Enfilade

From the Henry Moore Institute:

The Sculpture of the Écorché
Henry Moore Institute, Leeds, 7 June 2014

Thomas Mewburn Crook ‘Stage 9a: Anatomical Studies of the Human Figure from the Flat’ 1893 Pencil, ink and watercolour on paper Leeds Museums & Galleries (Henry Moore Institute Archive)

This one-day conference takes the écorché as its subject, reconsidering the many ways that models of the flayed figure have been understood from the sixteenth century to the present day. Across seven papers, the conference addresses the écorché variously as a teaching object for the education of sculptors, as a scientific model crucial to the understanding of anatomy, as a sculptural process and as a sculptural object in its own right.

The écorché has frequently operated across disciplinary boundaries and registers of respectability. Makers of wax écorchés in the eighteenth century, such as the Florentine Clemente Susini (1754–1814), were highly acclaimed during their lifetimes, with their work sought by prestigious collectors. By the nineteenth century, however, wax had come to be seen as a merely preparatory, or even a disreputable, medium for sculpture with its capacity for forensic detail and mimetic reproduction of bone, muscle and skin operating against the prevailing neoclassical tendency towards ideal form. As a result of this change in taste, the écorché in plaster of Paris became the primary teaching object for anatomical studies in European academies and schools of art into the twentieth century.

The conference will be chaired by Professor Fay Brauer (University of East London/University of New South Wales College of Fine Arts), Dr Nina Kane (University of Huddersfield) and Dr Rebecca Wade (Henry Moore Institute). Advanced booking is required for this event. Book here.

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S A T U R D A Y ,  7  J U N E  2 0 1 4

10.30  Registration

11.00  Introduction

11.10  Panel 1: Cigoli and Ceroplastics: Wax Écorché in Seventeenth-Century Italy
• Roberta Ballestriero (Open University), Under the Wax Skin: Representation of the Écorché in the Art of
Ceroplastics
• Lisa Bourla (University of Pennsylvania), Cigoli’s Écorché, Giambologna’s Studio and the ‘Poe Paradox’

12.20  Lunch

1.30  Panel 2: Dissection as Sculptural Practice: Criminality, Pathology, and the Academy
• Meredith Gamer (Yale University), ‘A necessary inhumanity’: William Hunter’s Criminal Écorchés
• Naomi Slipp (Boston University), Thomas Eakins and the Écorché: Understanding the Human Body in Three
Dimensions
• Natasha Ruiz-Gómez (University of Essex), In Sickness and in Health: Doctor Paul Richer’s Écorché at the École
des Beaux-Arts

3.30  Tea

4.00  Panel 3: Écorché, Modernism, and the Sculptural Canon
• Elena Dumitrescu (National University of Arts, Bucharest), The Écorché by Brancusi and Gerota: An Artwork Created at the School of Fine Arts of Bucharest
• Stefan Grohé (University of Cologne), An Anatomy of Sculpture: The ‘Ecorche, dit de Michel-Ange’ and its Transformations in Modern Art

5.20  Closing remarks

All three afternoons look interesting; I include only Amy Torbert’s talk here only because most of the sessions address the nineteenth and twentieth centuries. -CH

Smithsonian American Art Museum’s 2014 Fellows Lectures
Smithsonian American Art Museum, Washington, D.C.,  7–9 May 2014

The Fellowship Program at the Smithsonian American Art Museum cordially invites you to attend three afternoons of lectures in American art delivered by Smithsonian art history research fellows. The talks will be held in the museum’s McEvoy Auditorium, located at 8th and G Streets NW, Washington, D.C. This event is open to the public and no reservations are required. For further information, please contact Amelia Goerlitz at (202) 633-8353 or email AmericanArtFellowships@si.edu.

Thursday, 8 May, 2:00
Amy Torbert, Predoctoral Fellow (National Portrait Gallery), University of Delaware
“Robert Sayer’s Empire: The Geographies of Prints, 1770–1800”

A full list of speakers is available here»

While I’m not sure how much eighteenth-century content to expect from the papers, the issues of periodization and the implications of how we connect (or disconnect) historical periods strike me as crucial eighteenth-century problems with present-day stakes for exploring a global eighteenth century. -CH

From Harvard’s Mahindra Humanities Center:

The Disciplined Past: Critical Reflections on the Study of the Middle East
Mahindra Humanities Center, Harvard University, 4–5 April 2014

Registration due by 3 April 2014

Organized by Mirjam Brusius

The symposium aims to reassess the study and the representation of the Middle East in scholarship and museums today. Studying the Middle East in the current Western academic and museological discourse entails encountering a history of dichotomies and contradictions. A manifest example, both physically and metaphorically, is provided by a visit to some art museums in the Western world: while, for example, art from ancient Mesopotamia—which occupied the same space as much of modern day Iraq, Syria and Iran—is often presented in direct proximity to objects deeply embedded in the Western canon, such as Classical Greek sculpture, objects from the very same region that derive from after the coming of Islam are often separated from their more ancient geographical counterparts, for instance in Islamic Art departments.

The epistemological consequence has been denounced before: this type of taxonomy creates a narrative of the Middle East that suggests a period of decline from the seventh century A.D. onwards, while prevailing European narratives link their historical present to mythical beginnings in the Middle East via the notions of a classical Graeco-Roman Antiquity. These canonical ideas have been shaped in Western European readings and injected into notions of progress and decline, into the organization of historical time, and scholarly disciplines themselves. They do so with restricted notions of key concepts in history of science, such as ‘origin’ and ‘discovery’, which only account for a single and teleological narrative rather than for dynamic flows of exchange between spaces and a plurality of accounts. What counts as canonical in Western traditions and what is subject to alienation is thus a temporal rather than geographical dichotomy.

The recent restructuring of some museum spaces reflects discomfort with this status quo, though not always in favour of a more even and unifying approach. The ‘ethnologization’ of Islam still pushes the Middle East to the margins, while the ‘religionization’ of the Middle East often does the same in academic contexts. Often they also run the risk of presenting an alternative orientalist trope: that of the ‘eternal, unchanging East’. Even though critical voices have critiqued these legacies of formerly colonial structures in recent decades, the ancient Near East and the modern Middle East remain neatly separated from another. Archaeology as a mediating discipline connecting the present with the past is both a perpetrator and victim of this discourse but its role in this discourse has not yet been fully explored in spite (or because) of its political power.

Finally, the naming of university departments throughout the world tells a story of its own: How religious does the Middle East have to be in order to be studied as the “science of Islam” (Islamwissenschaft)? How universal to be simply “oriental”? How ancient does the Near East have to be in order to be “Near”? How ancient Western Asia in order to be “Western”? How modern the Middle East, in order to be in the “Middle”? How much in the middle does the East have to be in order to be “modern”? The symposium seeks to bring historians of the modern Middle East, scholars of the ancient Near East, Egypt and Western Asia, archaeologists, anthropologists, historians of science and of archaeology, as well as historians of Islamic and Western art in dialogue with one another to assess the current states of affair.

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F R I D A Y ,  4  A P R I L  2 0 1 4

2.00  Introduction, Mirjam Brusius (Harvard University)

2.30  Heritage and Museums
• Alexander Nagel (Smithonian Institution): The Order of Things According to Washington DC: Reading Middle Eastern Materials in the Smithsonian Institution
• Ian Straughn (Brown University): On Heritage Crusades and other Cultural Rescue Missions in the Middle East
• Melania Savino (KHI Florenz): Ancient Near Eastern Antiquities in the Italian Museums: Travels, Collections, Displays

4.30  In discussion: Section participants with Irene Winter (commentator, Harvard University) and Eleanor Robson (University College London)

S A T U R D A Y ,  5  A P R I L  2 0 1 4

9.00  Ruptures and Turning Points
• Avinoam Shalem (Columbia University): Troubling Monochronic Time: Revisiting the Myth of the ‘Origin’ of Islamic art
• Katharine Park (Harvard University): Teaching and Writing across Regional Boundaries: A History of Arabic and Latin Science

10.00  Coffee break

10.30  In discussion: Section participants with Roy Mottahedeh and Chad Kia (Harvard University)

12.00  Lunch break

1.00  Empire and Knowledge
• Erin Hyde Nolan (Boston University): Ottomans Abroad: The Translation and Circulation of Nineteenth-Century Portrait Photography from Istanbul to Europe and the United States
• Daniela Helbig (University of Sydney): Whose Wonderland? Aviation and Aerial Archaeology in Syria and Lebanon under the French Mandate

2.00  In discussion: Section participants with Marwa Elshakry (commentator, Columbia University) and Adam Mestyan (Harvard University).

Reminder that this webinar event starts tomorrow (Friday) at 11:15am (Eastern Daylight Time) . . .

In Circulation: John Singleton Copley and Benjamin West in England, France, and America
The Paul Mellon Centre, London, 28 March 2014

This symposium and webinar explores aspects of the work and careers of the American-born artists Benjamin West and John Singleton Copley, focusing in particular on the ways in which they engaged with the exhibition and print cultures of their day, particularly in Britain, but also in France and America. The program relates to the international loan exhibition American Adversaries: West and Copley in a Transatlantic World, which was on display at the Museum of Fine Arts, Houston (MFAH), from October 6, 2013 through January 20, 2014.

The Yale Center for British Art is live streaming this daylong conference, which is also available for free on the MFAH website, shortly before the program begins. Join the conversation on Twitter using the handle @PaulMellonCentr. Hosted in London by the Paul Mellon Centre for Studies in British Art, the symposium is made possible through support from the Terra Foundation for American Art.

More information, including the schedule (according to GMT), is available here»

From The East India Company at Home project:

Objects, Families, Homes: British Material Cultures in Global Contexts
University College London, 11–12 July 2014

Since 2011, The East India Company at Home project has focused on country houses—and the families and objects that inhabited them—to explore how British material culture developed in a global context during the eighteenth and nineteenth century. The project’s goals have been twofold. First, we have sought to illuminate the broad-ranging ways in which the activities of the English East India Company shaped elite material cultures in Britain—and by doing so, shaped British identities in the Georgian and Victorian periods, and beyond. Second, we have sought to develop new ways of connecting diverse communities of historical researchers (archivists, curators, family historians, freelance historians, local historians, stately home volunteers and university-based historians) and in so doing to weave otherwise dispersed studies into a transnational material narrative. At the same time, by disseminating research findings through our website we have made them available on an open-access basis. The conference plans to encourage a range of speakers to present on these themes and discuss their wider significance.

Confirmed keynote speakers include Deborah Cohen, Professor of Modern British and European History at Northwestern University and author of Household Gods: The British and their Possessions (2006) and Family Secrets (2013), in dialogue with Marietta Crichton-Stuart, a descendant of the Marquess of Bute, who has researched how Margaret Bruce designed and furnished Falkland House in Fife in the 1830s and 1840s.

Members of the public are warmly welcomed to attend this event. Registration is accessible (until 30 June 2014) via the UCL online store.

The conference will take place in the Roberts Building on the Bloomsbury Campus of  University College London. A map giving directions to the Roberts Building can be found here. The building stands opposite Waterstones, Gower Street. The Roberts Building is a 5- to 10-minute walk from various underground stations including, Goodge Street, Euston, Euston Square, Russell Square and Tottenham Court Road.

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From the conference programme:

F R I D A Y ,  1 1  J U L Y  2 0 1 4

9.30  Registration

10.00  Welcome Remarks from Margot Finn, Principal Investigator, The East India Company at Home, 1757–1857

10.30  Session 1

Strand A: China and the ‘Chinese’ Style in British Houses
• Alexandra Loske (University of Sussex), ‘Chinese Landscapes in yellow etched in gold and highly varnished’: The influence of exportware and print culture on colour and ornament in the Royal Pavilion, Brighton
• Emile de Bruijn (National Trust) and Helen Clifford (UCL/University of Warwick), Past, Present and Future: The Chinese Wallpaper Project
• Clare Taylor (The Open University), Trading wallpaper: India paper and prints in the eighteenth-century home

Strand B: Buildings and Networks, Chair: Ellen Filor (UCL)
• Joanna Frew (University of Essex), ‘Inform me how I may become a useful member of the community at large’: Looking beyond the family
• Rosie Dias (University of Warwick), The British Country House in Colonial India
• Sylvia Shorto (American University, Beirut), Robert Smith’s ‘Truly Fair Palaces’ in India and in Europe

12.00  Lunch

13.00 Session 2

Strand A: Wales, Chair: Kate Smith (UCL)
• Diane James (University of Warwick), Welsh gardens
• Lowri Ann Rees (Bangor University), The nabob returned: the infiltration of East India Company men into Welsh landed society, c.1760–1840
• Joanna de Groot (University of York), Movement and materiality: traces of the transnational career of Harford Jones Brydges (1764–1847)

Strand B: Gender and Collecting, Chair: Kate Hill (University of Lincoln)
• Holly Shaffer (Yale), Publishing Indian Art between Suffolk and the Deccan
• Rosemary Raza (Independent scholar), Bringing India home: Early nineteenth-century British women and the understanding of India
• Catherine Eagleton (British Library), Collecting Asia at 32 Soho Square: Sarah Sophia Banks and her coins, tokens and medals

14.30  Coffee and tea

15.00  Session 3

Strand A: London Houses, Chair: Spike Sweeting (University of Warwick)
• David Veevers (University of Kent), The matriarchy of 45 Berkeley Square: gender, identity and imperial expansion in the late eighteenth century
• Harriet Richardson and Peter Guillery (Survey of London, UCL), At home in Cavendish Square and Harley Street: East India Company impact on eighteenth-century Marylebone
• George McGilvary ( Independent scholar), The Sulivans of India House

Strand B: Portraying India, Chair: Natasha Eaton (UCL)
• Viccy Coltman (University of Edinburgh), Portraiture and Empire: George Chinnery’s Gilbert Elliot, 1st Earl of Minto, 1812–13
• Jennifer van Schoor (Birkbeck), The Indian folds at Harewood House
• Bharti Parmar (Independent scholar and artist), Widow’s Weeds: Reflections on Black

16.30  Coffee and tea

17.00  Keynote Lecture
Deborah Cohen, Professor of Modern British and European History at Northwestern University and author of
Household Gods: The British and their Possessions (2006) and Family Secrets (2013) will be speaking in dialogue with Marietta Crichton-Stuart, a descendant of the Marquess of Bute, who has researched how Margaret Bruce designed and furnished Falkland House in Fife in the 1830s and 1840s.

18.30  Drinks reception

S A T U R D A Y ,  1 2  J U L Y  2 0 1 4

9.30  Session 1

Strand A: Loss and Looting, Chair: Meike Fellinger (University of Warwick)
• Lindsay Allen (KCL), Curious gifts of ancient substance
• Nigel Erskine (Australian National Maritime Museum), Passages to India: exploring Pacific pathways to Asia during Australia’s colonial period
• Rosie Llewellyn Jones (BACSA), Lost, stolen or strayed?: India artefacts in Britain
• Shaleen Wadhwana (India Photo Archive Foundation), Of Awadh, Oudh and Lucknow

Strand B: And so we go to Daylesford, Chair: Kevin Rogers
• Zirwat Chowdhury (Reed College), ‘Meanwhile’ at Daylesford…
• Elizabeth Lenckos (University of Chicago Graham School), ‘The House is fitted up with a degree of Taste & Magnificence seldom to be met with’: Daylesford, and the ‘nabobina’ Hastings’ ivory furniture collection
• Gillian Forrester (Yale Center for British Art), ‘Such a proof of Love and Duty’: Warren Hastings and the memorialization of India at Daylesford

11.00  Coffee and tea

11.30 Session 2

Strand A: Displaying Identity, Chair: Jane Hamlett (Royal Holloway, University of London)
• Deborah Sugg Ryan (Falmouth University), The elephant on the mantelpiece: the interwar suburban home and the detritus of empire
•  Britta Schilling (University of Cambridge), Grand designs: British homes in East Africa, 1850–1960
• Sarah Longair (British Museum), ‘The scene was brilliant and striking’: display and imperial identity in early colonial Zanzibar

Strand B: Daily Lives and Longings, Chair: Lucy Dow (UCL)
• Jean Sutton (Independent scholar), Distance, longing and return in the imperial family
•  Laura Humphreys (Queen Mark, University of London), World service: the foreign dimensions of domestic service in late nineteenth-century and early twentieth-century London
• Kate Smith (UCL), Imperial families: Women writing home in Georgian Britain

13.00  Lunch

14.00  Is the East India Company at home?
Presentations from Margot Finn, Helen Clifford, Kate Smith and Ellen Filor; followed by general discussion with panel and audience

16.00  Conference ends

Von Poussin bis Monet. Die Farben Frankreichs
Bucerius Kunst Forum, Hamburg, 1 April 2014

Mit Dr. Susanne Blöcker, Remagen; Dr. Eva Hausdorf, Bremen; Prof. Dr. Christian Michel, Lausanne; Prof. Dr. Beate Söntgen, Lüneburg; Dr. Christoph Vogtherr, London; Prof. Dr. Michael F. Zimmermann, Eichstätt-Ingolstadt

Rund 200 Jahre liegen zwischen dem Werk von Poussin und Monet. In dieser Zeit befreite sich die französische Malerei radikal von künstlerischen Regeln und Traditionen. Die gesellschaftlichen Umbrüche des 18. Jahrhunderts leiteten die Moderne ein. Die Veränderungen der französischen Gesellschaft vor und nach dem Epochenjahr 1789 wurden auch zum Motor der Revolutionierung der künstlerischen Mittel. Die Ausstellung Von Poussin bis Monet. Die Farben Frankreichs widmet sich der künstlerischen Befreiung der französischen Malerei von den Vorgaben des Akademismus und der Entwicklung zur Freilichtmalerei des Impressionismus. Die Ausstellung zeigt Werke aus der Sammlung der National Gallery of Ireland in Dublin. Sie werden durch Gemälde aus der Sammlung Rau (UNICEF) in Remagen ergänzt. Tickets € 10,– (inkl. Kaffee und Empfang), ermäßigt für Bucerius Kunst Club Mitglieder € 8,– Freitickets für Studierende in begrenzter Anzahl (nur im Voraus an der Kasse im Bucerius Kunst Forum).

P R O G R A M M

10.00  Begrüßung, Ortrud Westheider, Bucerius Kunst Forum

10.15  “The collection of French painting in the National Gallery of Ireland,” Adrian LeHarivel, National Gallery of Ireland

11.00  “Vom Gelehrten zum Genie. Das Bild des Malers von Poussin bis Monet,” Eva Hausdorf, Kunsthalle Bremen

11.45  “Les combats de l’Académie royale de Peinture et de Sculpture pour un retour à la nature / Der Kampf der Königlichen Akademie für ein retour à la nature,” Christian Michel, Université de Lausanne

12.30  Mittagspause

14.00  “Die Fête galante im 18. Jahrhundert. Ein Raum für Innovation außerhalb der akademischen Gattungsdefinitionen,” Christoph Vogtherr, The Wallace Collection, London

14.45  “Revolution der Gefühle. Bürgerliche Ideale der Aufklärungszeit,” Susanne Blöcker, Arp Museum Bahnhof Rolandseck, Remagen

15.30  Kaffeepause

16.00  “Übertragungen. Emotion und Kommunikation bei Jean Siméon Chardin,” Beate Söntgen, Leuphana Universität Lüneburg

16.45  “Winkel der Schöpfung. Naturalismus, Impressionismus und der intime Blicke in die Weite,” Michael F. Zimmermann, Katholische Universität Eichstätt-Ingolstadt

17.30  Empfang

From the Bibliotheca Hertziana in Rome:

Italy in China: The Western Buildings in the Old Summer Palace Yuanmingyuan in Beijing
Bibliotheca Hertziana, Max Planck Institute for Art History, Rome, 25 March 2014

The Beijing Tsinghua Institute for Digitization THID (Tsinghua University Beijing) and the Bibliotheca Hertziana, Max Planck Institute for Art History, Rome are conducting collaborative research devoted to the now ruinous Western Buildings that are part of the Old Summer Palace Yuanmingyuan in Beijing, and which were planned and erected around 1750 by Italian/French Jesuits and Chinese architects and craftsmen. The aim of the project is to comprehensively investigate and understand the Western Buildings and to analytically visualise them in virtual 3D-models. The project examines the Sino-Western experience in the planning and construction processes with the mutual exchange of techniques and methods, concepts and models, and explores the interaction between Chinese and Western conceptions of architecture, gardens, fountains, construction and hydraulic technologies. The workshop aims to present this collaboration project to a wider audience and to give a report on the current state of the work in progress.

P R O G R A M M E

2:30  Welcome and Introduction: Sybille EBERT-SCHIFFERER (Rome), YIN Lina (Beijing), Elisabeth KIEVEN (Rome), and Hermann SCHLIMME (Rome)

3:00  YIN Lina (Beijing), The Yuanmingyuan: Current state of research and analysis of textual and visual sources

3:45  SHANG Jin (Beijing), The Western buildings: Research questions and the role of virtual 3D-models

4:30  Break

5:00  GAO Ming (Beijing) and PIAO Wenzi (Beijing), New findings based on the building survey and re-examination of historic photographs

5:45  Hermann SCHLIMME (Rome), Sino-Western knowledge transfer concerning plays of water and hydraulic technology: Benoist – Bélidor – Morland

6:30  Closing remarks

Scientific Concept: Yin Lina, Alexandra Harrer, Hermann Schlimme
Secretary: Ornella Rodengo, rodengo@biblhertz.it, 0039-06-69993-222

2014 American Society for Eighteenth-Century Studies Conference
Williamsburg, 19–22 March 2014

Governor’s Palace in Williamsburg, Virginia. The original structure was built between
1710 and 1722, with further additions made in the 1750s. Fire destroyed the
main house in 1781. The present building was constructed in the early 1930s.
Photo by Larry Pieniazek, 2006, from Wikimedia Commons.

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The 2014 ASECS conference takes place in Colonial Williamsburg, Virginia, March 19–22, at the Williamsburg Lodge. HECAA will be represented by two panels, on Friday, chaired by Denise Amy Baxter and Amy Freund and Jessica Fripp. Our annual luncheon and business meeting is also scheduled for Friday, between the two sessions. A selection of additional panels is included below (of the 221 sessions scheduled, many others will, of course, interest HECAA members). For the full program, see the ASECS website.

H E C A A  S E S S I O N S

The Anne Schroder New Scholars’ Session (HECAA)
Friday, 21 March, 11:30–1:00, Colony Room A
Chair: Denise Amy BAXTER, University of North Texas
1. Diane WOODIN, University of North Carolina at Chapel Hill, “Noble Wit and Celestial Wonder in Early Modern France: The Strategic Scholarship of the Duchesse du Maine”
2. Blair DAVIS, University of California, Santa Barbara, “Roman Villas and French Garden Theory”
3. Alison HAFERA, University of North Carolina at Chapel Hill, “Quiet Spaces of Repose: The Garden as Site of Mourning in Eighteenth-Century France”

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Selfhood and Visual Representation in the Eighteenth Century (HECAA)
Friday, 21 March, 4:15–5:45, Allegheny Room A
Chairs: Amy FREUND, Texas Christian University AND Jessica FRIPP, Parsons The New School for Design
1. Emma BARKER, The Open University, “Blindness and Selfhood in Eighteenth-Century French Art”
2. Melina MOE, Yale University, “The Singular Macaroni or Macaroni Singularity”
3. Julia SIENKEWICZ, Duquesne University, “At Sea without a Guiding Star: Uncertain Selfhood in the Atlantic Watercolors of Benjamin Henry Latrobe”

O T H E R  S E S S I O N S  R E L A T E D  T O  T H E  V I S U A L  A R T S

W E D N E S D A Y ,  1 9  M A R C H  2 0 1 4

Open House, Swem Library at the College of William and Mary
Wednesday, 19 March, 4:00–6:00
The Swem Library is noted for its strong special collections. Come to the Special Collections Research Center and browse selected rare books, manuscripts, and archives pulled specifically for the enjoyment of ASECS. Some of the treasures on display will be a unique first edition of Isaac Newton’s Principia, a first edition of the Book of Mormon, a list of slaves owned by the College of William and Mary, as well as letters from some of our founding fathers, George Washington, Thomas Jefferson, and James Monroe. All attendees and their guests are welcome and no registration is required.

T H U R S D A Y ,  2 0  M A R C H  2 0 1 4

From the conference programme:

Enlightened Monarchs: Art at Court in the Eighteenth Century
The Wallace Collection, London, 7 May 2014

To commemorate the 300th anniversary of George I’s accession to the British throne in 1714, Royal Collection Trust, the Wallace Collection and the Society for Court Studies are organising a study day dedicated to the often overlooked art patronage of the first two Georges and their families. In addition to investigating official commissions and personal taste, it will explore differences and similarities between the arts at court in Britain, Prussia, France and Spain in the Age of Enlightenment. The day will conclude with a private view of The First Georgians: Art & Monarchy 1714–1760 and a glass of wine at The Queen’s Gallery, Buckingham Palace. Tickets: £35. Includes refreshments and exhibition entry at The Queen’s Gallery, excludes lunch.

P R O G R A M M E

10:00  Registration, tea and coffee

10:20  Welcome by Christoph Vogtherr, Director of the Wallace Collection

10:25  Morning Session | Britain and Hanover
Chaired with an introduction by Desmond Shawe-Taylor, Surveyor of The Queen’s Pictures

10:35  Where is Hanover? The artistic and dynastic roots of the first Georgian monarchs, Wolf Burchard, Royal Collection Trust

11:05  The setting for a new dynasty: Furnishing St James’s Palace for George I and his Court, 1714–1715, Rufus Bird, Deputy Surveyor of The Queen’s Works of Art

11:30  William Kent’s royal clients: A challenge to exhibition curation, Julius Bryant, Keeper Word and Image Department, Victoria & Albert Museum

12:10  Discussion

12:25  Break for lunch

1:10  Afternoon Session | London, Berlin, Paris and Madrid
Chaired by Clarissa Campbell Orr, President of the Society for Court Studies

1.15  Becoming British: Queen Caroline and Collecting, Joanna Marschner, Historic Royal Palaces

1.55  Sophie Charlotte of Prussia and Frederick the Great as collectors, Christoph Vogtherr, Wallace Collection

2.35  Coffee

2.55  Louis XV and the control of art in France, Helen Jacobson, Wallace Collection

3.35  The king’s own taste of the politics of reform? Bourbon royal patronage in Madrid, Curt Noel, New York University London

4.15  Discussion

4.30  Travel to The Queen’s Gallery, Buckingham Palace

5:00  Private view of The First Georgians: Art & Monarchy 1714–1760

Next month at Herzog August Bibliothek:

Preis(e) ohne Grenzen. Kunstmarkt an europäischen Höfen der Vormoderne
Herzog August Bibliothek, Wolfenbüttel, 2–4 April 2014

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19.00  Edgar Lein (Graz), Öffentlicher Abendvortrag: Vom Preis und Wert der Kunst: Benvenuto Cellinis Skulpturen für Franz I. von Frankreich und Cosimo I. de Medici

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9.00  Michael Wenzel (Wolfenbüttel), Einführung

Künstler und Produzenten

9.15  Nils Büttner (Stuttgart) „His demands ar like ye lawes of Medes an Persians wch may not be altered”: Rubens’ Preise

10.15  Gabriele Marcussen-Gwiazda (Rüsselsheim), Rudolfs Böhmische Krone: Zu internationalen Edelstein-Konsortien und Schmuckkartellen am Beginn des 17. Jahrhunderts

11.15  Kaffeepause

Agenten und Vermittler

11.30  Sarvenaz Ayooghi (Aachen), Die rudolfinischen Kunstagenten: Akteure auf dem europäischen Kunstmarkt um 1600

12.30  Christina M. Anderson (Oxford), Brokering at Court: The Gonzaga Sale of 1627/28

13.30  Mittagspause

15.00  Natalia Gozzano (Rom), The Maestro di casa and the role played in the art market by the professionals of the Roman Court

16.00  Heiner Krellig (Venedig/Berlin), Francesco Algarotti als Kunstagent im Dienste der Höfe in Berlin, Dresden und Kassel (1741–1764)

17.00  Kaffeepause

Fürstliche Akteure

17.15  Carmen Decu Teodorescu (Paris/Genf), Borso d’Este’s Roman de la Rose cortine: The Most Expensive Item of a 15th-Century Italian Collection

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9.00  Susanne König-Lein (Graz) „des Anschaffens und Ausgebens in Graz kein Ende“: Die Erwerbungen der Maria von Bayern, Erzherzogin von Innerösterreich, für die Grazer Kunstkammer (1571–1608)

10.00  Axel Christoph Gampp (Basel), Der Kunstmarkt und Fürst Karl Eusebius von Liechtenstein

11.00  Kaffeepause

Mechanismen der Preisbildung bei Hofe

11.15  Michael North (Greifswald), Preisgestaltung und Wertkriterien auf dem internationalen Kunstmarkt im 18. Jahrhundert (wird gegebenenfalls verlesen)

12.15  Tina Kosak (Ljubljana), Pricing Paintings in Late 17th- and Early 18th-Century Inner Austria

13.15  Mittagspause

14.45  Martina Frank (Venedig), Zur Entwicklung des Kunstmarkts in Venedig im 17. Jahrhundert

15.45  Schlussdiskussion

Anmeldung, Information: forschung@hab.de