Conference | Textiles in Early Modern Venice
Carlo Caliari, Embassy of Shah ‘Abbas I to Venice, 1595
(Venice: Doge’s Palace)
◊ ◊ ◊ ◊ ◊
From ArtHist.net:
Trade, Production, and Consumption of Textiles and Dress in Early Modern Venice
Centro Tedesco di Studi Veneziani, Venice, 28–29 May 2025
Organized by Jola Pellumbi, Sara van Dijk, and Torsten Korte
Registration due by 25 May 2025
Venice in the early modern period flourished as a centre of textile production and trade, shaping and fostering global networks of connections that directly impacted dress in Europe and elsewhere. Due to Venice’s impenetrable location, its proximity to the centre of Europe, and a long-standing tradition of merchants and seafarers, Venice had positioned itself as a principal gateway between Europe and the East. Whether it was through the importation of luxury goods such as textiles and carpets, exports of beauty products and perfumes, or exchanges of ambassadorial gifts, Venice aided in the dissemination and infiltration of ideas, styles, and designs between Europe and the East. Furthermore, due to the flourishing art production and the thriving printing press in 16th-century Venice, textile patterns and dress styles were able to spread throughout Europe and the rest of Venice’s trading posts around the world influencing fashions, designs, methods of production, and patterns of consumption. Apart from the unaffected patrician government attire, infiltrations of new styles were particularly noticeable in Venice itself, throughout Carnival festivities, dogal and ambassadorial processions, operas and theatres, gambling dens, and in everyday life where both spaces and bodies were adorned.
This conference aims to generate a discussion about the role of Venice as a centre of a global network of connections as seen through its trade, production, and consumption of textiles and dress as well as carpets, haberdashery, beauty products, perfumes, dyes, feathers, jewellery, and design. Registration (€15 + €2 administrative costs) can be booked here until 25 May.
Organised by Jola Pellumbi and Sara van Dijk (Dressing the Early Modern Network) and Torsten Korte (University of Bern), in collaboration with the Centro Tedesco di Studi Veneziani and the University of Bern, and generously supported by the Fritz Thyssen Foundation.
w e d n e s d a y , 2 8 m a y
18.00 Evening Lecture
The Mysterious Blue in Dürer’s Feast of the Rosary (1506): On the Problem of Interpreting Textile Colours in the Painting — Philipp Zitzlsperger (University of Innsbruck)
19.00 Ricevimento at the Centro Tedesco di Studi Veneziani
t h u r s d a y , 2 9 m a y
9.30 Registration and coffee
10.00 Welcome
10.10 Session 1 | Luxury and Trade
Chair: Luca Molà
• From Venice to Lyon and Vice Versa: The Road to a New Trade in Fashionable Silk Fabrics, 17th to 18th Century — Moïra Dato (University of Bern)
• Francesco Zen: Luxury Trade and Technological Innovation between Venice and Constantinople in the Early 16th Century — Elisa Puppi (Università Ca’ Foscari Venezia)
• Venetian Trade of Italian Textiles in Hungary until the End of the 16th Century — Maxim Mordovin (Eötvös Loránd University, Budapest)
• Beyond Luxury: The Circulation of Silk Waste in Early Modern Venice (1500–1650) — Sofia Gullino (Università degli Studi di Padova)
12.00 Lunch break
14.00 Session 2 | Global Connections
Chair: Catherine Kovesi
• Circulating Civilisation: Venetian Glass Beads as Agents of Global (Ex)Change — Sandrine Welte (Università Ca’ Foscari Venezia)
• ‘Sempre Magnifico’: Catherine de’ Medici through the Eyes of Venetian Ambassadors — Emily Averiss (Warburg Institute, University of London)
• Under the Radar or over the Top? Clothing of Jerusalem Pilgrims in the Late 15th Century — Alicia Wolff (University of Heidelberg)
15.30 Coffee and tea break
16.00 Session 3 | The Politics of Dress
Chair: Jola Pellumbi
• Sartorial Rhetoric: Dress and Anglo-Venetian Relations in the Early 16th Century — Grace Waye-Harris (University of Adelaide)
• The Collective Wig: Political Power and Periwigs in 18th-Century Venice — Liz Horodowich (New Mexico State University)
17.00 Closing remarks
17.15 Farewell and aperitivo
◊ ◊ ◊ ◊ ◊
Note (added 23 April 2025) — This posting originally appeared April 22; it was moved back to April 19th for improved continuity with other posts.
Conference | Traveling Marble, 18th–20th Centuries
From ArtHist.net:
Traveling Marble: Agents, Networks, Technologies, 18th–20th Centuries
Thorvaldsen’s Museum, Copenhagen, 10 April 2025
Organized by Amalie Skovmøller and Ariane Varela Braga
Through thousands of years, white marble stones have been quarried and circulated to be consumed for architectural and artistic purposes worldwide. The stones are known from ancient Greek and Roman cultures, but during the 18th, 19th, and 20th centuries, white marble assumed a central role in the formation of European and Western art- and cultural history reaching far beyond the boundaries of antiquity. As a material signifying cultural prestige, white marble became a popular material for building and decorative projects, and the Imperial powers of Europe established new quarry facilities all over the world. These growing marble networks circulated white stones in far-reaching patterns of distribution from central Europe to the USA and from the Mediterranean to Scandinavia. Moving large quantities of solid stone requires a complex infrastructure, developed and maintained to support the increasing consumption. Yet scholars of art history and architectural studies have traditionally addressed white marble through the lens of aesthetics, leaving its omnipresence and global condition largely unexplored.
This seminar explores the distribution patterns of white marble, with particular emphasis on the 18th, 19th, and 20th centuries, but with perspectives on antiquity. Framing white marble as both a local and global phenomenon, the seminar shifts focus from the traditional emphasis on artists and their materials towards unseen networks of quarry owners, extractors and trading agents. In doing so, the seminar probes questions related to how quarries have been organized through time and the role played by marble consortiums, associations and federations, who have regulated labour, transportation, and distribution over time. The seminar thus targets patterns of distribution, such as trading routes by land and sea, and the technical improvements realized over time, bringing scholars together to discuss how to gather and share data on the extraction and circulation of marble to lay the first foundations for a future global archive of white marble distribution for this period. Please note that registration is required for attendance.
Organized by Institut for Kunst- og Kulturvidenskab / Amalie Skovmøller. In collaboration with Ariane Varela Braga / UNED, Madrid
p r o g r a m m e
9.30 Registration and coffee
10.00 Welcome by Amalie Skovmøller and Ariane Varela Braga
10:15 Morning Talks
• A World in Marble — Amalie Skovmøller
• Materials That Connect: The Circulation of White Marble in the Ancient Mediterranean — Alessandro Poggio
• Ancient Naxian Marble Quarries and Dedications: Documentation and Study from the 18th Century to Today — Rebecca Levitan
13.15 Afternoon Talks
• 18th-Century Norwegian Marble in Copenhagen — Kent Alstrup
• The Workshop of Antonio Caniparoli & Figli in Carrara 1850 to 1930 — Sandra Beresford
• Reading into Greenland Marble: ‘A Noble Danish Material’ — Jonathan Foote
• Marble for the Duce: The Networks of Agents, Merchants, and Marble Workers at Foro Mussolini — Ariane Varela Braga
• The ‘Archivi del Marmor Project (AMP)’ — Cristiana Barandoni and Luca Borghini
16.15 Final discussion
Symposium | Balkan and Aegean Artistic Identities in the 18th Century
◊ ◊ ◊ ◊ ◊
From ArtHist.net and the conference programme:
Balkan and Aegean Artistic Identities in the 18th Century: Between East and West
Online and in-person, Athens, 8–9 April 2025
Organized by Maria Georgopoulou and Alper Metin
This symposium aims to shed light on the intricate artistic and cultural identities that flourished in the eighteenth-century Ottoman Balkans and Aegean, regions positioned at the confluence of ‘Eastern’ and ‘Western’ historiographical conventions. The event encourages scholars to engage in a comprehensive examination of artistic production, architectural development, and socio-political dynamics during this transformative period.
Central to the symposium is the reassessment of the historiographical terms post-Byzantine art and Ottoman Baroque. Are these designations still relevant? If post-Byzantine art predominantly refers to religious works, how should we classify secular creations, such as the richly decorated interiors of Balkan and Anatolian mansions? How authentically Baroque was the so-called Ottoman Baroque, and does this term effectively convey the unique synthesis embodied in Ottoman architecture? Furthermore, how should we approach the non-Baroque elements within this period—features rooted in Byzantine, Western medieval, and Renaissance traditions—that complicate the conventional understanding of the Ottoman Baroque? The aim is to explore how these varied influences merged into hybrid forms that challenge conventional categorization.
The symposium will address the following themes:
1 The impact of political and cultural rivalries between the Ottomans and Venice in the Aegean and the Habsburgs in the Balkans, which not only redefined power structures but also shaped cross-cultural artistic and architectural identities. The manifestation of these rivalries in the built environment and material culture, such as building that bear testimony to shifts of power, conflict, and transformation.
2 The rich network of technical expertise of itinerant artists, architects, master builders, naval builders and artisans that fostered the exchange of knowledge and artistry. The fusion of local traditions in crafts (woodcarving, silverwork, textiles etc.) in areas such as Mount Athos and the Peloponnese. The influential interactions between the Archipelago and the coastal cities of mainland Greece and Anatolia, including Constantinople/Istanbul.
3 The interactions between Catholic, Orthodox, and Muslim communities in centers such as Crete, Chios, Constantinople/Istanbul, and Smyrna/Izmir, that shaped and transformed urban and architectural spaces.
4 The role of Orthodox merchants, whose economic influence and cultural mediation bridged the Ottoman Empire and Western Europe, fostering significant cross-cultural exchanges.
5 The mediation of Greek communities between the Venetian and Ottoman realms. The dual status of Greeks, as subjects of Venice and the Porte, in shaping of the artistic and architectural heritage they cultivated, with its broader implications for the region’s cultural fabric.
t u e s d a y , 8 a p r i l
16.00 Registration and coffee
16.15 Introduction — Maria Georgopoulou (Director of the Gennadius Library) and Alper Metin (University of Bologna and 2024–25 Cotsen Traveling Fellow at the Gennadius Library)
16.30 Session 1 | Mapping Architectural Connections
• Nikos Magouliotis (Institute for the History and Theory of Architecture, ETH Zurich) — The Printed Page and the Painted Column: An Architectural Microhistory of a Church in Ottoman Thessaly, ca. 1800
• Alper Metin (Department of the Arts, University of Bologna) — Warming Up to Change: Heating Appliances in the Gradual Transformation of Eighteenth-Century Ottoman Interiors
• Deniz Türker (Department of Art History, Rutgers University) — ‘Carvers of Chios’: Imperial Patrons, Ottoman Greek Kalfas, and Nimble Building in the Eighteenth Century
18.00 Coffee break
18.15 Session 2 | Domestic Spaces: History and Conservation
• Theocharis Tsampouras (Ephorate of Antiquities of Kozani, Hellenic Ministry of Culture) — The Political Character of Eighteenth-Century Christian Orthodox Art in the Ottoman Balkans
• Amalia Gkimourtzina (Ephorate of Antiquities of Kastoria, Hellenic Ministry of Culture) — The Secular Decoration in the Eighteenth-Century Mansions of Western Macedonia: The Example of the Conservation Works Carried Out in Tsiatsiapa Mansion in Kastoria
• Omniya Abdel Barr (Victoria and Albert Museum, London) — Eighteenth-Century Painted Ceilings in Cairo: Bayt al-Razzaz in the Context of Ottoman Architectural Networks
20.00 Reception
w e d n e s d a y , 9 a p r i l
9.30 Session 3 | ‘Post-Byzantine’ Sculpture, Textiles, Material Culture
• Anna Ballian (Benaki Museum, Athens) — From Art of the Empire to Art in the Empire: The Case of Ottoman and ‘Post-Byzantine’ Art
• Nikolaos Vryzidis (School of Applied Arts and Culture, University of West Attica) — Networks of Pluriversality: Trade, Diasporas, and ‘Baroque’ Textile Culture in Ottoman Greece
• Dimitrios Liakos (Ephorate of Antiquities of Chalkidike and Mount Athos, Hellenic Ministry of Culture) — Observations on Eighteenth-Century Sculpture in Mainland Greece: The Cases of Thessaly and Mount Athos
11.15 Coffee break
11.30 Sessions 4 | Relations with Antiquity
• Elizabeth Key Fowden (Faculty of Classics, University of Cambridge) — Pharos, Tower, Temple and Tent: Visualizing the Horologion in Eighteenth-Century Athens
• Paolo Girardelli (Department of History, Boğaziçi University) — A ‘Rotunda’ on the Aegean Shores: The Franciscan Church of Santa Maria in Bornova, 1797–1831
Symposium | Turner Today
J.M.W. Turner, Inverary Pier, Loch Fyne: Morning, detail, ca. 1845, oil on canvas
(New Haven: Yale Center for British Art, Paul Mellon Collection)
◊ ◊ ◊ ◊ ◊
Upcoming at YCBA:
Turner Today
Online and in-person, Yale Center for British Art, New Haven, 9 May 2025
The dramatic landscapes of J. M. W. Turner continue to enthrall audiences across the globe, more than two centuries after the artist’s birth. Organized in conjunction with the Yale Center for British Art’s exhibition J. M. W. Turner: Romance and Reality, this symposium invites scholars and curators from Canada, the United States, and the United Kingdom to explore the multiple ways that Turner’s oeuvre speaks to our present moment, from its relationship to contemporary visual art to its role in framing conversations about climate change and resource extraction. What exciting and new possibilities exist for interpreting and sharing Turner’s work in 2025?
The symposium is free and open to the public. It will be held in the Lecture Hall at the Yale Center for British Art and will be livestreamed. Registration is recommended but not required for this event.
s c h e d u l e
10.15 Welcome and opening remarks by Martina Droth (Paul Mellon Director, YCBA)
10.30 Panel One | Transatlantic Turner: Reputation and Reception
Moderator: Tim Barringer (Paul Mellon Professor of the History of Art, Yale University)
Turner established a significant reputation in North America in his lifetime and still draws considerable attention from American museums. This panel brings together curators from the Frick Collection, J. Paul Getty Museum, and Metropolitan Museum of Art to explore Turner’s transatlantic appeal in the past and present. How has Turner been introduced to, and understood by, American audiences? What factors cemented Turner’s reputation in the United States and how does his storied reputation affect the way we present and represent his work today?
• Julian Brooks (Senior Curator and Head of the Department of Drawings, J. Paul Getty Museum)
• Alison Hokanson (Curator, Metropolitan Museum of Art)
• Aimee Ng (John Updike Curator, Frick Collection)
11.30 Break
11.45 Panel Two | Turner’s Atmospheric Topography
Chair: Lucinda Lax (Curator of Paintings and Sculpture, YCBA)
How are Turner’s paintings being reinterpreted amid current ecological crises? This panel situates Turner’s interest in particular locations, and the specifics of place, within the broader sociopolitical and environmental context of industrialization and natural resource extraction. Curators based in the United States and United Kingdom will discuss how exhibitions of Turner’s work can address contemporary environmental issues and consider how museums can put contemporary works with environmental themes in dialogue with Turner’s paintings.
• John Chu (Senior Curator of Pictures and Sculpture / Senior Curator for Midlands, National Trust)
• Lizzie Jacklin (Keeper of Art, Tyne and Wear Archives and Museums)
• Jennifer Tonkovich (Eugene and Clare Thaw Curator of Drawings and Prints, Morgan Library and Museum)
12.45 Lunch
2.00 Panel Three | Turner, Tradition, and Modern Painting
Chair: Martin Myrone (Head of Research Support and Pathways, Paul Mellon Centre for Studies in British Art, and Convenor, British Art Network)
This panel considers a paradox: Turner is often portrayed as a harbinger of late nineteenth- and early twentieth-century Impressionism and abstraction, yet he made constant and overt reference in his art to major artists of the past. How is Turner being embraced and interpreted as an artist who both self-consciously worked within a longstanding tradition and broke radically with traditional painting practices? How are curators engaging with Turner’s elusive relationship to modernity and tradition? What is Turner’s relevance to contemporary artistic practice?
• Amy Concannon (Manton Senior Curator of Historic British Art, Tate)
• Anni Pullagura (Margaret and Terry Stent Associate Curator of American Art, High Museum of Art)
• Nicholas Bell (President and CEO, Glenbow)
3.00 Closing Remarks and Reflections on J. M. W. Turner: Romance and Reality
• Lucinda Lax (Curator of Paintings and Sculpture, YCBA)
• Tim Barringer (Paul Mellon Professor of the History of Art, Yale University)
Symposium | Art, Museum, Nation
Canaletto, Westminster Bridge, with the Lord Mayor’s Procession on the Thames, 1747, oil on canvas
(New Haven: Yale Center for British Art, Paul Mellon Collection).
◊ ◊ ◊ ◊ ◊
From YCBA:
Art, Museum, Nation
Online and in-person, Yale Center for British Art, New Haven, 25 April 2025
What does it mean to display art through the lens of national identity and history? To mark its reopening, the Yale Center for British Art convenes Art, Museum, Nation, a symposium to critically interrogate the concept of nationhood in contemporary practices of art exhibition, interpretation, and acquisition. In roundtable discussions, leading art historians, curators, and directors from the Art Gallery of Ontario, Metropolitan Museum of Art, and National Gallery, London, among others, will explore how art museums can revise, think beyond, and reinvigorate national frameworks. Among many questions, the symposium will ask: How have expressions of national identity influenced the civic and public role of art museums in both explicit and implicit ways? How might art museums contend with the fluidity of borders and foreground ideas of migration and diaspora? What can art museums do to better acknowledge the traces of colonialism and empire embedded in national collections?
The symposium is free and open to the public. It will be held in the Lecture Hall at the Yale Center for British Art and will be livestreamed. Registration is recommended but not required for this event.
The Yale Center for British Art is pleased to offer a travel stipend for curators and museum professionals who wish to attend this symposium in person and are traveling from within the Boston–New York rail corridor or an equivalent driving distance (approximately 125 miles). If you are facing particular financial barriers to participating and wish to take advantage of this funding, please email your name, position, and travel details to ycba.research@yale.edu before Monday, April 21. Funding is limited and applications will be reviewed on a rolling basis, so apply early!
s c h e d u l e
9.30 Welcome — Rachel Chatalbash (Deputy Director for Academic Affairs, Education, and Research, YCBA)
9.35 Introduction: Reopening the Yale Center for British Art — Martina Droth (Paul Mellon Director, YCBA)
9.45 Keynote Conversation | Art, Museum, Nation: Building Collections Today
Moderator: Lucinda Lax (Curator of Paintings and Sculpture, YCBA)
How can museums serve the needs of both local and international constituents? What does it mean to present a global collection in a national context? Conversely, what should the mission of a national museum be in a globalized world? YCBA curator Lucinda Lax leads a discussion on building and stewarding heritage art collections in the twenty-first century.
• Andrea Bayer (Deputy Director for Collections and Administration at the Metropolitan Museum of Art)
• Christine Riding (Director of Collections and Research at the National Gallery, London)
10.45 Break
11.00 Session 1 | Art, Museum, Nation in Exhibitions and Display
Moderator: Tim Barringer (Paul Mellon Professor of the History of Art, Yale University)
Curators based in Canada, the United Kingdom, and the United States reflect on the potential of exhibitions to advance inclusive and critical definitions of national artistic canons. How are curators using museum display to alter or challenge established ideas of Canadian, British, and American art?
• Patricia Allerston (Deputy Director and Chief Curator, National Galleries of Scotland)
• Horace Ballard (Theodore E. Stebbins, Jr., Curator of American Art, Harvard Art Museums)
• Julie Crooks, Curator (Arts of Global Africa and the Diaspora, Art Gallery of Ontario)
12.00 Lunch Break
1.30 Session 2 | Art, Museum, Nation in the History of Art and Museums
Moderator: Sria Chatterjee (Head of Research Initiatives, Paul Mellon Centre for Studies in British Art)
This conversation looks to the past, addressing how Enlightenment-era ideas of progress and race shaped the construction of public museums in North America and Europe. Discussants will consider the impact of imperialism and scientific racism on modern museum practice and ask what institutions can do to acknowledge and combat these forces.
• Nana Adusei-Poku (Assistant Professor of History of Art and African American Studies, Yale University)
• Andrew McClellan (Professor of History of Art and Architecture, Tufts University)
• Marina Tyquiengco (Ellyn McColgan Associate Curator of Native American Art, Museum of Fine Arts, Boston)
2.30 Break
2.45 Session 3 | Art, Museum, Nation: New Futures
Moderator: Anni Pullagura (Margaret and Terry Stent Associate Curator of American Art, High Museum of Art)
Building on the previous session, the symposium’s closing discussion looks to the future of ‘the nation’ in the art museum. How can the lenses of national identity and history be mobilized toward new and productive ends? What other interpretive frameworks can museums use to complement and complicate ideas of nationality and nationhood?
• Mark Mitchell (Holcombe T. Green Curator of American Paintings and Sculpture, Yale University Art Gallery)
• Stephanie Sparling Williams (Andrew W. Mellon Curator of American Art, Brooklyn Museum)
• Linsey Young (Independent Curator and PhD Candidate, Royal College of Art)
3.45 Closing Remarks — Kishwar Rizvi (Robert Lehman Professor in the History of Art, Islamic Art and Architecture, Yale University)
4.00 Reception
Study Day | The Evolving Life of Country House Display
Bartolomé Esteban Murillo, The Prodigal Son Feasting, 1660s. The painting is one of a series of six, all of which are on display at Russborough from March 1 until May 31.
◊ ◊ ◊ ◊ ◊
From ArtHist.net and Russborough:
The Evolving Life of Country House Display
Russborough House & Park, County Wicklow, 10 April 2025
To celebrate the unique history of Russborough, on the occasion of the ‘return home’ of the Prodigal Son series by Bartolomé Esteban Murillo (1617–1682), this study day explores the interplay among houses, collections, and collectors, in a cross-disciplinary attempt to celebrate the richness and diversity of Irish and British country houses.
The historic houses ICOM’s sub-committee (DEMHIST) has identified three main elements that characterise historic houses that are open to the public, and that were formerly owned by collectors—as in the case of Russborough. These are: the container (the house), the content (the collection), and the creator (the collector). All three elements are profoundly intertwined; however, over time, their relationship can evolve, interrupt, or re-bond, thus altering and creating new narratives of collecting, display, and afterlife, often at the intersection of the private and the public.
This is certainly the case for Russborough, where two families and their collections in particular, the Milltowns and the Beits, and two important donations to the National Gallery of Ireland at both ends of the 20th century, have impacted the present history of Russborough and shaped the nature of Ireland’s national collections. The legacy of these donations is commemorated through the naming of the Milltown and Beit wings at the National Gallery of Ireland, and that of the Alfred Beit Foundation at Russborough.
While Russborough offers a significant case study, country houses across Ireland and Britain equally illustrate the evolving nature of historic interiors and display. The architectural design of these properties, their decorative schemes, and the methodologies used to interpret their contents have developed significantly over time, with ongoing research shedding new light on these complex histories. Drawing on Anne Higonnet’s concept of the ‘collection museum’, one may view the relationship between houses, their collections, and their former owners as one that transcends the physical displacement of objects. Despite relocation, such collections often continue to evoke the memory of their original settings and custodians, commemorated through names, foundations, or reimagined displays.
This study day will examine continuities and changes in historic display practices and architectural design, with insights drawn from country houses across Ireland and Britain. Speakers will consider the methodologies and sources that inform such research. The day will also offer participants the opportunity to reflect on Russborough itself, the Beits’ collecting activities, and their connection to Murillo’s Prodigal Son series, which participants will have the opportunity to view in its historic setting. Tickets are €60 and include lunch and refreshments.
The Return of the Prodigal Son exhibition, presented in partnership with the National Gallery of Ireland, runs until May 31st.
p r o g r a m m e
9.45 Registration with tea and coffee
10.15 Welcome and Introduction
10:30 John Goodall (Country Life) — Keynote Speech
11.20 Session 1 | The Architecture of Display
Chair: Mary Heffernan (Office of Public Works)
• Alec Cobbe (Alec Cobbe Design) — Inside Matters
• Frances Bailey (National Trust NI) — Bringing Mount Stewart Back to Life
• James Rothwell (FSA, National Trust) — Restoring Baroque Pomp and Circumstance: The Beauty Room at Petworth, Sussex
12.30 Lunch and Free Flow Tours of the Murillo Display
13.30 Session 2 | Sources for Studying Collecting and Display
Chair: Audrey Whitty (National Library of Ireland)
• David Sheehan (Castletown Foundation) — Castletown: ‘The Epitome of the Kingdom and All the Rarities She Can Afford’
• Adrian Tinniswood (University of Buckingham) — A Madness to Gaze at Trifles
• Seán O’Reilly (Institute of Historic Building Conservation) — Sociological and Psychological, Artistic and Architectural Aspects of Country House Display and Prospective Impacts for Management
14.40 Break and Free Flow Tours of the Murillo Display
15.00 Session 3 | Russborough, the Beits, and Murillo’s Return of the Prodigal Son
Chair: Fionnuala Croke (Chester Beatty)
• Aidan O’Boyle (Office of Public Works) — The Reconstruction of an 18th-Century Picture-hang at Russborough
• John Hilary (University of Nottingham) — The Beit Collection: Murillo’s Prodigal Son Series in Context
• Leah Benson and Muirne Lydon (National Gallery of Ireland) — From Russborough to the National Gallery: The Beit Gift and the Conservation of Murillo’s Prodigal Son Series
16.20 Drinks Reception
Conference | Painted Ceilings: France and Germany, 1600–1800
This week in Munich, as noted at ArtHist.net:
Eine Verflechtungsgeschichte der Deckenmalerei: Frankreich und Deutschland, 1600–1800
Une histoire croisée des plafonds peints: France-Allemagne, 1600–1800
Carl Friedrich von Siemens Stiftung, München, 12–14 March 2025
Registration due by 11 March 2025
Ziel der Tagung ist es, das historische, kulturelle, formale und technische Phänomen der Verbreitung von gemalten und skulptierten Deckenausstattungen im Europa des 17. und 18. Jahrhunderts zu erforschen. Deutschland und Frankreich bieten sich für dieses Unterfangen an: Die zahlreichen punktuellen und verstreuten Studien der letzten 20 Jahre sollen in einem umfangreichen Unternehmen systematisiert und mit aktuellen Fragestellungen verknüpft werden. Die Zeit ist günstig: Auf beiden Seiten des Rheins entstanden in den letzten Jahren Datenbankinitiativen und es besteht dringender Handlungsbedarf, um gemeinsame digitale Werkzeuge zu entwickeln und die Relevanz und Interoperabilität zu erhöhen.
Le projet propose d’étudier le phénomène historique, culturel, formel et technique qu’a constitué la multiplication des décors de plafonds, peints et sculptés en Europe aux XVIIe et XVIIIe siècles. Les terrains français et allemands se prêtent à cette enquête : ils ont fait l’objet de nombreuses études ponctuelles et différentes depuis 20 ans et appellent aujourd’hui une vaste entreprise de systématisation du corpus et d’enrichissement du questionnaire. Le moment est opportun : des bases de données naissent de part et d’autre du Rhin ces dernières années et il est urgent d’engager une réflexion afin d’adopter des outils numériques communs, afin de gagner en pertinence et en interopérabilité.
Gefördert von der Deutschen Forschungsgemeinschaft (DFG), der Agènce Nationale de Recherche (ANR) und der Carl Friedrich von Siemens Stiftung.
Eine Anmeldung unter ist erforderlich.
Weitere Informationen zum Projekt.
Deutsch-Französische Forschungsdatenbank.
Projektkennung Deutsche Forschungsgemeinschaft (DFG) – Projektnummer 469528261
m i t t w o c h , 1 2 m Ä r z
14.00 Begrüßung / Mot de bienvenue
14.05 Matteo Burioni (LMU) — Einführung : Vom Kulturtransfer zur Verflechtungsgeschichte / Introduction : D’une histoire des transferts à l’histoire croisée
Moderation: Christine Tauber (Zentralinstitut für Kunstgeschichte)
14.30 Hendrik Ziegler (Universität Marburg) — Die Spiegelgalerie von Versailles als deutsch-französischer Erinnerungsort / La galerie des glaces de Versailles comme lieu de mémoire franco-allemand
15.15 Diskussion
15.30 Pause
16.00 Ulrike Seeger (Universität Stuttgart/LMU) — Die Aeneasgalerie von Matthäus Günther im Neuen Schloss in Stuttgart / La galerie d’Énée de Matthäus Günther au nouveau château de Stuttgart
16.20 Matthieu Lett (Université Bourgogne Europe, IUF) — Jean Girardet (1709–1778), peintre de plafonds : perspectives croisées entre le duché de Lorraine, l’Italie et Saint-Empire romain germanique / Jean Girardet (1709–1778), Deckenmaler: Eine Verflechtungsgeschichte zwischen dem Herzogtum Lothringen, Italien und dem Heiligen Römischen Reich Deutscher Nation
16.40 Anne Ilaria Weiß (LMU) — Das Paradeappartement Augusts des Starken im Dresdner Residenzschloss. Zwischen dem Streben nach der Kaiserwürde, goût français und dynastischer Verflechtung mit Frankreich / L’appartement de parade d’Auguste le Fort dans le château de la résidence de Dresde. Entre aspiration à la dignité impériale, goût français et liens dynastiques avec la France
17.00 Diskussion
17.30 Pause
18.00 Olivier Bonfait (Université Bourgogne Europe, IUF) — Matthieu Lett (Université Bourgogne Europe, IUF), Sandra Bazin-Henry (Université Marie et Louis Pasteur), Plafond-3D outre Rhin / Plafond-3D jenseits des Rheins
18.30 Matteo Burioni (LMU), Elisabeth Mayer (LRZ) — Anne Ilaria Weiß (LMU), Appartement und Deckenmalerei in Schloss Rheinsberg / Appartement et plafond peint au château de Rheinsberg
d o n n e r s t a g , 1 3 m Ä r z
Projektpräsentation / Présentation du projet
Moderation: Hubertus Kohle (LMU)
9.00 Olivier Bonfait (Université Bourgogne Europe, IUF), Matteo Burioni (LMU), Maximilian Kristen (LMU), Matthieu Lett (Université Bourgogne Europe, IUF), Florian Zacherl (LMU) — Die Forschungsdatenbank: Metadaten zur Deckenmalerei in Frankreich und Deutschland / Le portail commun: données sur les peintures de plafond en France et en Allemagne
9.50 Diskussion
10.15 Sandra Bazin-Henry (Université Marie et Louis Pasteur) — Les plafonds français et la quadratura : réflexions autour de vestiges illusionnistes / Die französische Deckenmalerei und die Quadratura: Überlegungen zu illusionistischen Relikten
10.30 Marine Roberton (Université Bourgogne Europe) — Sous les ciels de Rennes. Typologie et hiérarchie des fonds des plafonds du parlement de Bretagne / Typologie und Hierarchie der Deckenmalerei im Parlament der Bretagne in Rennes
10.45 Theresa Baumann (LMU) — Künstlerischer Austausch in der Patronage von Henriette Adelaide von Savoyen / Échange artistique sous le patronage d’Henriette Adélaïde de Savoie
11.00 Diskussion
11.30 Pause
12.00 Cordula Mauss / Sandra Bucher-Fiuza (Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen) — Die Restaurierung des Festsaales von Schloss Ansbach / La restauration de la salle de fête du château d’Ansbach
12.20 Mona Hess (Universität Bamberg) — Die 3D-Vermessung im Festsaal von Schloss Ansbach / Le relevé 3D dans la salle de fête du château d’Ansbach
12.45 Diskussion
14.00 Führung Nymphenburg / Visite guidée de Nymphenburg
Produktion: Denken in der dritten Dimension / Les savoir-faire : penser en 3D
Moderation: Eva-Bettina Krems (Universität Münster)
15.00 Stephan Hoppe (LMU) — Wolf Caspar von Klengel und das Palais im Großen Garten in Dresden. Produktionsgeschichte als modulare Verflechtungsgeschichte / Wolf Caspar von Klengel et le Palais du Grand Jardin à Dresde. L’histoire de la production comme histoire croisée
15.45 Diskussion
16.00 Pause
16.30 Etienne Faisant (Musée du Grand Siècle) — L’architecte, le peintre et le plafond. De l’invention des plafonds en France au XVIIe siècle / Der Architekt, der Maler und die Decke. Von der Erfindung der Deckenmalerei in Frankreich im 17. Jahrhundert
16.45 Maxime Bray (Sorbonne Université) — Réceptions ‘en superficie’ des plafonds peints. Les expertises, un autre lieu des relations entre peintres et architectes au XVIIe siècle / Die ‘Oberflächen’ der Deckenmalerei. Begutachtungen, ein weiterer Schauplatz der Beziehung zwischen Maler und Architekten im 17. Jahrhundert
17.00 Turner Edwards (INHA, Université Bourgogne Europe) — Penser l’ensemble à l’écrit : sémantique des plafonds et du décor dans la première moitié du XVIIIe siècle / Das Gesamtkunstwerk schriftlich denken: Semantik der Deckenmalerei und der Dekorationssysteme in der ersten Hälfte des 18. Jahrhunderts
17.15 Diskussion
f r e i t a g , 1 4 m Ä r z
Die Bildmacht der Deckenmalerei / L’efficace de la peinture de plafond
Moderation: Léa Kuhn (Zentralinstitut für Kunstgeschichte)
9.00 Christian Quaeitzsch (Bayerische Verwaltung der staatlichen Schlösser, Gärten und Seen) — Rekonstruktion barocker Deckenmalereien in der Münchner Residenz – zwischen Aktualisierung und Musealisierung / Reconstruction des peintures de plafond baroques dans la résidence de Munich – entre actualisation et muséalisation
9.45 Diskussion
10.00 Pause
10.30 Anna Klug (Zentralinstitut für Kunstgeschichte) — François Lemoynes Deckenmalerei im Salon d’Hercule von Schloss Versailles und ihre Rezeption im 18. Jahrhundert / Le plafond peint par François Lemoyne au salon d’Hercule du château de Versailles et sa réception critique au 18e siècle
10.45 Vladimir Nestorov (Université Bourgogne Europe) — Depuis les cieux de Paris. Des plafonds parisiens comme modèles pour les provinces au XVIIe siècle / Deckenmalereien in Paris als Vorbilder für die Provinzen im 17. Jahrhundert
11.00 Markus Castor (Deutsches Forum für Kunstgeschichte, Paris) — Die Götter verlassen den Himmel. Zu den Folgen der Säkularisierungstendenzen für die Deckenmalerei des 18. Jahrhunderts / Les dieux quittent le ciel. Sur les conséquences des tendances à la sécularisation pour les peintures de plafond du 18ème siècle
11.15 Diskussion
Moderation: Thomas Kirchner (ehemaliger Direktor des Deutschen Forums für Kunstgeschichte, Paris)
13.30 Olivier Bonfait (Université Bourgogne Europe, IUF) — Premiers apports de la recherche en France sur les plafonds peints, 1600–1800 / Vorüberlegungen zu einer Erforschung der Deckenmalerei in Frankreich, 1600–1800
13.45. Matteo Burioni (LMU) — Austauschprozesse, Materialität und formale Lösungen. Die Deckenmalerei in Deutschland, 1600–1800 / Processus d’échange, matérialité et solutions formelles. La peinture de plafond en Allemagne, 1600–1800
14.30 Diskussion
15.00 Pause
15.30 Eva-Bettina Krems (Universität Münster) — Von Räumen und Menschen: Transgression und Grenze in der höfischen Architektur und Ausstattung / Des espaces et des personnes : Transgression et frontière dans l’architecture et le décor des cours européennes
16.15 Diskussion
16.45 Schlußworte / Conclusion
Conference | Guillaume Werniers and Tapestry-Making in 18th-C. France
From ArtHist.net:
Guillaume Werniers and Tapestry-Making in Eighteenth-Century France
Guillaume Werniers et la tapisserie dans le Nord de la France au XVIIIe siècle
Université de Lille, 1 April 2025
In 1700, Brussels-born Guillaume Werniers took over the tapestry factory founded a dozen years earlier in Lille by his father-in-law Jean de Melter. He took on local commissions (from the Etats de Flandres, churches, and convents) and specialized in tapestries depicting scenes of daily life in the manner of the Flemish painter David Teniers. These tapestries were known as ‘Tenières’ and were destined for wealthy international costumers. On the death of Werniers in 1738, his widow Catherine Ghuys took over the company until 1778, ensuring its prosperity for some forty years. This study day will bring together professionals and researchers specializing in the art of tapestry and its history (museum curators, restorers, academics, antique dealers, collectors, as well as enthusiasts) to present the latest advances in research on the subject. It will also show that tapestry occupied a place of choice in the most refined interiors during the early modern period, even though this art form is today little-known by students and the general public alike. The proceedings will be published in the Revue du Nord with the support of the Manufacture royale De Wit.
Comité scientifique
• Jan Blanc, Université de Lausanne
• Jérémie Cerman, Université d’Artois
• Anne Perrin Khelissa, Université de Toulouse
Comité d’organisation
• Pascal Bertrand, Université de Bordeaux-Montaigne
• Gaëtane Maës, Université de Lille, gaetane.maes@univ-lille.fr
• Soersha Dyon, Université de Lille
Administration
• Céline Delrue, IRHiS, ULille, celine.delrue@univ-lille.fr
p r o g r a m m e
9.30 Accueil
9.45 Ouverture — Charles Mériaux (Directeur de l’IRHiS, ULille), Soersha Dyon, Gaëtane Maës (IRHiS, ULille)
10.00 Introduction — Pascal-François Bertrand (UBordeaux Montaigne)
10.15 Context et Approche Historique de la Tapisserie Lilloise
Modérateur: Jérémie Cerman (CREHS, UArtois)
• Hélène Lobir (Musée de l’Hospice Comtesse) — La collection de tapisseries des musées de Lille
• Martine VanWelden (KULeuven, Belgique) — Contacts et comparaisons entre les centres de tapisserie de Lille et d’Audenarde
• Dominique Delgrange (Société française d’héraldique et de sigillographie) and Evrard Van Zuylen (Développeur de la base de données webaldic) — Lecture et identification des armoiries présentes dans plusieurs tapisseries de Werniers
12.00 Déjeuner
13.30 Peinture et Tapisserie
Modératrice: Juliette Singer (Palais des Beaux-Arts, Musée de l’Hospice Comtesse)
• Jean Vittet (Château de Fontainebleau) — Le peintre Arnould de Vuez (1644–1720) et la tapisserie
• Koen Brosens (KULeuven, Belgique) — Teniers, Teniers, Teniers. And Teniers. The European market for tapestries ‘à la manière de Teniers’ around 1700
• Pascal-François Bertrand (UBordeaux Montaigne) — Les Tenières de la manufacture De Melter et Werniers de Lille
15.15 Table Ronde: Autour des Attributions aux Ateliers de Lille et du Nord de La France
Modératrice: Florence Raymond (Musée de l’Hospice Comtesse)
• Guy Delmarcel (KULeuven, Belgique), les intervenants, le public
16.15 Conclusion — Gaëtane Maës (IRHiS, ULille)
Conference | CAA 2025, New York
Very warm wishes to everyone attending this week’s conference! –CH
113th Annual Conference of the College Art Association
New York Hilton Midtown, 12–15 February 2025
The CAA 113th Annual Conference will take place at the New York Hilton Midtown, New York City, 12–15 February 2025. Noted below is just a small selection of this year’s offerings, with a full schedule available here.
◊ ◊ ◊ ◊ ◊
Women Artists and the Politics of Neoclassicism
Wednesday, 12 February, 2.30–4.00, Hilton Midtown, 2nd floor, Nassau East
Chairs: Andrea Morgan (The Art Institute of Chicago) and Megan True (The Art Institute of Chicago)
• Marie-Thérèse Reboul Vien and the Emergence of Neoclassicism — Tori Champion (University of St Andrews)
• Marie-Guillemine Benoist (1768–1826): A Neoclassicism of Her Own — Jennifer Germann (Independent Scholar)
• La Créatrice in Flux: Women’s Artmaking and Ambition in Revolutionary France — Maura Gleeson (Valencia College)
• The Genre Anecdotique and Feminine Historical Consciousness in Early 19th-Century France — Marina Kliger (Harvard Art Museums)
◊ ◊ ◊ ◊ ◊
Gender, Class, and Empire: Women and the Representation of Animals in 18th- and 19th-C. Art
Thursday, 13 February 13, 11.00–12.30, Hilton Midtown, 3rd floor, Mercury Ballroom
• The Shepherdess in the Colonies: Young Women in the Pastoral Mode — Patricia Johnston (College of The Holy Cross)
• Bridging Relationships: Pet Animals as Connectors in Eighteenth-Century British Portraiture — Luba Stephania Kozak (University of Regina)
• Vincent van Gogh, Jules Michelet, and Working-Class Women — Christa Rose DiMarco (New College of Florida)
◊ ◊ ◊ ◊ ◊
The Art of Collaboration in the Long 18th Century (HECAA)
Friday, 14 February, 2.30–4.00, Hilton Midtown, 2nd floor, Nassau East
Chairs: Yasemin Diba Altun and Tori Champion
• Layers of Collaboration: The Making of Toiles de Jouy, — Melissa Percival (University of Exeter)
• Beyond the Inner Chamber?: The Making of Female ‘Elegant Gathering’ Paintings in Late 18th-Century China — Michelle Tian (Princeton University)
• Materials as Collaboration in 18th- and 19th-Century Philadelphia — Cambra Sklarz (Harvard Art Museums)
◊ ◊ ◊ ◊ ◊
Unboxing the Long 18th Century (American Society for Eighteenth-Century Studies)
Friday, 14 February, 4.30–6.00, Hilton Midtown, 2nd floor, Nassau East
Chairs: Dani Ezor and Jennifer Germann
• Machines for Naturalization: The Cajones of the Spanish Botanical Expeditions — Rebecca Yuste (Columbia University)
• Unveiling the Trans-regional Journey of Red Ginseng: Joseon Korea’s Commercial Expansion in the 18th Century — Jeffrey C. Youn (College of Charleston)
• ’Wat men veerst haelt, dat smaeket soetst’: The Pomander as a Miniature Cabinet of Curiosities — Jasper Martens (University of California Santa Barbara)
◊ ◊ ◊ ◊ ◊
HECAA@CAA Lunch
Friday, 14 February, 12.45
Join HECAA members for lunch on Friday, before the “Art of Collaboration” panel. Catch up with other HECAA members over a buy-your-own lunch at a nearby food hall. The group will meet at the lobby of the conference Hilton hotel between 12.45 and 1.00 and then head to Urban Hawker; please be in touch with Tori Champion (tc217@st-andrews.ac.uk) so we can know how many people to expect!
◊ ◊ ◊ ◊ ◊
On Prints: From Fragonard to the Legacy of the Harlem Renaissance
Hauser & Wirth, Thursday, 13 February, 6.30–8pm
Registration Required
HECAA members attending CAA are invited to attend an off-site gathering On Prints: From Fragonard to the Legacy of the Harlem Renaissance at Hauser & Wirth (443 W 18th Street). The event is organized by Michelle Foa, Tulane University, for the Association of Historians of Nineteenth-Century Art (AHNCA), who have generously extended the invitation to HECAA members to join. Speakers will include Ewa Lajer-Burcharth, Rachael DeLue, Ashley Dunn, Michelle Foa, Rena Hoisington, Meredith Martin, and Britany Salsbury. HECAA members can register and find more information here.
Conference | Nature into Art
From ArtHist.net:
Nature into Art
Schloss Nymphenburg, Munich, 11–12 February 2025
Registration due by 2 February 2025
From 26 November 2024 to 16 March 2025, the Alte Pinakothek in Munich is hosting the world’s first major monographic exhibition on Rachel Ruysch. The exhibition is a collaborative effort between the Alte Pinakothek, the Toledo Museum of Art, and the Museum of Fine Arts, Boston. Rachel Ruysch (1664–1750) has always been regarded as one of the most important flower painters in European art, but her life and work have remained insufficiently researched to date. In addition to her perfected fine painting technique, her still lifes—featuring flowers, leaves, fruits, and insects rendered in the finest detail—reflect her interest in botanical and scientific subjects.
In conjunction with the exhibition Rachel Ruysch: Nature into Art and the CODARTfocus in Munich, the workshop Nature into Art will take place February 11–12 at Schloss Nymphenburg in München. The workshop aims to deepen new perspectives gained from the exhibition, particularly regarding the interplay between art and science. The speakers represent the interdisciplinary approach of the exhibition, which are derived from different scientific fields, such as art history, conservational sciences, postcolonial studies, and gender studies, as well as researchers with a botanical focal point. The workshop is intended to sustainably deepen the network of scholars with unique scientific approaches and from different countries, universities, research institutions, and museums. Participation of students from the University of Konstanz will involve the next generation of scholars and raise awareness for current research in the field of early modern painting.
Participation in the event is free of charge, but registration is requested. For more information and to register for the workshop, please contact laura.kromer@uni-konstanz.de until 2 February 2025.
Organizers
Christopher Atkins (Center for Netherlandish Art at the Museum of Fine Arts in Boston), Robert Felfe (University of Graz), Karin Leonhard (University of Konstanz), and Thijs Weststeijn (University of Utrecht)
t u e s d a y , 1 1 f e b r u a r y
9.00 Arrival
9.30 Opening Remarks
10.00 Morning Talks
• Marlena Schneider (Doerner Institut – Bayerische Staatsgemäldesammlungen) — Art Technological Insights on Five Paintings by Rachel Ruysch from the Former Wittelsbach Electoral Collections
• Kirsten Derks (University of Antwerp) — Tried and Tested? Rachel Ruysch’s Working Methods in Her Mature and Late Works
• Larissa van Vianen (University of Amsterdam) — From Observation to Publication: Pierre Lyonet and the Art of 18th-Century Natural History
• Jaya Remond (Ghent University) — Printing Floral Imagery in Northern Europe, c. 1590–1610: Pictorial Discourses and Frames of Representation
13.30 Lunch
14.30 Afternoon Talks
• Marie Amélie Landrin (Sorbonne University) — Rachel Ruysch: Botanical Art at the Intersection of Science and Patronage
• Laura Kromer (University of Konstanz) — The Companion Pieces of Rachel Ruysch: Intertwinings of Pictorial Combination
• Catherine Powell-Warren (KU Leuven) — TBA
17.00 Closing Remarks
17.30 Reception
18.00 Judith Noorman (University of Amsterdam) — Presentation
w e d n e s d a y , 1 2 f e b r u a r y
10.00–12.00 Study day in the exhibition Rachel Ruysch: Nature into Art at the Alte Pinakothek, Munich
Students from the University of Konstanz will offer tailored guided tours.
Enfilade 
leave a comment