Enfilade

Summer seminar at the YCBA:

Coloring Color: The History, Science, and Materiality of Paint
Yale Center for British Art, New Haven, 17-21 June 2013

Applications due by 4 March 2013

In June 2013, the Yale Center for British Art (YCBA) will offer a week-long graduate student seminar, open to doctoral candidates interested in learning about color and its historical development, manufacture, and use in a range of art works in the eighteenth, nineteenth, and twentieth centuries. The seminar, which is organized by the YCBA’s Conservation Department, will concentrate on the physical materials of color. The long eighteenth century plays a central role in the history of color, as the scientific revolution and the development of chemistry were, in part, fueled by the urge to synthesize pigments and dyes. The seminar will examine color from historic and scientific perspectives, explore its physical definitions and biological responses, and create a familiarity with the language of color as it evolved historically. Studio demonstrations and some practice will be used to help inform art history students who may have had little or no experience in handling pigments and mediums in the studio. The aim of the seminar is to equip students with a fundamental understanding of the history and theory of color, and to develop an understanding of the appearance of color in paintings and works on paper.

Yale historically has been linked to color teaching. From 1950 until his death in 1976, Joseph Albers taught, studied, and painted in New Haven, and it was at the Yale School of Art that he developed his seminal theories and teachings on color. Yale’s superb collections and conservation facilities make the University an ideal setting for color immersion. Students will be able to correlate color theory with the wide range of paintings on view at the YCBA and the Yale University Art Gallery, as well as in the various library collections with extensive holdings of original manuscripts and color ephemera, such as the Faber Birren collection, one of Yale’s gems. Yale’s collections are rich with examples of artists who experimented with color, and many of these paintings present us with technical puzzles, as we consider artistic intention in relation to the aging of paintings.

The lead instructors of the seminar are Mark Aronson, Chief Conservator, and Jessica David, Assistant Paintings Conservator at the ycba. Other specialists, including curators, art historians, scientists, conservators, and artists, will be involved in teaching special sessions during the course. The seminar is open to current PhD students within the United States and internationally, whose doctoral research focuses on issues relating to painterly practice and the materiality of paintings and works on paper. Participants will be provided with economy airfare, ground transportation, meals, and accommodation at Yale. Students are expected to undertake reading assignments in advance of the seminar. A syllabus and details of assignments will be available in late spring 2013. The graduate student summer seminar is generously supported by the Andrew W. Mellon Foundation.

Applications must be submitted electronically. Please include a cv and a statement (no more than two pages) of how your research interests intersect with the focus of the seminar, and what you hope you to gain for your own work by participating. Applications should be emailed to: Marinella Vinci, Senior Administrative Assistant, Department of Research, marinella.vinci@yale.edu. Please also address any queries to Marinella Vinci. The deadline for receipt of
applications is Monday, March 4, 2013.

Historians of British Travel Award
Proposals due by 15 September 2012

The award is designated for a graduate student member of HBA who will be presenting a paper on British art or visual culture at an academic conference in 2013. The award of $750 is intended to offset travel costs.

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 Renate Dohmen, Prize Committee Chair, HBA, brd4231@louisiana.edu. The deadline is September 15, 2012.

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 2011 lists eight eighteenth-century dissertations completed, including:

• Frederique Baumgartner, “Transformation of the Cultural Experience: The Art of Hubert Robert during the French Revolution” (Harvard, E. Lajer-Burcharth)

• Christina Ferando, “Staging Canova: Sculpture, Connoisseurship, and Display, 1780–1822” (Columbia, J. Crary, A. Higonnet)

• Katie Hanson, “A Neoclassical Conundrum: Painting Greek Mythology in France, 1780–1825” (CUNY, P. Mainardi)

• Amanda Lahikainen, “Unchecked Ideas: Humor and the French Revolution in Late Eighteen-Century British Political Graphic Satire” (Brown, K. D. Kriz)

and forty-one dissertations in progress, including:

• Katherine Arpen, “Pleasure and the Body: Representations of Bathing in Eighteenth-Century French Art” (UNC Chapel Hill, M. Sheriff)

• Julie Boivin, “Horrid Beauty: Rococo Ornament and Contemporary Visual Culture” (Toronto, M. Cheetham)

• Elizabeth Berler Brand, “Representing Natural History in Philadelphia, 1770–1820” (UT Austin, S. Rather, M. Cohen)

• Lauren Cannady, “Owing to Nature and Art: The Garden Landscape and Decorative Painting in Eighteenth-Century French Pavillons de Plaisance” (IFA/NYU, T. Crow)

• Zirwat Chowdhury, “‘Imperceptible Transitions’: The Anglo-Indianization of British Architecture, 1768–1820” (Northwestern, S. H. Clayson)

• Katelyn D. Crawford, “Itinerant Portraitists in the Late Eighteenth-Century British Atlantic World” (Virginia, M. McInnis)

• Lindsay Dunn, “A Revolutionary Empress: Figuring Dynastic Power and National Identity in Representations of Marie-Louise, House of Habsburg-Lorraine (1791–1847)” (UNC Chapel Hill, M. Sheriff)

• Emily Everhart, “The Power of Friendship: Madame de Pompadour, Catherine the Great, and Representations of Friendship in Eighteenth-Century Art” (Georgia, A. Luxenberg, A. Kirin)

• Jessica Fripp, “Portraiture as Social Practice: The Creation, Collection, and Exchange of Portraits of Artists in Eighteenth-Century France” (Michigan, S. Siegfried)

• Daniel Fulco, “Palace Frescoes as an Expression of Princely Power in Early Modern Germany: Five Representative Examples” (Illinois at Urbana–Champaign, D. O’Brien)

• Meredith Gamer, “Criminal and Martyr: Art and Religion in Britain’s Early Modern Eighteenth Century” (Yale, T. Barringer)

• Victoria Sears Goldman, “‘The most beautiful Punchinelli in the world’: A Comprehensive Study of the Punchinello Drawings of Giovanni Battista Tiepolo” (Princeton, T. DaCosta Kaufmann)

• Jennifer Jones, “A Discourse on Drawings: P. J. Mariette and the Graphic Arts in Early Eighteenth-Century Paris” (Columbia, D. Rosand)

• Jason LaFountain, “The Puritan Art World” (Harvard, J. Roberts)

• David Pullins, “Cut and Paste: The Mobile Image from Watteau to Pillement” (Harvard, E. Lajer-Burcharth)

• Brian Repetto, “Impressing the Patriot: Visual Culture and Revolution in the Eighteenth-Century Netherlands” (Brown, J. Muller)

• Ünver Rüstem, “Architecture for a New Age: Imperial Ottoman Mosques in Eighteenth-Century Istanbul” (Harvard, G. Necipoğlu)

• Susan Wager, “Boucher’s Bijoux: Luxury Reproductions in the Age of Enlightenment” (Columbia, A. Higonnet)

• Diane Woodin, “Embodied Constellations: Representations of Science, Gender, and Social Allegiance in the Eighteenth Century” (UNC Chapel Hill, M. Sheriff)