Enfilade

Display of Art in Roman Palaces, 1550-1750
The Getty Center, Los Angeles, 2-3 December 2010

Rome—with its cardinals and international ambassadors to the papal court, its ancient barons and its newcomers trying to appear as if they descended from Caesar, all building, expanding, remodeling, and furnishing magnificent palaces, or trying to rent quarters befitting their needs and status—provided a powerful model for how the elites of Europe and beyond should live with an abundance of art. Here, display of art was calibrated to the ceremony of life and work in these great houses, to an etiquette and hierarchy that applied to every person, space, and thing.

This two-day conference is part of a Getty Research Institute research project on display in Roman houses from 1550 to 1750, two centuries that encompass the beginnings of collecting, as it is generally understood today, and the end of the “baroque,” by which time a very different concept of the interior had taken shape. Different media categories, moveable and immoveable—such as frescoes, cabinet pictures, tapestries, sculpture, and architecture—have been studied, yet little attention has been given to their integration into ensembles in which people conducted their lives. The wealth of microhistories on collecting allows for a broad-gauged analysis of display, and how it informed emerging concepts of art and art history. Conference presentations will explore the social and cultural context for display, the circuitry of production and the art market, access to interiors, and the processes by which desire was negotiated into concrete aesthetic environments that responded to the contingencies of life and change.

Admission is free. Reservations required for each day.

For more information or to make a reservation, visit the Getty website»

From the INHA website:

L’art de bâtir aux champs: Modernité du patrimoine rural et théorie des constructions agricoles
Institut national d’histoire de l’art, Paris, 14-15 October 2010

Vue aérienne d’ensemble de la ferme de Platé d’Armand Moisant. Archives départementales d’Indre-et-Loire.

Le colloque L’art de bâtir aux champs, organisé en partenariat par l’Institut national d’histoire de l’art et la Direction des patrimoines du ministère de la Culture et de la Communication, rassemble des chercheurs ayant contribué aux travaux des services de l’Inventaire, dans le domaine du bâti rural et agricole, et des chercheurs participants au programme de l’INHA sur la théorie et la bibliographie du livre d’architecture français.

Il s’agit de mettre en exergue une période durant laquelle, à partir de la fin du XVIIIe siècle, l’architecture agricole donne lieu à un nombre croissant de publications. Celles-ci témoignent à la fois de l’actualité de ce domaine et de l’intérêt que lui portent des auteurs variés, architectes, ingénieurs ou propriétaires souvent rassemblés au sein des sociétés d’agriculture. Elles défi nissent également le cadre d’une production qui abandonne les pratiques traditionnelles, au profi t de méthodes plus rationnelles.

Aux marges du domaine qui était alors celui de l’art architectural, cette production imprimée coïncide avec une certaine démocratisation de la maîtrise d’ouvrage : les édifices « propres à loger les animaux » ou les granges et les hangars construits avec soin dans quelques demeures aristocratiques depuis la Renaissance italienne, étaient désormais un enjeu, pour un nombre croissant de commanditaires.

The colloquium program is available here»

From the Denver Art Museum:

At the Crossroads: The Arts of Spanish America and Early Global Trade, 1492–1850
Mayer Center for Pre-Columbian and Spanish Colonial Art, Denver Art Museum, 12-13 November 2010

During the era of early global trade instigated by the voyages of Columbus, Spanish America served as a crossroads for trade between Europe and Asia. Trade goods were exchanged between all areas and inspired artists to appropriate motifs, styles, and techniques previously unknown to them. The impact of trade on the arts of all regions and the transmission of objects and ideas between Spanish America, North America, Europe, and Asia will be included.

◊  ◊  ◊  ◊  ◊

S P E A K E R S
Karina Corrigan (Peabody-Essex Museum – Salem, MA), Chinese Export Silver to the Americas
Claire Farago & James Cordova (University of Colorado – Boulder), Casta Painting and Self-Fashioning Artists in New Spain
Dana Leibsohn (Smith College – Northampton, MA), Made in China / Made in Mexico
Jaime Mariazza F. (Universidad de San Marcos – Lima, Peru), Royal Funerary Rites in 17th-Century Lima: The Catafalque of Margaret of Austria
Maria Bonta de la Pezuela (Sotheby’s – New York), The Perils of Porcelain: Chinese Export Porcelain in the Mexican Colonial Market
Donna Pierce (Denver Art Museum), Asian Trade Goods in Colonial New Mexico
Sara Ryu (Yale University – New Haven), Transatlantic Icons of Conquest: Cristos de caña in New Spain and the Canary Islands
William Sargent (Peabody-Essex Museum – Salem, MA), Asian Ceramics in New England
Suzanne Stratton-Pruitt (Independent Scholar – New York), From Spain to Peru: Paintings by the Dozen
Charlene Villasenor Black (University of California – Los Angeles), Saints’ Cults and Conversion in the Global Hispanic World

Sir Joshua Reynolds: What’s New?
Université de Lausanne / Musée d’art et d’histoire de Genève, 16-18 September 2010

Colloque Internation organisé par Jan Blanc (Université de Genève) et Pascal Griener (Université de Neuchâtel)

Ce colloque est le premier événement scientifique organisé en Suisse autour de la carrière, de l’œuvre et de l’univers de Sir Joshua Reynolds (1723-1792). Il est aussi l’un des premiers, depuis la dernière grande exposition rétrospective consacré au premier Président de la Royal Academy, à Londres et à Paris (1986), à faire le point des recherches et des travaux les plus récents sur le peintre et son temps. Dans le cadre d’un lieu de rencontres et d’échanges entre les chercheurs et le grand public, il s’agira de permettre aux spécialistes confirmés ainsi qu’aux jeunes chercheurs de se rencontrer, de comparer leurs analyses et de croiser leurs réflexions autour d’un peintre autour duquel de nombreuses questions restent en suspens ou discutées.

Thursday, 16 September 2010

2:00 Jan Blanc et Pascal Griener, Accueil – Ouverture

R E Y N O L D S  E N  S O C I É T É
2:30 Bénédicte Miyamoto-Pavot, Reynolds en contexte: l’acquisition des arts en Grande-Bretagne au XVIIIe siècle
3:00 David Spurr, Authorial gestures: Reynolds’ literary portraits
Discussion – Pause
4:00 Frédéric Ogée, Hogarth et Reynolds
4:30 Christopher Martin Vogtherr, The Hertford family painting by Reynolds: A case study in British collecting patterns
Discussion – Pause
5:30 Georges Starobinski, Esprit d’enfance et ton pastoral: un contrepoint musical aux fancies de Joshua Reynolds
Discussion
Fin de la première journée

Friday, 17 September 2010

R E Y N O L D S   E N   P R A T I Q U E S
9:00 Giovanna Perini, Reynolds in Rome: Notes from the New York and family sketchbooks
9:30 Donato Esposito, Drawn to drawings: Reynolds and the drawn line
10:00 Rica Jones, «Some new stratagem of painting the face all red or all blue or all purple at the first sitting» : Reynolds and the world of portraiture in the 1740s
Discussion – Pause
11:00 Colin Harrison, Reynolds in miniature
11:30 Martin Postle, «New light on an old war horse » : Reynolds’s equestrian portrait of Lord Ligonier
12:00 Cristina S. Martinez, Reynolds and Ramsay: On Tradition, the Nation and the Law
Discussion – Déjeuner

R E Y N O L D S   E N   T H É O R I E S
2:00 Une table ronde avec Olivier Knechciak et Patrick Vincent, Reynolds, Blake, Wordsworth: Reynolds romantique?
Discussion – Pause
3:30 Iris Wenderholm, The President as reader: Sir Joshua Reynolds and his library
4:00 Elisabeth Martichou, Reynolds and Abbé Du Bos: Towards art criticism?
Discussion – Pause
5:00 James A. W. Heffernan,  History, portraiture, landscape: The unruly trio of Reynolds’ Discourses
5:30 Iris Wien, Joshua Reynolds: Myths and metaphors
Discussion

Saturday, 18 September 2010

L É G E N D E S   E T   S U R V I V A N C E S
10:00 Renate Prochno, Reynolds and Gainsborough: The creation of a legend
10:30 Karen Junod, « A Picture of the Mind » : Biography, Portraiture, and Edmund Malone’s An Account of the Life and Writings of the Author Sir Joshua Reynolds (1797)
Discussion – Pause
11:30 Sam Smiles, Turner’s debt to Reynolds
12:00 Camilla Murgia, Du modèle à l’anti-modèle: la perception de la théorie artistique de Reynolds chez les Préraphaélites
Discussion

The program is available here as a PDF file.

On the heels of the exhibition on Charles IV as patron and collector, comes this University of North Texas Symposium. From the conference website:

The Politics of Taste in 18th- and 19th-Century Latin America
Meadows Museum, Dallas, 17 September 2010 (organized by the University of North Texas)

As the Bourbon monarchy took the Spanish throne in 1700, the art, architecture, and visual culture of Latin America began a gradual transformation. A defining moment in this evolution was the establishment of the Royal Academy of San Carlos in 1785 in Mexico City, a time that corresponded to the escalation of the Bourbon Reforms across the Indo-Hispanic Americas. The new academy set standards of neoclassicism and buen gusto (good taste) and sought to impose these protocols on colonial society. In Latin America, however, these two domains existed in an ambiguous relationship to one another. For example, good taste did not necessarily refer to neoclassical style. To complicate matters further, the results of artistic reform were not as expected by the proponents of the Academy. Rather than sweeping transformation in the visual arts, Latin American artists and institutions produced works that reveal cultural hybridity, the persistence and assimilation of traditional colonial styles and genres, as well as the transformation of European neoclassical forms themselves into American expressions.

This symposium poses a number of questions to interrogate this period of stylistic transition. By what processes were academic and/or neoclassical art, conforming to standards of buen gusto in Spain, transformed in Latin America? As the term “neoclassical” is not period language, what can examining period notions of buen gusto tell us about the American assimilation of European academic and/or neoclassical styles and genres? How was possessing buen gusto consciously political in Latin American contexts? What are the issues in contexts beyond Mexico City and New Spain, such as Cuba? How was neoclassicism deployed with respect to forced labor in the countryside? How did American antiquity enter discourses about neoclassicism and taste? How were the arts of taste expressed in early national contexts in Latin America? This symposium seeks more contextual understandings of this complex phenomenon in Latin American art history.

Program
9:00  Introduction
9:15   Susan Deans-Smith, University of Texas at Austin
10:00 Ray Hernández-Durán, University of New Mexico
10:45 Kelly Donahue-Wallace, University of North Texas
11:30 Paul Niell, University of North Texas
12:15 Luncheon
1:30  Charles Burroughs, Case Western Reserve University
2:15  Robert Bradley, University of Texas Pan American
3:00  Magali Carrera, University of Massachusetts Dartmouth
3:45  Stacie G. Widdifield, University of Arizona
4:30  Discussion

The full program for this international colloquiem is available at the CIERL website:

History of Paris
Musée de la civilisation, Québec, 22-25 September 2010

Colloque international du Cercle interuniversitaire d’étude sur la République des lettres (CIERL)

Qu’il
 s’agisse
 de
 considérations
 sur
 la
 voirie
 ou
 les
 projets
 d’embellissement,
 sur
 les
 aspects
 sociaux,
 économiques
 ou
 poli-ques
 de
 la
 ville,
 sur
 l’architecture,
 la
 naissance
 du
 tourisme
 ou
 l’apparition
 du
 promeneur 
urbain,
 qu’il
 s’agisse 
des 
chroniques 
intimes 
ou
 officielles 
qui
 en 
ont
 scandé
 et 
organisé
 les 
péripétes, 
qu’il 
s’agisse 
encore 
du 
faste 
des
 entrées
 royales 
ou 
de 
la 
misère 
du 
peuple, 
des 
rumeurs 
ou 
des 
modes, 
des peintures 
ou 
des 
fictions
 qui 
l’ont 
mis 
en 
scène, 
le 
Paris 
d’Ancien 
Régime
 a
 fait
 l’objet
 depuis
 plusieurs
 décennies
 de
 nombreux
 travaux
 qui
 ont collectivement
 contribué
 tant
 à
 la
 restitution
 de
 la
 réalité
 «
historique
»
 de 
la
capitale 
qu’à 
la
mise 
au
 jour
 d’un 
imaginaire 
de 
la 
ville
 tissé 
au 
fil 
des
 représentations.
 Sociologues,
 anthropologues,
 historiens,
 spécialistes
 de
 l’urbanisme
 ou
 de
 l’architecture,
 mais
 aussi
 littéraires,
 historiens
 de
 l’art, 
ou 
encore
 spécialistes 
de 
l’histoire
 des 
mentalités 
ont 
ainsi, 
chacun
 selon
 les
 paradigmes
 de
 leur
 discipline,
 les
 champs
 de
 leur
 corpus
 et
 les
 horizons
 de
 leur
 théorie,
 proposé
 un
 contenu
 spécifique
 à
 l’Histoire
 de
 Paris,
 de
 ses 
lieux, 
de
 ses 
monuments, 
de 
ses 
habitants, 
des
 événements,
 heureux 
ou 
tragiques,
 officiels 
ou 
anonymes,
 collectifs 
ou 
individuels, 
qui
 s’y
 sont 
produits. . .