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F R I D A Y , 5 D E C E M B E R 2 0 1 4
Pilaster capitals from the Temple of Apollo at Didyma, drawn by William Pars, 1765 (London: British Museum)
Starting at 5:30, two lectures and a musical performance:
Compound Eyes: A ‘Prehistoric’ Perspective on Mediterranean Cosmopolitanism,
Professor Cyprian Broodbank (John Disney Professor of Archaeology, McDonald Institute, University of Cambridge)
Smyrna: The Eye of Asia, Dr Philip Mansel (Institute of Historical Research)
Reception, book signing and musical performance by PAKAW!
S A T U R D A Y , 6 D E C E M B E R 2 0 1 4
9.30 Registration
10.00 Welcome and opening remarks by Lesley Fitton (Department of Greece and Rome, British Museum)
10.15 This Wonderful Day, Ian Jenkins (Department of Greece and Rome, British Museum)
10.30 A New Species of Human Being, Tuğba Tanyeri Erdemir (Centre for Science and Society, Science and Technology Museum, Middle East Technical University, Ankara)
11.30 Coffee
12.00 The Society of Dilettanti and Mediterranean Archaeology in the Eighteenth Century, Jason Kelly (Director, Indiana University-Purdue University Indianapolis Arts and Humanities Institute, Associate Professor of British History, IUPUI)
12.30 Travels with Richard Chandler, Alastair Blanshard (School of History, Philosophy, Religion & Classics, The University of Queensland)
13.15 Lunch
14.30 Chandler the Epigrapher, Robert Pitt (Athens)
15.00 The Troad, Lesley Fitton (Department of Greece and Rome, British Museum)
15.30 Quorum Pars Magna Fui: The Role of William Pars, Kim Sloan (Department of Prints and Drawings, British Museum)
16.00 Discussion and concluding remarks by Charles Sebag-Montefiore
Throughout the break periods a captioned slide show of William Pars drawings assembled by Celeste Farge will play in the auditorium.
Exhibition | Glitterati: Portraits & Jewelry from Colonial Latin America
From the DAM:
Glitterati: Portraits & Jewelry from Colonial Latin America
Denver Art Museum, 7 December 2014 — 27 November 2016
Young Woman with a Harpsichord (detail), Mexico, 1735–50 (Denver Art Museum).
During the Spanish Colonial period in Latin America (1521–1850), precious gold and silver were crafted into elegant jewelry then embellished with emeralds from Colombia, coral from Mexico, and pearls from Venezuela. Wanting to demonstrate their wealth and status, people were painted wearing their finest dress and elaborate jewelry.
Women were adorned with tiaras, necklaces with pendants, and prominent earrings. Men proudly displayed hat ornaments, rings, watch fobs, and chatelaines (decorative belt hooks) with small tools similar to the modern Swiss Army knife. Priests wore gold crucifixes and rosaries while nuns had miniature paintings of the Virgin Mary and saints crafted into brooches, called nun’s badges. Inlaid and lacquered chests and boxes were used to store these luxury goods.
The portraits, furniture, and jewelry that are exhibited in Glitterati, drawn from the DAM’s world-renowned Spanish Colonial collection, tell the fascinating story of people and luxury possessions in the New World.
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From the conference page:
New England / New Spain: Portraiture in the Colonial Americas, 1492–1850
Denver Art Museum, 23–24 January 2015
The 14th Annual Mayer Center Symposium is organized by Dr. Donna Pierce, Mayer Curator of Spanish Colonial Art, Denver Art Museum, and Dr. Emily Ballew Neff, Saxon Director & Chief Curator, Fred Jones Jr. Museum of Art, University of Oklahoma.
Portraiture was an important art form in the Spanish colony of New Spain (Mexico) and in the British colonies of North America. Today, details in portraits—such as clothing, jewelry, and decorative arts—often reveal clues to the lives of both artists and sitters. At the symposium, scholars from both fields of study will present tandem talks addressing the evolution of portraiture as well as the similarities and differences in the colonial experience of the two regions.
S P E A K E R S
• Michael A. Brown (San Diego Museum of Art | San Diego) — Pieces of Home? How ‘Colonial’ Portraiture Developed in the Spanish and British Americas
• Elizabeth Mankin Kornhauser (The Metropolitan Museum of Art | New York) — The New England Portraits of Ralph Earl: Fashioning a Style for the New Citizens of the Young Republic
• Clare Kunny (Director, Art Muse | Los Angeles) — In His Own Image: A Humanist Portrait of Antonio de Mendoza
• Karl Kusserow (Princeton University Art Museum | Princeton) — Pride of Place: Selfhood and Surroundings in Early American Art
• James Middleton (Independent Scholar | New York) — Reading Dress in New Spanish Portraiture
• Paula Mues Orts (National School of Conservation, Restoration and Museography | Mexico City) — Corporate Portrait in New Spain: Social Bodies, the Individual, and their Spaces of Display
• Susan Rather (University of Texas | Austin) — Copies or Resemblances of Nature: The Limitations of Portrait Painting in Colonial British America
• Michael J. Schreffler (Virginia Commonwealth University | Richmond) — Cortes and Moctezuma: Words, Pictures, and Likeness in Sixteenth-Century New Spain
• Jennifer Van Horn (George Mason University | Fairfax) — Regional Tastes in a Transatlantic Market: Joseph Blackburn in New England and Bermuda
• Kaylin Haverstock Weber (Museum of Fine Arts, Houston | Houston) — Colonial Ambition Abroad: Benjamin West’s Portraits, 1763–1783
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Note (added 1 February 2016) — The catalogue has just been published by the University of Oklahoma Press:
Donna Pierce and Julie Wilson Frick, Companion to Glitterati: Portraits and Jewelry from Colonial Latin America at the Denver Art Museum (Norman: University of Oklahoma Press, 2016), 96 pages, ISBN: 978-0914738756, $15.
Exhibition and Symposium | Portrait of a Lady?
From One Royal Crescent in Bath:
Portrait of a Lady? Ruin & Reputation in the Georgian Era
One Royal Crescent, Bath, 16 May — 14 December 2014
Curated by Hallie Rubenhold
This exhibition features a private collection of mezzotints of Georgian women from different levels of society including actresses, courtesans and duchesses. The theme of the exhibition is to look at the status of different women in the 18th century, how they viewed themselves and were viewed by society. It also looks at the social fluidity of the 18th century, where a prostitute or actress might rise through the ranks to become a celebrated courtesan and then marry into nobility, or conversely where a woman born into wealth and status might be damned as a ‘whore’ for having a relationship outside of marriage.
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From the symposium programme:
Portrait of a Lady? Symposium
Bath Royal Literary and Scientific Institution, Queen Square, Bath, 14 November 2014
To coincide with the current exhibition at No.1 Royal Crescent this symposium brings together academics, curators and writers to consider how women were viewed, adored or condemned in the 18th century, in particular through the medium of the mezzotint. Speakers include: writer and broadcaster Dan Cruickshank, Exhibition Curator Hallie Rubenhold, and Professor Emeritus at the Courtauld Institute of Art Aileen Ribeiro. The symposium will be followed by an open invitation to delegates to visit the exhibition at No. 1 Royal Crescent for a drinks reception.
P R O G R A M M E
9.15 Registration
9.30 Welcome by Adrian Tinniswood, writer and historian and Edward Bayntun-Coward, chairman of Bath Preservation Trust
9.40 Portrait of a Lady? by Hallie Rubenhold, curator, writer and broadcaster
10.25 ‘Miss Macaroni and Her Gallant at a Print Shop’: A New Market for Mezzotints by Sheila O’Connell, Assistant
Keeper, British Prints before 1800, British Museum
11.10 Coffee
11.25 The Secret History of Georgian London by Dan Cruickshank, writer and broadcaster
11.55 Queen of the Courtesans: Fanny Murray by Barbara White, former Dean and Director of Advanced Studies in England
12.40 Lunch (provided)
2.00 Behind the Mask: Women and Cosmetics in the Georgian Era by Aileen Ribeiro, Professor Emeritus at the Courtauld Institute of Art
2.30 The First Actresses by Gill Perry, Open University
3.00 Portrait of a Parricide in the Eighteenth Century: Unveiling Miss Blandy’s Image by Garthine Walker, University of Cardiff
3.45 Tea
4.00 Elections and Entertainments: Elite Women and Politics in the Eighteenth Century by Elaine Chalus, Bath Spa University
4.30 The First Sexual Revolution and the Birth of Sexual Celebrity by Faramerz Dabhoiwala, Exeter College, Oxford
5.30 Summing up by Adrian Tinniswood
6.00 Drinks reception and exhibition at No.1 Royal Crescent
Journée d’études | L’architecture des ingénieurs, 1650–1850
From the conference programme:
L’architecture des ingénieurs, 1650–1850
Bibliothèque municipale, Versailles 8 November 2014
Jacques-Pierre-Jean Rousseau, ingénieur des ponts et chaussées, puis architecte de la ville d’Amiens, reliefs de la façade du théâtre de la ville, 1778, Archives départementales de la Somme
Organisée par les universités Bordeaux-Montaigne, Paris-Sorbonne, Paris-Ouest, avec le concours du Ghamu
Les années 1980 furent propices à l’étude du travail des ingénieurs : en 1981, Anne Blanchard publiait un Dictionnaire des ingénieurs militaires actifs en France entre 1691 et 1791, témoignant par son volume de l’importance de leur activité, tandis qu’en 1988, Antoine Picon, dans son ouvrage Architectes et ingénieurs au siècle des Lumières, accordait enfin aux ingénieurs des Ponts l’attention qu’ils méritaient et examinait leur formation et leurs méthodes de travail au regard de celles des architectes de l’Académie royale d’architecture.
Au-delà des programmes attendus, fortifications, ouvrages hydrauliques, ponts et routes, les ingénieurs, militaires et des Ponts et Chaussées, honorèrent des commandes dans le domaine de l’architecture publique monumentale, de l’architecture religieuse et hospitalière, mais aussi dans celui de l’architecture domestique et de l’art des jardins. L’historiographie fait la part belle aux architectes dans les embellissements de la capitale, tandis que les études récentes sur la province accordent aux ingénieurs une place de plus en plus importante : le tableau est en réalité bien plus nuancé. Cette journée sera l’occasion de présenter les limites de cette opposition et d’initier un travail systématique sur l’activité des ingénieurs du règne de Louis XIV à la monarchie de Juillet.
Cette première rencontre se concentre plus particulièrement sur l’architecture privée et son décor, la distribution et le projet urbain. Une deuxième rencontre se déroulera en 2015.
Direction scientifique : Basile Baudez, maître de conférences, Paris-Sorbonne, Alexia Lebeurre, maître de conférences, Bordeaux-Montaigne, et Dominique Massounie, maître de conférences, Paris Ouest-Nanterre.
Contacts : basile.baudez@gmail.com, alexialebeurre@gmail.com, dommassounie@aol.com
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P R O G R A M M E
9:30 Accueil
Matinée: L’ingénieur et l’habitat, 10:00–12:00
Introduction et présidence, Dominique Massounie (maître de conférences, Paris Ouest-Nanterre-La Défense)
• Jean-Loup Leguay (attaché de conservation, musée de Picardie, Amiens), Le château de Saint-Gratien, près Amiens, une merveille de l’ingénieur Rousseau
• Adrian Almoguera (doctorant, allocataire-moniteur, Paris-Sorbonne), L’influence des ingénieurs militaires français sur l’architecture espagnole au XVIIIe siècle : Charles Lemeaur (1720–1785) et le palais Rajoy à Saint-Jacques de Compostelle
• Alexia Lebeurre (maître de conférences, Bordeaux-Montaigne), Charles-François Mandar et la décoration intérieure : les projets pour l’hôtel d’Osuna à Madrid (1799)
Déjeuner
Après-midi: L’art urbain des ingénieurs, 14:00–16:00
Présidente de séance, Alexia Lebeurre, maître de conférences, Bordeaux-Montaigne
• Samuel Bothamy (doctorant, Bordeaux-Montaigne), L’ingénieur militaire Isaac Robelin à Rennes (1721–1724) : plan d’embellissement, transfert foncier, système global des constructions.
• Agueda Iturbe-Kennedy (doctorante, université Laval, Québec), La porte de ville au sein du projet urbain de l’ingénieur
• Linnéa Rollenhagen-Tilly, (UMR AUSSER), Joseph-Marie de Saget, ingénieur des États du Languedoc (1725–1782)
• Raphaël Tassin (doctorant, EPHE), Richard Mique. Chantiers publics et urbanistiques en Lorraine (1755–1766)
Symposium | The Century of Taste: Art in the Age of Enlightenment
As noted at H-ArtHist:
Das Jahrhundert des Geschmacks: Kunst im Zeitalter der Aufklärung
Historischer Saal der Ravensberger Spinnerei, Ravensberger Park, Bielefeld, 28 November 2014
Eine Veranstaltung der Kunstsammlung Rudolf-August Oetker GmbH, des Museum Huelsmann und der Professur für Kunstgeschichte der Universität Bielefeld. Konzeption: Monika Bachtler, Johannes Grave und Hildegard Wiewelhove
Das 18. Jahrhundert hat in vielerlei Hinsicht den modernen Kunstbegriff geprägt, der—ungeachtet aller Zuspitzungen und Infragestellungen—noch bis in unsere Gegenwart nachwirkt. Was wir unter Kunst verstehen, aber auch wie wir mit Kunst umgehen und sie in unser soziales Leben einbinden, ist erheblich durch Entwicklungen beeinflusst worden, die im 18. Jahrhundert ihren Anfang genommen haben. In das Jahrhundert der Aufklärung fallen die Etablierung regelmäßiger Kunstausstellungen, die Entstehung der Kunstkritik und die zunehmende Verbreitung einer bürgerlich geprägten Sammelkultur ebenso wie die Begründung der Ästhetik als einer philosophischen Disziplin, die der Sinnlichkeit eine eigene Erkenntniskraft zumisst. All diese Entwicklungen haben ihrerseits in ohem Maße auf die Künstler und ihre Werke zurückgewirkt. In exemplarischer Weise lässt sich in dieser Zeit daher beobachten, wie sich die Kunstproduktion, der Umgang mit Kunst und das Nachdenken über das Ästhetische wechselseitig beeinflussen.
Anlässlich der Ausstellung Wie es uns gefällt. Kostbarkeiten aus der Sammlung Rudolf-August Oetker, die das 18. Jahrhundert mit ausgewählten Werken der Kunst und des Kunsthandwerks vor Augen führt, soll das Symposium Schlaglichter auf die Kunst und ästhetische Kultur dieser Zeit werfen. In sechs Vorträgen wird sich die Veranstaltung sowohl exemplarischen Werken oder Werkgruppen als auch dem kulturellen Kontext zuwenden, um zu einem besseren Verständnis des Jahrhunderts des Geschmacks beizutragen. Dabei könnte sich erweisen, dass die durchaus spielerischen Formen, in denen im 18. Jahrhundert Kunst und Leben immer wieder neu zueinander ins Verhältnis gesetzt wurden, von überraschender Aktualität sind.
Tagungsgebühr: 20€; ermäßigt für Studierende und Auszubildende: 10€. Anmeldung unter (0521) 51-3767 oder info@museumhuelsmann.de
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P R O G R A M M
10.00 Dr. Monika Bachtler (Kunstsammlung Rudolf-August Oetker GmbH) und Prof. Dr. Hildegard Wiewelhove (Museum Huelsmann), Begrüßung
10.15 Prof. Dr. Johannes Grave (Universität Bielefeld), Einführung
10.30 Dr. Christoph Martin Vogtherr (Wallace Collection London), Niederländische und französische Malerei im Paris des 18. Jahrhunderts
11.30 Dr. Ulrike Grimm (Karlsruhe), Ein Schloss, “in welchem guter Geschmack mehr Gewicht besitzt als äußere Pracht”. Zur Residenz der Caroline Luise von Baden in Karlsruhe
12.30 Mittagspause mit kleinem Imbiss
13.30 Prof. Dr. Anna Zika (Fachhochschule Bielefeld), … und nur das Natürliche ist schön. Modediskurse in deutschsprachigen Journalen des späten 18. Jahrhunderts
14.30 Prof. Dr. Reinhard Wegner (Friedrich-Schiller-Universität Jena), Wie kommt die Farbe ins Bild? Newtons Lichttheorie und die Schönen Künste
15.30 Kaffeepause
16.00 Prof. Dr. Beate Söntgen (Leuphana Universität, Lüneburg), Stiller Austausch. Chardins Formen der Kommunikation
17.00 Prof. Dr. Thomas Kirchner (Deutsches Forum für Kunstgeschichte, Paris), Die Französische Revolution und die Demokratisierung der Kunst
18.00 Abschlussdiskussion
Enfilade 
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