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Call for Articles | Colnaghi Studies Journal

Posted in Calls for Papers, journal articles by Editor on July 20, 2021

From ArtHist.net:

Colnaghi Studies Journal
Articles due by 18 October 2021

Colnaghi Studies Journal is currently accepting submissions for future volumes. Articles should highlight new discoveries or current research relating to important artworks produced in—or as a direct response to—the European tradition, in the periods from Antiquity to the mid-nineteenth century. The journal welcomes articles relating to a variety of objects, including paintings, sculptures, drawings, prints, decorative arts, and textiles, as well as the history of their collection and conservation. Texts should be largely object focused and place artworks within the broader context of the culture and period in which they were produced, providing visual analysis and high-quality comparative images.

Manuscripts will be reviewed by members of the journal’s Editorial Committee, composed of specialists covering a wide range of fields, periods, and geographic areas. Texts should be between 1000 and 10,000 words (including endnotes) and include between five and fifteen illustrations, depending on the length of the article. The author of each article is responsible for obtaining all photographic material and reproduction rights. We will endeavour to help early career and independent scholars cover the cost of image licenses. Each author will receive a hard copy of the volume in which his or her article appears. Please send submissions to journal@colnaghi.com and visit the Foundation’s website for style guidelines.

 

The Burlington Magazine, June 2021

Posted in books, catalogues, journal articles, reviews by Editor on June 28, 2021

Charles-Louis Clérisseau, Traou en Dalmathia, 1757
(Paris: Bibliothèque nationale de France)

◊   ◊   ◊   ◊   ◊

The eighteenth century in this month’s issue of The Burlington . . .

The Burlington Magazine 163 (June 2021) — Works of Art on Paper

A R T I C L E S

• Ana Šverko, “Clérisseau’s Journey to Dalmatia: A Newly Attributed Collection of Drawings,” pp. 492–502.
A collection of 136 hitherto anonymous drawings of Italy, Istria and Dalmatia in the Bibliothèque nationale de France, Paris, is here attributed to Charles-Louis Clérisseau. The drawings, which include a group made during his journey from Venice to Diocletian’s Palace in Split with Robert Adam in 1757, further expand our understanding of Clérisseau as the forerunner of a new generation of traveller-painters.

• Tony Barnard, “Trading in Art: Antonio Cesare di Poggi (1744–1836),” pp. 492–502.
With the help of his English wife, Hester, the Italian artist A.C. Poggi forged a career in London as a portrait painter, a retailer of fans, a dealer principally in drawings and publisher of prints. Poggi’s successes and failures reflect changing fashions and fortunes in the capital’s competitive art world between his arrival in England c.1770 and departure for the Continent in 1801.

• Christopher White, “Reminiscences of the British Museum Print Room, 1954–65,” pp. 492–502.
The author’s first job, as Assistant Keeper with responsibility for the Northern schools in the Department of Prints and Drawings at the British Museum, London, introduced him to a distinguished group of curators and an occasionally eccentric band of visitors. The department’s focus was emphatically on drawings, where major acquisitions could be made by sharp-eyed scholars in the salesrooms.

Fan portraying George III and his family at the Royal Academy of Arts exhibition in 1788, made by A.C. Poggi incorporating a print by Pietro Antonio Martini after J. H. Ramberg, ca. 1790, engraved and hand-coloured paper with carved and pierced ivory sticks and guards, width when open 38.4 cm (London: Victoria and Albert Museum, T.56-1933).

◊   ◊   ◊   ◊   ◊

R E V I E W S

• Elizabeth Pergam, “The Frick Reframed,” pp. 536–39. On the plain, grey walls of the Modernist Breuer building, New York, some of the most famous works from the Frick Collection shine in a new light.

• Yuriko Jackall, Review of the exhibition catalogue Une des Provinces du Rococo: La Chine Rêvée de François Boucher, ed. by Yohan Rimaud and Alastair Laing (In Fine éditions d’art and Musée des beaux-arts et d’archéologie de Besançon, 2019), pp. 539–41.

• Jonathan Yarker, Review of the exhibition Turner’s Modern World (Tate Britain, 2020–21), pp. 541–44.

• Amanda Dotseth, Review of the exhibition publication Museo del Prado 1819–2019: Un lugar de memoria, ed. by Javier Portús et al (Prado, 2018), pp. 546–49.

• Simonetta Prosperi Valenti Rodinò, Review of Les dessins de la collection Mariette: Écoles italienne et espagnole, by Pierre Rosenberg et al, 4 vols., (Somogy, 2019), pp. 550–51.

• Oliver Tostmann, Review of Die Zeichnungen des Giovan Battista Beinaschi aus der Sammlung der Kunstakademie Düsseldorf am Kunstpalast, ed. by Sonja Brink and Francesco Grisolia (Imhof Verlag, 2020), pp. 556–57. [Beinaschi lived between 1636 and 1688, but Tostmann notes in passing points of his eighteenth-century reception.]

• Christoph Martin Vogtherr, Review of L’ Art et la manière: Dessins français du XVIIIesiècle des musées de Marseille, ed. by Luc Georget and Gérard Fabre (Silvana Editoriale, 2019), pp. 557–58.

Call for Articles | The Eighteenth Century in Comics and Graphic Novels

Posted in Calls for Papers, journal articles by Editor on June 25, 2021

From ArtHist.net:

Die Aufklärung und das 18. Jh. in Comic und Graphic Novel
T
he Enlightenment and the 18th Century in Comics and Graphic Novels
Special Issue of Jahrbuch Der OGE 18
Jahrbuch Der Österreichischen Gesellschaft Zur Erforschung Des Achtzehnten Jahrhunderts 2022

Proposals due by 31 July 2021; completed articles will be due 31 December 2021

Anlässlich ihres 40-Jahr-Jubiläums widmet die Österreichische Gesellschaft zur Erforschung des 18. Jahrhunderts ihr Jahrbuch 2022 Repräsentationen von Aufklärung und dem 18. Jahrhundert in Comics und Graphic Novels. Zwar ist die Rezeption historischer Inhalte in der Populärkultur ein etabliertes Forschungsfeld, doch haben die Text-Bild-Narrationen dieses Mediums—verglichen etwa mit Computerspielen—bislang kaum Aufmerksamkeit gefunden. Vorliegende Arbeiten (wie C. Gundermanns Jenseits von Asterix, 2007) haben einerseits einen fachdidaktischen Schwerpunkt auf Aspekte der Vermittlung, andererseits keinen definierten Fokus auf das 18. Jahrhundert. — Dieses ist aber in mehrfacher Hinsicht interessant: Graphic Novels (etwa zu Voltaire) können Ideen der Aufklärung recht präzise auf den Punkt bringen; manche historisierenden Donald Duck-Darstellungen (etwa jene von Erika Fuchs) spiegeln dagegen durchaus tieferes Verständnis der deutschen Klassik. Dennoch hat sich bislang niemand diesem Thema wissenschaftlich angenähert. Die OGE18 will das mit ihrem Jubiläumsjahrbuch nun ändern.

Gesucht werden wissenschaftliche Aufsätze (im Umfang von rund 40.000 bis 50.000 Zeichen inkl. Leerzeichen), die die Verhandlung von Motiven, Figuren, Ereignissen und Ideen des ‚langen‘ 18. Jahrhunderts in Comics oder Graphic Novels kritisch diskutieren. Aufsätze können in deutscher, englischer oder französischer Sprache eingereicht werden. Abgabetermin ist der 31. Dezember 2021. Die Beiträge werden einem Peer-Review-Verfahren unterzogen. Bei Interesse senden Sie bitte bis spätestens 31. Juli 2021 eine knappe Skizze Ihres Beitrags an die Herausgeber_innen Thomas Assinger (thomas.assinger@sbg.ac.at), Elisabeth Lobenwein (elisabeth.lobenwein@aau.at) und Thomas Wallnig (thomas.wallnig@univie.ac.at).

Woman’s Art Journal, Spring / Summer 2021

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on June 21, 2021

The eighteenth century in the latest issue of WAJ:

Woman’s Art Journal 42.1 (Spring / Summer 2021)

Marguerite Gérard, Portrait of a Man and Woman in an Interior, 1818 (Tulsa: Philbrook Museum of Art; Taber Art Fund, 2019.9). The painting sold at Christie’s in Paris on 28 October 2019, Sale 17655, Lot 751.

A R T I C L E S

• Sarah Lees, “Marguerite Gérard’s Portrait of a Man and a Woman in an Interior: Portraiture, Landscape, and Social Networks,” pp. 19–26.
• Alison M. Kettering, “Watercolor and Women in the Early Modern Netherlands: Between Mirror and Comb,” pp. 27–35.

R E V I E W S

• Rosie Razzall, Review of Angela Oberer, The Life and Work of Rosalba Carriera (1673–1757): The Queen of Pastel (Amsterdam University Press, 2020), pp. 44–46.
• Wendy Wassyng Roworth, Review of the exhibition catalogue, Angelica Kauffman, edited by Bettina Baumgärtel (Hirmer, 2020), pp. 46–48.

Call for Articles | Raconter / Narrative(s)

Posted in Calls for Papers, journal articles by Editor on June 7, 2021

From the Call for Papers (English and French) . . .

Raconter / Narrative(s), Edited by Marine Kisiel and Matthieu Léglise
Special Issue of Perspective: actualité en histoire de l’art, no. 2022 – 2

Proposals due by 1 July 2021, with completed articles due by 15 December 2021

The journal Perspective’s thematic issue 2022 – 2 will explore the relationships between narration, art and art history. From the stories that inspire images and art objects, to those (re)constituted by its viewers, to the ‘story-telling’ of art historians, this issue is intended to make use of the act of narrating as a productively destabilizing heuristic tool. Even in the absence of figured diegetic content, the image and the art object narrate, if only as witnesses of an era or practices, as vehicles of narrativity. The resulting visual narratives in turn generate other narratives: fictions or legends, scholarly articles or fanciful ramblings, dialogues between artworks or viewers’ monologues. And art historical narratives as well, given that art historians continuously recount the process performatively, with its multiple mises en abyme and comings and goings in the grey areas between fact and fiction, expression and narration, description, analysis, and projection.

The historical place of the terminology of narrative within the field of literary studies also calls for examining the relationship between a narrative in images and its possible written sources. Does representing a story in images amount to imitating the textual narrative or faithfully reproducing its dramaturgy for the eye? What are the possibilities of visual narrativity relative to those of verbal language? The debt of figurative representation to its source has prompted a variety of responses from researchers in art history, some of whom posit the primacy of the written over the visual. Here, the concept of figurative thought (Pierre Francastel, La figure et le lieu : l’ordre visuel du Quattrocento, Paris, Gallimard, 1967) permits a distinction between two equally valid conceptual domains, where each narrative medium has its own logic. This dialectical approach, which connects the narrative image to its cultural environment, then opens the way to multiple interactions and reformulations, in particular through orality and a dialogue between the collective imaginary, individual imaginaries, and visual culture (Hans Belting, An Anthropology of Images: Picture, Medium, Body [2001], Princeton / Oxford, Princeton University Press, 2011). In methodological terms, the emergence of narratology within French literary theory in the 1970s (Gérard Genette, Figures III [1972], selections translated as Narrative Discourse, An Essay in Method, Ithaca, NY, Cornell University Press, 1980) provided a body of conceptual tools for renewing the study of the internal mechanisms of the literary narrative, in particular through the distinction between histoire (story), récit (narrative text) and narration (narrating act). The possible influence, or not, of this approach on the theoretical frameworks used in art history to analyze the narrative elements of the artwork or the image merits further consideration. And the same is true for the connections between visual, linguistic, and semiotic studies.

The figured narrative calls on a wide variety of visual means for shaping and spatializing narrative content through still and moving images (analog or digital), architecture, fashion, or art objects. Each work produced—monument, dress, painting, sculpture, film, book, digital interface, art object—requires a match between the narrative in images and its medium, dimensions and volume so as to fashion its visual effectiveness and reception by judiciously condensing or expanding it. Giving visual form to the narrative is also a means of fashioning or recounting its time In sum, this issue of Perspective seeks to take into account all the narrative dimensions, specificities, and potentialities of art objects and works and explore the way(s) the narrativity of the visual is rooted in a lengthy process of legitimization and empowerment.

If the image and the art object narrate, art historians in turn continuously provide a dialogical account of this multifaceted relationship as a kind of story within the story. The history of art, rooted in the works of Giorgio Vasari and Karel van Mander (considered as its modern founders), is based on a narrative exercise, from the ekphrasis of Antiquity to the epic narratives of modernist autonomy, but also anecdotes and biographical legends. The way art historians have forged their discipline by freeing themselves from a willfully mythical literary practice and gradually adopting, fashioning, and discussing ‘scientific’ methods bears witness to a complex relationship with the narrative and narration—otherwise stated, a kind of fiction. Some recent historiographical studies have focused on the question of these close ties between the writing of history and that of fiction. Mark Ledbury, in the collective work Fictions of Art History (Williamstown, Mass., Sterling and Francine Clark Art Institute / Yale University Press, 2013), Ivan Jablonka with History Is a Contemporary Literature: Manifesto for the Social Sciences [2014] (Ithaca, NY, Cornell University Press, 2018), and more recently, Myriam Métayer and Adriana Sotropa, the editors of Le récit de l’histoire de l’art. Mots et rhétoriques d’une discipline (Le Kremlin-Bicêtre, Éditions Esthétique du divers, 2017), for example, have offered fruitful insights. Is it possible to write history without telling stories? From the point of view of the images and art objects or that of the viewers, can—or should—we forego any narrative process? Can we communicate without narrating (or narrating ourselves)? If this is not the case, what epistemological conclusions can be drawn about the way we consider our practice—our writing—of art history? In the era of ‘alternative facts’ and storytelling, when the question of the relative nature of narratives is both a considerable risk and an opportunity, raising question about the making of narrative, the way that art and art history narrate (and narrate themselves), ultimately implies a return to teleological issues: what has meaning, what gives meaning, what creates meaning?

The appearance of an image, be it figurative, aniconic, material, or mental, gives rise to a story and a way of arranging it into a narrative. But does the absence of figuration signify the absence of narrative? For in the same way, the appearance of the image, be it material or mental, figurative or aniconic, gives rise to a desire to narrate. While no one will deny that the image and the narrative act go hand in hand, the precedence of one over the other remains an eternal subject of debate, as are the relaying and embedding processes that engender them, from the time of the paragone to modernist discourse predicting the end of narrative artworks. For the upcoming thematic issue, these different oppositions and complex transmission phenomena can be approached from a variety of vantage points, provided that the analysis is situated within a historiographical perspective addressing the narrative processes at work in the creation and reception of art from the origins to the present day, from symbolic Paleolithic expressions to contemporary cinema. For this reason, specific case studies bearing on iconographic analyses will not be accepted unless they raise broader critical questions.

Proposals involving one or several of the following approaches will be particularly welcome:
• Artists telling stories
• Artists telling their own stories (authorized accounts, etc.)
• Historians recounting the life of the artist (from Vasari to Ernst Kriz and Otto Kurz)
• Historians telling the story of visual narratives (iconography, iconology, interpretation, etc.)
• Synchronic narratives of art history (the ‘great’ movements, the ‘master’ narratives)
• Counter-narratives and re-narrated art historical narratives (historiography, fictionalization)
• The place and possibility of a collective and/or participatory narrative within the discipline
• The socio-political consequences and echos of art-historical narratives and counter-narratives (activism, societal debates)

Published by the Institut national d’histoire de l’art (INHA) since 2006, Perspective is a biannual journal which aims to bring out the diversity of current research in art history through a constantly evolving approach that is explicitly aware of itself and its own historicity and articulations. It bears witness to the historiographical debates within the field, while remaining in continuous relation with the images and works of art themselves, updating their interpretations, and thus fostering global, intra- and interdisciplinary reflection. The journal publishes scholarly texts which offer innovative perspectives on a given theme. These may be situated within a wide range, yet without ever losing sight of their larger objective: going beyond any given case study in order to interrogate the discipline, its methods, history and limitations, while relating these questions to topical issues from art history and neighboring disciplines that speak to each of us as citizens.

Perspective invites contributors to update their historiographical material and the theoretical questionings from which they draw their work, to think from and around the starting point of a precise question, an assessment that will be considered an epistemological tool rather than a goal in itself. Each article thus calls for a new approach creating links with the great societal and intellectual debates of our time. Perspective is conceived as a disciplinary crossroads aiming to encourage dialogue between art history and other fields of research, the humanities in particular, and put into action the ‘law of the good neighbor’ developed by Aby Warburg. All geographical areas, periods, and media are welcome.

Narrative(s), no. 2022 – 2
Editors: Marine Kisiel (INHA) and Matthieu Léglise (INHA)
Issue coordinated with Anne-Orange Poilpré (université Paris 1 – Panthéon-Sorbonne)

Please send your submissions (an abstract of 2,000 to 3,000 characters / 350 to 500 words, a provisional title, a short bibliography on the subject, and a biography of a few lines) to the editorial office (revue-perspective@inha.fr) before July 1st, 2021. Proposals will be examined by the issue’s editorial committee regardless of language (articles accepted for publication will be translated by Perspective). The authors of the pre-selected proposals will be informed of the committee’s decision by the end of July 2021. The complete articles (25,000 or 45,000 characters/ 4,500 or 7,500 words depending on the project) must be submitted by December 15th, 2021. These will be definitively accepted after the journal’s anonymous peer-review process.

Translated from French by Miriam Rosen

Print Quarterly, June 2021

Posted in books, exhibitions, journal articles, reviews by Editor on June 5, 2021

The eighteenth century in the latest issue of Print Quarterly:

Print Quarterly 38.2 (June 2021)

Jeanne-Elisabeth Chaudet, Portrait of a Young Girl, traditionally Identified as Madame Villot, née Barbier, Carrying Her Father’s Sabre, oil on canvas, likely shown at the Salon in 1817 (Private Collection).

A R T I C L E S

Claire Brisby, “Orthodox Prints in the Samokov Painter’s Archive”

Addressing the distinctive category of religious prints produced for the Orthodox Christian market from 1698 to 1864, Brisby’s article focuses on prints that once formed the image archive of the painter Christo Dimitrov and his son and other family members in Samokov, Bulgaria—prints that have received limited scholarly attention. The article discusses various sites of print production and explores the use of prints in workshops as models for frescoes and paintings.

N O T E S

F. Carlo Schmid, “Prints after the Antique up to 1869”

The exhibition catalogue Phönix aus der Asche: Bildwerdung der Antike – Druckgrafiken bis 1869 / L’Araba Fenice: L’Antico Visualizzato nella Grafica a Stampa fino al 1869, reviewed here by F. Carlo Schmid, explores the development of printed images concerning architecture, sculpture, and objects of everyday life of classical antiquity. The prints date from the fifteenth to the second half of the nineteenth century and relate to works from, but not limited to, Egypt, Greece, and the Roman Empire. Of particular interest to eighteenth-century scholars, Schmid highlights that the original project out of which the exhibition and catalogue grew concerned Hadrian’s Villa at Tivoli as a “space of artistic interaction” in the eighteenth and nineteenth centuries.

Adamo Scultori (Ghisi), Young Prisoner, 1566–80, engraving.

Francisco J. R. Chaparro, “Spanish Drawing Books”

A note on the exhibition catalogue El Maestro de Papel reviewed here by Francisco J. R. Chaparro, presents a comprehensive review of the scholarly attention directed towards Spanish drawing books. Chaparro makes reference to the Matías de Irala 1731 work and mentions the poor survival of the books. Chaparro tracks the appearance and reappearance of Jusepe Ribera’s etchings dated 1622 to highlight the further issue of cross-reference in these works. The note provides a critique of the exhibition while firmly situating it as a cornerstone for further research on the field of Spanish prints and drawings.

Ellis Tinios, “Surimono from the Virginia Shawan Drosten and Patrick Kenadjian Collection”

A laudatory note by Ellis Tinios on the catalogue The Private World of Surimino presents a brief analysis of surimono prints and notes, for instance, the importance of adequate lighting in revealing the complexities of blind printing and reflective inks.

David Ekserdijan, “A Portrait by Jeanne-Elisabeth Chaudet and Its Source”

David Ekserdijan presents the unusual artistic inspiration behind Jeanne-Elisabeth Chaudet’s painting A Portrait of a Young Girl of 1817, which sold in a 2006 Sotheby’s auction. The note features a side-by-side comparison with Adamo Scultori’s Young Prisoner or An Allegory of Servitude of 1566–80.

 

Call for Submissions | Metropolitan Museum Journal

Posted in Calls for Papers, journal articles by Editor on May 18, 2021

Metropolitan Museum Journal 57 (2022)
Submissions due by 15 September 2021

The Editorial Board of the peer-reviewed Metropolitan Museum Journal invites submissions of original research on works of art in the Museum’s collection. There are two sections: Articles and Research Notes. Articles contribute extensive and thoroughly argued scholarship. Research Notes typically present a concise, neatly bounded aspect of ongoing investigation, such as a new acquisition or attribution, or a specific, resonant finding from technical analysis. All texts must take works of art in the collection as the point of departure. Articles and Research Notes in the Journal appear both in print and online, and are accessible via MetPublications and the Journal‘s home page on the University of Chicago Press website.

The process of peer review is double-blind. Manuscripts are reviewed by the Journal Editorial Board, composed of members of the curatorial, conserva­tion, and scientific departments, as well as scholars from the broader academic community.

The Journal offers free image services to authors of accepted contributions.

Submission guidelines are available here.

Please send materials to journalsubmissions@metmuseum.org

Questions? Write to Iris.Moon@metmuseum.org or Elizabeth.Block@metmuseum.org

 

Call for Articles | Féminismes en Europe, 1789–1820

Posted in Calls for Papers, journal articles by Editor on April 26, 2021

From the Call for Papers:

Féminismes en Europe, 1789–1820
Speical Issue of Annales historiques de la Révolution française, 2023

Proposals due by 15 September 2021

Dans le cadre d’un numéro spécial des Annales historiques de la Révolution française, nous sollicitons des contributions sur le thème suivant: « Féminismes en Europe »

Si le terme « féminisme(s) » n’est pas encore en vigueur à l’époque, la période allant de 1789 aux années 1820 est témoin de nombreuses prises de position en faveur des droits des femmes, appelant notamment à leur émancipation et/ou à leur intégration dans les conceptions de la citoyenneté qui s’imposent alors. On peut y inclure les discours sur l’éducation, sur la domination des hommes, sur l’égalité des sexualités, sur les moyens de remédier à la dépendance économique des femmes, sur la critique du mariage, c’est-à-dire le militantisme sous ses différentes formes mais aussi les prises de position contre-révolutionnaires ou anti-modernes dès lors qu’elles sont reliées, par les auteurs et autrices, à la question de l’émancipation des femmes. Malgré une historiographie abondante et en constante évolution sur le sujet depuis les années 1990, nous pensons qu’il est nécessaire de dresser un nouvel état des lieux de la question, en décalant notre regard de la seule scène française afin d’inclure les échanges et influences étrangères au sein du monde transatlantique (incluant l’Europe, ses colonies et ex-colonies).

Le fait est que si l’on documente et identifie bien, désormais, les prises de position des grandes figures qui, en France, ont pris la défense des femmes pour réclamer l’égalité des droits civils ou politiques — telles que Condorcet, Olympe de Gouges, Romme ou Guyomar ; si l’on commence à s’intéresser à des voix égalitaristes plus mineures comme, toujours en France, celle de Pons de Verdun (Lumbroso, 2021) ; si l’on connaît grâce aux travaux de Dominique Godineau (1989), Suzanne Desan (2002), Martine Lapied (2006) ou encore Laura Talamante (2017), l’engagement politique des « citoyennes tricoteuses » et « Amazones » dans le processus de démocratisation populaire, que ce soit à Paris ou à Marseille ; si l’on sait le rôle joué par certaines figures féminines comme Théroigne de Méricourt (Desan, 2020) ou Mary Wollstonecraft dans la diffusion et la réception des idées favorables à l’émancipation des femmes (Bour, 2013 par exemple) ; si l’on a mesuré l’importance des pétitions de femmes dans le processus de démocratisation de la société française à l’époque de la Révolution (Fauré, 2006) ; si le débat fut vif autour des raisons qui ont exclu (ou pas inclus) les femmes du droit de vote (Verjus, 2014) ; si on a commencé à s’intéresser avec sérieux à l’action politique des femmes engagées dans la contre-révolution (Mabo, 2017) ; enfin, si l’on connaît le niveau d’éducation extrêmement sophistiqué, parfois directement inspiré des écrits de Wollstonecraft, que certains hommes politiques américains ont fait donner à leur fille (par exemple, Theodosia fille d’Aaron Burr) ; si l’on a, par conséquent, amplement répondu à la question que posait Perrot en 1984 : une histoire des femmes est-elle possible ?, en la prolongeant d’interrogations menées à partir du point de vue plus englobant et conceptuel qu’adoptent les études de genre, plus rares sont les tentatives de dégager des visions d’ensemble des réseaux et des circulations d’idées sur la situation et l’émancipation des femmes au niveau européen dans les années 1790–1820, de l’ordre de celle qu’avait esquissée Margaret McFadden (1999) pour tout le XIXe, ou de celle qu’ont plus récemment tentée les coordinatrices de Transatlantic Feminisms in the Age of Revolutions (2012). S’il convient donc d’interroger l’engagement « féministe » des auteurs et autrices européens, à la suite, par exemple, des travaux consacrés aux Allemand·es Hippel (Gray, 1990) ou Sophie von La Roche (Joeres, 1986), aux Anglais comme Lawrence (Verjus, 2019), Holcroft (Binhammer, 2011), ou Godwin (Philp, 2020), ou encore aux Polonaises engagées dans les débats de la « Grande Diète » (Wisniewska, 2021), nous retiendrons aussi les nouvelles perspectives historiographiques sur des figures, des échanges, ou des mouvements moins connus. Nous accueillerons aussi les propositions qui se concentrent sur les réseaux comme, par exemple, les travaux sur le rôle des cercles masculins dans la construction d’un féminisme anglais dans les années 1790, dans la lignée de ce qu’a fait Chernock (2009). L’effort remarquable engagé par l’EHNE en faveur d’une histoire européenne n’oublie jamais, lorsqu’il s’agit d’interroger la source des féminismes du XIXème siècle, de mentionner la Révolution française ou les quelques noms qui ont fait la pensée émancipatrice hors des frontières de la France. Nous voudrions, dans la lignée et suivant l’exemple de cette approche résolument européenne, nous pencher sur ce qui a constitué l’armature de la pensée en faveur d’une émancipation des femmes à l’aube du XIXème siècle.

Vos propositions d’articles, d’une longueur maximale de 50 000 signes en français et 40 000 en anglais devront nous être adressées avant le 15 septembre 2021 à heuer@history.umass.edu, francoise.orazi@univ-lyon2.fr et anne.verjus@ens-lyon.fr. Idéalement, nous souhaiterions organiser une rencontre entre les autrices et auteurs retenu.es, aux alentours du printemps 2022. En présentiel si possible, en distanciel s’il le faut (ou les deux si c’est préférable). Le numéro paraîtra dans le troisième numéro de l’année 2023. Il sera d’abord publié entièrement en français, mais nous nous réservons la possibilité d’en avoir une version entièrement en anglais en ligne. Vos propositions, acceptées en français et en anglais, seront traduites par nos soins, sous votre contrôle.

Références citées dans le texte

• Binhammer, Katherine. « The Political Novel and the Seduction Plot: Thomas Holcroft’s Anna St. Ives ». Eighteenth-Century Fiction 11.2 (1999): 205–22.

• Bour, Isabelle. « A New Wollstonecraft: The Reception of the Vindication of the Rights of Woman and of The Wrongs of Woman in Revolutionary France ». Journal for Eighteenth-Century Studies 36.4 (2013): 575–87.

• Chernock, Arianne. Men and the Making of Modern British Feminism. Stanford: Stanford University Press, 2009.

• Desan, Suzanne. « Théroigne de Méricourt, Gender, and International Politics in Revolutionary Europe ». Journal of Modern History 92.2 (2020): 274–310.

• Desan, Suzanne. « Constitutional Amazons: Jacobin Women’s Clubs in the French Revolution » in B. T. Ragan Jr. and E. A. Williams (eds.), Re-Creating Authority in Revolutionary France (1992): 11–35.

• Fauré, Christine. « Doléances, déclarations et pétitions, trois formes de la parole publique des femmes sous la Révolution ». Annales historiques de la Révolution française 344 (1 juin 2006): 5–25.

• Godineau, Dominique. Citoyennes tricoteuses : les femmes du peuple à Paris pendant la Révolution française. Aix-en-Provence: Alinéa, 1988.

• Gray, Marion W. « Radical Feminism and a Changing Concept of Marriage : Prussia’s Theodor Gottlieb Von Hippel ». In Donald Horward and John Horgan (eds.), The Consortium on Revolutionary Europe, 1750–1850: Proceedings, 1989 to Commemorate the Bicentennial of the French Revolution, 807–14. Tallahassee: Institute on Napoleon and the French Revolution, Florida State University, 1990.

• Joeres, Ruth Ellen B. « “That girl is an entirely different character!” Yes, but is she a feminist? Observations on Sophia von La Roche’s Geschichte des Fräulein von Sternheim ». In German Women in the Eighteenth and Nineteenth Centuries: A Social and Literary History, par Ruth-Ellen B. Joeres et Mary Jo Maynes, 137–56. Bloomington: Indiana University Press, 1986.

• Lapied, Martine. « Parole publique des femmes et conflictualité pendant la Révolution, dans le Sud-Est de la France ». Annales historiques de la Révolution française 344 (1 juin 2006): 47–62.

• Lumbroso, Nicolas. « Pons de Verdun et l’égalité des droits en faveur des femmes. L’aspiration d’un Conventionnel à une plus grande égalité des sexes ». Annales historiques de la Révolution française, (2021, à paraître).

• Mabo, Solenn. « Femmes engagées dans la chouannerie : motivations, modalités d’actions et processus de reconnaissance (1794–1830) ». Genre & Histoire 19 (25 août 2017).

• McFadden, Margaret. Golden Cables of Sympathy: The Transatlantic Sources of Nineteenth-Century Feminism. Lexington: The University Press of Kentucky, 1999.

• Philp, Mark. Radical Conduct: History of Ideas and Intellectual History. Oxford: Oxford University Press, 2020.

• Talamante, Laura. « Political Divisions, Gender, and Politics: The Case of Revolutionary Marseille ». French History 31.1 (2017): 63–84.

• Verjus, Anne. « La citoyenneté politique au prisme du genre. Droits et représentation des individus entre famille et classe de sexe (XVIIIème–XXIème siècles) ». HDR, Ecole Normale Supérieure de Paris – ENS Paris, 2014.

• Verjus, Anne. « Une Société sans Pères Peut-Elle Être Féministe ? L’empire Des Nairs de James H. Lawrence ». French Historical Studies 42.3 (2019): 359–89.

• Wiśniewska, Dorota. « In the Shadow of a Mild Revolution: Polish Women’s Political Attitudes during the Great Sejm (1788−1792) ». Gender & History 33.1 (2021): 75–93.

The Burlington Magazine, March 2021

Posted in books, catalogues, exhibitions, journal articles, obituaries, reviews by Editor on April 24, 2021

The eighteenth century in The Burlington (I’m catching up, gradually!) . . . CH

The Burlington Magazine 163 (March 2021)

Hubert Robert, Arch of Septimius Severus, 1756; pen with grey and beige washes, 73 × 52 cm (Musée de Valence).

A R T I C L E S

•  Pedro Luengo, “Spatial Rhetoric: Echoes of Madrid’s Alcázar in Palaces Overseas,” pp. 236–43.
Several key features of the Alcazar in Madrid—including the twin-courtyard plan, double staircase, and layout of the royal chapel—were replicated in royal palaces in Spain and elsewhere and in the viceregal palaces in Spain’s American empire as part of a desire to project a unified imperial image.

•  Yuriko Jackall and Kari Rayner, “Becoming Hubert Robert: Some New Suggestions,” pp. 244–53.
The thin documentation of Hubert Robert’s early years makes it difficult to understand how the largely untrained student who went to Rome in 1754 emerged as a leading talent in Paris in the mid 1760s. Close examination of his art suggests that his rapid development was due to a rigorous course of study of perspective and life drawing, probably in response to criticisms of his abilities by the secretary of the Académie Royale, Charles-Nicolas Cochin.

R E V I E W S

• Michael Hall, Review of Matthew Reeve, Gothic Architecture and Sexuality in the Circle of Horace Walpole (Pennsylvania State University Press, 2020), pp. 264–69.

• Antonio Mazzotta, Review of the exhibition Tiepolo: Venezia, Milano, l’Europa (Milan: Gallerie d’Italia, 2020–21), pp. 273–75.

• Christoph Stiegemann, Review of the exhibition Passion, Leidenschaft: Die Kunst der großen Gefühle (Münster: LWL-Museum für Kunst und Kultur, 2020–21), pp. 275–78.

• Stephen Leach, Review of Matthew Craske, Joseph Wright of Derby: Painter of Darkness (Paul Mellon Centre for Studies in British Art, 2020), pp. 297–98.

• Philippe Malgouyres, Review of Suzanne Higgott, ‘The Most Fortunate Man of his Day’: Sir Richard Wallace: Connoisseur, Collector, and Philanthropist (Wallace Collection, 2018), pp. 298–99.

• Elena Almirall Arnal, Review of Carolina Naya Franco, El joyero de la Virgen del Pilar: Historia de una colección de alhajas europeas y americanas (Institución Fernando El Católico, 2019), pp. 302–03.

• Gauvin Alexander Bailey, Review of Laura Windisch, Kunst, Macht, Image: Anna Maria Luisa de’ Medici (1667–1743) im Spiegel ihrer Bildnisse und Herrschaftsräume (Böhlau Verlag, 2019), p. 303.

O B I T U A R I E S

• Peter Cherry, Obituary of Carmen Garrido (1947–2020), pp. 305–06.
Director of the Gabinete de Documentación Técnica at the Prado for thirty years, Carmen Garrido made major contributions to the technical study of Spanish painting, in particular with her publications on Diego Velázquez.

• Ger Luijten, Obituary of David Scrase (1949–2020), pp. 306–08.
In a career spent almost entirely at the Fitzwilliam Museum, Cambridge, David Scrase was responsible for numerous significant acquisitions and exhibitions. His magnum opus his his catalogue for the museum’s Italian drawings, published in 2011.

 

New Collection of Essays | The Classical Vase Transformed

Posted in books, journal articles by Editor on April 18, 2021

From Oxford University Press:

Alexia Petsalis-Diomidis with Edith Hall, eds., The Classical Vase Transformed: Consumption, Reproduction, and Class in Eighteenth- and Nineteenth-Century Britain, special issue of Bulletin of the Institute of Classical Studies 63.1 (June 2020).

The Classical Vase Transformed: Consumption, Reproduction, and Class in Eighteenth- and Nineteenth-Century Britain explores hitherto marginalized working-class and middle-class engagements with ancient Greek vases. Its origins lie in a symposium which took place in May 2016 at King’s College London, Ancient Greek Pots and Class in Britain, 1798–1939. This themed issue of BICS has three principal aims. First, to sharpen our awareness of the range of engagements with classical culture experienced at the lower end of the social spectrum, in the context of a scholarly focus on elites. Second, to help redress the balance within Classical Reception Studies, which is heavily skewed towards receptions of classical literature rather than classical material culture. And third, to increase the prominence of humble ceramics as compared to grand monumental sculpture, which remains the focus of studies on the reception of classical material culture. . . .

While a small but vocal minority of classicists remain unconvinced of the value of Classical Reception Studies, seeing ‘reception’ as an extraneous layer that needs to be ‘peeled off’ in order to access the ancient world ‘directly’, the theoretical basis of Classical Reception Studies continues to be a subject of scholarly debate (4). . . .

The reception of classical sculpture has fared relatively well within the disciplines of Art History, Eighteenth-Century Studies, and even Classical Archaeology. Areas of particular interest are collecting and the Grand Tour, and the nationalist use of sculptural archaeological remains in the nineteenth and twentieth centuries (9). But the reception of Greek vases, including the history of scholarship, collecting, creative responses, and influence on the production of later painting, has only recently started to be explored in depth. This state of affairs gives rise to the third aim of the issue: to put the reception of Greek vases in the spotlight in the context of the dominance of monumental stone sculpture in studies of receptions of classical material culture. . . .

The full introduction (including notes) is available here»

C O N T E N T S

Acknowledgements
Contributors
List of Figures

• Alexia Petsalis-Diomidis, “Introduction,” pp. 8–14.

The Classical Vase Produced and Consumed in New Ceramic Forms
• Edith Hall, “How Much Did Pottery Workers Know about Classical Art and Civilisation?,” pp. 17–33.
• Alexia Petsalis-Diomidis, “Pottery Workers, ‘the Ladies’, and ‘the Middling Class of People’: Production and Marketing of ‘Etruscan and Grecian Vases’ at Wedgwood c.1760–1820,” pp. 34–53.
• Janett Morgan, “A Greek Tragedy? Why ‘Dillwyn’s Etruscan Ware’ Failed,” pp. 54–71.
• Paul Lewis, “Archaeology in the Home: Neoclassical Ceramics for New Audiences in Mid-Nineteenth-Century Britain,” pp. 72–88.

The Classical Vase Constrained in the Museum Cabinet and Transfigured in the Body
• Caspar Meyer, “Ancient Vases in Modern Vitrines: The Sensory Dynamics and Social Implications of Museum Display,” pp. 91–109.
• Helen Slaney, “Pots in Performance: Emma Hamilton’s Attitudes,” pp. 110–22.
• Abigail Baker, Myths of the Odyssey in the British Museum (and beyond): Jane Ellen Harrison’s Museum Talks and Their Audience,” pp. 123–37.

Response
• Katherine Harloe, “Classics Transformed? Ancient Figured Vases as a Test-Case for the Preoccupations of Classical Reception Studies,” pp. 138–42.