Enfilade

From Colonial Willamsburg:

Painters and Paintings in the Early American South
Colonial Williamsburg, 3–5 November 2013

Robert Feke, Portrait of William Nelson, 1749–51
(Colonial Williamsburg)

The groundbreaking exhibition Painters and Paintings in the Early American South opened March 23, 2013 at the Art Museums of Colonial Williamsburg. The exhibition is the first of its kind to explore in-depth the scope of early art in this region and the myriad connections between art and artists of the early South, New England, the Middle Atlantic, and Europe. It features more than 80 works created in or for the South between 1735 and 1800, 40 of which are on loan from well-known and respected museums and private collections. Painters and Paintings in the Early American South is made possible by generous support from The Grainger Foundation of Lake Forest, Illinois. In conjunction with the exhibition, the Colonial Williamsburg Foundation will sponsor a symposium November 3–5, 2013, featuring lectures on the painters who created the objects and the people they depicted. Speakers will include Graham Hood, Carlisle H. Humelsine Chief Curator Emeritus, Colonial Williamsburg; Ellen G. Miles, curator emerita, Department of Painting and Sculpture, Smithsonian National Portrait Gallery; Angela Mack, executive director and chief curator, Gibbes Museum of Art, Charleston, South Carolina; and Maurie D. McInnis, vice provost for academic affairs and professor of art history, University of Virginia. The conference begins with a keynote lecture and reception Sunday evening followed by two days of lectures, Monday and Tuesday. We are offering a discounted student rate of $250 to qualifying full-time students. For more information on the event and/or to register, please visit the symposium website.

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5:00  Keynote address, Introduction to the Theme, by Graham Hood, Carlisle H. Humelsine Chief Curator Emeritus, Colonial Williamsburg

6:00  Reception

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9:00  Welcome and opening remarks, Ronald L. Hurst, vice president, collections, conservation, and museums, and Carlisle H. Humelsine Chief Curator, Colonial Williamsburg

The Social and Cultural Importance of Painting in the South, Maurie D. McInnis, vice provost for academic affairs and professor of art history, University of Virginia, Charlottesville

Charlestonians Abroad: Painters and Paintings in the Carolina Low Country, Angela Mack, executive director and chief curator, Gibbes Museum of Art, Charleston, South Carolina.

10:45  Coffee break

11:15  Back in the Day: The Mystery Behind the Watercolor of Drayton Hall, Matthew Webster, director, historic architectural resources, Colonial Williamsburg

John Drayton’s Watercolors, Margaret Pritchard, senior curator, and curator of prints, maps, and wallpaper, Colonial Williamsburg

Jeremiah Theus: A Swiss Artist in Colonial Charleston, Laura Pass Barry, Juli Grainger curator of paintings, drawings, and sculpture, Colonial Williamsburg

12:00  Lunch break

1:30  Degrees of Separation: English Portraiture and the American South, Ellen G. Miles, curator emerita, Department of Painting and Sculpture, Smithsonian National Portrait Gallery, Washington, D.C.

2:15  Wollaston and Hesselius: Their Art and Influence in the Early South, Carolyn J. Weekley, Juli Grainger Curator Emerita, Colonial Williamsburg

3:00  Robert Feke, William Dering, and Other Case Studies in the Conservation of Early Southern Art, Shelley Svoboda, paintings conservator, Colonial Williamsburg

4:00  Gallery tours with curators and conservators in exhibition.

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8:30  Thomas Coram: Charleston’s Earliest Landscape Artist, Sara Arnold, curator of collections, Gibbes Museum of Art, Charleston, South Carolina

Charles Willson Peale in Maryland and Virginia, Carol Soltis, project associate curator, Peale Collection Catalog, Philadelphia Museum of Art

Southern Synergy: The Philadelphia – Charleston Connection, Elle Shushan, Elle Shushan Fine Portrait Miniatures, Philadelphia

10:15  Coffee break

10:45  Early Virginia Paintings at the Virginia Historical Society, William M. S. Rasmussen, lead curator and Lora M. Robins Curator, Virginia Historical Society, Richmond

John Durand: His Origins Revealed, Carolyn J. Weekley

Frederick Kemmelmeyer: From Hessian Soldier to American Artist, Arthur Nicholas Powers, fellow, Winterthur Program in American Material Culture, Winterthur, Delaware

12:00  Lunch break

1:30  Early Portraiture in the South and the West Indies, Katelyn Crawford, doctoral candidate, University of Virginia, Charlottesville

José Francisco Xavier de Salazar y Mendoza and the Visual Culture of Spanish Colonial New Orleans, Cybèle Gontar, doctoral candidate in American art, Graduate Center, City University of New York

3:00  Coffee break

3:30  Art Collecting in Virginia and Maryland, 1790–1830: Expectations and Aspirations, Lance Humphries, independent scholar, Baltimore, Maryland

Southern Culture: Where Scholarship is Heading, Robert Leath, chief curator and vice president, Museum of Early Southern Decorative Arts, Winston-Salem, North Carolina

Penser la Sculpture: Échanges artistiques et culturels dans le Nord de l’Europe, XVIe–XVIIIe
Paris, 2–4 December 2013

Colloque international organisé par Frédérique Brinkerink (Rijksmuseum/ Galerie Perrin/ GHAMU) & Gaylord Brouhot (Université Paris 1 Sorbonne/ HICSA/ CHAR). Sous la direction de Colette Nativel avec la collaboration de Luisa Capodieci (Université Paris 1 Sorbonne/ HICSA/ GRANIT) Avec la participation d’Alexander Dencher (Université Paris 1 Sorbonne/ HICSA/ GRANIT) Avec le soutien de la Fondation Custodia

Depuis quelques années, une réflexion de fond a été engagée sur la nature et les modalités des échanges entre les artistes du Nord de l’Europe aux XVIe, XVIIe et XVIIIe siècles. Cette question de l’interaction artistique relève d’un enjeu majeur puisqu’elle entend notamment faire la lumière sur les liens qui se sont tissés entre la France et les Pays-Bas et qui ont participé à entrelacer leurs identités culturelles. Au sein d’une telle approche, l’art de la sculpture, trop rarement étudié pour cette période, hors du champ italien, permet de porter un regard original sur une création qui dépasse les frontières territoriales et l’évolution chronologique des styles.

Nombreuses sont les œuvres inventées et sculptées dans le Nord et entre le Nord et le Sud à révéler une vision transnationale de l’art qui touche les sources d’inspiration, les méthodes de travail, les stratégies de carrière du sculpteur. Il s’agira de préciser l’impact de ces échanges artistiques et culturels sur une transversalité des disciplines qui s’initie dans l’Europe des Temps Modernes, en particulier sur la façon dont les artistes sculpteurs mettent en dialogue littérature, peinture, architecture et sculpture.

Des spécialistes de ces divers champs de recherche enrichiront la réflexion autour de plusieurs thématiques : du réseau d’influences entre les différentes disciplines aux modes de création dans le contexte politico-culturel du Nord de l’Europe, de l’invention de l’oeuvre d’art à sa réception, sans oublier le statut de l’artiste et ses stratégies de carrière.

Le bicentenaire de la mort du sculpteur français Joseph Chinard (1756–1813) est un moment propice pour discuter ces questions : suite à une découverte récente, se pose la question du lien entre l’oeuvre de jeunesse de Chinard et une des œuvres majeures du sculpteur anversois Artus Quellinus le vieux (1609–1668).

Cette rencontre franco-néerlandaise sera aussi l’occasion d’honorer la mémoire de deux grandes historiennes d’art : Madeleine Rocher-Jauneau, conservatrice émérite du Musée des Beaux-arts de Lyon, et Marijke Spies, professeur émérite à la Free University d’Amsterdam.

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Auditorium de la Galerie Colbert

13.30  Ouverture, Colette Nativel, directrice du GRANIT Groupe de Recherches sur l’Art du Nord. Images-Textes (Université Paris 1 Sorbonne/ HICSA)

14.00  Session 1 | Au-delà du métier : la transversalité des disciplines
Modérateur : Christian Michel (Université de Lausanne)
• Oliver Kik (Katholieke Universiteit Leuven), Defining Boundaries of Sculptural Design in the Sixteenth-century Low Countries
• Bertrand Bergbauer (Musée national de la Renaissance – Château d’Ecouen) & Pauline Lurçon (Institut national du Patrimoine), La circulation en France des plaquettes de bronze des Pays-Bas du XVe au XVIIe siècle
• Eelco Nagelsmit (Université de Leyden), Parading a Palladium: Jacques Francart’s Reliquary Altar of the Blessed Sacrament of Miracles in Brussels and the Siege of Valenciennes in 1656

16.30  Session 2 | Aux frontières de la création : études de cas
Modérateur : Daniel Rabreau (Université Paris 1 Sorbonne)
• Christophe Henry (Université Paris 1 Sorbonne/ GHAMU), Plaisirs de l’homologie : la copie par Bourchardon du Faune Barberini
• Sabine Cartuyvels (GHAMU), Souvenirs romains, sources égyptiennes : des projets de fontaines d’Edme Bouchardon dans « La Théorie et la Pratique du Jardinage »

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Fondation Custodia

9.30  Ouverture, Ger Luijten, directeur de la Fondation Custodia

10.00  Session 3 | Transmission et diffusion des modèles
Modérateur : Gaylord Brouhot (Université Paris 1 Sorbonne/ CHAR)
• Cécile Tainturier (Fondation Custodia), Leçons de dessin ? Moulages de sculpture représentés dans les scènes d’atelier hollandaises du XVIIe siècle
• Guilhem Scherf (Musée du Louvre), Sources d’inspiration et nouveaux thèmes chez Jean-Baptiste Stouf (1742–1826)
• Muriel Barbier (Musée national de la Renaissance – Château d’Ecouen), De la gravure au meuble : l’interprétation des modèles par les artisans de la Renaissance
• Frédérique Brinkerink (Rijksmuseum / Galerie Perrin), Une œuvre de Quellinus dans les collections de Joseph Chinard ? Modèles et inspirations

14.30  Session 4 | Spécialités et thèmes de prédilection
Modérateur : Ger Luijten (Fondation Custodia)
• Aleksandra Lipinska (Technische Universität Berlin), Landscape with King Numa Pompilius and Nymph Egeria: The Development of the Genre of all Antica Relief in the Netherlands and France in the Sixteenth Century
• Étienne Jollet (Université Paris 1 Sorbonne), Les bustes en hermès dans l’œuvre de Chinard
• Tomas Macsotay (UAB, Barcelona), Character, enargeia and the Return of Flemishness in the Salons of 1699 and 1704

17.00  Hans Buijs (Fondation Custodia), Lettres autour de la sculpture dans le fonds Custodia

18.00  Visite libre de l’exposition Hieronimus Cock : La gravure à la Renaissance

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Auditorium de la Galerie Colbert

9.30  Session 5 | Au-delà des frontières : réseaux politiques et artistiques
Modérateur : Luisa Capodieci (Université Paris 1 Sorbonne/ GRANIT)
• Alain Jacobs (Bibliothèque Royale de Belgique), La statue royale ou princière élevée dans les Pays-Bas méridionaux
• Frits Scholten (Rijksmuseum), Etienne-Maurice Falconet (1716–1791) in Holland
• Leon Lock (Université de Leuven), Quelques réflexions sur les relations de travail entre sculpteurs des anciens Pays-Bas et de France aux XVIIe et XVIIIe siècles
• Stéphanie Levert (Université Paris IV / RKD), La présence des sculpteurs des Pays-Bas en France : méthodologie et recherches

14.00  Session 6 | Déterminations du goût
Modérateur : Philippe Bordes (Université Lyon 2)
• Alexander Dencher (Université Paris 1 Sorbonne / GRANIT), Inventer pour le Roi-Stadhouder : la sculpture dans l’oeuvre de Daniel Marot
• Charles Avery (Victoria & Albert Museum), Collecting Gerard van Opstal’s Sculpture and Ivories
• Aline Magnien (Musée Rodin), Le temps des œuvres : l’exemple de Rodin

From Paris Musées:

Choisir Paris: Les grandes donations aux musées de la Ville de Paris
Institut national d’histoire de l’art et Petit Palais, Paris, 11–12 October 2013

L’Institut national d’histoire de l’art organise en collaboration avec Paris Musées un colloque intitulé Choisir Paris: Les grandes donations aux musées de la Ville de Paris. Il aura lieu le vendredi 11 octobre à l’Inha et le samedi 12 octobre au Petit Palais.

La Ville de Paris est l’un des premiers collectionneurs de France. Ses quatorze musées, réunis depuis 2013 au sein de l’établissement public Paris Musées conservent une part importante de ce patrimoine. Nées de l’intérêt porté par la Ville à sa propre mémoire et à sa vie artistique, ces collections sont aussi le fruit du rapport passionné que de nombreux amateurs et collectionneurs ont entretenu avec la capitale, qu’ils ont choisie pour conserver leurs trésors patiemment assemblés. Ce « choix de Paris » répond à des motifs qui, pour divers qu’ils soient, font sens et écrivent une manière d’histoire de l’art. Hommage aux donateurs, ce colloque se donne pour objectif de mieux faire connaître cette histoire, d’éclairer la genèse des collections des musées de la Ville de Paris et de témoigner de l’actualité de la recherche sur les grandes donations qui les ont enrichis. Il témoigne aussi du souhait de Paris Musées de renforcer la recherche au sein de
ses différentes activités.

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Institut national d’histoire de l’art – Salle Vasari

9.00  Accueil des participants

9.30  Ouverture du colloque par Antoinette Le Normand-Romain (directeur général de l’INHA) et Delphine Levy (directrice générale de Paris Musées)

9.45  Introduction : La formation des musées de la ville de Paris et le développement de l’administration des Beaux-Arts. Georges Brunel (conservateur général du patrimoine honoraire)

Matinée présidée par Pascal Griener (professeur à l’Université de Neuchâtel) À l’origine des musées de la Ville de Paris

10.45  Carnavalet, une collection à l’origine de plusieurs musées. Jean-Marc Léri (conservateur général,directeur du musée Carnavalet, de la crypte archéologique et des Catacombes)

11.15  Pause

11.30  Jules Cousin et la création du musée Carnavalet. Thierry Sarmant (conservateur en chef, musée Carnavalet)

11.50  Le comte de Liesville, collectionneur. Jean-Marie Bruson (conservateur général, musée Carnavalet)

12.15 Débat et questions. Bilan de la matinée par Pascal Griener Après-midi présidée par Chantal Georgel (conseiller scientifique à l’INHA) Les donations fondatrices de musées

14.30  Quand donner c’est créer. Paul Meurice et la Maison de Victor Hugo. Gérard Audinet (conservateur général, directeur des Maisons de Victor Hugo, Paris/Guernesey)

14.50  La collection Cognacq, entre legs et dispersion. Benjamin Couilleaux (conservateur, musée Cognacq-Jay)

15.10  A l’origine du musée Bourdelle : 1949, une donation fondatrice. Amélie Simier (conservateur en chef, directrice des musées Bourdelle et Zadkine)

15.30  Débat et questions

16.15  Pause

16.30  La donation Valentine Prax, fondatrice du musée Zadkine. Véronique Gautherin (responsable des collections du musée Zadkine)

16.40  Le legs de la famille Jean Moulin. Christine Levisse-Touzé (conservateur en chef, directrice du musée du général Leclerc de Hauteclocque et de la Libération de Paris – musée Jean Moulin)

17.00  Débat et questions. Bilan de l’après-midi par Chantal Georgel

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Petit Palais, Auditorium

9.00  Accueil des participants

9.30  Ouverture de la journée par Christophe Leribault (conservateur général, directeur du musée du Petit
Palais)

Matinée présidée par François-René Martin(professeur à l’École nationale supérieure des Beaux-Arts) Donations décisives et Donations complémentaires

9.40  La collection des frères Dutuit. Deux vies, un musée. José de Los Llanos (conservateur en chef, directeur du musée des Beaux-arts de Bordeaux) et Paulette Hornby (conservateur en chef, musée du Petit Palais)

10.00  La Société de l’histoire du costume et le Palais Galliera. Pascale Gorguet-Ballesteros (conservateur en chef, Palais Galliera) et Marie Bonin  (étudiante chercheuse), avec la collaboration de Charlotte Piot (responsable du service de conservation-restauration, Palais Galliera)

10.20  Débat et questions

10.40  Pause

11.10  Le legs Girardin ou la collection d’un amateur. Sophie Krebs (conservateur en chef, musée d’Art moderne de la Ville de Paris)

11.25  « Témoigner de l’effort de nos sculpteurs modernes » : Henry Lapauze et l’acquisition de fonds d’atelier au Petit Palais. Cécilie Champy (conservateur, musée du Petit Palais)

11.45 Débat et questions. Bilan de la matinée par François-René Martin

Après-midi présidée par Jean-Marc Léri (directeur du musée Carnavalet)
Fin de la session : Donations décisives et Donations complémentaires

14.30  Le fonds Théophile Gautier de la Maison de Balzac. Candice Brunerie (chargée des collections et de la communication de la Maison de Balzac)

14.50  Les Donations de peintures chinoises, anciennes et contemporaines, au musée Cernuschi. Maël Bellec (conservateur, musée Cernuschi)

15.10  Pause

15.30  La donation de la garde-robe d’Alice Alleaume au Palais Galliera. Sophie Grossiord (conservateur général, Palais Galliera)

15.50  « Il n’y a pas de beauté exquise sans une certaine étrangeté. » La singularité de la donation Michael Werner. Julia Garimorth (conservateur, musée d’Art moderne de la Ville de Paris)

16.10  Débat et questions. Bilan de l’après-midi par Jean-Marc Léri

16.35  Bilan et conclusions générales du colloque par Dominique Poulot (professeur, université de Paris 1 Panthéon-Sorbonne)

17.30  Cocktail

From the conference website:

Fashioning Identities: Types, Customs, and Dress in a Global Context
Hunter College, City University of New York, 17–19 October 2013

Pictorial imagery of local types, traditions, and dress has a long history. From costume books and street criers to travel albums and Hispanic costumbrismo, such representations captured people and daily life in a purportedly realistic manner, often emphasizing specificity over universal themes. Popular types, customs, and dress served as both sources of national pride and exotic spectacles of regional traditions. These depictions of local color often valued certain practices, regions, or types over others and were directed to native and foreign audiences alike. They came to have a global reach, serving as authoritative vehicles to disseminate values and beliefs about an individual place or people and cementing imperial ambitions, political ties, and economic networks. This symposium will explore the nuanced and complex ways in which such representations of peoples, places, and cultures—sometimes viewed as portraying a static or conservative vision—simultaneously engaged with the increasingly industrialized and global world.

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7:00 pm, Kossack Lecture Hall, Hunter North 1527

Keynote Address: Natalia Majluf (Director of the Museo de Arte de Lima), Materiality: José Gil de Castro and the Portraiture of Things

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Ida K. Lang Recital Hall, Hunter North 424

9:30–11:15  Ethnographies

Heather A. Hughes (University of Pennsylvania), Good Habits, Bad Habits: The Global Order in Robert Vaughan’s Months

Mariana Françozo (Leiden University and the National Museum of Ethnology, The Netherlands), Early Modern Comparative Ethnography: The ‘Locke Drawings’ Collection and the Representation of Indigenous Peoples in Global Perspective, c. 1680–1750

Deborah Dorotinsky (Instituto de Investigaciones Estéticas, UNAM, Mexico City), It Is Written in Their Faces: Seri Women and Facial Painting in Photography

11:15  Coffee

11:30–1:00  Intersections of Tradition & Modernity

Vanesa Rodríguez-Galindo (UNED, Madrid), Contemporary Customs in Late Nineteenth-Century Madrid: Points of Convergence between the Popular and the Modern in the Illustrated and Comical Press

Lynda Klich (Hunter College, CUNY), Circulating Indigenism in Mauricio Yáñez’s Postcards from Mexico

Denise Birkhofer (Allen Memorial Art Museum, Oberlin College), Enrique Díaz’s Parade of Progress: Fashioning a Streamlined Mexican Future

1:00–3:00  Lunch

3:00–5:00  Exoticism & Empire

Matthew Keagle (Bard Graduate Center), Uniform Schemas: The Abstraction of Dress and The Unity of Uniforms

Elisabeth Fraser (University of South Florida), The Ottoman Costume Album and Inclusive Empire: Louis Dupré in Ottoman Greece

Victoria L. Rovine (University of Florida), Fashion at the Intersection of French and African Colonial Cultures

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Ida K. Lang Recital Hall, Hunter North 424

9:30–11:00  Gender Anxieties

Ann Jones (Smith College), Merchandising Gender: Women’s Dress and Women’s Duties in Two Sixteenth-Century Costume Books, Jost Amman’s Frauenzimmer/Gynaeceum and Cesare Vecellio’s Habiti antichi et moderni (1590 and 1598)

Leyla Belkaïd (University of Lyon), A Stylistic Change and Its Pictorial Representation: The Algiers Dress in Western Imagery

Maya Jiménez (Kingsborough Community College, CUNY), The Myth of the Bahiana in Nineteenth-Century Photography

11:00  Coffee

11:30–1:00  Social & Civic Life

Eugenia Paulicelli (Queens College and The Graduate Center, CUNY), Performing Dress: Love, Politics and “venezianità” in Giacomo Franco’s Habiti d’huomini et donne venetiane

Sarah Buck (Florida State University), Les Costumes grotesques (c. 1695): Prints and Professional Habits in the ancien régime

Emily Morgan (Iowa State University), ‘True Types of the London Poor’:  Street Life in London‘s Transitional Typology

1:00–3:00  Lunch

3:00–5:00  Masquerade & Appropriation

Ashley Bruckbauer (University of North Carolina at Chapel Hill), Playing the Ambassador and the ‘Other’: Cultural Cross-dressing and French Foreign Policy in the Eighteenth and Early-Nineteenth Centuries

Tara Zanardi (Hunter College, CUNY), The Mantón de Manila at the Crossroads of Identity

Teresa Eckmann (University of Texas at San Antonio), Playing the Devil’s Advocate with a Twist: Julio Galán and Lo mexicano

Charlene Lau (York University), Sartorial Remembrance: Bernhard Willhelm and Tirolean Folk Dress

From the conference website:

The Hurt(ful) Body before Diderot: Pain and Suffering
in Early Modern Performance and the Visual Arts, c. 1600–1790
Royal Flemish Academy of Belgium for Science and the Arts, Brusssels, 21–22 November 2013

On the occasion of Diderot’s three-hundredth birthday, the present conference invites papers by historians of both visual arts and performance arts, to address the hurt and hurt-causing body in early modern and eighteenth-century visual culture. The point is better to address spectacles of pain and suffering before Diderot, whereby before is to be understood both physically and chronologically, in terms of images he saw and those that belong to a wider Ancien Régime visual and performance culture.

Seventeenth- and eighteenth-century medicine, philosophy and works of fiction treated pain and suffering as contents of consciousness. Hurt and grief fixed the self in a state of disaffection and refusal, as opposed to the appetites or ‘sociable’ affects of love or admiration. During this time, the hurt body found itself at the apex of art theory (from Lomazzo to Le Brun), informing academic aesthetics, while the genre of tragedy, climaxing in the plays of Racine, was shaping the image of the actor’s craft. Images of saintly suffering were a fixture of post-Trentian Catholic life, but after 1600 they were incrementally visible in both civic theatre and popular imagery as well as aristocratic collecting. All of this culminates in the writings of Diderot, who was an assiduous admirer of spectacles of grief, pest scenes and other sujets de fracas. Such affinities, as present in his criticism as his commentaries on the tableau and the self-possessed actor, seem now more difficult to place, in part because so little is known of the rationale of the spectacle of hurt in the 150 years that preceded him, especially in relation to its socio-historical and performative context. Moreover, accounts of the period tend to segregate semiotic or iconographical developments (explaining continued interest for the Le Brun’s Traité de Passions and its plates) from historical clues that speak to the peculiar positionality of bodies in and of hurt. The disjunctive image of pain and suffering is today too often regarded as simply ‘emotive’, an expression like any other for artists and actors to master.

Through the impact of scholars like Jonathan Sawday, Erika Fischer-Lichte and Amelia Jones, present-day historians are familiar with problems of performativity and ephemerality, of body presence and the spectator’s participative witnessing and intervention. The hurt body can accommodate new diverse and perceptive approaches of the early modern body, as a body in withdrawal, a ‘communicative’ body in flux, or a body split in its desire to escape alterity and a corporeal ‘prison’. Time seems ripe for a self-standing history of the hurt(ful) body, illustrated through staging practices as well as material images (paintings, sculptures, prints), and addressing practices of making, acting and viewing; censorship and divulgation; collecting, directing and interpreting. The conference invites papers that revisit historical forms, practices and pressures of the hurt body, from the staging of blood and the representations of Hercules’ self-immolation to distressed audiences. Maintaining an interdisciplinary focus, speakers might address imaginaries of the hurt body recovered through stage praxis, visual representation and dramatic text. It welcomes papers exploring archival sources documenting (theatrical) communication between audiences and ‘hurt bodies’, or exploring public and elite spaces of performance, urban events and exhibition sites where Diderot and Ancien Régime audiences experienced such encounters.

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9.30   Registration and coffee/tea

10:00  Welcome and introduction by Karel Vanhaesebrouck (Université Libre de Bruxelles, Vrije Universiteit Brussel), Tomas Macsotay (Universitat Autònoma de Barcelona) and Kornee van der Haven (Ghent University)

10:30 Keynote Lecture by Jonathan Sawday (Saint Louis University), Three forms of Renaissance Pain: Michel de Montaigne, John Donne, and Robert Burton

11:30  Coffee/tea break

12:00  Session 1: Discourses of Pain I
• Jürgen Pieters (Ghent University), Hurtful Hamlet: The tragedy of consolation
• Christel Stalpaert (Ghent University), We don’t even know what the hurt(ful) body is capable of: Some reflections on Spinoza and the corporeal turn

13:30  Lunch

14:30  Session 2: Discourses of Pain II
• Frans-Willem Korsten (Leiden University), How Injustice Hurts: Physical Pain, Immaterial Grounds and the Cause of Justice
• Inger Leemans (VU Amsterdam), Clashing Bodies: The physicality of the Amsterdam Stock Exchange, 1650–1750

16:00  Coffee/tea break

16:30  Session 3: Acting the Victim
• Stijn Bussels (Leiden University), ‘No knife, no sting is sharper, than this feeling that cuts through the heart’: Performing Pathos in Vondel’s Brethren (1641)
• Charlotte Bouteille-Meister (Paris X-Nanterre), “Flamme qui m’est un doux zéphire, / Parmi l’ardeur de mon martyre” (Céciliade, 1606): Does the martyr’s ambiguous suffering allow any pathetic response?
• Bram Van Oostveldt (University of Amsterdam), Flying, diving and dying bodies: Corneille’s pièces à machines between the marvelous and the sublime

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10:00  Keynote Lecture by Christian Biet (Paris X-Nanterre), Bloody suffering, performed suffering and recited suffering in the French 17th and 18th centuries: Spectacle and text

11:00  Coffee/tea break

11:30  Session 4: The Visual Culture of Hurt
• Koen Jonckheere (Ghent University), The meaning of the pose: Hurting the divine body in an age of Iconoclasm
• Jetze Touber (Ghent University), Engineering empathy: Inventions of martyrology in the Confessional Age

13:00  Lunch

14:00  Roundtable Discussion: Early Modern Theatricality and the Hurt Body

15:00  Coffee/tea break

16:00  Session 5: Enlightenment Purifications
• Aris Sarafianos (University of Ioannina), Unable to bear the light: Sore eyes, sensory deprivation, multi-media shows and extraordinary cures in late eighteenth-century Britain
• Tomas Macsotay (Universitat Autònoma de Barcelona), A technology of audience response: Sightlessness, disorientation and corporeal Pathos in the Paris Academy, 1700–1760

17:30  Concluding remarks

From the conference programme:

Art, Animals, and Politics: Knowsley and The Earls of Derby
Knowsley Hall, Merseyside, 9 October 2013

Historians, art historians and natural historians will be presenting exciting new research on three of the outstanding legacies of the Earls of Derby and the Stanley family: the art collection, the natural history library and the political archive. Emphasis will be also be placed on the family’s considerable historical and social influence in the north-west of England, as well as their political impact on the national and international stages, notably throughout the 18th and 19th centuries and the first half of the 20th century. For more information or to register, please email events@knowsley.com.

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Keynote Address
David Starkey, The political and cultural significance of Lady Margaret Beaufort, Countess of Richmond and Derby

Session 1: Art
· Elspeth Graham (Liverpool John Moores University), The Shakespearean stage: Prescot, Lathom and Knowsley
· Richard Stephens (University of York), The 10th Earl as a collector of old master paintings and patron of the arts at Knowsley during the 1720s
· Jonny Yarker (Trinity College, University of Cambridge), Hamlet Winstanley as an artist, copyist and art-agent for the 10th Earl
· Xanthe Brooke (Walker Art Gallery, National Museums Liverpool), Aspects of the old master picture collection at Knowsley during the 18th century
· Gill Perry (Open University), The image of Eliza Farren, Georgian comic actress and Countess of Derby

Session 2: Animals and Edward Lear
· David Attenborough, Edward Lear’s natural history watercolours and prints for the 13th Earl
· Colin Harrison (Ashmolean Museum, University of Oxford), Edward Lear’s landscape watercolours in the Derby Collection

Session 3: Politics
· Angus Hawkins (University of Oxford), The forgotten Prime Minister: The 14th Earl Douglas Hurd, Lord Hurd of Westwell: The 15th Earl’s career as Foreign Secretary
· Bendor Grosvenor (Philip Mould Ltd), The Eastern Question and the 15th Earl’s foreign policy
· Jennifer Davey (University of East Anglia), The Invisible Politician: The political career of the 15th Countess of Derby

From The Courtauld:

Bringing Art into Being in the Early Modern Period
The Courtauld Institute of Art, London, 26 October 2013

Organised by Anya Matthews and Giulia Martina Weston

Complex narratives spanning months, years or even decades exist behind the single bracketed date attached to artworks to indicate their moment of execution or completion. This one-day symposium will explore the ‘ante-natal’ development of early modern art from its conception to its ‘quickening’ and eventual birth. The process fascinated contemporary theorists and continues to raise questions for modern art historians. For example, when was an artistic project considered finished or unfinished? What terms were used to indicate the various stages of bringing an artwork into being, and what implications did these terms have for authorship and authenticity? The creation of art is not the work of a moment or achieved at a single stroke; it involves a series of transpositions from idea to study or plan, from sketch to painting, from plan to building and so on. How did early modern art reflect on the process of its own making?

Ticket/entry details: £16 (£11 students, Courtauld staff/students and concessions). Book online. Or send a cheque made payable to ‘The Courtauld Institute of Art’ to: Research Forum Events Co-ordinator, Research Forum, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, stating ‘Fifth Early Modern Symposium’. For further information, email ResearchForumEvents@courtauld.ac.uk.

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P R O G R A M M E

9.00  Registration

9.30  Introduction – Anya Matthews and Giulia Martina Weston (The Courtauld Institute of Art)

9.40  Session 1: Inspiration and the Artistic Idea
• Nikola Piperkov (Université Paris I Panthéon, Sorbonne), V(isita) I(nteriora) T(errae) R(ectificando) I(nvenies) O(ccultum) L(apidem): Pieter Brueghel the Elder’s and Adriaen de Vries’ Mercury and Psyche, an Allegory of Artistic and Alchemical Creation
• Anne Bloemacher (University of Münster), Raphael on Invention: Work in Progress Before the Materialisation of the Object
• James Hall (Independent art historian and critic), Sex and Genius: Raphael and Titian as Competing Models of the Creative Artist
• Vasco Nuno Figueiredo de Medeiros (University of Lisbon), Between Heuresis and Mimesis: Artistic Science and the Iconopoiesis as Mediators of the Creative Process

11.30  Coffee and Tea Break

12.00  Session 2: Breaking Boundaries
•  Joris Van Gastel (University of Warwick), The Sculptor’s Drawing: An Embodied Approach
• Sefy Hendler (Tel Aviv University): A Paragone in Progress: Parmigianino Recto-Verso Study for Moses
• Claire Gapper (Independent architectural historian), Designing and Executing Decorative Plasterwork in the 16th and 17th Centuries

13.20  Break for lunch

14.20  Session 3: Out of Time
• Carolin Behrmann (Kunsthistorisches Institut in Florence -Max-Planck-Institut), In/action: The Non-Finito as Sculptural ‘Actio’
• David Gilks (Queen Mary, University of London), An Impossible Monument: Bringing the French Pantheon Into Being, 1791-94
• Foteini Vlachou (University of Lisbon), The ‘Trial’ and Tribulations of Sequeira’s Allegory of Junot Protecting
the City of Lisbon
• Letha Chien (University of California, Berkeley), The Frustrated Ongoing Saga of the Decorations at the Scuola Grande di San Marco

16.10  Coffee and tea break

16.40  Session 4: Artistic Experimentalism: Practices and Methods
• Kamini Vellodi (Independent art historian and practicing artist), Tintoretto’s Stage-Method: A Modern Constructivism
• Carrie Anderson (Massachusetts College of Art and Design, Boston), Translation and Translocation: Rethinking the Materiality of the ‘Old Indies’ Series
• Stefan Albl (University of Vienna), From Drawing to Painting: The Genesis of Pietro Testa’s Adorations of
the Shepherds and Some Considerations on His Working Methods

18.00  Reception

As noted at the Portal Kunstgeschichte:

Höfisches Rokoko in Thüringen: Kunst um Krohne und Pedrozzi
Schloss Heidecksburg, Rudolstadt, Thüringen, 25–26 October 2013

Registration due by 8 October 2013

Der Blickpunkt des Symposiums richtet sich vornehmlich auf das architektonische Werk Gottfried Heinrich Krohnes (1703–1756) und Giovanni Battista Pedrozzis (1711–1778), das den Höhepunkt des Rokoko in Thüringen markiert. Die zu untersuchenden Architekturen und Ausstattungen werden dabei insbesondere nach den zugrunde liegenden Strategien und Intentionen herrschaftlicher Repräsentation befragt.

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F R E I T A G ,  2 5  O K T O B E R  2 0 1 3

10.00  Begrüßung durch die Veranstalter Helmut-Eberhard Paulus und Peter-Michael Hahn

10.15  Helmut-Eberhard Paulus (Stiftung Thüringer Schlösser und Gärten), Einführung I: Rokoko – Stil oder Epoche?

10.30  Peter-Michael Hahn (Universität Potsdam), Einführung II: Kulturtransfer und Modernität. Ein altes Herzogtum rüstet auf

10.45  Ernst Badstübner (Berlin), Krohne und seine Auftraggeber in Thüringen

11.15  Heiko Laß (Hannover), Krohnes Lustschlosstypus – Dornburg und die Folgen

11.45  Vinzenz Czech (Universität Potsdam), Die Heidecksburg und das Zeremoniell am Rudolstädter Fürstenhof im 18. Jahrhundert

12.15  Diskussion

12.30  Mittagspause

13.30  Lutz Unbehaun (Thüringer Landesmuseum Heidecksburg), Führung durch Schloss Heidecksburg zum Thema „Schloss Heidecksburg als Zeichen und Symbol territorial-herrschaftlicher Macht in Thüringen“

14.45  Wolfgang Jahn (Ebermannstadt), Pedrozzi in seiner Bayreuther Zeit

15.15  Verena Friedrich (Julius-Maximilians-Universität Würzburg), Rocaillen für Rudolstadt. Der Rokokostuck Giovanni Battista Pedrozzis auf Schloss Heidecksburg in Rudolstadt

15.45  Diskussion

16.15  Kaffeepause

16.45  Eva Krems (Universität Münster), Raumstrukturen im höfischen Rokoko

17.15  Katja Heitmann (Philipps-Universität Marburg), A la mode – Raumkunst des Rokoko am Rudolstädter Hof

17.45  Abschlussdiskussion

18.30  Festvortrag Ulrich Schütte (Philipps-Universität Marburg) „Künstler und Architekten bey Hofe“

S A M S T A G ,  2 6  O K T O B E R  2 0 1 3

8.30  Abfahrt nach Dornburg

10.00  Führung durch das Rokokoschloss Dornburg

11.45  Abfahrt nach Jena

12.30  Mittagessen im Schwarzen Bären, Jena

14.00  Weiterfahrt nach Molsdorf

15.30  Führung durch Schloss Molsdorf

16.30  Rückfahrt nach Rudolstadt Ankunft gegen 17.30 Uhr

From The Met:

Symposium: Interwoven Globe: The Worldwide Textile Trade, 1500–1800
The Metropolitan Museum of Art, New York, 4 October 2013

International scholars explore the impact of the burgeoning textile trade in the early modern period, focusing on specific aspects of how trade textiles influenced global economics, social history, and design aesthetics. The program is presented in conjunction with the exhibition Interwoven Globe: The Worldwide Textile Trade, 1500–1800 and made possible in part by the Clara Lloyd-Smith Weber Fund. Free with museum admission.

P R O G R A M

10:30  Amelia Peck — Welcome and Introduction

10:45  Louise Mackie — Ottoman Turkish Silks in Italian and Russian Trade and Diplomacy

11:15  Rudi Matthee — The Dutch East India Company and Asian Raw Silk: From Iran to Bengal via China and Japan

11:45  Jessica Hallett — Textiles, Trade, and Taste: Portugal and Asia in the Sixteenth and Seventeenth Centuries

12:15  Masako Yoshida — The International Expansion of Textiles with Flower, Bird, and Animal Designs

12:45  Break for lunch

2:30  Ebeltje Hartkamp-Jonxis — Aspects of the Luxury Trade in Indian Chintzes for the Dutch Market

3:00  John Styles — East Meets West: Everyday Fashion in Eighteenth-Century London

3:30  Colleen E. Kriger — Lost and Found in Translation: West African Textiles and Atlantic Trade

4:00  Donna Pierce — Popular and Prevalent: The Impact of Asian Textiles on Colonial Mexico