Colloquium on the History of Paris
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. . .
Conference: ‘Fictions of Art History’ at The Clark
As noted at The Art History Newsletter, The Clark turns its attention to the relationship between art history and fiction this fall. Conference participants include not only art historians but photographers, critics, novelists, and poets. Included among the seventeen speakers are Thomas Crow and Mark Ledbury. From The Clark’s website:
Fictions of Art History
Sterling and Francine Clark Art Institute, Williamstown, MA, 29-30 October 2010
Clark Conferences question the definition of art history and explore the discipline’s relationships with other modes of understanding and cultural phenomena. The aim of the 2010 conference is to address the complex relationship between art history and fiction, a relationship that will be investigated in art historians’ need to tell stories, their viewing practices, their rhetoric, their writing, and in the interest of art historical work beyond the academy.
Conference: ‘Visual & the Verbal’ Occasioned by Barry Exhibition
The Visual and the Verbal in the Eighteenth Century
University of Kent, 5 November 2010
Sponsored by the Paul Mellon Centre
The conference is being organised in conjunction with the exhibition In Elysium: Prints by James Barry, co-curated by Ben Thomas and Jon Kear. The conference will conclude with a drinks reception and exhibition viewing. Attendance at the conference, reception and exhibition is free but spaces are limited to 50. Please contact Jennie Batchelor (J.E.Batchelor@kent.ac.uk) to reserve a place. Places will be allocated in order of date of application.
Programme
9:00-9:30 Registration
9:30-10:00 Jenny Uglow (Kent), ‘Hogarth and Fielding: an Irregular Alliance’
10:00-11:00 Peter de Bolla (King’s College, Cambridge), ‘The Necessity of Judgement’
11:00-11:30 Coffee/tea break
11:30-12:30 John Barrell (York), ‘War and the Moral Economy in North East Wales, 1794’
12:30-13:30 Lunch (provided for speakers only)
13:30-14:30 Harriet Guest (York), ‘The Death of James Cook and the American Crisis’
14:30-15:30 Michael Rosenthal (Warwick), ‘Describing the Colony: The British in New Holland, c. 1788-1823’
15:30-16:00 Coffee/tea break
16:00-17:00 Michael Phillips (York), ‘No. 36 Castle Street East: A Reconstruction of James Barry’s House, Painting and Printmaking Studio’
17:30 Drinks reception and viewing of the exhibition In Elysium: Prints by James Barry
Claremont Garden Lecture
Claremont Garden Lecture by Timothy Mowl
Claremont House, Esher (just outside of London), 5 September 2010
Claremont Fan Court School is pleased to announce the inauguration of its Claremont Garden Lecture Series beginning with the opening lecture on Sunday afternoon, 5 September, in the School’s Mansion. Timothy Mowl, author and Professor of Architecture and Designed Landscapes at the University of Bristol, has accepted the invitation to deliver the opening address. This annual lecture series will provide access to the school’s portion of Claremont with Brown’s picturesque and sweeping park and to provide an historical context for this viewing through Prof. Mowl’s lecture. The Claremont Garden History Lecture series is being established as a forum for the discussion and promoting of garden history scholarship. Its goals include the presentation of the latest in academic research as well as the sharing of the private portion of the park and garden with the general public. The long term goal is to increase the public’s appreciation of designed landscapes and to better understand their original cultural context. The Open Day will start at 1 p.m. with the grounds and mansion open to the public. At 4:30 p.m. Prof. Mowl will present the inaugural lecture, followed by a question and answer session and book signing. Admission will be 10.00 GBP which includes access to the grounds,mansion and lecture.
Professor Timothy Mowl is a popular and prolific author and speaker, well known to both garden history scholars and the public. His ongoing project, Historic Gardens of England, supported by grants from the Leverhulme Trust, is modeled after Sir Nicolaus Pevsner’s Buildings of England. Upon completion, the nationwide project will present historic landscapes and gardens in separate texts, county by county. Ten books have been published to date. Prof. Mowl is an engaging speaker with a long-standing interest in the cultural context of designed landscapes – the people who designed and lived in what are now considered historic buildings and gardens.
Claremont Fan Court School is situated on grounds originally purchased by Sir John Vanbrugh for his own house and then developed by him for Thomas Pelham-Holles, the Duke of Newcastle. The Duke of Newcastle used Claremont as one of his principle residences from 1769 to 1774. He expanded the extent of the park and developed it extensively with Charles Bridgeman and William Kent. It was subsequently reshaped by Lancelot “Capability” Brown for Clive of India. During the 19th century, Claremont was the home of Princess Charlotte, Prince Leopold and Princess Victoria before she became Queen. Claremont remained a royal residence during most of the 19th century as a favorite of Queen Victoria’s. A portion of the original garden has been open to the public and owned by the National Trust since 1949, but the portion owned by the school has only occasionally been open to the public. Having a Grade 1 listed landscape that exhibits the successive work of Vanbrugh, Bridgeman, Kent and Brown is a resource that students of garden history, cultural geography and, in Claremont’s case, British royal history will find endlessly fascinating and informative.
Conference on the Pamphilj in October
The Pamphilj and the Arts: Patronage and Consumption in Baroque Rome
Boston College, 15-16 October 2010
In September 1644, the election of Pope Innocent X Pamphilj catapulted his family to the height of Roman society. From that moment on, the Pamphilj became active patrons of the arts, which were harnessed as the visual expression of the family’s new identity. Set within the social, religious and cultural context of Rome, the papers will examine the contributions of three generations of patrons: Innocent X; Prince Camillo Pamphilj (the pope’s nephew) and his wife, Princess Olimpia Aldobrandini; and their son, Cardinal Benedetto Pamphilj. In particular, this interdisciplinary conference will consider the influential role of the heretofore obscure patron, Benedetto Pamphilj, in shaping the visual arts, music and literature of late Baroque Rome, from his elevation as cardinal in 1681 until his death in 1730.
The conference is free and open to the public but registration is required. In addition the schedule provided below, full details are available here»
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Conference Schedule (more…)
Conference on Salvator Rosa in Eighteenth-Century Britain
From The Paul Mellon Centre:
Salvator Rosa in Britain
A Conference at Dulwich Picture Gallery, London, 18 October 2010
This conference, organized by Dr Helen Langdon, accompanies the exhibition at Dulwich Picture Gallery, Salvator Rosa (1615-1673): Bandits, Wilderness and Magic (15 September–28 November 2010) which concentrates on the quality and variety of Rosa’s works – savage landscapes, fanciful portraits of romantic figures, intriguing philosopher-paintings, witches and dragons. The conference explores the impact of this many-sided art on British painting, literature and art theory.
9:30 Registration
Morning Session introduced and chaired by Claire Pace (Honorary Research Fellow, University of Glasgow); Wendy Wassyng Roworth (Professor of Art History, University of Rhode Island), ‘The Legacy of Genius: Salvator Rosa, Joshua Reynolds and Painting in Britain’; Elinor Shaffer (Senior Research Fellow, Institute of Germanic & Romance Studies, University of London), ‘The Lives of Artists: William Beckford and Salvator Rosa’.
Visit to the exhibition, Salvator Rosa (1615-1673): Bandits, Wilderness and Magic, led by Helen Langdon and Xavier F. Salomon, Arturo and Holly Melosi Chief Curator at Dulwich Picture Gallery.
Afternoon Session I introduced and chaired by Susan Jenkins (Senior Curator, English Heritage); Cinzia Maria Sicca (Associate Professor of the History of European Art, University of Pisa), ‘“One of the most excellent Masters that Italy has produced in this century”: The circulation of Salvator Rosa’s works through the English community in Leghorn’; Alexis Ashot, Associate Specialist, Old Master and British Pictures, Christie’s, ‘“Unbounded capacity”: a 1778 vita of Salvator Rosa by the London connoisseur, Charles Rogers’.
Afternoon Session II introduced and chaired by Christoph Vogtherr (Curator of Pictures, pre-1800, The Wallace Collection); Jonathan Yarker (PhD candidate, University of Cambridge), ‘Joseph Goupy and the imitation of Rosa in early eighteenth-century England’; Helen Langdon (curator of the exhibition), ‘Belisarius in Norfolk’.
17.00 Panel and audience discussion chaired by Claire Pace, followed by wine reception.
Full conference fee, including coffee, lunch, tea, private view of the exhibition, and wine reception: £40. Student and Senior concessions £20. To register for the conference please check availability with Ella Fleming at The Paul Mellon Centre: Email: events@paul-mellon-centre.ac.uk, Tel: 020 7580 0311, Fax: 020 7636 6730.
Politics in the Garden
Political Gardening: Jacobites and Tories, Whigs and True Whigs, ca. 1700-1760
Wentworth Castle, Barnsley, South Yorkshire, 6-8 August 2010
The conference will explore political gardening in Britain, ca. 1700–1760, in order to identify the symbolism and meanings embedded within the country estates of Tory and Jacobite landowners. The papers will discuss whether these landscapes can be distinguished from those of Whig politicians, and whether Tories and Jacobites created an iconography of dissent from the Whig governments that managed Britain on behalf of the Hanoverian Kings George I and George II. The conference will be held at Wentworth Castle in the Palladian wing of the mansion (built 1760–65), and delegates will enjoy meals within the Baroque wing (built 1709–14). Wentworth Castle is also the home of the Northern College for Residential Adult Education which will provide delegates with catering and modern student accommodation.
The Wentworth Castle estate was created by Thomas Wentworth, first Earl of Strafford (second creation) between 1708 and 1739, and further developed by his son William, the second Earl. Although a Tory minister in Queen Anne’s government, Thomas Wentworth became a Jacobite conspirator after the accession of George I in 1714 and employed the Jacobite architect, James Gibbs, to design the interior of his new mansion. It is also likely that Gibbs designed garden buildings for Wentworth Castle. Booking information is available here» (more…)
Thomas Lawrence Exhibition and Conference
Thomas Lawrence: Regency, Power and Brilliance
A Conference at the National Portrait Gallery and The Paul Mellon Centre, London, 18-19 November 2010
This conference accompanies the exhibition Thomas Lawrence: Regency, Power and Brilliance at the National Portrait Gallery, London (20 October 2010–23 January 2011) which will be shown at the Yale Center for British Art, New Haven, (24 February–5 June 2011). This will be the first exhibition in the United Kingdom since 1979 to examine Lawrence’s work and the first substantial presentation of this artist in the United States. It will present Lawrence as the most important British portrait painter of his generation and will explore his development as one of the most celebrated and influential European artists of the late eighteenth and early nineteenth centuries. By his untimely death in 1830 Lawrence had achieved the greatest international reach and reputation of any British artist. Based on new research and fresh perspectives, this exhibition will introduce Lawrence to a new generation of museum visitors and students. It will also contextualise his work in the light of recent scholarship on the art, politics and culture of the period. The exhibition will include the artist’s greatest paintings and drawings alongside lesser known works in order to provide a fresh understanding of Lawrence and his career. It will contrast his approach to sitters according to age and gender, juxtapose the power and impact of his public works with the intimacy and intensity of those portraits of his friends and family, trace his innovations as a draughtsman and painter, and place him within the broader contexts of the aesthetic debates, networks of patronage and international politics of his day.
Thursday, 18 November 2010, National Portrait Gallery (2:00pm–8:30pm)
Session One will address issues relating to Lawrence, gender and representation, and will include papers by Marcia Pointon (Professor Emerita, University of Manchester), Shearer West (Arts and Humanities Research Council and the University of Birmingham) and Sarah Monks (School of World Art Studies and Museology, University of East Anglia).
Evening: At 6pm, delegates are invited to attend a guest lecture by Richard Holmes, the biographer and author of The Age of Wonder: How the Romantic Generation Discovered the Beauty and Terror of Science (2008) and formerly Professor of Biographical Studies at the University of East Anglia. The lecture will be followed by a wine reception hosted by the curators, and free admission to the exhibition.
Friday, 19 November 2010, Paul Mellon Centre (9:15am–7:15pm)
Session Two, devoted to Lawrence and his contemporaries, will include papers by Viccy Coltman (University of Edinburgh) and Martin Myrone (Tate).
Session Three will explore technical aspects of Lawrence’s career, particularly his studio practice and relationship with engravers, and will include papers by Jacob Simon (National Portrait Gallery) and Sally Doust (Independent Scholar).
Session Four will address Lawrence’s reputation and historiography into the later nineteenth century, and will include papers by Philippa Simpson (Tate) and Pat Hardy (Walker Art Gallery, National Museums Liverpool).
The conference will conclude with a roundtable discussion, including Mark Hallett (University of York), Ludmilla Jordanova (King’s College, London), David Solkin (Courtauld Institute of Art), and the curators of the exhibition, which will consider themes arising from this exhibition and conference. The discussion will be followed by a wine reception at 5:45pm.
Full conference fee for both days, including coffee, lunch and tea on 19 November, and receptions: £40. Student and Senior concessions £20. To register for the conference please check availability with Ella Fleming at The Paul Mellon Centre: Email: events@paul-mellon-centre.ac.uk, Tel: 020 7580 0311, Fax: 020 7636 6730.
Skin this Summer (exhibition and conference at the Wellcome)
The Wellcome Collection in London currently hosts an exhibition on Skin that includes various anatomical images from the eighteenth century (and a fine online component). Next week, there will be a symposium on the topic of Skin Exposed. While the latter is far-ranging in period and approach, it does raise the question of what a conference focused entirely on skin in the eighteenth-century might look like.
Skin
Wellcome Collection, London, 10 June — 26 September 2010

A suspended lower arm from which the skin and fatty layer has been removed to reveal the muscles. Next to it is a knife and a surgical instrument case with its lid. Gérard de Lairesse after Govard Bidloo and William Cowper, 1739 (Wellcome Library)
The Skin exhibition invites you to re-evaluate the largest and probably most overlooked human organ. We consider the changing importance of skin, from anatomical thought in the 16th century through to contemporary artistic exploration. Covering four themes (Objects, Marks, Impressions and Afterlives), Skin takes a philosophical approach. It begins by looking at the skin as a frontier between the inside and the outside of the body. Early anatomists saw it as having little value and sought to flay it to reveal the workings of the body beneath.
The exhibition then moves to look at the skin as a living document: with tattoos, scars, wrinkles or various pathologies, our skin tells a story of our life so far. Finally, the skin is considered as a sensory organ of touch and as a delicate threshold between life and death.
Skin Lab, which features artistic responses to cutting-edge research and technological developments in skin science from the mid-20th century onwards, will complement the exhibition.
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Symposium — Skin: Exposed
Wellcome Collection, London, 16-17 July 2010
Nudity is an intimate state, perceived differently across times and cultures. For some it is a taboo, for others something to be celebrated. Join us for this special two-part ‘skin-posium’ to explore nakedness in all its guises.
Friday: Literary reading, 19.00-21.00
Bask in words of literary masterminds Milton, Keats, Tennyson and others. The evening includes a drinks reception so you can get to know your fellow guests.
Saturday: Talks and discussions, 10.30-17.00
Experts from the worlds of history of art, evolutionary science and more will explore how bare skin is understood in different cultures, how nudity makes us feel and how our ancestors evolved to reveal their bare skin in the first place.
Our multidisciplinary speakers include ‘Skin’ curator Javier Moscoso; fashion historian Rebecca Arnold; geneticist Walter Bodmer; historian of art Jill Burke; author of A Brief History of Nakedness, Philip Carr-Gomm; human geographer Glenn Smith; and anthropologist and film-maker Michael Yorke. Friday evening is curated by Steven Connor, author of The Book of Skin.
Tickets must be booked in advance. £30 full price/£20 concession for both days, including drinks on Friday evening and lunch, tea and coffee on Saturday. Please call 020 7611 2222 to book.
Lecture: Edward Collier and Questions of Media
As noted at Early Modern History, Dror Wahrman gives the Royal Historical Society’s Prothero Lecture Wednesday evening:
Dror Wahrman, “The Media Revolution in Early Modern England: An Artist’s Perspective”
Cruciform Lecture Theatre 2, University College London, 30 June 2010, 5:30 pm (reception, 6:30 – 8:30pm)

Painting by Edward Collier
Dror Wahrman is the Ruth N. Halls Professor of history and director of the Center for Eighteenth-Century Studies at Indiana University Bloomington. He is also professor of history at the Hebrew University in Jerusalem. He has written and edited numerous articles and books including The Making of the Modern Self (Yale University Press, 2004), which received the Ben Snow Prize from the North American Conference on British Studies and the Louis Gottschalk Prize from the American Society for Eighteenth-Century Studies. Wahrman’s main research topics centre on the advent of modernity in Europe, and on what the term ‘modernity’ might mean. His work has explored key narratives that the modern West tells about itself—the emergence of class society, the rise of the middle class, and the emergence of the modern individual or self. His current projects include a book-length exploration of the little known painter Edward Collier and a co-authored book (with Jonathan Sheehan of the University of California-Berkeley) about chance, order, and providence in the transition from the early modern period to the eighteenth and nineteenth centuries.
Enquiries to Sue Carr, Executive Secretary, s.carr@ucl.ac.uk or tel. 020 7387 7532. A PDF file of the event flyer is available here.






















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