Enfilade

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»

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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S U N D A Y ,  3  N O V E M B E R  2 0 1 3

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

6:00  Reception

M O N D A Y ,  4  N O V E M B E R  2 0 1 3

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.

T U E S D A Y ,  5  N O V E M B E R  2 0 1 3

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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2  D E C E M B R E  2 0 1 3
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