Enfilade

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

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

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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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

From the conference program, which includes speakers and presentation titles:

Barocke Kunst und Kultur im Donauraum
Passau und Linz, 9-13 April 2013

Im Jahr 1662 zerstörte ein verheerender Stadtbrand die mittelalterliche Passauer Bischofskirche. Der anschließende Wiederaufbau in barocken Bauformen vor nunmehr 350 Jahren gehört zu den wichtigsten Großbauprojekten dieser Epoche im gesamten Donauraum. Dies bildet den Anlass zur Veranstaltung eines Wissenschaftskongresses, der über das lokale Geschehen hinaus „Barocke Kunst und Kultur im Donauraum“ ganz allgemein in den Blick nimmt.

Dabei gilt es zunächst der Frage nach der „Konstituierung des ‚Donauraums‘ in der Barockzeit als Kunst- und Kulturlandschaft“ nachzugehen – Thema der ersten Sektion des Kongress. Die Entstehung des Donauraumes ist in geographischer, geschichtlicher, kultureller und religiöser Hinsicht von der Vielfalt nationaler Identitäten und Zugehörigkeiten bestimmt. Sie verkörpern als differenzierte Einheit den Reichtum dieser Kulturlandschaft. Zudem ist in der Vielfalt eine Gegensätzlichkeit begründet, die eine bis heute wirksame Abgrenzung von Okzident und Orient bestimmt und in einer entsprechenden kulturgeographischen Differenzierung zum Ausdruck kommt. Der gesamte Flusslauf, von der Quelle bis zur Mündung , ist hier Gegenstand der Überlegungen. Im Mittelpunkt stehen die Territorien Bayerns und Österreichs sowie die eng mit dem habsburgischen Kaiserhaus verbundenen landesherrlichen Gebiete des Königreichs Böhmen, der Markgrafschaft Mähren, Schlesiens und des Königreichs
Ungarn. Das einst von Passau aus gelenkte „Donaubistum“ bildete einen wichtigen Ankerpunkt gemeinsamer kultureller und religiöser Identität in diesem Raum. (more…)

Objects From Abroad: The Life of Exotic Goods
in France and the United States (18th-20th Centuries)
New York University, 25 April 2013

Register by 19 April 2013

9:15  Noémie Etienne, Introduction

9:30  O B J E T S  S A U V A G E S
• Manuel Charpy (CNRS), Exchanges of Times: Curio Hunting and Market of Archaic Goodsbetween France and United States in the 19th Century
• Yaëlle Biro (Metropolitan Museum), Crossing Boundaries: The Trade in African Art and Commercial Practices at the Turn of the 20th Century
• Monique Jeudy-Ballini (CNRS) and Brigitte Derlon (EHESS), Domesticating While Keeping Wild: On French Collectors of ‘Primitive Art’

11:00  Break

11:20  F R O M  P L A C E  T O  D I S P L A Y
• Fred Myers (Anthropology, NYU), Paintings, Publics, and Protocols: A Problem of Aboriginal Art
• Hannah S. Fullgraf (Dallas Museum of Art), The Journey of a Kwakwaka’wakw House Post from British Columbia to Paris
• Jean-François Staszak (University of Geneva) and Jean Estebanez (University Paris Diderot), Western Zoological Gardens and the Objectification / Exoticization of Human and Non-Human Animals

12:50  Lunch break

14:20  T R A V E L L I N G  A P P E A R A N C E S
• Madeleine Dobie (French Studies, Columbia University), Furniture, Culture, and Commerce in 18th-Century France
• Rustem Ertug Altinay (Department of Performance Studies, NYU), The Daughters of the Republic on the Catwalk: Turkey’s Diplomatic Fashion Shows in France and the United States
• Mei Mei Rado (Bard Graduate Center, New York), The Hybrid Orient: Japonisme and Nationalism in the Takashimaya Mandarin Robes
• Lauren Benetua (Marist-Lorenzo de’Medici, Florence), Imperial Collecting and Pacific Adaptations: On Textiles, Cloth, and Clothing

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NYU Center for International Research in the Humanities and Social Sciences, 4 Washington Square North, New York, 10003 – Phone: +1-212-992-7488. Please register by April 19 at valerie.dubois@nyu.edu.

From Parsons The New School for Design:

Design and Mobility: The 22nd Annual Parsons/Cooper-Hewitt Symposium
on the Decorative Arts and Design
Parsons The New School for Design, New York, 26-27 April 2013

A keynote address by Professor Edward Cooke of Yale University will be delivered and papers delivered by graduate students and faculty from universities around the US and UK. Free and open to the public.

This year’s theme is mobility which has become one of the defining traits of the age: new modes of living and transportation have created increasingly mobile lifestyles, aided by mobile communications networks, cultural products can move and spread across the globe with ease, and changing climate conditions are forcing relocations and rethinking of building patterns. On the individual scale, designers have worked with transformable and reusable products, or to help make individuals more mobile. The symposium will explore various aspects of mobility in the decorative arts and design — on macro and micro scales, from literal to  metaphoric perspectives.

Sponsored by The MA Program in the History of Decorative Arts and Design, School of Art and Design History and Theory, Parsons The New School for Design in conjunction with: Cooper-Hewitt, National Design Museum, Smithsonian Institution with the additional support of: donations to the Catherine Hoover Voorsanger memorial fund.

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F R I D A Y ,  2 6  A P R I L  2 0 1 3

5:30  The Catherine Hoover Voorsanger Keynote Address
Edward Cooke (Yale University), Design and Mobility

S A T U R D A Y ,  2 7  A P R I L  2 0 1 3

11:00  Session I

• Iris Moon (Massachusetts Institute of Technology), The Cabinet de platine (1800-1804): Monumentality, Materiality, and the Mobile Interior at the End of the Enlightenment
• Penny Wolfson (Parsons The New School for Design/Cooper-Hewitt, National Design Museum), The Wheelchair in Post-Civil War America
• Rebecca Gross (Parsons The New School for Design/Cooper-Hewitt, National Design Museum), Holiday Magazine: Paving the Postwar American Dream Road with Patriotism

2:30  Session II

• Jonathan Patkowski (City University of New York Graduate Center), Transformation, Reproduction, Reuse: The Reception of Asian Silks in Late Medieval Italy
• Neil Malcolm Douglas Ewins (University of Sunderland), UK Ceramic Manufacturing Strategy, Marketing, and Design in Response to Globalization, ca. 1990-2010
• Elise Hodson (York University), ‘Born and Raised on Kickstarter’: The Near Immaculate Conception of a Smart Watch Named Pebble

Next month at the Musées Gadagne de Lyon, as noted by Hélène Bremer (the programme is available as a PDF here) . . .

Les Voyageuses Britanniques à Lyon
Musées Gadagne de Lyon, 5-6 April 2013

Détail Le pont Morand en aval du quai de Retz et les Brotteaux, aquarelle et gouache, 18e siècle © musées Gadagne / T. O’Neill

Ce séminaire de recherche interdisciplinaire accueillera des anglicistes, des historiens, des géographes, des spécialistes des études de genre et proposera d’analyser un corpus inédit de récits de voyages publiés par des femmes britanniques au cours du « long XVIIIe siècle », ce qui correspond dans l’historiographie britannique à la période qui s’étend entre la « révolution glorieuse » de 1688 et le début du règne de la reine Victoria en 1837.

Partant d’interrogations à la croisée de plusieurs champs disciplinaires, ce séminaire propose d’étudier la place et le rôle de la ville de Lyon dans l’itinéraire des voyageuses britanniques. La démarche sera comparative et envisagera les représentations féminines de la ville de Lyon par rapport à d’autres étapes du Grand Tour mais aussi par rapport à celles que l’on trouve dans les récits masculins. À partir du modèle lyonnais, notre travail s’inscrira dans le sillage d’études récentes sur la féminisation du Grand Tour.

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5  A V R I L  2 0 1 3

14.15  Ouverture du Colloque, Mariaanne Privatsavigny (Directrice du Musée Gadagne) et Isabelle Baudino (ENS de Lyon, LIRE)

14.30  Conférence Inaugurale — Patrick Vincent, (Université de Neufchâtel) Remembering the Mules: Les voyageuses britanniques dans les Alpes
Présidence: Catherine Delmas (Université Grenoble 3)

15.30  Nicolas Bourguinat (Université de Strasbourg), Le séjour de Miss Berry à Lyon

16.00  Nicole Pellegrin (CNRS, ENS), Couples en Voyages: Les Cradocks à Lyon en 1784

16.45  Pause

17.00  Gilles Bertrand (Université Grenoble 2, IUF), Lyon dans le Voyage d’Italie: Tradition consolidée
ou expérience mouvante (XVIII – début XIX siècle)

17.30  Bernard Gauthiez (Université Lyon 3), L’espace évoqué par les voyageuses anglaises à Lyon, confronté à l’espace réel

20.00  Dîner du colloque

6  A V R I L  2 0 1 3

9.00  Accueil des Participants, Présidence: Gilles Bertrand (Université Grenoble 2, IUF)

9.30  Stephen Bending (University of Southampton), Anne Plumptre, Antoine-François Delandine and the Destruction of Lyons

10.00  Stéphanie Gourdon (Université Lyon 2), Lyon, the Opulent City: La vision politique d’Helen Maria Williams sous la Terreur dans Letters from France

10.45  Pause

11.00  Isabelle Baudino (ENS, LIRE), Lyon: A celebrated place of education

11.30  Tino Gipponi (Fondazione Maria Cosway, Lodi), Maria Cosway a Lione

12.30  Buffet au Café Gadagne, Présidence: Stephen Lloyd (Knowsley Hall)

14.00 Clare Hornsby (Benedictus College), Ellis Cornelia Knight as Artist, Writer and Traveller in Eighteenth-century Italy

14.30  Silvia Blasio (Università di Perugia), L’iconografia di Lione nel’ opera di William Marlow

15.15  Pause

15.30  Freya Gowrley (University of Edinburgh), A Temple to Travel: The grand tour souvenir and the construction of feminine identity in the aesthetic programme of À la Ronde, Devon

16.00  Hannah Sikstrom (University of Oxford), A Quest for Authenticity: The Constructed Identities of British Female Travellers in 19th-Century Italy