Enfilade

From the programme:

Revoir Oudry: Pratiques, Discours et Ornement
Institut national d’histoire de l’art, Paris, 18 January 2014

Cette journée d’études propose de jeter un regard oblique sur Jean-Baptiste Oudry (1686–1755) à travers ses conférences, ses rapports à l’ornement et la circulation de ses motifs, touchant ainsi aux questions de répétition et d’autorité. De ses conférences à l’Académie à son rôle de directeur de la manufacture de Beauvais et d’inspecteur de celle des Gobelins, des cours de dessins qu’il donne au prince Frédéric à sa réapparition dans l’art contemporain, l’œuvre et la fortune critique d’Oudry permettent de réfléchir aux rapports entre peinture et ornement dans l’art français du xviiie siècle. Plus largement, c’est la présence lacunaire d’Oudry dans les discours de l’histoire de l’art qui sera interrogée en ce qu’elle peut révéler des méthodes et de l’état de la discipline. En effet, en dépit d’un œuvre foisonnant et d’une carrière académique prestigieuse, Oudry n’a pas reçu l’attention muséographique et critique continue dont bénéficient Watteau, Boucher, Chardin ou Fragonard, et n’a pas bénéficié du renouveau des études sur l’art rococo dans le monde anglo-saxon. Les chercheurs européens et nord-américains invités proposent donc, au-delà des canons de sa peinture animalière, de revoir Oudry dans les marges de la discipline.

Journée d’études organisée : Michaël Decrossas (INHA), Catherine Girard (Harvard University/INHA) et David Pullins (Harvard University/CASVA)
Contacts : michael.decrossas@inha.fr | catherine.girard@yahoo.com | pullins@fas.harvard.edu

Jean-Baptiste Oudry, Quizzical Bird, xviiie siècle, Harvard Art Museums/Fogg Museum

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S A M E D I , 1 8  J A N V I E R  2 0 1 4

8.30 Accueil

9.00 Ouverture : Michaël Decrossas (INHA), Catherine Girard (Harvard University/INHA) et David Pullins (Harvard University/CASVA)

9.20 Introduction : Hal Opperman (University of Washington School of Art)

Session I – Discours
9.50 Présidence de séance et intervention liminaire : Christian Michel (Université de Lausanne)
10.10 René Démoris (Université Sorbonne Nouvelle – Paris 3), Situer Oudry dans la réflexion sur la peinture
10.40 Aaron Wile (Harvard University/Centre allemand d’histoire de l’art, Paris), Oudry, ou la couleur à l’œuvre
11.10 Discussion

11.20 Pause

Session II – Ornement
11.30 Présidence de séance et intervention liminaire : Katie Scott (Courtauld Institute of Art, Londres)
11.50 Michaël Decrossas, Pourquoi classer les planches d’Oudry dans les gravures d’ornements?
12.20 Valentine Toutain-Quittelier (Université Paris Sorbonne/Centre allemand d’histoire de l’art, Paris), Oudry et l’imaginaire vénitien : étude sur un succès de l’ornement sous la Régence
12.50 Discussion

13.00 Déjeuner

Session III – Arts décoratifs
14.40 Présidence de séance et intervention liminaire : Vincent Droguet (Château de Fontainebleau)
15.00 Christophe Huchet de Quénetain (Université Paris Sorbonne), L’influence de Jean-Baptiste Oudry, « peintre de chasses », sur les Arts décoratifs français du xviiie siècle
15.30 David Pullins, Drawing into and out of media in Jean-Baptiste Oudry’s oeuvre
16.00 Discussion

16.10 Pause

Session IV – Répétition et circulation
16.20 Présidence de séance et intervention liminaire : Ewa Lajer-Burcharth (Harvard University)
16.40 Claudia Schönfeld (St Georgen, Bade-Wurtemberg, collection Grässlin), Pratiques d’enseignement et réception d’Oudry à la cour de Mecklembourg
17.10 Catherine Girard, Atrophies masculines. Répétitions de la commande royale des « bois bizarres », de Louis XV à nos jours
17.40 Discussion et conclusion

From the conference website:

Persistent Spaces: Politics, Aesthetics and Topography
in the Eighteenth- and Nineteenth-Century City
Université Paris Diderot, 12–13 December 2013

Keynote speakers: Lynda Nead (Birkbeck College) and Stéphane Van Damme (Sciences Po Paris)

The aim of this two-day postgraduate conference is to bring together young researchers to explore the city and its ideologies from a fully interdisciplinary perspective. We would like to combine approaches from the fields of literature and the arts, sociology, philosophy, law, science and engineering in order to create a dialogue between disciplines and methodologies. This conference would also establish a dialogue between the eighteenth and the nineteenth centuries. We will seek to highlight the individual specificities of these two periods, but also to understand the echoes, continuities and breaks between them. From the Enlightenment to the late nineteenth century and before urbanism was fully established as a discipline, the city was constantly being configured and reconfigured by the joint influences of architects, civil engineers, political organizations, associations and the informal “practices” of inhabitants. Writers and artists also played a major part in this process, both picking up on these developments and changing them through the aesthetics they deployed. We would like to study this topography of struggle. The conference will shed light on the city as a site of conflicting and interpenetrating layers, changing yet also persisting through time and space, and continually shaped by tensions between authority and resistance.

T H U R S D A Y ,  1 2  D E C E M B E R

9.00  Registration, welcome, plenary address by Sara Thornton, Professor of Nineteenth-Century English Literature and Cultural Studies, Université Paris Diderot

9.30  Panel 1: Urbanism and urban planning
Chair: Allan Potofsky, Professor of Eighteenth-Century History, Université Paris Diderot
• Simona Gîrleanu (Université de Marne-la-Vallée), ‘Capitals of the Enlightenment: London and Paris Improved’
• Yvonne Rickert (Philipps University of Marburg), ‘The Parisian “Place Louis XV”: The Effect of a Literary Clash on the Architectural Design’

10.30  Tea

11.00  Panel 2: Urban Experiences of poverty and pauperism
Chair: Ariane Fennetaux, Assistant Professor of Eighteenth-Century Cultural Studies, Université Paris Diderot
• Oliver Betts (University of York), ‘Disorderly Spaces: Homes in the Slums of London and Paris’
• George Currie (Queen Mary University of London), ‘Alexis de Tocqueville, Thomas Carlyle and Urban Pauperism’

12.00  Lunch

14.00  Panel 3: Instability of space, instability of self
Chair: Estelle Murail, Lecturer in Nineteenth-Century British Literature and Cultural Studies, Université Paris-Diderot
• Alexandra Logvinova (European Humanities University), ‘The Structure of Urban Daily Life in the Nineteenth Century as the Basis of Subject’s Anxiety’
• Adrian Versteegh (New York University), ‘“Cycle in Epicycle, Orb in Orb”: Navigating the Thresholds, Passages and Nested Interiors of Nineteenth-Century Urban Literature’

15.00  Tea

15.30  Panel 4: Fragmented spaces and writing
Chair: Lynda Nead, Pevsner Professor of History of Art at Birkbeck, University of London
• Alison Annunziata (University of Southern California), ‘Urban De-Enlightenment: A Russian’s Dark Journey through Paris and London at the Start of the French Revolution’
• Ushashi Dasgupta (St John’s College, University of Oxford), ‘“Is this an Hotel? Are There Thieves in the House?”: Dickens, Collins, and the Spatial Contexts of Crime’
• Robert Yeates (University of Exeter), ‘The Destruction of the City in Early Science Fiction’

17.00  Keynote address
Stéphane Van Damme, Professor of History of Science, European University Institute in Florence, ‘Archaeology of Modernity: Making Metropolitan Past Tangible and Persistent: Paris, London, New York’

F R I D A Y ,  1 3  D E C E M B E R

9.30  Ariane Fennetaux (Université Paris Diderot), ‘Materializing History: Plebeian Women’s Pockets in Eighteenth- and Nineteenth-Century London’

10.30  Tea

11.00  Panel 5: Disorientating the Orient
Chair: Colin Jones, Professor of Eighteenth-Century French History, Queen Mary College, London, Fellow of the British Academy
• Michael Talbot (University of St Andrews), ‘Shifting Centres: The Political and Topographical Transformations of Ottoman Haifa, 1700–1900’
• Natalia Starostina (Emory University), ‘Paris Oriental, Carnal Pleasures and the Spaces of Desires in Defining the Mental Topography of Paris from Montesquieu to Maupassant and to Paul Morand’

12.00  Lunch

14.00  Panel 6: The city in science
Chair: Stéphane Van Damme, Professor of History of Science, European University Institute in Florence
• Lavinia Maddluno (University of Cambridge), ‘Spaces of Nature and Realms of Civilisation: Pavia between Politics, Scientific Practices and Natural Order in the Late Eighteenth Century’
• Mathieu Fernandez (Conservatoire National des Arts et Métiers), ‘Mapping the Third Dimension: Observing, Representing and Transforming Paris, 1750–1850’

15.00  Tea

15.30  Keynote address
Lynda Nead, Pevsner Professor of History of Art at Birkbeck, University of London, ‘The Tiger in the Smoke: The Fog of Modernity in Post-war London’

From the conference programme:

Roma 1771–1819: I Giornali di Vincenzo Pacetti
Accademia Nazionale di San Luca – Università Sapienza, Rome, 28–30 November 2013

Il Convegno intende costituire un momento di riflessione critica a seguito della pubblicazione, avvenuta nel 2011, del volume Roma 1771–1819: I Giornali di Vincenzo Vincenzo Pacetti (1746–1820), che contiene la prima trascrizione integrale dei due diari dello scultore romano. A partire dalla testimonianza oggettiva contenuta negli appunti dell’artista, influente membro dell’Accademia di San Luca, restauratore, esperto e commerciante di antichità e dipinti nella Roma cosmopolita della seconda metà del XVIII secolo, l’incontro intende mettere a confronto specialisti di diverse discipline per indagare gli aspetti storico-culturali sollecitati dalla lettura dei Giornali.

G I O V E D Ì ,  2 8  N O V E M B R E

I. Pacetti e l’Ambiente Artistico Contemporaneo

9.00  Saluti di apertura

9.30  Alvar Gonzales Palacios, Introduzione

10.00  Francesco Leone, Vincenzo Pacetti scultore d’invenzione

10.20  Angela Cipriani, Vincenzo Pacetti e l’Accademia di San Luca

10.40  Chiara Piva, “Una comunicazione di interessi e benefici
reciproci”. L’atelier di Vincenzo Pacetti e i suoi collaboratori

11.00  Nancy Hirschland Ramage, Pacetti at the Getty

11.20  Coffee break (more…)

From the symposium programme (a full list of related events is available here) . . .

Allan Ramsay: A Reputation Re-Defined
University of Glasgow, The Hunterian Art Gallery, 5–6 December 2013

This symposium accompanies the exhibition Allan Ramsay: Portraits of the Enlightenment, which marks 300 years since the birth of Allan Ramsay (1713–1784). It centres on a selection of portraits from across Ramsay’s 30 years as a painter and also features drawings, watercolours, books, pamphlets,  and other materials which demonstrate Ramsay’s fascinating place in the intellectual and cultural life of Edinburgh, London, Paris and Rome in the mid 18th century.

Registration fee: £40 Concession: £20. Booking requested by the 1st of December. Fees cover exhibition admission, the evening reception on the 5th of December, tea/coffee, lunch, and performance with a glass of wine on the 6th of December. Payment to be made by cheque (to ‘University of Glasgow’) or by cash on the day. For booking and further information please contact Mila Athayde (mila_athayde@yahoo.com.br); alternatively please visit The Hunterian website or contact the main reception on 00 44 (0)141 330 5431.

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T H U R S D A Y ,  5  D E C E M B E R

17.45  Duncan Macmillan, Allan Ramsay and Portraiture in Enlightenment Scotland

F R I D A Y ,  6  D E C E M B E R

9.30  Registration / Tea and coffee

10.00  Murray Pittock, ‘Jacobite Artists’ Connections in Scotland and Italy

10.40  Morning Session
Chair: Nigel Leask / Panel with Rhonda Brown and Melanie Buntin
• Chris Whatley (University of Dundee), A Hotbed for Genius: Allan Ramsay’s Scotland
• Elizabeth Eger (King’s College London), ‘A Harmony of Minds’: Allan Ramsay, Elizabeth Montagu and the Scottish Enlightenment
• Cristina Martinez (University of Carleton), Allan Ramsay: ‘A Dilettante in Law and Politics’

12.40  Lunch

14.15  Afternoon Session
Chair: John Bonehill / Panel with Anne Dulau, Rica Jones
• Rica Jones (conservator and historian of paintings), The Significance of Ramsay’s Technique in Context and Perspective
• Guillaume Farroult (Musée du Louvre), Ramsay’s Response to Mid Eighteenth-Century French Portraiture and Aesthetic Values

15.30  Tea and coffee

16.00  Panel discussion

17.00  Performance | Kirsten McCue, ‘Allan Ramsay’s Scots Songs’: The First Musick Book

On at the Centre d’archives de BAnQ:

La Cuisine: Une artification par les arts ?
Montréal, Centre d’archives de BAnQ, 13–14 November 2013

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Journées d’études internationales organisées dans le cadre du programme L’Art de la cuisine : artification et patrimonialisation du culinaire dirigé par Julia Csergo (Université du Québec à Montréal / Université de Lyon 2) et Frédérique Desbuissons (Institut national d’histoire de l’art / HiCSA), avec le soutien du Laboratoire d’excellence Création, arts et patrimoine du Pôle de recherche et d’enseignement supérieur Hautes Études-Sorbonne-Arts et Métiers)

L’Art de la cuisine : artification et patrimonialisation du culinaire étudie le statut de la cuisine, entre savoir, science, tekhnè et art. Il aborde la dimension esthétique du culinaire à travers le statut du cuisinier et de sa création, l’art du service (art de découper, de présenter, de servir), par l’étude des objets de la table et des menus imprimés, de la médiatisation du spectacle culinaire, par l’iconographie et les représentations artistiques, par celle du jugement de goût – en particulier le rôle de la critique culinaire. D’un point de vue théorique, il s’interroge sur la manière dont la cuisine se situe par rapport aux autres arts, le statut et le rôle des sens, la spécificité des saveurs par rapport aux autres sens. D’un point de vue institutionnel et sociologique, il questionne le statut des cuisiniers, leur formation, leur starification contemporaine en tant qu’ “artiste”. Dans la perspective de l’anthropologie historique, il envisage la tekhnè du culinaire (lieux, gestes, recettes, outils, savoir-faire).

Poursuivant la réflexion engagée lors des journées d’études Le Cuisinier et l’art (Paris, Institut national d’histoire de l’art, 2 et 3 octobre 2012), qui interrogeaient le statut artistique de la cuisine, celle du cuisinier comme artiste et du plat comme création, ce second volet explore le rôle et la fonction des arts visuels et décoratifs, de la musique et des arts de la scène dans la construction des représentations de la cuisine comme art, et s’interroge sur les caractéristiques de cet éventuel « autre » art. Considérant que la cuisine a été jusqu’à présent peu étudiée dans ses relations avec les pratiques artistiques instituées, si ce n’est par métaphore, ces deux journées entendent continuer à élargir sa compréhension en l’inscrivant d’emblée au sein de l’histoire des arts et des pratiques
culturelles, et poursuivre ainsi cette ouverture d’un champ de recherche innovant fondé sur l’interdisciplinarité.

Ces deux journées sont présentées par l’Université du Québec à Montréal – ESG/DEUT, l’Institut national d’histoire de l’art, Paris et l’Université Paris I Panthéon-Sorbonne, en partenariat avec Bibliothèque et Archives nationales du Québec et avec le soutien du Labex CAP, de la Chaire de recherche du Canada en patrimoine urbain de l’ESG-UQAM et de l’Institut de tourisme et d’hôtellerie du Québec.

In connection with the exhibition America: Painting a Nation, the Art Gallery of New South Wales is hosting a symposium on the visual arts and American ideas of nationhood:

Revolutionary Ideas: Perspectives on the Building of an American Nation
Art Gallery of New South Wales, Sydney, 16 November 2013

Presented in conjunction with the Sydney Intellectual History Network at the University of Sydney

This symposium considers the role of the visual arts and other forms of cultural expression in building an idea of nationhood in America from its foundation as a colony through the beginning of the 20th century. It addresses the aims of portraiture, the meanings of landscape, the rise of genre subjects and the significance of garden projects in the contexts of relationships with Britain, claims of independence, pivotal wars, and moments of dramatic social change.

P R O G R A M

10.30  Registration and morning tea, Domain Theatre foyer

11:00   Welcome, Michael Brand, director, Art Gallery of NSW and Jennifer Milam, Sydney Intellectual History Network, University of Sydney

11:15  Laura Auricchio, What Makes ‘American art’ American?

‘American art’ has always been created in a context of international exchange. In the 18th and 19th centuries, much of the art that we now consider American was made by artists who spent many years living and studying in Europe, and whose work was steeped in European traditions. Yet other US-born artists working in the same period set out to develop a distinctly national idiom, forging styles and focusing on subjects that, in their view, expressed the unique character of their native land. Is one of these groups more American than the other? Or do they represent two different but related understandings of what it means to be American? Looking closely at a selection of paintings by artists ranging from the European-inspired John Singleton Copley, Mary Cassatt and F Childe Hassam to the self-consciously American Edward Hicks and Frederic Remington, this presentation proposes a variety of answers to the central question: what makes ‘American art’ American.

12:00  Kate Fullagar, Native Americans before and after the Revolution: Resistance, Representation, Removal

This paper traces both the broad history and the European representation of Native Americans through the 18th and 19th centuries. Specifically it looks at the rise and fall of two key ‘revolutionary ideas’ in this period. The first is that, far from a tale of destruction or neglect, Europeans in 18th-century North America in fact accommodated indigenous people more often than not. This engagement, however, narrowed after the American War of Independence when several key circumstantial factors changed for indigenous people. The second is that European representations of Native Americans during the early 18th century can be seen to stand for a critique of European activity just as often as they could for a confirmation, whereas into the 19th century their ‘savage’ attributes began to signify less and less with a European viewing public. Even while Native Americans began to shake off some initial stereotypes, their graphic representation became increasingly elegiac.

12:45  Exhibition viewing and lunch

2:00  Jennifer Milam, American Landscapes: Painting and Planting Democratic Ideals

In a 4th of July letter written in 1805 to his granddaughter, Thomas Jefferson defined gardening as a fine art, ‘not horticulture, but the art of embellishing grounds by fancy…it is nearly allied to landscape painting’. This talk looks at the relationship between landscape painting and garden design in 19th-century America. It considers how nature was perceived as an expression of democratic ideals in the formation of American identity following the Revolution of 1789. Although drawing on pastoral conventions established in Europe, American artists and garden designers were nevertheless keenly aware that the landscape presented elements for the creation of a novel visual language, full of promise for the future. The American landscape – extending further westward and the object of exploration – became a source of inspiration for forging a new nation.

2:45  Shane White, African Americans and American Art

Nearly 70 years ago now the great novelist Ralph Ellison asked: ‘Can a people live and develop for over 300 years simply by reacting?’ He went on: ‘Are American Negroes simply the creation of white men, or have they at least helped to create themselves out of what they found around them?’ Bearing this admonition in mind, White will talk about slavery, and the way white painters have depicted the so-called ‘Peculiar Institution’. Slavery was central to American development in both the 18th and 19th centuries and its legacy still helps shape the United States to this day. Then the talk jumps to the 20th century to look at the Great Migration and examine those who, in search of what Richard Wright called ‘the warmth of other suns’, moved to Harlem. In the 1920s, Harlem became the Negro Mecca, the Black Metropolis, the black capital of the world. It was a place of wonder that inspired the Harlem Renaissance. As the then recently coined Negro adage put it: ‘I’d rather be a lamppost in Harlem than Governor of Georgia’.

3:30  Drinks

S P E A K E R S

Laura Auricchio is Associate Professor of Art History and Dean of the School of Undergraduate Studies at The New School in New York. She has published widely on French and American visual culture in the Age of Revolution and on topics in 20th-century American art. Her next book, The Marquis, a visually informed biography of the Marquis de Lafayette, French hero of the American Revolution, will be published by Alfred A. Knopf in 2014.

Kate Fullagar is a senior lecturer in modern history at Macquarie University. Her most recent books include The savage visit: New World Peoples and Popular Imperial Culture in Britain, 1710–1795 (2012) and, as editor, The Atlantic World in the Antipodes: Effects and Transformations since the 18th Century (2012). She has also published articles on New World travellers, Joshua Reynolds, and Pacific historiography. She was assistant editor of The Oxford Companion to the Romantic Age: British Culture, 1776–1832 (1999).

Jennifer Milam is Professor of Art History and 18th-century Studies at the University of Sydney. Her books include The Historical Dictionary of Rococo Art (2011), Fragonard’s Playful Paintings: Visual Games in Rococo Art (2006), and Women, Art and the Politics of Identity in 18th-Century Europe (2003). She has taught American art at Princeton University, published on the 19th-century still-life artist William Michael Harnett, and written articles on American and European drawings, painting, and gardens.

Shane White is the Challis Professor of History and an Australian Professorial Fellow in the History Department at the University of Sydney. He has written, or co-written, five books including Stylin’: African American Expressive Culture from Its Beginnings to the Zoot Suit (1999), The Sounds of Slavery (which won the Queensland Premier’s History Prize in 2006) and, most recently, Playing the Numbers (which won the NSW Premier’s General History Prize in 2011). As well, he and his collaborators have created a prizewinning website called Digital Harlem. Currently, White is completing a book about Jeremiah G Hamilton, Wall Street’s first black millionaire.

From the Sydney Intellectual History Network at the University of Sydney:

The Enlightenment and the Development of Philosophical Anthropology
University of Sydney, 4–6 November 2013

The conference focuses on the development of various forms of anthropology in the second half of the eighteenth century, with a special focus on philosophical anthropology, as a distinct discipline that competed with metaphysics, both in scope and aim.

The birth of philosophical anthropology in the mid-eighteenth century and its development well into the nineteenth signaled a fundamental shift – not only did it emphasise the historical character of thought, but it also sought to understand the human being in context, whether biological, cultural-historical, literary or psychological. For this reason, Odo Marquard has termed it one of the “three great epochal shifts” (alongside aesthetics and the philosophy of history) in the history of modern Europe.

The main focus will be on the way in which various forms of anthropology, philosophical (Germany) but also medical (France) both contributed to and challenged the notion of “Enlightenment” in Europe. That the European Enlightenment was a contested ground is well known; however, the fact that anthropology played a fundamental role in its orientation remains an understudied topic.

Many of the papers will focus on the role that Johann Gottfried Herder played in the development of philosophical anthropology, and in examining the debate between him and his former teacher, Immanuel Kant, this conference will be one of the first to address the ways in which philosophical anthropology developed in relation to the larger project of Enlightenment in Europe.

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P R O G R A M

Monday, 4 November

Peter Anstey (Sydney), The Enlightenment natural history of man

Charles Wolfe (Ghent), ‘Whoever takes man as an object of study must expect to have man as an enemy’: The tension between naturalism and anthropocentrism in La Mettrie and Diderot

Jennifer Milam (Sydney), Doggie Style: Rococo Representations of Interspecies Sensuality and the Pursuit of Volupté

Stephen Gaukroger (Sydney), The demise of anthropological medicine: the challenges of experimental medicine and Mesmerism

Ofer Gal (Sydney), Anthropology vs. metaphysics: Hobbes and Spinoza on the passions

Tuesday, 5 November

Daniela Helbig (Sydney), Self-positing: experimental subjects in Kant’s thought and in scientific practice

Nigel DeSouza (Ottawa), Between Leibniz and Kant: the philosophical foundations of Herder’s anthropology

Anik Waldow (Sydney), Natural history and the formation of the human being: Kant and Herder on active forces

Dalia Nassar (Sydney), Kant and Herder on analogy

Stefanie Buchenau (Paris), Herder: From comparative anatomy to philosophical anthropology

Wednesday, 6 November

John Zammito (Rice), The Animal-Human Boundary and Anthropology: Herder between Reimarus and Tetens

Kristin Gjesdal (Temple), Hermeneutics and Anthropology in Herder’s Early Thought

Gabriel Watts (Sydney), Herder’s theological anthropology

Marion Heinz (Siegen), Cultural theory in Kant and Herder

Michael Forster (Bonn), Herder’s anthropology and human rights

From the study day programme:

Autour de Rose Bertin : Les marchands de mode à Paris
Hôtel Rohan-Soubise, Paris, 17 December 2013

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Les commémorations nationales 2013 rendent hommage à Rose Bertin, pionnière de la mode. Organisée dans le cadre du comité des célébrations nationales, une journée d’étude « Autour de Rose Bertin, les marchands de mode à Paris » aura lieu le mardi 17 décembre 2013 dans l’hôtel Rohan-Soubise, 61 rue des Francs-Bourgeois à Paris. Cette manifestation est organisée par Michelle Sapori, historienne et biographe de Rose Bertin, et Corinne Thépaut-Cabasset, historienne de la mode.

Rose Bertin est notamment connue pour les liens privilégiés qu’elle entretenait avec la reine Marie-Antoinette, et le rôle qu’elle a joué dans l’invention du métier de styliste de la garderobe royale. Mais Rose Bertin est surtout devenue une figure historique emblématique de l’univers de la mode et du luxe, qu’elle contribua à créer et dans lequel elle innova dès le milieu du 18e siècle.

C’est autour de cette personnalité que s’organise la journée d’étude, avec les interventions de spécialistes internationaux, conservateurs et historiens de la mode du 18e au 21e siècle, reprenant tour à tour l’invention d’un métier, les outils, matériaux et les lieux marchands, et se concentrant sur quelques hommes et femmes qui ont fait de cette activité professionnelle un véritable atelier de création et un outil de négoce efficace.

La langue du colloque est le Français. Inscription préalable obligatoire, dans la limite des places disponibles.
Participation de 10€. Les pré inscriptions peuvent être faites par courriel sur la triple adresse :
michellesapori@hotmail.fr ; c_thepaut@hotmail.com ; rduperray78@gmail.com.

P R O G R A M M E

13h30  Accueil et café

14h15  Ornements et agréments : faire la mode au 18e siècle
Johannes Pietsch (historien du costume, Bayerisches Nationalmuseum Münich)

14h45  Soieries françaises, matière première des marchands de modes 1747–1789
Lesley E. Miller (conservateur en chef, département Textile et Mode, Victoria & Albert Museum Londres)

15h15  La boutique de mode au 18e siècle : Le mannequin de Mlle de Saint-Quentin, rue Saint-Honoré à Paris
Corinne Thépaut-Cabasset (chercheur, HERA/V&A Fashioning the Early Modern: Creativity and Innovation in Europe 1500–1800)

15h45  Avant Rose Bertin, La Duchapt …
Michelle Sapori (historienne et biographe de Rose Bertin)

16h15  De Rose Bertin à Christian Dior : de la marchande de modes à la maison de couture
Florence Müller (historienne et commissaire des expositions Yves Saint-Laurent, et Christian Dior)

16h45  Clôture de la journée par la présentation d’un portrait inédit au pastel de Rose Bertin
Une élégante simplicité : un portrait de Rose Bertin par Joseph Boze
Barbara Lasic (attachée de conservation, Galeries Européennes 1600–1800, Victoria & Albert Museum Londres)

17h30  Pièce musicale pour violoncelle baroque donnée par l’association Jeunes Talents

In January at Colonial Williamsburg. . .

Working Wood in the 18th Century: Dining in Style
Colonial Williamsburg, 19–22 and 23–26 January 2014

William Buckland (designer) and William Bernard Sears (carver), sideboard made for the Tayloe family of Mount Airy plantation (MESDA collection at Old Salem in Winston Salem, North Carolina). Photo from the Williamsburg blog  Anthony Hay’s, Cabinetmaker; click on the image for more information.

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Colonial Williamsburg, The Museum of Early Southern Decorative Arts (MESDA), and Fine Woodworking
present the 16th annual Working Wood in the 18th Century conference at Williamsburg, January 19–22 and 23–26, 2014. Projects and presentations will explore the design and construction of dining room furniture, based on original pieces selected from the collections of the Museum of Early Southern Decorative Arts at Old Salem Museums and Gardens in Winston-Salem, North Carolina.

The pieces to be built cover a range of complexities. Colonial Williamsburg’s Hay Shop staff will reproduce one of the icons of Virginia and southern high-style furniture, the elaborate sideboard table made by William Buckland and William Bernard Sears for the Tayloe family of Mount Airy plantation. The Hay Shop also will make a turned, gate-leg, walnut table, based on the earliest southern gate-leg table known. Steve Latta will demonstrate constructing and decorating a veneered and inlaid, Winchester, Virginia, sideboard. Brian Coe of Old Salem will produce a corner cupboard from the Davidson County, North Carolina, Swisegood school of cabinetmakers. Colonial Williamsburg joiner Ted Boscana will complement Brian’s presentation with a joiner-made, paneled cupboard from the Virginia Eastern Shore. And, Robert Leath, MESDA’s chief curator (first session), and Daniel Ackermann, MESDA’s associate curator (second session), will start things off with an introduction to dining rooms and their furnishings. Partnering with MESDA gives us a chance to focus on southern regional styles and construction, a theme of the new “Masterworks” gallery being installed in the DeWitt Wallace Decorative Arts Museum. Yet, the overall form and decoration of these pieces, whether Baroque in inspiration—drawn directly from Chippendale—or inspired by neo-classical taste, offer approaches and detailing applicable to many examples of Anglo-American furniture made throughout the 18th and into the early 19th centuries.

As last year, Session One runs Sunday through Wednesday and Session Two Thursday through Sunday.

Speakers Include

Daniel Ackermann, associate curator, the Museum of Early Southern Decorative Arts, Old Salem, Winston-
Salem, North Carolina
Ted Boscana, supervisor, journeyman joiner and carpenter, Colonial Williamsburg
Brian Coe, director of exhibition buildings and furniture maker, Old Salem, Winston-Salem, North Carolina
Steve Latta, educator and craftsman, Thaddeus Stevens College, Lancaster, Pennsylvania, and contributing
editor, Fine Woodworking magazine
Robert Leath, chief curator and vice president of collections and research for the Museum of Early Southern
Decorative Arts, Old Salem, Winston-Salem, North Carolina
Kaare Loftheim, journeyman cabinetmaker, Colonial Williamsburg
Bill Pavlak, apprentice cabinetmaker, Colonial Williamsburg
Brian Weldy, apprentice cabinetmaker, Colonial Williamsburg

As always, the conference will be informal. Participants’ comments and questions are welcomed. During morning and afternoon breaks, speakers display their work, tools, and materials; demonstrate techniques; and chat with participants. To include more participants while keeping the conferences small enough for everyone to be involved, two identical programs are offered.

More information is available here»