Göttingen Summer School | Academic Collecting and Knowledge
From H-ArtHist:
Göttingen Spirit Summer School
Academic Collecting and the Knowledge of Objects, 1700–1900
Lichtenberg-Kolleg, Historic Observatory, University of Göttingen, 5–10 September 2016
Applications due by 1 May 2016
Experts/Speakers
Anne Mariss, University of Tuebingen
Maria Rentetzi, National Technical University of Athens, Lise Meitner fellow, University of Vienna
Kim Sloan, British Museum London
Emma Spary, University of Cambridge
Early modern cabinets of curiosities/Wunderkammern can be considered as an important space especially for those developing sciences that wanted to transcend text based scholasticism and base their knowledge solely on experience. Scholarly engagement with collections laid the foundations for knowledge production that was based on experiment and research with and on objects. Since this development took shape during the 17th century, collecting, storing, ordering, and the presentation of objects has become a strong concern for many academic disciplines.
Accordingly, technologies that transformed things into objects of knowledge and rendered them accessible and sustainable are equally practical as well as epistemological techniques. Current research in the history of science and knowledge focuses increasingly on practices of collecting, ordering and presenting. Thus highlighting how scientific research and its results are intertwined with and rely upon different cultures of materiality and the handling of objects is the main concern of the summer school.
In addition to questions concerning the role of objects and collections in the processes of knowledge production, we would also like to address the state and development of object based research in the humanities. How can humanities research be enhanced by engaging with objects? Which methods and theories can be successfully employed in order to achieve meaningful knowledge about these processes on a medium and larger scale? Each day of the summer school will be dedicated to a specific topic where four PhD candidates will present their research and give an introduction to their projects, with one expert commenting and leading the discussion for each project.
As we acknowledge the epistemic value of engaging with objects, visits to the relevant academic collections at the University of Göttingen are an integral part of the program. Two of our experts, Kim Sloan and Emma Spary, will also give keynote lectures on Monday and Wednesday respectively. On Thursday evening, Anne Mariss will introduce her recent book ‘A World of New Things’: Praktiken der Naturgeschichte bei Johann Reinhold Forster (Johann Reinhold Forster and the Practices of Natural History), thereby reflecting on her process of writing a thesis on praxeological aspects of knowledge production and engaging with material culture.
The four thematic sections are:
From encyclopaedic to specialised collecting: Practices of collecting and exhibiting, the role of collectors and things // Kim Sloan, British Museum
During the two centuries between 1700 and 1900, a far-reaching transformation took place that influenced both the scientific practices related to objects and the role of collectors. Burgeoning university collections differed considerably from most private or courtly cabinets of curiosities regarding their claims to establish order, classification and systematic comparison: the typical and the ordinary gradually replaced the rare and the unique, and the learned collector became the collecting scholar. The 18th century can be seen as a period of transition and the nineteenth 19th century was a threshold in the process of the differentiation of academic disciplines. This also influenced the collections, which were separated as well and thereby shed new light on the objects and thus eventually led to new ways of knowledge production. Accordingly, we especially invite presentations that address continuities and discontinuities in practices of collecting and the role of the collectors, as well as the actual order, presentation and spatial distribution of objects in the collections. Additionally, presentations that engage with wider epistemological, cultural, social and political contexts are equally welcome.
‘Putting nature in a box’ The material order of things: shelves, cabinets, boxes and other furniture of order // Maria Rentetzi, NTU Athens, University of Vienna
Furniture that helps to order and to store collections is an important part of the social world of collecting and is embedded in the epistemic practices surrounding collections as well. Material appliances influence the rules of the handling of objects and permit as well as prohibit certain practices. Thus, they are not neutral vessels but material conditions of possibilities regarding what and what cannot be known at a particular time and space. Which role do these vessels play concerning the development of object centred sciences in the18th and 19th century, especially concerning the production of knowledge and its contents? How did cabinets and other storage systems help natural historians to organise knowledge, and how did they help to create knowledge about the natural world? How did boxes become multifunctional tools in transferring the collected material into systematics? Could this furniture be regarded as a kind of laboratory that decontextualized and re-contextualised objects in changing spatial-systematic vicinities?
Networks, actors and objects // Emma Spary, Cambridge University
Current research in the history of science and knowledge no longer focuses solely on individual collectors and well-known collections, but also on complex and far-reaching networks of collecting that mobilised and thereby often transformed objects, actors and inscriptions. This approach lead to the decentralisation of the persona of the collector and collections were conceptualised in the Latourian framework as ‘centres of calculation’. Special emphasis was laid on the analysis of the diverse spaces within which objects of knowledge were constituted and circulated. This panel wants to address the complicated movements of objects, materials, specimen and living creatures (both humans and other animals) within these wide and heterogeneous networks. Studies that address their itineraries between various spaces of encounter, e.g. academic collections, the marketplace, the scholars’ houses, lecture halls, hospitals, etc. are especially welcome. Additionally, we are interested in the multitude and diversity of the actors in these spaces. Extending the research beyond the scholar as the classical focus in the history of science, we want to know about artisans, merchants and, very importantly, the members of the source communities from where the objects originated. It will be interesting to see if these diversities also produced different kinds of knowledge. Besides well-studied analytical and systematic forms of knowledge, other kinds, especially corporeal, implicit and tacit knowledge as well as technological, practical and artisanal competence—that all of these actors applied in one way or another—will be the focus of this panel. Calculation, Ordering and Classification are only three possible practices that would highlight these processes, and we are equally looking forward to presentations addressing further practices.
The long road to the image: strategies of visualisation in collections // N.N.
Images are also part of the transformation processes surrounding objects but they exemplify a special form of inscription in their claim to be mimetic. Current history of science and interdisciplinary visual culture studies have shown that the road from object to image is not as straightforward and simple as previously acknowledged. In order to understand the visual representation of collections, objects, and collectors, the manifold processes that lead from object/subject to image have to be analysed thoroughly. Traditions and conventions of image making have to be studied in order to show how social, epistemic and affective contexts of image production and presentation have influenced these processes.
Applications and selection procedure
The summer school will be held in English and welcomes PhD candidates or advanced postgraduates to apply. Up to 16 applicants will be admitted. Interested applicants are asked to send a cover letter, a CV and a research exposé (1500–2000 words/approx. 3–5 pages) preferably via e-mail as one pdf file to summerschool@kustodie.uni-goettingen.de by 1st of May 2016. The cover letter should address to which of the four sections the project would correspond to. Ideally, it should already mention a special interest in one or more academic collections from Göttingen, as well as contain a short explanation why the certain collection(s) would be interesting for the PhD or postgraduate project. The selection will be conducted by the convenors, the experts and the academic advisory board of the Zentrale Kustodie. Successful candidates will be informed early in June, and will then be asked to send in a more developed research exposé (up to 8000 words/approx. 15–20 pages) within 6 weeks of the invitation. These texts will be circulated among all participants of the summer school and will be the basis for the experts‘ commentaries and the discussions during the summer school. We ask all applicants to address not only the research content of their projects but also to include references to concepts and methodologies and an explication of their research agenda and the sources employed. A discussion on how objects and collections feature in the research project is very much appreciated.
Thanks to the generous support of the Goettingen Spirit Summer School program at the University of Göttingen, we are able to provide board and lodging for all participants. The participation fee is 50€. For further information and questions, please contact Christian Vogel (summerschool@kustodie.uni-goettingen.de).
Convenors
Marie Luisa Allemeyer (Zentrale Kustodie, University of Göttingen)
Dominik Hünniger (Lichtenberg-Kolleg, University of Göttingen)
Christian Vogel (Zentrale Kustodie, University of Göttingen)
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M O N D A Y , 5 S E P T E M B E R 2 0 1 6
5:00 Arrival and registration
6:30 Keynote lecture by Kim Sloan
8:00 Opening dinner
T U E S D A Y , 6 S E P T E M B E R 2 0 1 6
From encyclopaedic to specialised collecting: Practices of collecting and exhibiting, the role of collectors and things / Kim Sloan
9:30 Presentation of the chair
10:00 Two project presentations
1:30 Visit of a collection
4:00 Two project presentations
6:30 Guided tour Historic Observatory
8:00 Dinner
W E D N E S D A Y , 7 S E P T E M B E R 2 0 1 6
‘Putting nature in a box’: The material order of things: shelves, cabinets, boxes and other furniture of order / Maria Rentetzi
9:30 Presentation of the chair
10:00 Two project presentations
1:30 Visit of a collection
4:00 Two project presentations
6:30 Keynote lecture by Emma Spary
8:00 Dinner
T H U R S D A Y , 8 S E P T E M B E R 2 0 1 6
Networks, Actors and Objects / Emma Spary
9:30 Presentation of the chair
10:00 Two project presentations
1:30 Visit of a collection
4:00 Two project presentations
6:30 Book presentation by Anne Mariss
8:00 Dinner
F R I D A Y , 9 S E P T E M B E R 2 0 1 6
The long road to the image: strategies of visualisation in collections / N. N.
9:30 Presentation of the chair
10:00 Two project presentations
1:30 Visit of a collection
4:00 Two project presentations
6:30 Anthropology performance
8:00 Dinner
2016 Summer Institute in Technical Art History for PhD Students
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From the Institute of Fine Art’s Conservation Center:
Manifestations of the Model in Art and Architecture
2016 Summer Institute in Technical Art History for PhD Students
Institute of Fine Arts, New York University, 6–17 June 2016
Applications due by 21 March 2016
The Summer Institute in Technical Art History (SITAH) is an intensive two-week course, geared towards PhD candidates in art history who are looking to delve more deeply into technical studies. Students are immersed into the world of technical art history and conservation of works of art, with faculty ranging from conservators to conservation scientists, curators, art historians, and artists. The course takes full advantage of the wonderful resources of New York City, and many sessions are held in local conservation labs, where attendees have the opportunity to closely examine works of art with experts in the field. Off-site visits also include artists’ studios, museum permanent collections, and, where relevant, special exhibitions and galleries. A priority is placed on case studies and discussions, and students are encouraged to build relationships within the group, in the hopes of enriching their own research.
This year’s Summer Institute in Technical Art History focuses on forms of the model in art and architecture. We will examine preparatory materials such as sketches, bozzetti, and architectural plans, as well as presentation models for sculpture and architecture, and will look for evidence of the model in the finished work of art. Our study will consider works that served as models for other media, like prints and lay figures; maps, globes, and three-dimensional botanical and medical replicas; so-called tomb models; the contemporary use of models in art making; and the afterlives of models as collection objects. This topic will allow us to explore questions of scale, material, and process through close examination of objects in New York City museums and conservation laboratories.
Participants will study with distinguished conservators, art historians, scholars and artists, with a focus on materiality and process through close looking at art objects. Hands-on studio sessions will introduce historic and contemporary working practices. Participants will discuss how these methodologies materially and theoretically inform their own diverse research interests. This seminar will provide a forum to develop critical skills in the interpretation of object-based analyses.
Generously funded by the Andrew W. Mellon Foundation, the seminar will be held at the Conservation Center of the Institute of Fine Arts, and in New York City’s leading museums. Participants will receive housing and a stipend of $1400 to help defray travel costs.
Students currently enrolled in or completing a doctoral program in the US and Canada are eligible to apply. No background in science or conservation is required. A maximum of fifteen participants will be admitted to the program. Applicants will be evaluated on the basis of their academic accomplishment to date and on their expressed interest in integrating technical art history into their own research.
Applicants should submit a cover letter addressed to Professor Michele Marincola, Conservation Center, Institute of Fine Arts, NYU; a statement of purpose (maximum 1200 words) expressing interest in integrating technical art history into their research; a letter of support from their advisor that addresses their academic standing and their interest in the topic; and an academic and professional CV. The application deadline is March 21, 2016. Please submit applications in electronic format to: Sarah Barack, course coordinator, sb340@nyu.edu.
Summer Workshop | Visualizing Venice: The Ghetto of Venice
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From H-ArtHist, with more information available from Venice International University:
Visualizing Venice Workshop: Mapping and Modeling the Ghetto of Venice
Venice International University, 8–20 June 2016
Applications due by 31 March 2016
With the support of The Getty Foundation as part of its Digital Art History initiative, The Wired! Lab at Duke University, Università Iuav di Venezia, the University of Padua, and Venice International University are collaborating on a summer workshop that will train art, architectural, and urban historians with the digital media that can enhance or transform their research questions and their capacity to communicate narratives about objects, places, and spaces to the public.
This fifth annual 12-day workshop teaches a range of digital skills in mapping, 3D modeling, mobile application and web development, and time based media authorship to enable participants to engage historical questions with emerging digital tools. The course will engage with the Ghetto of Venice on the 500th anniversary of its creation as case study for training with a variety of technologies and applications. Instruction will be given in English by faculty and staff from Duke University’s Wired! Lab and Università Iuav di Venezia.
The workshop is designed for PhD or post doctoral participants in the interpretive humanities (including cultural patrimony, history of art, architecture and urbanism, history, geography, architecture, archaeology, and other relevant disciplines). Preference will be given to PhD students and recent PhD graduates in the history of art, architecture, and urbanism. The workshop is taught at Venice International University on the island of San Servolo in the Venetian Lagoon. Participants can live in the housing facilities of the island of San Servolo or arrange for accommodation in the city of Venice. Tuition fees are 1,000€ (+22%VAT). Scholarships are available in order to support tuition, travel, board, and accommodation expenses thanks to the generosity of The Getty Foundation.
University of Buckingham’s MA in Decorative Arts and Historic Interiors
MA in French and British Decorative Arts and Historic Interiors
University of Buckingham
Applications are invited for a partial studentship on the London-based MA in Decorative Arts and Historic Interiors offered by the University of Buckingham starting in September 2016.
The bursary, worth £7500, will cover 82% of the course fees for EU students and 55% for international students. Priority will be given to applicants with excellent academic qualifications seeking, or currently pursuing, curatorial careers in museums or the built heritage. The bursary is also open to part-time students currently working in the field, who can take the course as a form of in-service training over two years.
This unique one-year MA in French and British Decorative Arts and Historic Interiors provides sounds vocational and academic training, first-hand study of furniture, silver and ceramics in the context of historic interiors, numerous study trips to museums and historic house collections, (including a study week in Paris) and placements in museums and heritage institutions.
For further details please visit our website or contact Dr Barbara Lasic: barbara.lasic@buckingham.ac.uk
PhD Studentships in French Studies at the University of Exeter
Niklaus-Cartwright PhD Studentships
University of Exeter
Proposals due by 15 November 2015
Through the generosity of Professor Michael Cartwright (French, Exeter 1960), and the Professor Robert Niklaus fund, established to support and strengthen eighteenth-century French studies, the Department of Modern Languages at Exeter is delighted to be offering excellent funding opportunities for exceptional researchers in the area of French Studies. Three Doctoral Studentships (open to UK/EU students only) will provide full tuition fees and an annual maintenance grant for three years. The maintenance grant will be £14,057 per year. At least one studentship is expected to be awarded in the field of eighteenth-century French studies.
The Department prides itself on its vigorous research culture, in which postgraduate research students play central roles. Our academic staff produce excellent research across a wide variety of disciplines including European and other global literature and culture, Art History and Visual Culture, Film, Linguistics, Medieval studies, Gender studies, and Translation. Modern Languages at Exeter is ranked in the Top Ten within the UK and in the top 150 language departments worldwide. Committed to providing outstanding, research-led teaching, the department maintained its momentum in the 2014 Research Excellence Framework (REF) with nearly a third of its research classified as ‘world-leading’—more than double that of the previous assessment. The REF also underlined what a great place Exeter is to pursue research in languages and culture: the department was rated 100% for providing ‘an environment that is conducive to producing research of world-leading (70%) or internationally excellent (30%) quality’. In French we have a wide range of research specialists and research interests, covering many aspects of French literary and visual culture from the medieval to the contemporary, linguistics, and French thought.
Research interests in French
•Specialists in linguistics carry out research in the sociolinguistics and linguistic variation of contemporary French.
•Recent and contemporary writing: including biographical fiction, women’s writing, and modern critical theory.
•Medieval French literature and culture
•Renaissance thought and literature
•French and Francophone cinema
•Seventeenth century literary studies
•Eighteenth and nineteenth-century visual art and literature.
Research carried out by staff in French deals with issues including the reception of Classical myth, sexuality, gender, war and trauma, and questions of ‘race’, citizenship, and national identity.
Entry criteria
We invite applications from candidates with a strong academic background and a clear and engaging research proposal which can be developed through available research supervision. Successful applicants normally have a good first degree (at least 2.1, or international equivalent) in Modern Languages or a Humanities discipline, and have obtained, or are currently working towards, a Masters degree at Merit level, or international equivalent, in Modern Languages or a Humanities discipline. If English is not your native language then you will also need to satisfy our English language entry requirements.
There is a French language requirement for candidates taking up these opportunities. All candidates will have achieved at least A-level French or equivalent.
To apply
To be considered for these doctoral awards, you must complete an online web form where you must submit personal details and upload a full CV, research proposal, transcripts, details of two referees and, if relevant, proof of your English language proficiency, by 15 November 2015. In addition you must also ensure that your referees email their references to the Postgraduate Administrator at humanities-pgadmissions@exeter.ac.uk by 15 November 2015. Please note that we will not be contacting referees to request references and so you must arrange for them to be submitted to us by the deadline. References should be submitted by your referees to us directly in the form of a letter. Referees must email their references to us from their institutional email accounts. We cannot accept references from personal/private email accounts, unless it is a scanned document on institutional headed paper and signed by the referee.
Please note that if you have already submitted references to support your application to one of our MPhil/PhD programmes you may re-use these to support your funding application. However, this is not automatic and you must email us at humanities-pgadmissions@exeter.ac.uk to confirm that we have two references on file to support your application, and to request that they be used to support your funding application.
All application documents must be submitted in English. Certified translated copies of academic qualifications must also be provided.
For more information contact:
Dr Matt Barber, Graduate School Administrator
humanities-pgadmissions@exeter.ac.uk
College of Humanities Graduate School, University of Exeter
Queen’s Building, The Queen’s Drive
Exeter, Devon, EX4 4QH
For informal enquiries, contact Professor Melissa Percival, M.H.Percival@exeter.ac.uk
MA in the Art Market and the History of Collecting, U of Buckingham
MA in the Art Market and the History of Collecting
The University of Buckingham
Full and partial scholarships available
A one-year MA offered by the University of Buckingham and the National Gallery in association with Waddesdon Manor (Rothschild Collections) investigates American and European art markets and cultures of collecting from the Renaissance to the present day. The course is taught by staff from the University of Buckingham, the National Gallery and Waddesdon Manor.
A unique feature of the course will be access to two of the greatest surviving art dealers’ archives: Agnew’s, acquired by the National Gallery in 2014, and Colnaghi’s, housed since February 2014 in the Windmill Hill Archive, Waddesdon Manor. It is the first MA in the UK to offer, under the guidance of experts, practical training on how to use, unlock and analyse these rich holdings.
Full and partial scholarships available generously funded by P & D Colnaghi & Co Ltd. Apply now for January 2016. For further information see the website or contact: Claire Prendergast, Claire.Prendergast@Buckingham.ac.uk or Jeremy Howard jeremy.howard@buckingham.ac.uk.
Smithsonian American Art Museum Fellowships, 2016–17
Smithsonian American Art Museum Fellowships, 2016–17
Applications due by 1 December 2015
The Smithsonian American Art Museum (SAAM) and its Renwick Gallery invite applications for research fellowships in the art, craft, and visual culture of the United States. Fellowships are residential and support full-time independent and dissertation research.
Each scholar is provided a carrel in SAAM’s Fellowship Office, situated across the street from the museum. Available research resources there include a 180,000-volume library that specializes in American art, history, and biography; the Archives of American Art; the graphics collections of SAAM and the National Portrait Gallery; the Joseph Cornell Study Center; and the Nam June Paik Archive, as well as a variety of image collections and research databases. During their stay at SAAM, scholars will be part of one of the nation’s oldest and most distinguished fellowship programs in American art and will have the opportunity to attend a wide variety of lectures, symposia, and professional workshops. Short research trips are also possible.
Qualifications and Selection
Predoctoral applicants must have completed coursework and preliminary examinations for their doctoral degree and must be engaged in dissertation research. Postdoctoral fellowships are available to support specific research projects by scholars who have earned a PhD or equivalent. Senior fellowships are intended for scholars with a distinguished publication record who have held their doctoral degree for more than seven years or who possess a commensurate record of professional accomplishment at the time of application.
Applications will be evaluated on the quality of the proposed research project and the applicant’s academic standing, scholarly qualifications, and experience. The project’s compatibility with Smithsonian collections, facilities, staff, and programs will also be considered. A committee of curators and historians will review the proposals.
Fellowships
SAAM hosts fellows supported by the Smithsonian Institution Fellowship Program and also offers the following named fellowships:
The Joe and Wanda Corn Fellowship is endowed by their former students Mike Wilkins and Sheila Duignan and supports scholars whose research interests span American art and American history. The recipient will be jointly appointed at SAAM and NMAH (National Museum of American History) and will draw on the resources of both museums.
The Douglass Foundation Fellowship in American Art is given for predoctoral research in American art.
The Patricia and Phillip Frost Fellowship is offered to support research in American art and visual culture.
The George Gurney Fellowship funds a one- to three-month research appointment in American art, preferably sculpture, in honor of the distinguished career of SAAM’s former curator of sculpture.
The James Renwick Fellowship in American Craft is available for research in American studio crafts or decorative arts from the nineteenth century to the present.
The Sara Roby Fellowship in Twentieth-Century American Realism is awarded to a scholar whose research topic is in the area of American realism.
The Joshua C. Taylor Fellowship is supported by alumni and friends of the fellowship program.
The Terra Foundation Fellowships in American Art seek to foster a cross-cultural dialogue about the history of the art of the United States up to 1980. Three twelve-month fellowships will be awarded annually, one each at the predoctoral, postdoctoral, and senior levels, to scholars from abroad who are researching American art or to U.S. scholars who are investigating international contexts for American art.
The William H. Truettner Fellowship supports one to three months of research, in recognition of Mr. Truettner’s career of nearly fifty years as a curator of painting and sculpture at SAAM.
The Wyeth Foundation Predoctoral Fellowship is awarded for the advancement and completion of a doctoral dissertation that concerns the study, appreciation, and recognition of excellence in all aspects of American art.
Support
The stipend for a one-year predoctoral fellowship is $32,700 plus research and travel allowances. The stipend for a one-year postdoctoral or senior fellowship is $48,000 plus research and travel allowances. The standard term of residency is twelve months, but shorter terms will be considered; stipends are prorated for periods of less than twelve months.
Applicants are encouraged to share their research proposals with potential Smithsonian advisors before submitting applications. For research consultation, contact Amelia Goerlitz at GoerlitzA@si.edu or Emily D. Shapiro at ShapiroED@si.edu.
For Applications or General Information
Call SAAM’s Fellowship Office at (202) 633-8353 or e-mail AmericanArtFellowships@si.edu. A link to the online application for the Smithsonian Institution Fellowship Program can be accessed via our website. Applicants should propose a primary advisor/supervisor from SAAM to be eligible for a fellowship at this unit. Only one application is necessary; applicants will automatically be considered for all relevant awards. December 1, 2015, is the application deadline for fellowships that begin on or after June 1, 2016. Awards are based on merit. Fellowships are open to all qualified persons regardless of race, color, religion, gender, national origin, age, sexual orientation, or condition of handicap. The Smithsonian Institution’s Office of International Relations will assist with arranging J-1 exchange visas for fellowship recipients who require them. For other Smithsonian opportunities, visit the Smithsonian Office of Fellowships and Internships webpage or e-mail siofi@si.edu.
2014 Dissertation Listings
From caa.reviews:
Dissertation Listings
PhD dissertation authors and titles in art history and visual studies from US and Canadian institutions are published each year in caa.reviews. Titles can be browsed by subject category or year.
Titles are submitted once a year by each institution granting the PhD in art history and/or visual studies. Submissions are not accepted from individuals, who should contact their department chair or secretary for more information. Department chairs: please consult our dissertation submission guidelines for instructions. The annual deadline is January 15 for titles from the preceding year.
In 2003, CAA revised the subject area categories of art history and visual studies used for all our listings, including dissertations. These categories are listed in the Dissertation Submission Guidelines.
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The index for 2014 lists eight eighteenth-century dissertations completed, including:
• Cannady, Lauren, “Owing to Nature and Art: The Garden Landscape and the Eighteenth-Century French Interior” (IFA/NYU, T. Crow)
• Fox, Abram, “The Great House of Benjamin West: Family, Workshop, and National Identity in Late Georgian England” (Maryland, College Park, W. Pressly)
• Francis, Razan, “Secrets of Enlightenment Spain’s Contested Islamic Craft Heritage” (MIT, D. Friedman)
• Marchand, Marie-Ève, “L’histoire de l’art mise en pièces. Analyse matérielle, spatiale et temporelle de la period room comme dispositif muséal” (Université de Montréal, J. Lamoureux)
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and forty-one dissertations in progress, including:
• Brosnan, Kelsey, “Seductive Surfaces: Anne Vallayer Coster and the Eighteenth-Century Still Life” (Rutgers, S. Sidlauskas)
• Cooper, John, “Imperial Balls: The Arts of Sex, War, and Dancing in India, England, and the Caribbean, 1780–1870” (Yale, T. Barringer, R. Thompson)
• DiSalvo, Lauren, “Micromosaics as Grand Tour Souvenirs in Europe from the Early Eighteenth Century to the Late Nineteenth Century” (Missouri, M. Yonan, K. W. Slane)
• Gratta, Eva, “‘Great Links of the Chain’: Maritime Imagery in North America, 1750–1850” (CUNY, K. Manthorne)
• Greenberg, Daniel, “A New Imperial Landscape: Ritual, Representation, and Foreign Relations in the Qianlong Court (1735–1796)” (Yale, Y. Kim)
• Mitchell, David, “Mimetic Heresies: Waxworks in Paris, 1661–1723” (McGill, A. Vanhaelen; R. Taws)
• Presutti, Kelly, “Terroir after the Terror: Landscape and Representation in Nineteenth-Century France” (MIT, K. Smentek)
• Rado, Mei, “Xiyang Textiles in the Eighteenth-Century Qing Imperial Court: Fabrication, Display, and Representation of the West” (Bard Graduate Center, F. Louis)
• Ridlen, Michael T., “Prud’hon and the Graceful Style” (Iowa, D. Johnson)
• Szalay, Gabriella, “Materializing the Past: The History of Art and Natural History in Germany, 1750–1800” (Columbia, K. Moxey)
• Von Preussen, Brigid, “The Antique Made New: Commercial Classicism in Late Georgian Britain” (Columbia, A. Higonnet)
• Wunsch, Oliver, “Painting Against Time: The Decaying Image in the French Enlightenment” (Harvard, E. Lajer-Burcharth)
New MA in the Art Market and History of Collecting
From The University of Buckingham and The National Gallery:
MA in the Art Market and History of Collecting
The University of Buckingham and the National Gallery, in association with Waddesdon Manor (The Rothschild Collection), are delighted to announce the launch of a new MA course on the History of Collecting and the Art Market in January 2016.
The study of the art market and the history of collecting has been one of the most significant growth areas within Art History in the last 30 years, attracting wide interest internationally, particularly in Europe and the United States. Competitively priced, this new MA will investigate American and European art markets and cultures of collecting from the Renaissance to the present day. The first of its kind in the UK, it will be taught by staff from the University of Buckingham, the National Gallery and Waddesdon Manor. The course will include study trips to Paris and Florence. All the London-based teaching, spread over two terms, will be based at the National Gallery in London.
A unique feature of the course will be access to two of the greatest surviving art dealers’ archives: Agnew’s, acquired by the National Gallery in 2014, and Colnaghi’s, housed in the Windmill Hill Archive, Waddesdon, since February 2014. Under the guidance of experts, students will be given practical training on how to use, unlock and analyse their rich holdings. Aimed at art historians, would-be curators, collectors, those with a professional interest in the art market or a general interest in the arts, the programme provides a pathway to a career in the art world or a step towards further postgraduate research.
University of Buckingham Programme Director, Jeremy Howard said: “I am thrilled by the exciting opportunities that our new MA will offer. Developed and delivered by the University of Buckingham and the National Gallery in association with Waddesdon, the MA will enable Buckingham to offer students privileged access to the two greatest London-based dealer archives, first-class research training, and an entrée to one of the fastest-growing areas of art history. For those with an eye on a PhD, a possible career in curatorship or the art market, the course will provide a valuable spring-board; but we are also hoping that this new MA will appeal to those who are interested in studying the history of collecting as a fascinating subject in its own right.”
Sir Nicholas Penny, Director of The National Gallery, said: “I am delighted that the National Gallery is collaborating with the University of Buckingham’s research-led MA focusing on the history of collecting and the art market. In an increasingly popular area of research, this course, designed and taught by leading figures in the field, will introduce students to the many and varied facets of the subject, as well as providing much-needed training in the use of archives, drawing on some of the National Gallery’s own important holdings, including the recently-acquired Agnew’s archive.”
Pippa Shirley, Head of Collections and Gardens at Waddesdon Manor said: “We are delighted to be working with the University of Buckingham and the National Gallery on this new MA, which explores a critical aspect of the nineteenth-century art market. There is a particular appropriateness for Waddesdon to be a part of this collaboration—not only is the Colnaghi Archive housed with us, but the collections at the Manor are a reflection of the passions of one of the most influential of nineteenth-century collecting dynasties, the Rothschilds, who bought through both Colnaghi and Agnew, which allows their archives to be brought to life in a very vivid way.”
Buckingham, set up in 1976, was the only university to be independent of direct government support in the United Kingdom and has used its independence to pioneer a distinctive approach to higher education.
The programme brochure is available as a PDF file here»
HBA Travel Award for Graduate Students
Historians of British Art Travel Award
Proposals due by 15 October 2015
HBA is accepting applications for this year’s Travel Award. The award is designated for a graduate student member of Historians of British Art who will be presenting a paper on British art or visual culture at an academic conference in 2016. The award of $750 is intended to offset travel costs. Applicants must be current members of HBA. To apply, send a letter of request, a copy of the letter of acceptance from the organizer of the conference session, an abstract of the paper to be presented, a budget of estimated expenses (noting what items may be covered by other resources), and a CV to Kimberly Rhodes, Prize Committee Chair, HBA, krhodes@drew.edu. The deadline is October 15, 2015.
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