Conference | A Window on Antiquity: The Topham Collection
From the conference progamme:
A Window on Antiquity: The Topham Collection at Eton College Library
The Paul Mellon Centre for Studies in British Art, London, 17 May 2013
In collaboration with the University of Buckingham and Eton College, to accompany the exhibition Paper Palaces: the Topham Drawings as a Source for British Neo-Classicism (Eton College Library, Verey Gallery, 3 May–1 November 2013)
The Topham Collection
Consisting of 37 volumes and more than 3,000 items, the collection amassed by Richard Topham (1671-1730) is one of the most significant resources for the history of antiquarianism and for the culture and industry of the Grand Tour in Europe. This collection of drawings, watercolours and prints after antique sculptures and paintings in Rome and Italy is the largest of its kind assembled in England, surpassing in both scale and breadth those collected by other celebrated antiquarians such as John Talman, Dr Richard Mead or Thomas Coke, 1st Earl of Leicester.
Since its arrival at Eton in 1736 the Topham Collection has fascinated and served archaeologists, researchers investigating collections of antiquities and scholars of the history and reception of the classical tradition. The drawings have also attracted the attention of art historians, as Topham managed to assemble an extraordinary range of works by some of the best Italian draughtsmen of the first half of the eighteenth century, such as Pompeo Batoni, Giovanni Domenico Campiglia and Francesco Bartoli, or by artists who later excelled in other fields, including the architect William Kent. More recently it has also emerged that Francesco Bartoli‟s drawings of ancient ceilings and wall elevations in the collection were extensively copied and re-adapted by neo-classical architects such as Robert Adam, James Wyatt and Charles Cameron, becoming one of the most important sources for a decorative language that would spread over Europe.
However, despite the growing body of scholarship on the Topham Collection produced in recent decades, notably the work of the late Louisa M. Connor Bulman, a comprehensive study of the whole collection and of its role in eighteenth-century antiquarian and artistic culture is still wanting. This conference wishes to indicate new avenues of research and is intended as the first step towards an online catalogue of the whole collection.
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P R O G R A M M E
Abstracts are available here»
9:00 Registration
9:30 Lucy Gwynn (Eton College Library), Opening address and welcome
Session 1: The Topham Collection and Its Context: Antiquarianism and the Grand Tour Market
Chair: Ian Jenkins (British Museum) and Lucy Gwynn (Eton College Library)
9:50 Cinzia Maria Sicca (Università di Pisa), The Mind behind the collection: John Talman, antiquary and advisor to Richard Topham and Henry Hare, 3rd Baron Coleraine
10:20 Eloisa Dodero (Royal Collection Trust, Windsor Castle), Did Topham know of the ‘Museo Cartaceo’? The Paper Museum of Cassiano dal Pozzo and the Topham Collection of drawings
10:50 Novella Barbolani (Università di Roma La Sapienza) and Valentina Rubechini (Università di Firenze), Francesco Maria Niccolò Gabburri, John Talman and Richard Topham: artistic exchanges between Florence and Britain
11:20 Tea and Coffee
11:40 Bruno Gialluca (Independent Scholar), William Kent’s drawings after the Antique in the Topham and Holkham Collections
12:10 Lucia Faedo (Università di Pisa), The Topham Collection and the Roman palaces: British visitors to the Palazzo Barberini
12:35 Discussion
13:00 Lunch
Session 2: The Topham Collection and Its Archaeological Value
Chair: Helen Whitehouse (University of Oxford)
14:15 Mirco Modolo (Università degli Studi di Roma Tre), From philology to the market: the archaeological value of Francesco Bartoli’s drawings in the Topham Collection
14:45 Delphine Burlot (Institut National d’Histoire de l’Art-INHA, Paris), Forgeries of ancient paintings in the Topham Collection
Session 3: Richard Topham: His Library, Legacy and Influence
Chair: Richard Hewlings (English Heritage)
15:15 Paul Quarrie (Maggs Bros Ltd; Eton College Librarian 1977-1994), Richard Topham and his library
15:45 David Noy (University of Wales Trinity St David), Richard Topham’s will: a collector plans for the future
16:15 Adriano Aymonino (University of Buckingham), The Topham Collection as a source for British eighteenth-century classicism
16:40 Discussion
17:00 Drinks Reception
Conference | Die Entdeckung der Nacht
From ArtHist:
Die Entdeckung der Nacht: Wirklichkeitsaneignungen im Prozess der europäischen Aufklärung
Friedrich-Schiller-Universität, Jena, 6-7 June 2013
Tagungsleitung: Helmut Hühn und Reinhard Wegner
Fachtagung der Forschungsstelle Europäische Romantik, Friedrich-Schiller-Universität, Senatssaal, 06.-07. Juni 2013, zu Ehren von Prof. Dr. Reinhard Wegner, der 60 Jahre alt wird.
„Dennoch wüßten wir nichts“, schreibt der Philosoph Friedrich Wilhelm Joseph Schelling in seiner Freiheitsschrift von 1809, „das den Menschen mehr antreiben könnte, aus allen Kräften nach dem Lichte zu streben, als das Bewußtseyn der tiefen Nacht, aus der er ans Daseyn gehoben worden. […] Alle Geburt ist Geburt aus Dunkel ans Licht; das Samenkorn muß in die Erde versenkt werden und in der Finsterniß sterben, damit die schönere Lichtgestalt sich erhebe und am Sonnenstrahl sich entfalte. Der Mensch wird im Mutterleibe gebildet; und aus dem Dunkeln des Verstandlosen (aus Gefühl, Sehnsucht, der herrlichen Mutter der Erkenntniß) erwachsen erst die lichten Gedanken.“
Die Fachtagung untersucht die kulturelle Dialektiken, die sich von den “Night-Thoughts” eines Edward Young (1742-45) und ihrer sechzigjährigen europäischen Rezeption über die semantischen Umbesetzungen im Verhältnis von Tag und Nacht bei den großen Nachtdenkern und -künstlern um 1800 bis in die Gegenwart hinein vollziehen.
Die einzelnen Beiträge des Workshops arbeiten werkbezogen. Sie weisen an Werken der Musik, der Kunst, der Literatur, der Philosophie und der Wissenschaftsgeschichte Spannungen und Umbrüche auf und vergegenwärtigen diese vor dem Hintergrund der Selbstverständigungsprozesse der europäischen Aufklärung und Romantik. Im Zentrum des Erkenntnisinteresses steht die Korrelation von künstlerischer Entdeckung der Nacht und epistemischer Erkundung der Wirklichkeit.
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D O N N E R S T A G , 6 J U N I 2 0 1 3
14.15 Helmut Hühn (Jena): Ausgeburten der Nacht. Begrüßung und Einführung
14.30 Dieter Blume (Jena): Nachtbetrachtungen vor der Romantik
15.00 Johannes Grave (Bielefeld): Grund und Abgrund. Die ‚Nachtseiten‘ des Bildes um 1800
15.30 Pause
16.00 Britta Hochkirchen (Weimar): Verführen und erkennen. Aufklärung als Sündenfallgeschichte in Jean-Baptiste Greuzes „La cruche cassée“ (1771)
16.30 Alexander Rosenbaum (Weimar/Jena): „Ein glückliches Bild“: Johann Heinrich Meyers Entwurf „Triumph der Aurora“ (1786/91)
17.00 Pause
17.30 Temilo van Zantwijk (Jena): “Die Stätte der Einzelheit ist die ewige Nacht”. Schelling und der dunkele Grund des Daseins
18.15 Sabine Schneider (Zürich): Dunkler Sinn. Klassisch-romantische Mythopoetik der Nacht. Abendvortrag
F R E I T A G , 7 J U N I 2 0 1 3
9.00 Einführung und Moderation: Elisabeth Fritz (Jena)
9.15 Thomas Lange (Hildesheim): Nachtsicht. Lektionen der Dunkelheit
9.45 Franziska Bomski (Weimar): Der Untergang der Sonne im Klingsohr-Märchen. Astronomie und Metaphysik bei Novalis
10.15 Pause
10.45 Markus Bertsch (Koblenz): Vom Tag in die Nacht. Beobachtungen zu Philipp Otto Runges Graphikzyklus der „Zeiten“
11.15 Christian Scholl (Göttingen): Aufziehender Morgen: Tageszeiteninszenierungen in Zimmerausstattungen Karl Friedrich Schinkels
11.45 Harald Tausch (Gießen): Die Nacht in finsteren Zeiten. Ein Rückblick auf die Frühe Neuzeit aus der Perspektive des Jahres 1942
12.15 Mittagspause
14.00 Verena Krieger (Jena): Die im Dunkeln sieht man doch. Markus Döhnes “Green Screens“
14.30 Reinhard Wegner (Jena): Verbindungslinien. Abschließende Betrachtungen
Ansprechpartner: Dr. Helmut Hühn, romantikforschung@uni-jena.de
Community Libraries: Connecting Readers in the Atlantic World
From the University of Liverpool:
Dr Mark Towsey has been awarded £36,225 by the Arts and Humanities Research Council (AHRC) to develop a two-year international research network on Community Libraries: Connecting Readers in the Atlantic World, 1650-1850. Together with his partners at Loyola University Chicago, the Newberry Library (Chicago), and the Dr Williams’s Library (London), Mark will host three workshops on the cultural history of libraries in the long eighteenth century, seeking to establish a dynamic, longer-lasting, multi- and interdisciplinary research forum to investigate the role of libraries in shaping communities in the past.
The first event, to be held at the Liverpool Athenaeum Library in August 2013 or January 2014 will explore the role of libraries in the Atlantic World; the second, to be held in Chicago in June 2014, will workshop the use of digital technologies in deepening our understanding of historic reading communities and the social impact of the printed word; the third, to be held in London in January 2015, will assess the role of libraries in community formation, asking whether historical models of library provision and administration can be adapted to meet the challenges faced by community libraries in the digital age, and in an age of financial austerity.
Further information on the network, its aims and objectives, and its planned activities, will soon be found on the History department’s research projects webpage. If you would like to find out more about the network, or would like to take part, please contact the project leader on Towsey@liv.ac.uk.
Conference | London and the Emergence of a European Art Market
From The National Gallery:
London and the Emergence of a European Art Market, c.1780–1820
The National Gallery, London, 21-22 June 2013
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The French Revolution and the ensuing Napoleonic Wars instigated a sweeping redistribution of art throughout Europe. Large volumes of valuable objects – often entire collections, from monasteries, churches, and palaces – were widely dispersed via auction and private treaty sales. Networks of agents provided the infrastructure for the circulation of art works and sales information across borders, which promoted a flourishing international art market.
This two-day conference seeks to examine the role of London in this developing market by shedding new light on the mechanisms of the art trade that connected major European centres around 1800. Scholars from a range of disciplines and countries will discuss broad research questions such as:
• Did the long-term effects of the political turmoil in France alter the existing networks of dealers and connoisseurs?
• What would have been the motivations to ship art works to distant cities?
• How sophisticated was the auction catalogue as economic tool and literary genre in various countries?
• Is it really possible to talk about a European art market or were there still relatively independent local markets?
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F R I D A Y , 2 1 J U N E 2 0 1 3
10.00 Registration
10.30 Nicholas Penny (The National Gallery), Welcome and introduction
10.35 Christian Huemer (Getty Research Institute, Los Angeles) and Maximilian Schich (University of Texas, Dallas), What’s in the data? Visualising the Getty Provenance Index®
Session 1: Collections
Moderator: Adriana Turpin (Institut d’Etudes Supérieures des Arts / University of Warwick)
11.00 Camilla Murgia (Université de Neuchâtel), Collecting patterns for London: From private museums to commercial art galleries
11.25 Break with refreshments
11.45 Wendy Wassyng Roworth (University of Rhode Island), Angelica Kauffman: The acquisition and dispersal of an artist’s collection, 1782–1825
12.10 Elodie Goëssant (Université Paris-Sorbonne IV), A surprising art auction: The George Watson-Taylor sale in 1823
12.35 Discussion
1.00 Lunch break
Session 2: Agents
Moderator: Gail Feigenbaum (Getty Research Institute, Los Angeles)
2.00 Julia Armstrong-Totten (Independent Scholar, Los Angeles), From jack-of-all-trades to professional: The development of the early modern picture dealer in 18th-century London
2.25 Sarah Bakkali (Université Paris X Nanterre), The Trumbull sale of 1797: Players in the Paris-London art market during the French Revolution
2.50 Carole Blumenfeld (Palais Fesch-Musée des Beaux-arts d’Ajaccio), Pierre-Joseph Lafontaine (1758-1835) and the formation of European private collections
3.15 Break with refreshments
3.45 Maria Celeste Cola (Sapienza Università di Roma), Thomas Hope and Gioacchino Marini: Roman agent ‘de’ signori inglesi’
4.10 Ana Maria García Fernández (Universidad de Oviedo), Spanish art dealers in the United Kingdom
4.35 Discussion
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S A T U R D A Y , 2 2 J U N E 2 0 1 3
10.00 Registration
10.30 Thomas W. Gaehtgens (Getty Research Institute), Welcome and introduction
Session 3: Information
Moderator: Hans Van Miegroet (Duke University)
10.35 David Ekserdjian (University of Leicester), William Buchanan’s Memoirs of Painting (1824) and his observations on the art trade during the Napoleonic period
11.00 Bénédicte Miyamoto (Université Paris Sorbonne-Nouvelle), British buying patterns at auction sales, 1780–1800: Did the influx of European art have an impact on the British public’s preferences?
11.25 Break with refreshments
11.45 Steven Adams (University of Hertfordshire), ‘Noising things abroad’: Sales catalogues and the construction of value in the early 19th-century art market
12.10 Rebecca Lyons (Christie’s Education, London / University of Glasgow), Marketing and selling the collection of Welbore Ellis Agar in 1806
12.35 Discussion
1.00 Lunch break
Session 4: Artworks
Moderator: Susanna Avery-Quash (The National Gallery)
2.00 Hans Van Miegroet (Duke University) and Dries Lyna (Radboud University Nijmegen), International art dealer networks and triangular arbitrage between Paris, Amsterdam and London
2.25 Guido Guerzoni (Università Luigi Bocconi, Milan), Italian exports of works of art to the United Kingdom
2.50 Peter Carpreau (M – Museum Leuven), The Getty Provenance Index® under examination: The taste for 17th-century Dutch and Flemish painting in London (1780–1820)
3.15 Break with refreshments
3.45 Olivier Bonfait (Université de Bourgogne, Dijon), London around 1800: An international art trade or a globalised art market?
4.10 Discussion
4.30 Roundtable
Moderator: Nicholas Penny (The National Gallery)
Thomas W. Gaehtgens (Getty Research Institute)
Guido Guerzoni (Università Luigi Bocconi, Milan)
Patrick Michel (Université Lille 3)
Michael North (Universität Greifswald)
Conference | Objects in Motion in the Early Modern World
I posted notice of this two-day conference in February, but here I’ve included the full program, and what a program! In addition to the really interesting papers, the breakout sessions look like immense fun. -CH
From The Getty:
Objects in Motion in the Early Modern World
The Getty Center, Los Angeles, 10-11 May 2013
Mounted Vase, Chinese porcelain ca. 1662–1722, French mounts, ca. 1745–49. J. Paul Getty Museum (79.DI.121.1)
The Getty Research Institute and the USC-Huntington Early Modern Studies Institute are co-sponsoring a two-day conference, “Objects in Motion in the Early Modern World,” on Friday, May 10 and Saturday, May 11, 2013, at the Getty Center in Los Angeles, California.
An international group of scholars will examine the circulation of objects across regions and cultures in the early modern period (1500-1800), addressing the ways in which mobility led to new meanings, uses, and interpretations. Break-out sessions will invite the audience to consider these questions as we examine objects from the Getty’s collections. A closing roundtable will provide an opportunity to discuss the methodological and theoretical potential of this line of inquiry for the study and teaching of art history. The symposium is organized by Daniela Bleichmar (University of Southern California), Meredith Martin (Wellesley College), and Joanne Pillsbury (Getty Research Institute).
Admission is free. Separate reservations are required for each
day of the conference.
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F R I D A Y , 1 0 M A Y 2 0 1 3
8:30 Coffee and Pastries
9:30 Welcome, Andrew Perchuk (Getty Research Institute) and Peter Mancall (USC-Huntington Early Modern Studies Institute)
9:35 Introductory Remarks, Daniela Bleichmar (University of Southern California) and Meredith Martin (Wellesley College)
9:45 Session 1 — Moderator: Joanne Pillsbury (Getty Research Institute)
• “The Itinerant Lives of Mexican Codices,” Daniela Bleichmar (University of Southern California)
• “Trading in the Senses: Exotica On and Off the Early Modern Dutch Marketplace,” Claudia Swan (Northwestern University)
11:15 Coffee Break
11:30 Session 2 — Moderator: Alka Patel (University of California, Irvine)
• “Diana Transformed: The Case of the Diana Automaton,” Jessica Keating (University of Southern California)
• “Translating, Transporting, and Transforming Mughal History: An Illustrated French Translation of the ‘Ain-i Akbari,” Chanchal Dadlani (Wake Forest University)
1:00 Lunch
2:00 Breakout Sessions
Lacquer Without Borders led by Arlen Heginbotham, Conservator, J. Paul Getty Museum
This tour through the Museum galleries focuses on examples of Chinese and Japanese lacquer that have been incorporated into French decorative arts and addresses the worldwide exchange of aesthetics, raw materials, and finished goods associated with the lacquer trade.
VOILA—How Science Can Help Establish a Community of Asian Lacquer Researchers, led by Michael Schilling, Senior Scientist, Getty Conservation Institute
Ever wondered why scientists study cultural heritage? This tour of the Organic Materials Laboratory at the Getty Conservation Institute illustrates the role of science in uncovering the mysteries of Asian lacquer, the topic of a recent workshop for conservators and scientists hosted by the Institute.
Looking East: Rubens’s Encounter with Asia, led by Stephanie Schrader, Curator, J. Paul Getty Museum
This exhibition tells an intriguing story about early trade between Europe and Asia, the trafficking of Asian slaves, a shipwreck, the role of Jesuit missionaries in the East, and an unusual hat. Featuring a masterpiece from the Getty collection, Man in Korean Costume, the exhibition includes important scholarship that illuminates unexplored facets of Peter Paul Rubens’s much-celebrated career.
An Evolving Understanding of the Object via Art History and Science: La Roldana’s San Ginés, led by Maite Alvarez, Project Specialist, and Jane Bassett and Brian Considine, Conservators, J. Paul Getty Museum
In the early modern period, materials such as pigments, woods, and dyes traveled across the globe. Scientific advances have enabled these global materials to be more clearly identified; in fact, material identification has became such a part of art history that larger questions are often missed: How do we come to the conclusions we come to? How do we bring out true knowledge rather than conjecture? What are the implications and what is at stake? This session examines Spanish artist La Roldana’s polychrome wood sculpture San Ginés and her use of New World materials like cochineal, indigo, and cedar. An interdisciplinary team of scholars arrived at a new understanding of this work through the combined application of art history and science.
From Military Campaigns to Museum Collections, led by Louis Marchesano, Curator, and Peter Bonfitto, Senior Project Management Coordinator, Getty Research Institute
Napoleon’s military expedition in Egypt was a monumental failure, but it provided both the French and the English an opportunity to seize the country’s riches. This session presents a variety of publications related to the military campaign, including the multivolume Description de l’Égypte (1809–28), auction catalogs, and museum publications.
Imperial Impressions: Chinese Engravings and French Models, led by Marcia Reed, Chief Curator, Getty Research Institute
Rare prints from the Getty Research Institute’s collections demonstrate the evolution of China’s cultural exchange with Europe during the Qing Dynasty.
Facing East: The Western View of Islam in Early Modern Europe, led by David Brafman, Curator, Getty Research Institute
The Getty Research Institute’s rare books and manuscripts from the Renaissance to the Enlightenment display the evolving knowledge of Islamic art and culture in early modern Europe.
Untold Stories: Collecting and Transforming Medieval Manuscripts, led by Elizabeth Morrison, Curator, J. Paul Getty Museum
For hundreds of years, manuscripts have been bought and sold, hidden and displayed, preserved and rearranged, loved and forgotten, cut into pieces, hung on the wall, and glued into albums. Drawn from the Getty Museum’s permanent collection and featuring several outside loans, this exhibition reveals how manuscripts have been refashioned both conceptually and physically and explores the long and eventful history of these books before their arrival at the Museum.
3:15 Session 3 — Moderator: Stephen Little (Los Angeles County Museum of Art)
• “Mirror Reflections: Louis XIV, Phra Narai, and the Material Culture of Kingship,” Meredith Martin (Wellesley College)
• “Coins for Candles: Asian Commodities and the Visual Culture of Spanish America,” Dana Leibsohn (Smith College)
4:45 Reception
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S A T U R D A Y , 1 1 M A Y 20 1 3
8:30 Coffee and Pastries
9:30 Session 4 — Moderator: Charlene Villaseñor Black (University of California, Los Angeles)
• “From the Rue Saint-Jacques to the Paraguayan Outback: The Itinerant lives of Rococo Decorative Prints in Eighteenth-Century South America,” Gauvin Alexander Bailey (Queen’s University, Ontario, Canada)
• “Monumentality in Motion: A Mughal Audience Tent in Late Eighteenth-Century Jodhpur,” Zirwat Chowdhury (Center for 17th- and 18th-Century Studies, University of California, Los Angeles)
11:00 Coffee Break
11:15 Session 5 — Moderator: Polly Roberts (University of California, Los Angeles)
• “Porcelain Objects and Mercantile Aesthetics: Trading Culture in Coastal East Africa,” Sandy Prita Meier (University of Illinois, Urbana-Champaign)
• “Chairs, Writing Tables, and Chests: On the Postures of Commercial Documentation in the Early Modern Indian Ocean,” Nancy Um (SUNY–Binghamton)
12:45 Lunch
2:00 Session 6 — Moderator: Sean Roberts (University of Southern California)
• “Classicizing the New: The Publication of the History of the New World (Tarih ül-Hind il garbi el-müsemma bi-Hadis-i nev),” Avinoam Shalem (Institut für Kunstgeschichte, Munich)
• “Technology in Paradise,” Mary Sheriff (University of North Carolina at Chapel Hill)
3:30 Coffee Break
3:45 Closing Roundtable Discussion
5:15 Closing Reception
Book and Conference | The Chesapeake House
The following conference takes place next month at Williamsburg:
The Chesapeake House
Colonial Williamsburg, 19-21 May 2013
To mark the publication of The Chesapeake House: Architectural Investigation by Colonial Williamsburg by the University of North Carolina Press, the Colonial Williamsburg Foundation will offer a three-day conference focusing on the methods used by architectural historians at Colonial Williamsburg to investigate buildings as well as review new discoveries in the field. The Chesapeake House is a major scholarly landmark that will set the standard for the analysis and history of early Virginia and Maryland architecture for the coming decades. The seventeen essays are based on the collective scholarship of nine authors who have been involved in research in this field for the past three decades. Participants in the conference will receive a copy of the book as part of their registration.
Through a series of lectures, conversations, and specialized tours of the Historic Area of Colonial Williamsburg, The Chesapeake House conference provides an insider’s view of how Colonial Williamsburg’s experts examine historic buildings. The program will appeal to teachers, students, preservationists, and other professionals in the field as well as friends of Colonial Williamsburg and members of the general public with interests in old houses, American history, restoration, and historic preservation. Presentations will explore the practice of architectural fieldwork, the nature of regionalism in building design, and the development of a distinctive framing system in the colonial period. Specialists will discuss the latest techniques of dendrochronoly and paint analysis.
There will be a special audience participation session entitled “How old is your house?” Often, it is one of the first questions homeowners ask and it is always essential for architectural historians to determine. Yet, such a basic query is often hard to answer. Assessing the age and alterations made to buildings is challenging since the process involves piecing together disparate kinds of evidence found in many different parts of a house, from the attic to the cellar. How was the frame constructed? What kind of bonding pattern does the chimney have? What sort of hinges are on the doors? Some details provide solid diagnostic clues while others are less helpful. However, when combined, they can provide plausible dates to within a few years or decades.
Curious about the age of your old house or one you know? Here is your chance to start the process of figuring it out. “Making Sense of the Evidence” will provide an interactive opportunity to review and analyze the material you submit with other participants. This session will demonstrate how the experts read the evidence from the field to make a reasonable estimate of the age of a house based on its form, construction, and style of various features.
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Cary Carson and Carl R. Lounsbury, eds., The Chesapeake House: Architectural Investigation by Colonial Williamsburg (Chapel Hill: University of North Carolina Press, 2013), 488 pages, ISBN: 978-0807835777, $60.
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S U N D A Y , 1 9 M A Y 20 1 3
4:00 Welcome, Colin G. Campbell, president and CEO, Colonial Williamsburg Foundation
4:15 “Publishing The Chesapeake House,” David Perry, editor-in-chief and assistant director, (retired), University of North Carolina Press, Chapel Hill
4:30 “Rendering The Chesapeake House,” Jeffrey Klee, architectural historian, Colonial Williamsburg
M O N D A Y , 2 0 M A Y 2 0 1 3
8:30 The Art Museums of Colonial Williamsburg open for conference participants
9:00 “Why Architectural Fieldwork?,” Edward Chappell, director, architectural and archaeological research department, Colonial Williamsburg
9:45 Coffee
10:15 “What makes Chesapeake Architecture Regional?,” Carl Lounsbury, senior architectural historian, Colonial Williamsburg
11:00 “Timber Framing: The DNA of Chesapeake Architecture,” Willie Graham, curator, architecture, Colonial Williamsburg
1:15 Revolutionary City programming. Looking at Architectural Details. Participants will be divided into four groups and will rotate around in order to participate in all four sessions:
• Timber Framing, Willie Graham, Booker Tenement
• Brickwork, Carl Lounsbury, Wythe House, Cole House, and Courthouse
• Hardware, Edward Chappell, Ken Schwarz, Armoury
• Architectural Elements, Jeffrey Klee, Hennage Auditorium
4:30 “Making Sense of the Evidence, or Stump the Chumps,” Cary Carson, Edward Chappell, Willie Graham, Jeffrey Klee, Carl Lounsbury, and members of the audience. Review of images of buildings and details submitted by members of the audience
6:30 Reception at the home of Margaret Pritchard
T U E S D A Y , 2 1 M A Y 2 0 1 3
8:30 The Art Museums of Colonial Williamsburg open for conference participants
9:00 “How Dendrochronology has Changed Architectural Research,” Michael Worthington, dendrochronologist, Oxford Tree-Ring Laboratory, Baltimore
9:45 “Paint Analysis in Architectural Investigations,” Susan Buck, conservator and paint analyst, Williamsburg
10:15 Coffee
10:45 “Off the Wall: Textile and Paper Hangings in the Chesapeake House,” Margaret Pritchard, curator, prints, maps, and wallpaper, Colonial Williamsburg
11:30 “Furnished Lives,” Cary Carson, vice president of research (retired), Colonial Williamsburg
Conference | The Louvre Before The Louvre: Artisans, Artists, Academies
From the conference website:
The Louvre Before The Louvre: Artisans, Artists, Academies
Wallace Collection, London, 5 July 2013
Organized by Mia Jackson and Hannah Williams
Antoine Coysevox, Charles Le Brun, terracotta, 1676 (The Wallace Collection)
Now one of the world’s most famous museums, the Louvre was once a vast artistic and cultural centre of a different kind. This one-day conference addresses the fascinating but little-known period of the Louvre’s history throughout the seventeenth and eighteenth centuries, exploring the role this space, its objects, and its inhabitants played in the histories of art production and artistic sociability in early modern Paris.
Eminent and emerging scholars including two guest speakers from the Musée du Louvre will together provide an intimate understanding of the artistic and intellectual neighbourhood of the Louvre and its effect on art and design in the period. Papers on the day will investigate the collective spaces and sociable practices of the Louvre (from the royal academies to artists’ studios), the intersections between personal and professional spaces for the artists and artisans who both lived and worked in the Louvre, and the wider significance of the Louvre in artistic social networks both locally and internationally.
Taking place in the Wallace Collection, which houses one of the United Kingdom’s finest collections of art from this period, this conference offers attendees the opportunity to experience the results of these artistic collaborations.
Generously supported by the Wallace Collection and the Faculty of History of the University of Oxford.
To book: www.louvrebeforelouvre.eventbrite.co.uk
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P R O G R A M M E
Welcome by Christoph Vogtherr (Wallace Collection)
Introduction by Mia Jackson (QMUL) and Hannah Williams (University of Oxford)
I. Reception Pieces at the Académie Royale de Peinture et de Sculpture: New Research
Geneviève Bresc-Bautier (Musée du Louvre) Integration of Works into the Collections of the Académie during the Ancien Régime
Guilhem Scherf (Musée du Louvre) Reception and Diffusion of the Morceaux de Réception during the Ancien Régime
II. Collective Spaces and Sociable Practices
Drew Armstrong (University of Pittsburgh) Life and Loss in the Académie Royale d’Architecture
Esther Bell (Cincinnati Art Museum) Coypel the Curator: Studio as Sociable Space
Pierre-Édouard Latouche (Université de Québec à Montréal) Des Recueils des Maisons Royales en Petit (1745) à L’Architecture Française (1756) de Blondel: Le remploi d’un Plan de la Cour Carré
Anne Higonnet (Barnard College, Columbia University) Studios, Sociability, and Unexpected Consequences in the Old Louvre
III. Living and Working in the Louvre
Susan Wager (Columbia University) Un-occupying the Louvre: The Royal Gem-Engraver Jacques Guay
David Maskill (Victoria University of Wellington) Louis Tocqué (1696-1772): A Portrait Painter at the Louvre
Katie Scott (Courtauld Institute of Art) Parade’s End: On Charles Coypel’s Bed
IV. Neighbourhoods and Networks
Dena Goodman (University of Michigan) 4 rue des Orties: the Louvre of the Silvestres, 1675-1805
Bärbel Küster (State Academy for Art and Design, Stuttgart) Britons in the Louvre in the 18th Century
Laura Auricchio (The New School) Beyond the Louvre: Re-mapping the Paris Art World in the Age of Louis XVI
Symposium | Strategies of the Interior
From the flyer for the upcoming symposium related to the University of Bern’s Interior project:
Strategies of the Interior: Anachronisms, Discontinuities, Narratives
University of Bern and Villa Mettlen, Muri bei Bern, 16-17 May 2013
Registration due by 26 April 2013
Concept and coordination: Christine Göttler, Peter Schneemann, and Tabea Schindler
This workshop is part of the activities of the Bern based SNSF Sinergia project The Interior: Art, Space, and Performance (Early Modern to Postmodern). It aims to provide a forum for exploring strategies and notions of the interior in diverse cultural contexts. Among the topics of focus are interiors as sites or signifiers of social, cultural, and religious interactions; narratives generated and stimulated by inhabited interiors; and the construction of interior spaces that refer to, represent and recreate different origins, experiences, and identities. Papers address the permeability and ambiguity of interior spaces, experienced as oscillating between private and public as well as between interior and exterior worlds. Attendance is free of charge but due to limited seats, registration is required until 26 April 2013. Contact: Michèle Seehafer, Project Assistant, michele.seehafer@ikg.unibe.ch. For more information please visit our project website.
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T H U R S D A Y , 1 6 M A Y 2 0 1 3
University of Bern
6:15 Keynote Lecture: Reindert Falkenburg (New York University Abu Dhabi), “Hieronymus Bosch, Diableries, and ‘Faulty Vision’” (keynote lecture)
F R I D A Y , 1 7 M A Y 20 1 3
Villa Mettlen
9:00 Registration
9:15 Welcome and Introduction: Christine Göttler and Peter J. Schneemann
Anachronisms: Spaces as Sites or Signifiers
Chaired by Tabea Schindler
9:30 Nick Kaye (University of Exeter), “The Outside [Is] The Inside”
10:30 Pascal Griener (University of Neuchâtel), “Raptures in Ruptures: The Representation of Periods through Rooms in the Crystal Palace at Sydenham (London), 1854–1870”
11:30 Coffee and Tea
Narratives: The Construction and Representation of Space
Chaired by Peter J. Schneemann
11:45 Beate Söntgen (Leuphana University of Lüneburg), “Chardin: Interiority – Interaction – Communication”
12:45 Lunch
14:00 Michael Lüthy (Freie Universität Berlin), “The Room at the End of History: Marcel Duchamp in the Philadelphia Museum of Art”
15:00 Coffee and Tea
Discontinuities: The Animation and Stimulation of Space
Chaired by Christine Göttler
15:15 Caroline Van Eck (Leiden University), “‘To roll back the current of time to show glorious visions of the past’: The Period Rooms of William Beckford and Sir John Soane”
16:15 Ursula Frohne (University of Cologne), “Shared Spaces: Collective Experience and Receptive Modes inside Cinematographic Environments”
17:15 Final Discussion
Symposium | Georges Hoentschel in Context
Although I noted back in February this BGC exhibition, Salvaging the Past: Georges Hoentschel and French Decorative Arts, I didn’t include any programming details. My apologies for the short notice; it’s an exciting slate of talks! -CH
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From the BGC:
Symposium: Georges Hoentschel in Context
Bard Graduate Center, New York, 18-19 April 2013
Panel from the shutters formerly in the Chapel at Versailles, carved by Jules Degoullons and associates after designs by Robert de Cotte, ca. 1710
Carved oak, originally painted and gilded
The Metropolitan Museum of Art, Gift of J. Pierpont Morgan, 1906 (07.225.145b)
Organized in conjunction with the exhibition Salvaging the Past: Georges Hoentschel and French Decorative Arts from The Metropolitan Museum of Art, on view at the Bard Graduate Center Gallery from April 4 through August 11, 2013, this international symposium brings together scholars and conservators to examine the Hoentschel collection in the context of the history of collecting in France and America. In April 1906, the celebrated Parisian decorator Georges Hoentschel (1855-1915) sold his French eighteenth-century panelling, seat furniture, painted overdoors, assorted objects, and medieval art to the powerful New York financier and collector J. Pierpont Morgan (1837-1913). Morgan, then president of The Metropolitan Museum of Art, presented the eighteenth-century objects immediately to the Museum but initially only offered to lend the earlier artworks. These were later donated by his son Jack Morgan in 1916. Hoentschel was also involved in the contemporary art world of his day, designing an Art Nouveau pavilion for the Universal Exposition in Paris in 1900, as well as intriguing stoneware vessels. The Hoentschel material constitutes one of the most significant collections from the early period of The Metropolitan Museum of Art. The exhibition at the Bard Graduate Center presents an unprecedented opportunity to explore its important role in disseminating the taste for eighteenth-century and Medieval French art in the United States.
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T H U R S D A Y , 1 8 A P R I L 2 0 1 3
Flaminia Gennari-Santori (Consulting Curator, Vizcaya Museum and Gardens, Miami, Florida) — ’There Was Money in the Air’: John Pierpont Morgan and the European Collecting Tradition
Light refreshments will be served at 5:45 pm. The presentation will begin at 6:00 pm. RSVP is required. To reserve you place at Thursday’s evening session, please click on the registration link at the bottom of this page or contact academicevents@bgc.bard.edu. Please note that a separate RSVP is required for the all-day session on Friday, April 19, 2013. Also note that our Lecture Hall can only accommodate a limited number of people, so please come early if you would like to have a seat in the main room. Registrants who arrive late will be seated in an overflow viewing area.
F R I D A Y , 1 9 A P R I L 2 0 1 3
9:30-5:00
Thomas Stammers (Lecturer in the Cultural History of Modern Europe, University of Durham), “Reinventing the Old Regime: Collectors and Scavengers in Nineteenth-Century Paris”
Anne Forray-Carlier (Chief Curator, Department of 17th and 18th Centuries, Musée des Arts Décoratifs), “Émile Peyre: The Unknown Collector”
Evelyne Possémé (Chief Curator, Department of Art Nouveau, Art Déco, and Jewelry, Musée des Arts Décoratifs), “Hoentschel’s Pavilion for the Exposition Universelle of 1900, Then and Now”
Charlotte Vignon (Associate Curator of Decorative Arts, The Frick Collection), “French Style in Early Twentieth-Century America: The Roles of Art Dealers and Interior Decorators”
Vincent Bouvet (Head of the Publication Department, École Nationale Supérieure des Arts Décoratifs, Paris), “Hoentschel and his Contemporaries: Parisian Interior Design Firms (1880-1920)”
Christina Hagelskamp, Mecka Baumeister, Nancy Britton, Beth Edelstein, and Pascale Patris (Sherman Fairchild Center for Objects Conservation, The Metropolitan Museum of Art), “The Conservator’s Perspective: Case Studies from the Furniture and Furnishings in the Hoentschel Collection”
Moderator of Morning Session, Deborah L. Krohn (Bard Graduate Center)
Moderator of Afternoon Session, Daniëlle Kisluk-Grosheide (Curator of European Sculpture and Decorative Arts, The Metropolitan Museum of Art)
Friday’s Afternoon Session will end with a panel discussion featuring the speakers and moderators.
RSVP is required. To reserve you place at Friday’s all-day session, please click on the registration link or contact academicevents@bgc.bard.edu. Please note that our Lecture Hall can only accommodate a limited number of people, so please come early if you would like to have a seat in the main room. Registrants who arrive late will be seated in an overflow viewing area.
Conference | Lust und Last der Antike: Antikenrezeption in der Skulptur
Lust und Last der Antike: Antikenrezeption in der Skulptur von Bernini bis Canova
Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rome, 3-4 May 2013
Programm und Organisation: Carina Bauriegel und Anna Sophie Rath
Villino Stroganoff, Via Gregoriana 22
In der Frührenaissance wird das Interesse der Bildhauer für die römischen Antiken neu geweckt. Durch Nachzeichnungen und Stichwerke wird das antike Erbe sukzessive erschlossen und konstituiert einen Kanon, der die Entwicklung der Skulptur nachhaltig prägt. Noch 1730 verweist Lione Pascoli in der Vita des Camillo Rusconi auf die Korrektivfunktion der antiken Vorbilder, deren Aufgabe es sei, die »vivezza, l’espressività, e la bizzaria de’ moderni« zu filtern und zu strukturieren.
Seit Mitte des 18. Jahrhunderts grenzen sich die Bildhauer bewusst von ihren Vorgängern und deren Umgang mit dem antiken Erbe ab. Kritik üben Johann Joachim Winckelmann mit seinem Urteil über Gianlorenzo Berninis Stil als »verderbten Geschmack« sowie Quatremère de Quincy in seiner Warnung an Antonio Canova, falschen Vorbildern zu folgen und ein »Bernini à l‘antique« zu werden.
Dennoch ist die Skulptur beider Epochen untrennbar durch die Rezeption der Antike miteinander verbunden. Bis Mitte des 19. Jahrhunderts bleibt der im Seicento aufgestellte Kanon von Laokoon, Antinoos, Apoll von Belvedere über die Venus Medici bis zu den Philosophen- und Kaiserbildnissen gültig. Lediglich die ästhetischen und wissenschaftlichen Ansprüche an die Skulptur verändern sich, wie exemplarisch an der Rezeption des Apoll von Belvedere bei Bernini, Rusconi und Canova deutlich wird.
Einen kritischen Gegenpart zu den Künstlern bilden Autoren wie Gian Pietro Bellori, Giovanni Battista Passeri, Winckelmann und Carl Ludwig Fernow. Diese beurteilen unter anderem, wie nah die Bildhauer dem antiken Ideal hinsichtlich Invention, Komposition und Originalität kommen oder dieses sogar übertreffen. Dabei werden bewusst Dichotomien mit Blick auf die Qualität der Antikenrezeption einzelner Künstler eingeführt, wie Bernini/Algardi oder Canova/Thorvaldsen. Dies spiegelt sich auch in der Querelle des Anciens et des Modernes wider, die durch den gleichnamigen Vortrag Charles Perraults an der Académie Royale in Paris 1687 erneut aufflammt und bis Mitte des 19. Jahrhunderts im Zentrum der Kunstgeschichtsschreibung steht. Im Rahmen eines Studientages soll epochenübergreifend über den Umgang mit der Antike in der italienischen Skulptur und deren Rezeption in der zeitgenössischen Kunstliteratur reflektiert werden.
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F R E I T A G , 3 M A I 2 0 1 3
10:00 Museo Gregoriano Profano (Viale Vaticano) — Besichtigung (fakultativ)
14:00 ELISABETH KIEVEN (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rom), Begrüßung
14:10 ANNA SOPHIE RATH und CARINA BAURIEGEL (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rom), Einführung
TRANSFORMATION, Moderation: ELISABETH KIEVEN
14:30 BJÖRN STATNIK (Universität Würzburg), Winckelmanns „großer Bernini“. Die griechisch-antikischen Kunstideale Winckelmanns und Berninis bildhauerisches Frühwerk
15:10 CARINA BAURIEGEL (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rom), „A perfezione come gl’originali“. Antikenkopie bei Massimiliano Soldani Benzi
Kaffeepause
16:30 REGINA DECKERS (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rom), Venezianità, Spätbarock oder Früh-klassizismus? Stilbildung in der venezianischen Skulptur des Settecento
17:10 FABIEN BENUZZI (Università Ca’ Foscari, Venedig), Alle radici di Canova. Il recupero dell’antico nella scultura Veneziana del Settecento
17:50 JOHANNES MYSSOK (Kunstakademie Düsseldorf), „Un Bernin antique“. L’imitazione paradossale dell’antico di Antonio Canova
FESTVORTRAG
19:00 SEBASTIAN SCHÜTZE (Universität Wien), Gli scultori e il discorso di antichi e moderni. Testimonianze letterarie, argomenti visivi e qualche osserva-zione di metodo
S A M S T A G , 4 M A I 2 0 1 3
INSTRUKTION UND EXPOSITION, Moderation: GIOVANNA CAPITELLI (Università della Calabria)
9:00 ANGELA CIPRIANI (Accademia di San Luca, Roma), Dalla citazione all’invenzione. Il mutare della percezione dell’antico nei bassorilievi dei concorsi accademici
9:40 CHIARA GAUNA (Università di Torino), La difficile libertà dell’antico all’Accademie de France
10:20 CRISTIANO GIOMETTI (Università di Firenze), Nel solco dell’Accademia. Studio e pratica dell’antico nella scultura romana di primo Settecento
Kaffeepause
11:30 MARIO GUDERZO (Gipsoteca Canoviana, Possagno), Dal Fauno Barberini all’Endimione dormiente. Canova e l’antico
12:10 ELENA GRANUZZO (Università di Verona), Antonio Canova – Leopoldo Cicognara. Dialogo sull’antico
Mittagspause
INSPIRATION Moderation: SEBASTIAN SCHÜTZE
15:00 MALCOM BAKER (University of California, Riverside), Both British and Antique? Perceiving Difference in Portrait Busts by British Sculptors Working in Italy around 1760
15:40 STEFANO GRANDESSO (Rom), L’antico e i soggetti di genere nella scultura classicista. Da Ridolfo Schadow e Thorvaldsen ai pensionnaires francesi
16:20 ANNA SOPHIE RATH (Bibliotheca Hertziana, Max-Planck-Institut für Kunstgeschichte, Rom), Vice and Virtue. La visione dell’antico di John Gibson
17:00 Zusammenfassung und Schlussdiskussion
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