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
Conference | Artistic Circulation between Rome and Lisbon
Projects, Models, and Artistic Circulation between Rome and Lisbon in the Eighteenth Century
Universidade Nova de Lisboa, 7 November 2014
This international workshop deals with the richness and complexity of the international relations between Lisbon and Rome in the eighteenth century. The transcendence of the Roman Paradigm is well documented in Portugal, but the Lusitanian Rome is still a topic of research that deserves better attention. From a multidisciplinary approach the participants of this workshop are trying to shed some light on a some sort of Iberian Grand Tour.
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From the conference programme:
Projectos, Modelos, e Circulação Artística entre Lisboa e Roma no Sécolo XVIII
Universidade Nova de Lisboa, 7 November 2014
A partir de várias formas de produção artística, assim como de diferentes métodos de investigação, este seminário pretende apreender a complexidade do século XVIII como plataforma de circulação de modelos, actores e projectos, tendo como foco o eixo Roma-Lisboa. As relações entre ambas cidades são postas em relevo com o objectivo de determinar a presença e a importância do mundo ibérico no fenómeno transnacional do Gran Tour, bem como a sua possível participação na República das Letras, tendo em conta que a tradição historiográfica europeia costuma excluir o âmbito ibérico nessas áreas. Assim, o estudo dessas relações permitirá reconsiderar o papel delas no seio dos desafios europeus da época no domínio da arte.
Nessa perspectiva, os olhares cruzados entre estudos específicos e complementares nos campos da música, das artes visuais e da arquitetura pretendem consolidar uma abordagem multidisciplinar dos fenómenos artísticos duma forma global no século XVIII e favorecer um foro de discussão entre os diversos especialistas.
The conference flyer is available here»
Journée d’étude | Madame de Pompadour et l’art de la toilette
As noted at Histoire de Mode with details from the preliminary programme:
Madame de Pompadour et l’Art de la Toilette
Archives Nationales de France, Hôtel Soubise, Paris, 7 October 2014
L’association ART & LUXE prépare le nouvel évènement consacré à l’histoire du design, de la mode et du luxe, ainsi qu’à celle de ses métiers. Mardi 7 octobre 2014, à l’hôtel Soubise, rue des Francs Bourgeois à Paris, aura lieu à partir de 14.30 une nouvelle demie-journée d’étude consacrée à Madame de Pompadour, sur le thème de l’art de la toilette. Participation aux frais : 5 euros. Inscription préalable dans la limite des places disponibles à Association ART & LUXE 38 Boulevard Henri IV 75004 Paris, Art-luxe@live.fr.
P R O G R A M M E
14.00 Accueil
14.30 Lesley Ellis Miller (Victoria and Albert Museum, Londres), Trois portraits pour trois garde-robes de la marquise de Pompadour
15.00 Corinne Thépaut-Cabasset (Paris), Objets de modes et de toilette achetés pour madame de Pompadour chez Lazare-Duvaux rue Saint-Honoré à Paris
15.30 Georgina Letourmy-Bordier (Le Cercle de l’Eventail, Paris), D’or et de vent, la mode de l’éventail sous Louis XV
16.00 HERA Fashioning the Early Modern, Object in Focus : La « mouche » ou le matin
16.30 Discussion
17.00 Arlette Vermeiren Zucoli (Tournai), Installation éphémère dans le Grand Salon Ovale de l’appartement du prince de Soubise
Conference | Neoclassical Reverberations of Discovering Antiquity
As noted at H-ArtHist; abstracts are available here.
Neoclassical Reverberations of Discovering Antiquity
Archivio di Stato, Turin, 6–9 October 2014
Twelfth Conference of the ICTM Study Group for the Iconography of the Performing Arts, Istituto per i Beni Musicali in Piemonte
M O N D A Y , 6 O C T O B E R 2 0 1 4
9.30 Registration
10.00 Welcome and Introduction
10.30 Frame Session
Chair: Cristina Santarelli (Istituto per i Beni Musicali in Piemonte, Torino)
• Christian Greco (Museo Egizio, Torino), The Role Played by Turin in the Field of Aegyptological Research
• Zdravko Blažeković (Research Center for Music Iconography, The Graduate Center, CUNY), Ancient Organology before and after Herculaneum
• Paola d’Alconzo (Università “Federico II”, Napoli), Facing Antiquity Departure and Return: Naples in the Eighteenth Century
• Michela Costantini (Torino), Common Antiquarian Interests Found in the Epistolary Exchanges between the Architect and Piedmontese Erudite Francesco Ottavio Magnocavalli and Members of the Roman Arcadia in the Middle of the Eighteenth Century: The Case of the Ancient Theater of Herculaneum
13.00 Lunch
15.00 Neoclassicism in European Painting, Sculpture and Applied Arts, Part I
Chair: Nicoletta Guidobaldi (Università di Bologna, Dipartimento di Beni Culturali, Ravenna)
• Jordi Ballester Gibert (Universitat Autònoma de Barcelona), Music and Poetics of Ancient Rome in the Work of the Spanish Painter Mariano Fortuny (1838–1874)
• Daniela Castaldo (University of Salento, Lecce), Ancient Music in Paintings of Lawrence Alma-Tadema (1836–1912)
• Cristina Santarelli (Istituto per i Beni Musicali in Piemonte, Torino), From A Musician to The Quartet: Albert Moore (1841–1893) between Classicism and Aesthetic Movement
• Alexandra Voutrya (Aristotle University, Thessaloniki), Ingres, Apollo, Mozart and Music
• María Isabel Rodríguez López (Universidad Complutense de Madrid), Chant and Enchantments: Iconography of Orpheus, from Gluck to Moreau
• Elena Le Barbier Ramos (Universidad de Oviedo), Ancient Musical Iconography in Neoclassical Painting
T U E S D A Y , 7 O C T O B E R 2 0 1 4
9.30 Neoclassicism in European Painting, Sculpture and Applied Arts, Part II
Chair: Daniela Castaldo (Università del Salento, Lecce)
• Anna Maria Ioannoni Fiore (Conservatorio Statale di Musica “L. D’Annunzio”, Pescara), Neoclassical Influences in the Depiction of Landscapes on Castelli Maioliche: The Ethical Value of Music among Myths and Ancient Ruins
• Nicoletta Guidebaldi (Università di Bologna Dipartimento di Beni Culturali, Ravenna), Rediscovering Antiquity and Musical Myths in Felice Giani’s Pictorial Cycles in Faenza
• Esma Sulejmanagic (Muzi?ka akademija, Sarajevo), Music Iconography on Numismatic Products of Antiquity and the Nineteenth Century: Antique Musical Practice and Neoclassical Musical Symbolism
11.00 Coffee
11.30 Keynote Address by Elena Barassi (Università di Pavia, sede di Cremona), Iconography of Iconography: Dance in Ancient Roman Representations, Canova’s Works and Reproductions in Engraving
1.00 Lunch
15.00 Neoclassicism in European Painting, Sculpture and Applied Arts, Part III
Chair: Jordi Ballester Gibert (Universitàt Autònoma de Barcelona)
• Licia Mari (Università Cattolica del Sacro Cuore, Brescia & Archivio Storico Diocesano, Mantova), Saints, Myths, Allegories in the Scenographic Frescos by Giorgio Anselmi
• Carlo Fiore (Conservatorio di Musica ‘Vincenzo Bellini’, Palermo) and Floriana Tessitore (Teatro Massimo, Palermo), The Teatro Massimo in Palermo between Modernism and Neoclassicism
• Luis Correia de Sousa and Luzia Valeiro Rocha (Centro de Estudos de Sociologia e Estética Musical, Universidade Nova de Lisboa), New Fashions, Old Models: The Antiquity Charm in Portuguese Musical
Neoclassicism
16.30 Coffee
17.00 Free Papers
• Emma Petrosyan (Institute of Archaeology and Ethnography, Armenian National Academy of Sciences, Yerevan), Music and Dance in Statues and Gemmes from Artashat
• Maryam Dolati Fard (Tehran), The Relationship Between Text and Music in Persian Manuscripts: Ilkhanid to Safavid Era, Images of Oud Player
W E D N E S D A Y , 8 O C T O B E R 2 0 1 4
9:30 Neoclassical Attitudes in Operatic Stage, Part I
Chair: Maria Teresa Arfini (Università della Valle d’Aosta)
• Diana Blichmann (Roma), The Temple of Jupiter Statore in La Clemenza di Tito of Pietro Metastasio and Giovanni Carlo Galli Bibiena
• Maria Ida Biggi (Fondazione Cini / Università “Ca’ Foscari”, Venezia), Borsato, Bagnara and Basoli: Archaelogical References and Reverberations on the Venetian and Bolognese Neoclassical Stage
• Gabriella Olivero (Torino), The “New” Babylon by Alessandro Sanquirico
11.00 Coffee
11.30 Keynote address by Mercedes Viale Ferrero (Torino), The Last Day of Pompeii as Imagined by Alessandro Sanquirico, or: How to Rebuild Pompeii in Order to Destroy It
13.00 Lunch
15.00 Neoclassical Attitudes in Operatic Stage, Part II
Chair: Maria Ida Biggi (Fondazione Cini /Università Ca’ Foscari, Venezia)
• Inna Naroditskaya (Northwestern University), Elizaveta of Russia – A Euro-Asian Princess and Heir of Roman Augustus: A Spectacle of Coronation and Imperial Opera
• Dario de Cicco (Conservatorio Statale di Musica “Giuseppe Verdi”, Torino / Université de Genève), Verdi and the Egyptian Culture between Anegdots, Epistolar Sources and Imagination
• Donatella Melini (Fondazione “Antonio Carlo Monzino”, Milano), “Or che i Numi son vinti, a me la cetra, A me l’altar!”: Stories and Iconographies about the Lyra Made for Arrigo Boito’s Nerone
• Timothy Flynn (Olivet College, MI), Classical Reverberations in the Music and Life of Camille Saint-Saëns (1835–1921)
T H U R S D A Y , 9 O C T O B E R 2 0 1 4
9.30 Neoclassical Attitudes in Operatic Stage, Part III
Chair: Jordi Ballester Gibert (Universitàt Autònoma de Barcelona)
• Sanna Litti (Hyvinkää, Finland), Heroism in Gasparo Spontini’s Opera La Vestale
• Maria Teresa Arfini (Università della Valle d’Aosta), Around Antigone: Reflections on Iconography and Music in the German Revival of the Classical Tragedy
• Maia Sigua (Tbilisi State Conservatory), The Concept of Tragedy after Aristotle and Daphne by Richard Strauss
11.00 Coffee
11.30 Antiquaria: Documents and Testimonies through the Ages
Chair: Maria Teresa Arfini (Università della Valle d’Aosta)
• John McKay (University of South Carolina, School of Music), Roles for Musical Curiosities in Kircher’s Antiquarian Visions
• Stefania Macioce (Università “La Sapienza”, Roma), Apollo: Figurative Variations of a Neoclassical Ideal
• Francesca Cannella (Università del Salento, Lecce), «Gli eroi della storia favolosa e le invenzioni per essi nobilitate»: The Myth of the Argonauts between Musical Iconography and Literary Invention of the Modern Age
13.00 Lunch
15.00 Musical Impressions from the Grand Tour
Chair: Alexandra Voutyra (Aristotle University, Thessaloniki)
• Siegwart Reichwald (Petrie School of Music, Converse College, Spartanburg, SC), Eyes Wide Open: The Compositional Impact of Mendelssohn’s Artistic and Religious Grand Tour Experiences
• Sylvain Perrot (French School at Athens), Musical Impressions in Views of Greece during the Nineteenth Century
• María Jesús Fernández Sinde (Universidad Complutense de Madrid), Music Dreaming: Iconographic Sources from Spanish Painters? Recreation of Identities and Grand Tours
Conference | Carlo Fontana (1638–1714): Celebrato Architetto
From the Accademia Nazionale di San Luca:
Carlo Fontana (1638–1714): Celebrato Architetto
Accademia Nazionale di San Luca, Rome 22–24 October 2014
Convegno internazionale in occasione del trecentesimo anniversario della morte di Carlo Fontana
The conference is dedicated to the architect Carlo Fontanaon the occasion of the 300th anniversary of his death. The protagonist of Roman architecture as the Baroque was waning, Fontana—descending from a famous dynasty of Ticinese architects—organized the teaching and the practice of architecture based on the exercise of drawing and geometry. His workshop thus prefigured modern design studios. The propagandistic usage of graphic sheets and printed volumes illustrating and diffusing Fontana’s works and ideas constituted yet another factor of his modernity. In fact, Fontana understood perfectly the dimension of intellectual and creative freedom of print, liberating himself from a dependence on patrons and from morphological and typological conventions of his time.
Promo ufficiale del Convegno Fontana 2014 sul sito dell’Accademia Nazionale di San Luca.
Comitato scientifico: Paolo Portoghesi, Francesco Moschini, Giuseppe Bonaccorso, Elisabeth Kieven
Convegno organizzato da: Accademia Nazionale di San Luca, Roma;
Bibliotheca Hertziana – Max-Plank-Institut für Kunstgeschichte, Roma.
Con la collaborazione di: Dipartimento di Ingegneria dell’Impresa, Università di Roma “Tor Vergata”
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10.00 Saluti e presentazione
• Paolo Portoghesi (Presidente dell’Accademia Nazionale di San Luca) e Francesco Moschini (Segretario Generale dell’Accademia Nazionale di San Luca)
• Giuseppe Bonaccorso (Università di Roma Tor Vergata), Elisabeth Kieven (Bibliotheca Hertziana, Roma), Omaggio a Hellmut Hager
10.40 1: Genealogia familiare e esordi architettonici (Coordina: Andrea Spiriti)
• Stefania Bianchi (Archivio Storico di Mendrisio; Accademia di Architettura di Mendrisio), Intorno ai Fontana: spunti anagrafici e ipotesi interpretative
• Andrea Spiriti (Università degli Studi dell’Insubria, Varese), Fontana e gli Odescalchi
• Dimitri Ticconi (“Sapienza” Università di Roma), La collaborazione tra Carlo Fontana e l’atelier di Carlo Rainaldi nell’ambito dei cantieri delle chiese gemelle di piazza del Popolo
• Simona Zani (Roma), Carlo Fontana e la razionalizzazione dell’impulso barocco. L’esordio per i Chigi e altri interventi nei Castelli Romani
12.20 2: Teatro e scenografie (Coordina: Elena Tamburini)
• Elena Tamburini (Università di Bologna), Carlo Fontana, architetto di teatro e di scene, e la “scuola romana”
• Alessandro Spila (“Sapienza” Università di Roma), Scenografia ed Effimero nell’eredità di Carlo Fontana: il mecenatismo del cardinale Carlo Colonna
• Dominique Lauvernier (Caen University), Carlo Fontana, stage designer
15.00 3: L’ambizione dell’architetto: progetti e architetture per lasciare un segno (Coordina: Augusto Roca de Amicis)
• Fabio Colonnese (“Sapienza” Università di Roma), «La Maestria di eccellenti artefici». Note sulla costruzione e la divulgazione della Cappella Cybo di Carlo Fontana
• Carla Benocci (Sovrintendenza Capitolina ai Beni Culturali, Roma), Carlo Fontana e i giardini Colonna e Chigi: progettazione, rappresentazione, rapporti con la cultura francese
• Angela Marino (Università degli Studi dell’Aquila), Il progetto di Carlo Fontana per il palazzo Chigi a San Quirico d’ Orcia
• Bruno Mussari (Università degli Studi Mediterranea di Reggio Calabria), Carlo Fontana a Siena: idee e ipotesi progettuali tra tradizione e innovazione
16.45 4: Fontana architetto. temi e approfondimenti (Coordina: Francesco Moschini)
• Marcello Fagiolo (“Sapienza” Università di Roma), Carlo Fontana e Bernini
• Paolo Portoghesi (“Sapienza” Università di Roma), Fontana versus Borromini. Una cerniera nella cultura del barocco
• Giuseppe Bonaccorso (Università di Roma Tor Vergata), L’attualità di Carlo Fontana
• Giovanna Curcio (Università Iuav, Venezia), Carlo e Francesco Fontana
• Elisabeth Kieven (Bibliotheca Hertziana, Roma), Sulla grafica di Carlo Fontana
19.30 Evento musicale
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9.30 5: Incisioni e volumi a stampa: propaganda e ambizione trattatistica (Coordina: Werner Oechslin)
• Werner Oechslin (Stiftung Bibliothek Werner Oechslin, Einsiedeln), Carlo Fontana, l’impatto e il successo internazionale e le ragioni della mancata fama internazionale nella storiografia del barocco
• Aloisio Antinori (Università degli Studi del Molise), Le origini dell’affermazione internazionale di Carlo Fontana: il ruolo delle stampe
• Kimberley Skelton (independent scholar, USA), Empiricism, the Imagination, and Carlo Fontana’s Inverted Architectural Book
• Erik Wegerhoff (Technische Universität, München), Una restituzione in senso inverso: il progetto di Carlo Fontana per il Colosseo
11.10 6: Idraulica e infrastrutture suburbane (Coordina: Mario Bevilacqua)
• María Margarita Segarra Lagunes (Università Roma Tre), Carlo Fontana e i progetti per il Tevere
• Fabrizio Di Marco (“Sapienza” Università di Roma), Carlo Fontana e Cornelio Meyer. La disputa sulla scienza idraulica
• Marisa Tabarrini (“Sapienza” Università di Roma), Dagli Effetti delle acque di Vincenzo Della Greca all’ Utilissimo trattato sulle acque correnti: metodo, fonti e apografia in Carlo Fontana teorico
• Michela Lucci (Università di Roma Tor Vergata), Carlo e Girolamo Fontana tecnici al servizio dei Colonna
15.00 7: Committenti stranieri, progetti per l’estero e cantieri controllati a distanza (Coordina: Marcello Fagiolo)
• Sara Muniain Ederra (Universidad San Jorge, Zaragoza) e Jorge Fernández-Santos Ortiz-Iribas (Universitat Jaume I, Castelló), Carlo Fontana e la Spagna: prospettive di indagine
• Iacopo Benincampi (Roma), Carlo Fontana e il Santuario di Loyola, progettazione italiana e pratiche costruttive spagnole
• Friedrich Polleroß (Institut für Kunstgeschichte der Universität, Wien), Carlo Fontana e i rappresentanti imperiali a Roma
• Pavel Kalina (Czech Technical University, Prague), Carlo Fontana and Bohemia: Architect’s Vision and Builder’s Reality around 1700
• Tommaso Manfredi (Università degli Studi Mediterranea di Reggio Calabria), Carlo Fontana e l’architettura residenziale nell’Europa del primo Settecento
17.20 8. I viaggi e i committenti “di lingua italiana” (Coordina Aurora Scotti)
• Lorenzo Finocchi Ghersi (Università Iulm, Milano), Carlo Fontana e Palladio: il progetto per «un casino in Venezia»
• Andrea Bonavita (Politecnico di Milano), Sergio Monferrini (Archivio Dal Pozzo d’Annone), «Huomo… abbondante di parole» all’«acquisto… di tanti padroni»: Carlo Fontana in Lombardia
• Francesco Repishti (Politecnico di Milano), La ricerca di un architetto “romano”. Carlo Fontana e il Duomo di Milano
• Maria Gabriella Pezone (Seconda Università di Napoli), Carlo Fontana e Napoli
• Valentina Russo (Università degli Studi di Napoli), «Una memoria al vivente». Carlo Fontana e i progetti di fine Seicento per la cattedrale di Napoli
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9.30 9: Fontana e l’antico: dal progetto al restauro (Coordina: Howard Burns)
• Enrico Da Gai (Roma), «Per accompagnare l’antico…»: Carlo Fontana e il restauro/riuso dei monumenti antichi • Maria Vitiello (“Sapienza” Università di Roma), Particolarità ed “incongruenze” del portico settecentesco di S. Maria in Trastevere
• Marcello Villani (Università degli Studi G. d’Annunzio), Carlo Fontana Architetto per la Reverenda Fabbrica di S. Pietro
• Nicoletta Marconi (Università di Roma Tor Vergata), Carlo Fontana per la basilica Vaticana: la cappella del Battesimo, il trasporto del sepolcro porfirico di Ottone II e altri «straordinari riattamenti»
11.20 10: Professione e conoscenza tecnica (Coordina: Claudia Conforti)
• Hermann Schlimme (Bibliotheca Hertziana, Roma), Carlo Fontana e la cupola di Montefiascone alla luce di nuovi rilievi
• Maria Grazia D’Amelio (Università di Roma Tor Vergata), Fabrizio De Cesaris (“Sapienza” Università di Roma), Roma 1700: pareri e perizie di Carlo Fontana sull’architettura e sulla città
• Barbara Tetti (“Sapienza” Università di Roma), Carlo Fontana. Sistemi costruttivi per apparati effimeri. Il catafalco di Pedro II in S. Antonio dei Portoghesi
• Alicia Adamczak (École du Louvre; Institut catholique de Paris), Carlo Fontana sculturae inventor. Il ruolo dell’architetto nei cantieri di scultura del tardo barocco romano
15.00 11: Insegnamento e apprendistato presso fontana: tra atelier e accademia (Coordina: Giuseppe Bonaccorso)
• Rosa Maria Giusto (Napoli), Carlo Fontana, la formazione dell’architetto e il «senso pratico del mestiere»
• Giuseppe Dardanello (Università di Torino), Affinità e discontinuità nel disegno di Filippo Juvarra e Carlo Fontana
• John Pinto (Princenton University), The Legacy of Carlo Fontana: Nicola Michetti and the Pallavicini-Rospigliosi Chapel in S. Francesco a Ripa
• Francesco Amendolagine, Federico Bulfone Gransinigh (Università degli Studi di Udine), Architettura e arte plastica nell’opera di Carlo e Baldassarre Fontana: un connubio perfetto
16.50 12: Carlo e il rapporto con allievi, epigoni e collaboratori (Coordina: Elisabeth Kieven)
• Peter Heinrich Jahn (Technische Universität, Dresden), Early impacts in the German Holy Roman Empire of Carlo Fontana’s design for a memorial church inside the Colosseum (Johann Lucas Hildebrandt and Matthäus Daniel Pöppelmann)
• Martin Olin (Swedish Institute in Rome), «Le vieux Chevalier Charles Fontana vit-il encore ou non?». Nicodemus Tessin and the Fontana style in the North
• Saverio Sturm (Università di Roma Tre), L’eredità svedese di Carlo Fontana. Gli architetti della Corona di
Svezia, da Nicodemus Tessin il vecchio a Carl Gustav Tessin
• Elena Manzo (Seconda Università degli Studi di Napoli), La lezione di Carlo Fontana in Danimarca: tecniche e modelli
• Marco Rosario Nobile, Domenica Sutera (Università di Palermo), Nelle terre degli eretici. L’opera degli allievi di Carlo Fontana in Sicilia
19.10 Conclusioni
Paolo Portoghesi, Francesco Moschini, Giuseppe Bonaccorso, Elisabeth Kieven
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