Enfilade

Thanks to by Kimberly Chrisman-Campbell for drawing my attention to this one. And yes, by definition, this takes us to the seventeenth century, but the gala reception just seems to require us to take note. -CH

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Society for Interdisciplinary Seventeenth-Century French Studies Conference
Los Angeles, 8–10 November 2013

Entertainment, show, and the arts are the lifeblood of Los Angeles — just as they were central to the court of Louis XIV of France.  International scholars studying French literature, the arts, and history during this incredible monarchy form the membership of the Society for Interdisciplinary Seventeenth-Century French Studies (SE-17) that will hold its annual conference at two Los Angeles academic Institutions: UCLA’s William Andrews Clark Library and California State University, Long Beach, November 8–10, 2013.

Period literature, art, and music will be central to the academic program. 17th-century French theater as spectacle along with spectacular fashion will also be at the heart of the 2013 meeting’s events. This year, SE-17 plans to embrace the area’s artistic community and include a gala reception around the theme of “What Would Louis Do (in 2013)?”

Proceeds from the reception and meeting will be donated equally to support: (1) graduate students’ travel scholarships to attend upcoming SE-17 events; and (2) travel scholarships for students of the French for Hispanophones program at CSULB, a unique program specially conceived to accelerate the learning of French for Spanish speakers.

From the University of California’s research group for The Material Cultures of Knowledge, 1500–1830:

Collections in Flux: The Dynamic Spaces and Temporalities of Collecting
UCLA Clark Library, Los Angeles, 9–10 May 2014

Organized by Adriana Craciun and Mary Terrall

This interdisciplinary conference explores how collections shift their meanings and uses with motion through time and space, as well as how layers of meanings can inhabit a single collection in a specific time and place. We hope to bring new light to bear on how spaces of display and representation mapped onto geographical and political spaces, and how concerns about permanence and stability shaded rapidly into dissolution and reorganization and, sometimes, re-use. As Collections in Flux will demonstrate, the activity of collecting becomes more than the expression of curiosity, the desire for order, or the policing of boundaries. Collections in flux, considered dynamically and globally, through the agency of Europeans and indigenous people, can become a forum for rethinking the relation of centers to peripheries, of alien and native, of exotic and mundane.

Keynote Speakers
Miles Ogborn, Professor and Head of School of Geography, Queen Mary, University of London
Nicholas Thomas, Professor of Anthropology and Director, Cambridge Museum of Archaeology and Anthropology, Cambridge University

Conference Participants
Malcolm Baker, UC Riverside
Adriana Craciun, UC Riverside
Lucia Dacome, University of Toronto
Alessa Johns, UC Davis
Stacy Kamehiro, UC Santa Cruz
Mi Gyung Kim, North Carolina State University
Stacey Sloboda, Southern Illinois University
Mary Terrall, UCLA

Conference details and registration information will be available on the webpages of the UCLA Center for 17th and 18th Century Studies and the Clark Library. This conference is organized in collaboration with the University of California Multi-campus Research Group on “The Material Cultures of Knowledge, 1500–1830.”

From the conference website:

Politeness and Prurience: Situating Transgressive Sexualities in the Long Eighteenth Century
Edinburgh College of Art, University of Edinburgh, 2–3 September 2013

A major, two-day, international, and multidisciplinary conference hosted by the History of Art department (Edinburgh College of Art, University of Edinburgh) which focuses on the cultural history of sexuality, particularly as embedded in polite culture in Britain in the long eighteenth century.

Featuring major scholars in the history of sexuality, eighteenth-century culture, and gender studies, this conference will present illicit sexuality as having a crucial, yet understated, presence in polite culture. Drawing across visual, material and literary cultures, we hope to provide a multi-faceted and challenging platform for thinking about the role of sexualities in aspects of history in which they have often seemed absent.

The conference will include keynote addresses from Professor George Haggerty (University of California Riverside) and Dr. Caroline Gonda (University of Cambridge), as well as an associated public lecture from Dr. Faramerz Dabhoiwala. Conference fees: £40 standard price, £20 students and wnwaged. Booking for the public lecture is free but essential.

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9:00  Registration

9:30  Keynote address by George Haggerty (University of California, Riverside), Penile Politeness: The Society of Dilettanti, Richard Payne Knight and Horace Walpole

10:30  Refreshments

11:00  Panel 1: Staging Sexualities: Mounting the ‘Fop’

• Matthew Kinservik (University of Delaware), Men Writing about Men in the Theatre: Male Eroticism on (and off) the Eighteenth-Century Stage

• Robert Jones (University of Leeds), Performing the Fop: Effeminacy and Performance on the Georgian Stage

12:30  Lunch

13:30  Panel 2: Interfaces: Politeness and Prurience

• Lawrence Klein (University of Cambridge), Polite Sex

• Sarah Betzer (University of Virginia), Polite, Queer, Taste

• Barrett Kalter (University of Wisconsin-Milwaukee), Antiquarianism and Queer Time

15:30  Refreshments

16:00  Panel 3: [A]dressing the Subject: Dress, Undress, Cross-Dress

• Peter McNeil (University of Technology, Sydney), ‘Things of a peculiar species’: Macaronism and Fashion in Eighteenth-Century Theatre

• Dawn Hoskin (Victoria & Albert Museum), ‘Nature turned topsy-turvy’: Cross-dressing, Effeminacy and Sodomitical Inclinations at London Masquerades

• Liza Foley (National College of Art and Design, Ireland), ‘Soft, stretched and soiled’: Eroticizing the Glove in Eighteenth-Century England

19:00  Public lecture by Faramerz Dabhoiwala (Exeter College, Oxford; author of The Origins of Sex), The First Sexual Revolution

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9:30  Keynote address by Caroline Gonda (University of Cambridge), The Epitome of Sapphism and the First Modern Lesbian: Anne Damer and Anne Lister

10:30  Refreshments

11:00  Panel 1: Scandal, Gossip and Sexual Reportage

• Katrina O’Loughlin (ARC Centre of Excellence for the History of the Emotions, University of Western Australia), ‘Strolling Roxanas’: Sexual In/continence, Travel and Scandal

• Rachel Cleves (University of Victoria), ‘Malicious Tongues’: Sex and Slander in the Early American Republic

12:30  Lunch

13:30  Panel 2: Subversive Unions – Alternative Marriages

• Helen Berry (University of Newcastle), A Queer Marriage in Eighteenth-Century England: The Castrato, His Wife, Her Child and Her Lover

• Ana Clara Santo-Santana (University of York), The Criminal Marriage Plot in Henry Fielding’s The Female Husband

• Freya Gowrley (University of Edinburgh), ‘Damned Sapphists’? Que(e)rying the Gothic at Plas Newydd, Llangollen

15:30  Refreshments

16:00  Panel 3: Peering, Leering, Ogling: Varieties of Viewing

• Jordan Mearns (University of Edinburgh), The Wandering Gaze: Perception, Prurience and the Practice of Connoisseurship in Late Eighteenth-Century Britain

• Lydia Syson (Independent Scholar), Dr. Graham’s Ocular Turn: A Look at the Origins of the Celestial Bed

17:30  Drinks Reception

As noted at Le Blog de L’ApAhAu (with a PDF file of the programme available here) . . .

Pour l’amour de l’art: Les enjeux de la pratique amateur
de l’art dans l’Europe au siècle des Lumièress
Centre de la Méditerranée Moderne et Contemporaine, Campus Carlone, Nice, 13 September 2013

Au siècle des Lumières, le conflit qui oppose Diderot à Caylus, la figure indépendante du critique d’art face à l’amateur protecteur des artistes et juge de leur production, désormais bien étudié, est exemplaire. Dans le cadre de cette journée d’études, il ne s’agira pas de s’interroger sur la pratique de l’artiste professionnel ou semi– professionnel et sur les lieux de sociabilité qu’il fréquente, mais bien sur la pratique artistique d’un public amateur, en mettant l’accent sur le développement de ces pratiques d’amateurs comme marques de distinction sociale, culturelle et symbolique, sur les espaces sociaux et relationnels propres à l’amateurisme (hôtels particuliers, campagnes et châteaux d’agrément, villes d’eau… pourront donner lieu à des études de cas et à des études comparées), et sur la palette des arts pratiqués par ces amateurs qui jaugent leurs performances respectives (pour jouer du théâtre, il faut bien souvent savoir danser et jouer d’un instrument de musique). Cette rencontre voudrait également interroger la diffusion du modèle de l’amateur d’art dans les couches intermédiaires de la société, comme dans l’ensemble de la hiérarchie urbaine, et pas seulement dans les capitales et métropoles régionales.

Dès leur plus jeune âge, les héritiers de l’aristocratie et de ceux qui dans la haute bourgeoisie aspirent à y parvenir sont sensibilisés aux différentes formes artistiques, tant dans la sphère domestique que dans les institutions d’éducation. Cet engouement pour l’art a bouleversé sa pratique en la diversifiant et en la rendant beaucoup plus personnelle. La forme artistique s’est alors insérée dans les espaces privés et intimes de la vie des élites européennes. Cependant, dans une société où les apparences conditionnent la vie sociale, où les comportements sont réglés par des codes respectant une hiérarchie établie, la pratique désintéressée de l’art semble difficile à concevoir, car ceux qui font vivre l’art pratiquent avec maîtrise et assurance les jeux de distinction sociale que la « vie de société » recèle. Au-delà des valeurs esthétiques, par quels intérêts sont poussées ces élites dans leur pratique amateur de l’art ? Volonté de se distinguer socialement, désir de sociabilité ? Quelles logiques les conduisent à développer émulation et compétition dans la pratique amateur de l’art ? Que nous apprennent les écrits des protagonistes de ces jeux de société sur leur pratique et celle du monde dans lequel ils rivalisent ? Que nous disent-ils à travers le prisme de la pratique amateur de l’art sur les acteurs qui sont aussi les juges des performances des « sociétés » auxquelles ils appartiennent ?

Au siècle des Lumières, le conflit qui oppose Diderot à Caylus, la figure indépendante du critique d’art face à l’amateur protecteur des artistes et juge de leur production, désormais bien étudié, est exemplaire. Dans le cadre de cette journée d’études, il ne s’agira pas de s’interroger sur la pratique de l’artiste professionnel ou semi– professionnel et sur les lieux de sociabilité qu’il fréquente, mais bien sur la pratique artistique d’un public amateur, en mettant l’accent sur le développement de ces pratiques d’amateurs comme marques de distinction sociale, culturelle et symbolique, sur les espaces sociaux et relationnels propres à l’amateurisme (hôtels particuliers, campagnes et châteaux d’agrément, villes d’eau… pourront donner lieu à des études de cas et à des études comparées), et sur la palette des arts pratiqués par ces amateurs qui jaugent leurs performances respectives (pour jouer du théâtre, il faut bien souvent savoir danser et jouer d’un instrument de musique). Cette rencontre voudrait également interroger la diffusion du modèle de l’amateur d’art dans les couches intermédiaires de la société, comme dans l’ensemble de la hiérarchie urbaine, et pas seulement dans les capitales et métropoles régionales.

P R O G R A M M E

9:00  Accueil des participants

9:15  Introduction de la journée par David Rousseau et Marie Villion (Université de Nice Sophia-Antipolis, CMMC)

9:30  Alberto Frigo (Université de Caen-Basse Normandie, EA Identité et subjectivité), « La science du connaisseur »

10:05  Nadège Langbour (Université de Rouen, CEREdI), « Diderot et le paradoxe de l’amateur d’art »

10:40  Pause

11:00  Thomas Fouilleron (Archives et bibliothèque du Palais Princier de Monaco, CMMC), « Homme de goût ou goût de prince ? Jacques Ier de Monaco (1689–1751) amateur d’art »

11:35  Aude Gobet (Musée du Louvre), « De la difficile reconnaissance des amateurs d’art au sein de l’Académie des Sciences, Belles-Lettres et Arts de Rouen 1741–1791 »

12:10  Déjeuner

14:00  Thomas Vernet (Conservatoire à Rayonnement Régional de Paris), « « Cet art scientifique avoit toujours été l’amusement de récréation le plus à mon goût » – Nicolas-Louis Ledran (1687–1774), figure singulière d’un amateur de musique »

14:35  Vincent Gray (Université Toulouse II – Le Mirail, ERRAPHIS), « Le Projet concernant de nouveaux signes pour la musique et la Dissertation sur la musique moderne de Jean-Jacques Rousseau : de nouveaux signes musicaux pour un peuplede musiciens amateurs »

15:10  Pause

15:30  Michelle Garnier-Panafieu (Université Rennes 2, EA Histoire et critique des arts), « L’amateur dans la vie musicale parisienne durant la seconde moitié du XVIIIe siècle »

16:05  Isabelle Baudino (ENS Lyon, LIRE), « Les femmes artistes amateurs en Grande-Bretagne au XVIIIe siècle : une noble pratique ? »

16:40  Conclusions de la journée, Pierre-Yves Beaurepaire (Université Nice Sophia Antipolis, CMMC, Institut Universitaire de France)

From the conference website:

Liquid Intelligence and the Aesthetics of Fluidity
McCord Museum, Montréal, 25–26 October 2013

Caroline Arscott (Courtauld Institute of Art) • Fabio Barry (University of St. Andrews) • Matthew C. Hunter (McGill University) • Yukio Lippit (Harvard University) • Jeffrey Moser (McGill University) • Alexander Nemerov (Stanford University) • Jennifer L. Roberts (Harvard University) • Itay Sapir (UQAM)

In an influential essay, contemporary artist Jeff Wall has sketched a suggestive genealogy linking chemical photography to a range of fluid processes and their modes of “liquid intelligence.” By Wall’s telling, wet procedures done in the dark historically connect photography to a vast, subterranean network of primordial acts of chemical transformation like dyeing and bleaching. But, the pull of liquids on art and aesthetic imagination runs deeper still. From the unctuous stains of Titian’s macchie to Ed Ruscha’s “liquid word” paintings—from Kenneth Anger’s filmic imagination of the Renaissance garden’s ritualized, watery flows to the “boggy, soggy, squitchy” picture that flummoxes Ishmael at Melville’s Spouter-Inn—the urge to sound the fluid image abides. Where Walter Pater would explain Leonardo’s strange imaginings as like sight “in some brief interval of falling rain at daybreak, or through deep water,” no less central a theorist of pictorial ontology than Leon Battista Alberti appealed to the myth of Narcissus. “What is painting,” Alberti asks, “but the act of embracing by means of art the surface of the pool?”

Hosted through the Department of Art History and Communication Studies at McGill University and Media@McGill, this conference aims to thematize liquid intelligence and the broader aesthetics of fluidity in which it moves. Drawing together leading, international scholars, the conference seeks to open conversations around conceptions of photography, painting, and other fluid strategies made perceptible by pushing upon liquid intelligence. Can an ingenuity of liquid realization be constructively compared, we might ask, to the raw, “fluid” smarts that psychologists oppose to formal, “crystallized” intelligence? Might the theoretical heuristic of liquid thinking devised for a recent, proximate past help flush out the modalities of more distant minds responsible for, say, the oozing, oil-spotted glazes of medieval tenmoku tea wares or the inky insubstantiality of Zen patriarch portraits? If we, like the intergalactic researchers in Andrei Tarkovsky’s Solaris, are influenced by the hegemonic, fluid images we study, how might those subtle currents work to dissolve the dry media genealogies and hoary theoretical constructs that continue inform much thinking on relations between photography, painting and other arts past and present?

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8:30  Coffee/Registration

9:00  Introduction

Session I

9:30  Fabio Barry, TBA

11:00  Jeff Moser, “Fire-Star and Secret Hue: The Molten Mind in Song-Yuan Ceramics”

Session II

2:00  Matthew Hunter, “The Cunning of Sir Sloshua: Reynolds, the Navy and Risk”

3:30  Jennifer Roberts, “Veins of Commerce: Nature-Printed Currency in Colonial North America”

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Session III

9:00  Itay Sapir, “Contained Liquidity: Fluid Intelligence and Rock-Solid Framing in the Port Scenes of Claude Lorrain”

10:30  Alexander Nemerov, “Rubens’ Adoration of the Magi at the Prado”

Session IV

1:00  Yukio Lippit, “Inky Painting”

2:30  Caroline Arscott, “Dyeing, Bleaching, Printing: Morris and Abundance”

Session V

4:00  Responses/General Discussion

From the conference program:

Threads of Feeling Unraveled
DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg, 20–22 October 2013

In association with the loan exhibition Threads of Feeling, which opens at the DeWitt Wallace Decorative Arts Museum on May 25, 2013, Colonial Williamsburg is hosting a symposium that will explore these objects in context. When a mother left her infant at the Hospital during the mid-eighteenth century, she sometimes provided a token that was attached to the paper record, allowing her to later identify and reclaim her own child if her circumstances improved. Most of the tokens took the form of scraps of fabric, ribbons, or cuttings from the baby’s own clothing, identified in the record by their period names. The textile swatches are an invaluable source for identifying everyday textiles and the clothing of infants. As part of the symposium, exhibit guest curator and noted author John Styles will present two lectures. His keynote lecture will give a ‘behind-the-scenes’ look at the development of the Threads of Feeling exhibition that received rave reviews in London. Styles will also discuss the history of the Foundling Hospital, the London scene, what is known about the identity of the infants, and the various meanings that can be unraveled from the evocative tokens. Other lectures will discuss clothing for infants and children, what women wore during pregnancy, childhood and orphans in America, and the use of similar textiles by adults in Britain and America. (more…)

From the conference program:

Bildnisbuesten der Aufklaerung
Germanisches Nationalmuseum, Nuremberg, 11—13 September 2013

Registration due by 30 August 2013

Begleitend zur Sonderausstellung „Charakterköpfe. Die Bildnisbüste in der Epoche der Aufklärung“ (6.6.–6.10.2013) behandelt eine internationale Fachtagung das plastische Porträt am Ende des 18. Jahrhunderts, ein Zeitalter großer geistiger und politischer Spannungen und Umbrüche. Vorgestellt und diskutiert werden unter anderem Fragen zur Funktion von Porträtbüsten im privaten und öffentlichen Raum, die seit der zweiten Hälfte des 18. Jahrhunderts leidenschaftlich geführte
Debatte zur Physiognomik und Charakteristik sowie die florierende Wachsplastik. Einzelstudien beleuchten die Gleichzeitigkeit gegensätzlicher Stile, die sich in den Bildnissen von Regenten, Bürgern, Künstlern und Gelehrten zwischen Ideal und Individualität bewegen wie in kaum einer anderen Epoche. Bislang war das plastische Porträt als repräsentatives Medium ausschließlich dem fürstlichen Stand vorbehalten, in den Jahren nach 1780 gelangt es auch in bürgerlichen Kreisen zu großer Popularität. Die Tagung richtet den Blick außerdem auf die neuen Materialien und Techniken, die diese Verbreitung bis hin zur Anlage umfangreicher Bildnisgalerien förderten.

Bitte melden Sie sich verbindlich bis 30. August an. Es werden keine Tagungsgebühren erhoben. Information und Anmeldung: Dr. Frank Matthias Kammel, charakterkoepfe@gnm.de.

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14:00  G. Ulrich Großmann (Generaldirektor des Germanischen Nationalmuseums): Begrüßung

14:15  Frank Matthias Kammel (Nürnberg): Blickwechsel. Warum man sich mit Bildnisbüsten beschäftigen sollte

14:45  Ulrich Söding (München): Die Heiligenbüste im 18. Jahrhundert. Funktionale und typengeschichtliche Aspekte

15:30  Andrea M. Kluxen (Nürnberg): Gibt es eine aufgeklärte Herrscherbüste? Absolutistische Inszenierung und aufgeklärter Legitimationswechsel

Kaffeepause

16:45  Karin Tebbe (Heidelberg): Das Haupt des Kurfürsten und andere Köpfe aus der Kurpfalz

17:30  Claudia Maué (Nürnberg): Die Porträtbüsten des Kurfürsten Maximilian III. Joseph von Roman Anton Boos

Pause

19:00  Roland Kanz (Bonn): Öffentlicher Abendvortrag:Physiognomik versus Charakteristik. Rollenmodellierungen in Porträtbüsten um 1800

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9:00  Axel Christoph Gampp (Zürich): Ein Wiener Charakterkopf: Franz Christoph von Scheyb (1704–1777)

9:45  Mariana Scheu (Salzburg): Die Hervorhebung des Individuums – Johann Baptist Hagenauers Porträtbüsten in St. Peter in Salzburg

Kaffeepause

11:00  Peter Husty (Salzburg): Porträt des Porträtisten. Ein Blick ins Antlitz des Künstlers und Kunstmäzens Franz Laktanz Graf Firmian (1709–1786)

11:45  Anna Seidel (Hamburg): Bildnisbüsten von Bartolomeo Cavaceppi. Herzog Carl I. von Braunschweig-Lüneburg und König Friedrich II . von Preußen

Mittagspause

14:00  Beatrize Söding (München): Grabmal und plastisches Porträt. Die Denkmäler des 18. Jahrhunderts in der Wiener Schottenkirche

14:45  Ingeborg Schemper (Wien): Gelehrte Köpfe in Wien. Zu den Anfängen ehrenhalber aufgestellter Bildnisbüsten im 18. Jahrhundert und ihrem Kontext

Kaffeepause

16:00  Frank Matthias Kammel (Nürnberg): Der Garten als Denkmalort. Bildnisbüsten in Parks

16:45  Bernd Ernsting (Köln): Wie den Jungen der Tod gebildet. Karl Friedrich Wichmanns Zimmerdenkmal für Henriette Jordan im Kontext privater Memorialkultur um 1800

17:30  Yasmin Doosry (Nürnberg): Papierne Büsten. Die Bildnisbüste im Spiegel von Zeichnung und Druckgraphik

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9:00  Anna Pawlik (Nürnberg): Christian Benjamin Rauschner. Zur Materialvielfalt von bossierten Wachsbildnissen im späten 18. Jahrhundert

9:45  Elisabeth Taube (Nürnberg): Alles nur Wachs? Eine kunsttechnische Studie zu den Wachsbildnissen des 18. Jahrhunderts im Germanischen Nationalmuseum

Kaffeepause

11:00  Doris Lehmann (Bonn): Die Guillotine als Porträtmaschine? Madame Tussauds Wachsköpfe und ihre Vermarktung

11:45  Petra Rau (Frankfurt am Main): Über den Handel mit prominenten Köpfen. Die Kunstmanufakturen in Leipzig, Weimar und Gotha/Altenburg

Mittagspause

13:15  Stefan Schnöll (Wien): Porträtbüsten der Kaiserlichen Porzellanmanufaktur Wien

14:00  Jürgen Klebs (Berlin): Die plastischen Bildnisse Goethes aus seiner Lebenszeit

14:45  Hans Ottomeyer (Berlin): Genies und Heroen. Europäische Galerien und andere Geschichtsforen

15:30  Schlusswort

From the conference programme:

Materializing the Spirit: Spaces, Objects, and Art in the Cultures of Women Religious
Histories of Women Religious of Britain and Ireland (HWRBI) 2013 Conference
Institute of Historical Research, Senate House, London, 5–7 September 2013

This conference explores architecture, art, and design produced by and for women religious in Britain and Ireland from the Middle Ages to the present. Keynote speakers are Mary Schoeser on textiles and interiors, and Julian Luxford on medieval convents. Presenters include Emily Gee (English Heritage), Tim Knox (Fitzwilliam Museum), and Helen Hills (York). The conference also includes a thematic tour of the V&A’s collections. Additional information is available at the HWRBI website.

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2.00 – 3.30 Women Religious and the Arts at the V&A
Tessa Murdoch (Acting Keeper of Metalwork, Sculpture, Ceramics and Glass, V&A) will lead a tour of the museum’s collections. Places are limited. Further information on registration.

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9.00  Registration and Refreshments

9.30  Welcome and Introduction

9.45  Session I: Place and Purpose, chaired by Caroline Bowden (QMUL)

• Roderick O’Donnell FSA, ‘The Pugins’ Houses of men and women contrasted’

• Michael O’Boyle (Bluett & O’Donoghue Architects), ‘The nature and character of convent buildings in Ireland in the eighteenth and nineteenth centuries’

• Sue Acheson RSCJ, ‘Space for the Heart: Representing Devotion in the Chapel of the Sacred Heart, Roehampton’

11.15  Break

11.30  Session II: Patrons and Subjects, chaired by Dominic Janes (Birkbeck)

• Tim Knox (Fitzwilliam Museum), ‘A Soldier and a Nun: Two “Ancestral Portraits” of English Sitters by Pietro-Tommaso Labruzzi’

• Patricia Harris CJ, ‘The Mystery of the “Painted Life” of Mary Ward’

• Anselm Nye (QMUL), ‘Artistic and Comic: The cartoon as historical memory amongst the English Dominican Sisters’

1.00  Lunch

2.00  Session III: Material and Immaterial, chaired by Carmen Mangion (Birkbeck)

• Susan O’Brien (Cambridge), ‘A Spirituality Represented: Images of the Holy Child in the Society of the Holy Child Jesus, England since 1846’

• Helen Hills (York), ‘Making Religion Matter?’

3.00  Break

3.15  Teaching and Publishing Session

“…Nuns are a remote reality, detached from the world”: The Challenges of Teaching and Researching Female Religious Life, (Session sponsored by History Lab Plus, IHR & Higher Eduction Academy)

5.00  Break

5.15  Keynote I | Mary Schoeser (President, The Textile Society), ‘Fair and beautiful to behold’

6.15  Reception and H-WRBI Annual Meeting

8.00 Conference Dinner

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9.00  Registration and Refreshments

9.30  Session IV: Space and Context, chaired by Lynne Walker (IHR)

• Ellie Pridgeon (Leicester), ‘Space and Location: The Cloister Paintings at Lacock Abbey’

• Deirdre Raftery (UCD), ‘ “Cover the Earth with Houses”: The form and function of the convents of the Society of
the Sacred Heart in nineteenth-century Ireland, North and South’

• Brenda King (The Textile Society), ‘Stitch and Stone’

11.00  Break

11.30  Session V: Symbolism and Devotion, chaired by Jane Hamlett (RHUL)

• Kate Jordan (UCL), ‘Artists Hidden from Human View: Mysticism and Art in the Victorian Convent’

• Ayla Lepine (Yale), ‘”The Story of a Life”: Nuns at the Epicentre of Modern Visual Culture’

12.30  Lunch

1.30  Session VI: Heritage and Preservation, chaired by Emily Gee (English Heritage)

• Abbot Geoffrey Scott (Catholic Archives Society), ‘The Archives and Collections of English Nuns Deposited at Douai Abbey’

• Frederick O’Dwyer (Conservation architect), ‘Historic Irish Convents, Redundancy and Reuse’

• Sophie Andreae (Vice Chair, Bishop’s Conference Patrimony Committee), ‘Important Artefacts: Some Recent Case Studies’

• Emily Gee (English Heritage, Head of Designation), ‘Reflections on the Heritage Landscape’

3.30  Break

4.00  Keynote II | Julian Luxford, (St Andrews), ‘Nuns, Art and Patronage in Later Medieval England’

5.00  Closing remarks

5.15  Reception

To register online, visit the HWRBI Eventbrite page.

From the symposium website:

Eighteenth-Century Gothick Symposium
University of Oxford, 7 August 2013

The Gothick Revival in eighteenth-century Britain is a multi-faceted phenomenon, simultaneously liminal and mainstream, historical and modern, whimsical and serious. This international and interdisciplinary symposium is supported by the Georgian Group and the University of Oxford, and comes thirty years after the landmark Gothick conference held by the Georgian Group at the Victoria and Albert Museum, London. It will bring together current high-quality research by scholars and students on the revival and explore its many dimensions.

Conference registration is now open. Further details can be found on the symposium’s website.

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Oleksandr Golozubov, Laughter and Evil in the English Pre-Romanticism

Alice Labourg, The Pictorial Gothic in Ann Radcliffe’s Novels: From Decorative Details to Picturesque Tableaux

Jenny McAuley, English Literature and the Eighteenth-Century Gothic Revival: The Example of Ann Radcliffe

Thomas Willette, Horace Walpole’s Gothick Cellini

Cathryn Spence, King Alfred’s Hall, Cirencester

Oliver Cox, Back in the Summer of ’69 — Alfred’s Castle and Alfred’s Tower

Ruth Musielak, Gothic and Classical: Gothic Ornaments at Marino, Co Dublin

Peter N. Lindfield, Dicky Bateman, Shobdon Church and Kentian Gothic: The Great Mystery

Jonathan Kewley, Eighteenth-Century Gothick in the Regency: The Career of Thomas Brine

Jean-Marie Guillouët, Pursuing Historiographical Myths during the Eighteenth Century: English and Irish Art Historians and the Late Gothic Architecture in the Iberian Peninsula

Dustin Frazier, Samuel Pegge: A Reassessment

James Marsden, Thomas Leland, Gothic Novelist, Gothic Historian and Classical Educator

Philip Aspin, Enlightened Reactionaries? Gothic Revival thought in late Georgian England

From the Seminar on Collecting and Display:

Torino Britannica: Political and Cultural Crossroads on the Grand Tour in the Early Modern Age
The British School at Rome and the Centro Studi Reggia di Veneria Reale in Turin, 19-21 June 2013

Traditional views of the cultural and political phenomenon broadly known as the ‘Grand Tour’ focus on a stereotype of the eighteenth-century British aristocratic traveller resolute on acquiring both cultural artefacts and diplomatic and political know-how from the antique European states, especially those in Italy. More detailed analysis of specific features of the Grand Tour allows for a more insightful assessment of this important historic development during the sixteenth to eighteenth centuries. This conference will introduce and explore a significant aspect of the Grand Tour long neglected by scholars but which formed an integral part of the education and cultural formation of many British travellers: their sojourn at Turin, capital of the Savoy-Piedmont Polity. The conference will also address another overlooked, yet critical feature of this international movement – the Italian side of and contribution to the Grand Tour experience – a phenomenon which may be called a ‘reverse’ Grand Tour; namely, the movement of artists, writers and other protagonists travelling from Turin to Britain and enriching the cultural exchanges between the two.

Visitors to Turin were confronted with an entirely different experience from that of the other classic Grand Tour sites, including Florence, Rome, Naples and Venice. While these obligatory stopovers were famous for viewing (and purchasing) antiquities, for studying the great repositories of cultural treasures, and for participating in society, a sojourn at Turin, by contrast, became regarded as exceptional, offering the visitor an altogether more pragmatic learning experience. The Savoyard capital boasted important modern royal urban and architectural enhancements, public features that placed Turin in the vanguard of European capitals. Due to the tight controls the Savoy dynasty exercised – by way of a highly efficient bureaucracy – over all cultural, military, religious, ceremonial and social activities throughout its realm, but particularly in Turin, the city was also admired as a model of public functionality and even rationality not seen elsewhere in Italy. The biggest draw for British visitors, however, was undoubtedly the Turin Royal Academy (l’Accademia Reale), which offered an up-to-date and prestigious education in military and diplomatic culture to a wide range of young Europeans who frequented it for extended periods, permitting a cosmopolitan exchange among future statesmen.

As a military power and a flourishing princely court of strategic diplomatic stature, Turin was fully integrated into European affairs, including its important diplomatic and cultural relations with Britain, which peaked in the century following the foundation of the Royal Academy in 1678. Foreigners began to flock there, and the manner in which these European elites shared a common culture formed by their mutual experience of the Academy is one of the questions the conference will address. A model example of an elite military school, the Academy taught not only martial arts and equitation but also mathematics, geography, history, languages (Italian and French), continental social skills and gentlemanly virtues necessary for diplomacy and salon conversations of fashionable society. Fundamentally different from the other Italian Grand Tour sites, which were visited primarily for their historical art treasures, antiquities, musical and theatrical offerings, or even landscape and climate, Turin offered a course of study for the modern man. Torino Britannica will explore these differences while illuminating the significance of the Torinese experience of the Grand Tour in the larger historical narrative of this important British political and cultural phenomenon. In line with the most recent scholarship on the Grand Tour, its intention is to highlight the need to recover these less celebrated and previously underappreciated pathways along which cultural and artistic trends were spread across Europe in the early modern period.

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W E D N E S D A Y ,  1 9  J U N E
Rome, British School at Rome

9.15     Opening Remarks, Christopher Smith (British School at Rome) and Andrea Merlotti (Centro Studi, Reggia di Venaria Reale)

Session 1 — Britain in Turin: Politics at the Savoy Court / Britannia a Torino: politica alla corte dei Savoia

Chair: Paola Bianchi (Università della Valle d’Aosta)

9.30  Edward Chaney (Southampton Solent University), Torino Britannica and the Cultural Memory of Egypt: Stuarts, Savoys and the Divine Right of Kings

10.00  Toby Osborne (Durham University), England and Savoy: The Culture of Dynastic Affinity

10.30  Andrea Pennini (Università di Torino), Un’altra via possibile? Progetti matrimoniali fra Stuart e Savoia nel Seicento

11.00  Break

11.30  Edward Corp (Université de Toulouse), The Court of Turin and the English Succession, 1712-1720

12:00  Christopher Storrs (University of Dundee), British Diplomats at the Savoy Court and International Politics

12.30  Paolo Cozzo (Università di Torino), “La metropolitaine des catoliques”. La cappella dell’ambasciata di Savoia nella Londra di Giorgio II.

13.00  Lunch

Session 2 — Turin: Gateway to the British Grand Tour / Torino: porta del Grand Tour britannico

Chair:  Karin Wolfe (British School at Rome)

14.30  Paola Bianchi (Università della Valle d’Aosta), Cosmopolitismo e pragmatismo confessionale: gentiluomini britannici in Accademia Reale

15.00  Andrew Moore (Attingham Trust and Paul Mellon Senior Fellow, 2011-13), Thomas Coke: Playhouse, Rope Dancing and the Venaria Real

15.30  Andrea Merlotti (Centro Studi Reggia di Venaria Reale), Salotti, conversazioni, logge. I viaggiatori inglesi nella sociabilità aristocratica torinese del Settecento

16.00  Discussion

16.30  Break

17.00  Exhibition: James Hakewill’s Grand Tour Drawings in the British School at Rome Library

18.00  Keynote address: Cesare De Seta (Università degli studi di Napoli Federico II), Viaggi, viaggiatori e pittori a Torino tra Sei e Settecento

19.30  Reception

20.00  Dinner

T H U R S D A Y ,  2 0  J U N E
Rome, British School at Rome

Session 3 — The British in Turin: Art and Diplomacy / Britannici a Torino: arte e diplomazia

Chair: Joanna Kostylo (British School at Rome)

10.00  Karin Wolfe (British School at Rome), John Molesworth: British Envoy and Cultural Intermediary in Turin

10.30  James Rothwell (National Trust), Silver from London and Turin: The Collection of the 2nd Earl of Bristol, Envoy Extraordinary to the Court of Savoy 1755-58

11.00  Break

11.30  Jonny Yarker (British School at Rome), Domenico Duprà: A Turinese Painter and the British

12.00  Christopher Johns (Vanderbilt University), Chinoiserie in Piedmont: An International Language of Diplomacy and Modernity

12.30  Discussion

13.00  Lunch

14.30  Departure from the British School at Rome for Turin

F R I D A Y ,  2 1  J U N E
Turin, Reggia di Venaria, Aula magna del Centro restauro

Session 4 — Britain and Turin: Architectural Crossroads on the Grand Tour / Britannia e Torino: percorsi architettonici del Grand Tour

Chair: Costanza Roggero (Politecnico di Torino)

10.00  Tommaso Manfredi (Università Mediterranea di Reggio Calabria), Architetti e Re nell’Europa del Grand Tour: da Wren a Juvarra

10.30  Cristina Ruggero (Bibliotheca Hertziana, Roma), L’album juvarriano per Lord Burlington a Chatsworth

11.00  Giuseppe Dardanello (Università di Torino), Esperienze dell’Inghilterra nella cultura architettonica e figurativa nel Piemonte del Settecento

11.30  Edoardo Piccoli (Politecnico di Torino), Englishmen in Turin, 1747-1748

12.00  Paolo Cornaglia (Politecnico di Torino), Il giardino inglese in Piemonte a fine Settecento: declinazioni pittoresche, anglo-cinesi e paesaggistiche

12.30  Discussion

13.00  Lunch

Session 5 — Turin in Britain: Cultural Exchange in the Age of the Grand Tour / Torino in Britannia: scambi culturali nell’età del Grand Tour

Chair: Andrea Merlotti (Centro Studi della Reggia di Venaria)

15.00  Alastair Laing (National Trust), A Plurality of Pluras: Members of the Plura Family and Their Work for the British

15.30  Olga Zoller (Independent Scholar), Crossing Professional and National Limits: the Pioneering Role of the Versatile Architect-Engineer Giovanni Battista Borra (1713-1770)

16.00  Cristina Bracchi (Archivio delle Donne in Piemonte), Baretti inglese: la didattica e la critica

16.30  Francesca Fedi (Università di Parma), Alfieri in Inghilterra

17.00  Annarita Colturato (Università di Torino), Con talento e intraprendenza: musicisti piemontesi a Londra nel secondo Settecento

17.30  Discussion

18.00  Concerto: Benvenuto Robbio di San Raffaele (1735-1794), Sonate 1, 2, 3 e 5 dalle Sei Sonate a Violino o Cembalo Solo — Silvia Colli, violino; Gioele Gusberti, violoncello; Mario Tonda, clavicembalo