Enfilade

Online Workshop | Viewing Topography Across the Globe, Indigeneity

Posted in conferences (to attend), online learning by Editor on May 11, 2021

From The Lewis Walpole Library:

Viewing Topography Across the Globe Series, Workshop II: Indigeneity
Online, The Lewis Walpole Library, 13–14 May 2021

Organized by Cynthia Roman and Holly Schaffer

Topography, from topos, is the practice of describing place through language, the features of the land, the inhabitants, and the accumulation of history. Specific to locality and the perspective of the person delineating, describing, or collecting materials, topography counters the worldliness of geography while also offering a potential tool to multiply singular approaches.

In this second workshop in the series Viewing Topography Across the Globe, we will consider approaches to place from Indigenous and European perspectives and interrogate the frame of ‘topography’ in global contexts (the first workshop was held at Brown on 11 December 2019). In two half-day virtual sessions, we will focus on topographical practices in the Americas as well as South and Southeast Asia and the Pacific Ocean as well as how the materials of art-making both locate and disrupt notions of place. We will hear from artists and academics, work with colonial-era paintings, Indigenous objects, mapping, and literature, and consider Indigenous pedagogy.

The workshop, which will take place via Zoom, has been organized by Cynthia Roman (The Lewis Walpole Library, Yale University) and Holly Schaffer (Brown University). Details, including abstracts for each talk, are available as a PDF file here. Please note that registration is required for each day’s sessions (links are available below).

Keynote Speakers
• Cannupa Hanska Luger
• Douglas Fordham

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T H U R S D A Y ,  1 3  M A Y  2 0 2 1

Register here»

10.00  Panel 1: The Americas
• Barbara E. Mundy (Fordham University), Indigenous Bodies and Topographical Imagination
• Emmanuel Ortega (University of Illinois at Chicago), Local vs. Universal Knowledge: Locating Place in von Humboldt’s Picturesque
• Robbie Richardson (Princeton University), Sucker-fish Writings: Indigenous Inscription and the History of Written Language in the 18th Century
• Heather V. Vermeulen (Wesleyan University), Sybil / Spider / Sibyl: On Anancy*ness, Archives, and Spider Space

12.00  Lunchtime Keynote Talk
Moderated by Marina Tyquiengco (Boston Museum of Fine Arts)
• Cannupa Hanska Luger (Artist), Artist as Social Engineer

F R I D A Y ,  1 4  M A Y  2 0 2 1

Register here»

10.00  Panel 2: South, Southeast Asia, and the Pacific Ocean
• Jinah Kim (Harvard University), Beyond Human Vision: Knowing Angkor Wat through Topography, from a Watercolor Map to LIDAR Capture
• Dipti Khera (New York University) and Debra Diamond (Freer Gallery of Art and Arthur M. Sackler Gallery, Smithsonian Institution), Unexplored Terrains: Topography, Temporality, and Emotion in 18th-Century Udaipur
• Kailani Polzak (University of California, Santa Cruz), Rising from the Ocean: Perspectives of Land and Watercraft during Cook’s Third Voyage
• Ayesha Ramachandran (Yale University), Topographies of Battle: The National War Memorial, New Delhi
• Garima Gupta (Artist and Researcher) and Chitra Ramalingam (Yale Center for British Art), Anxieties of a Bazaar: Making of Commodities in Colonial South and Southeast Asia

12.00  Lunchtime Keynote Talk
Moderated by Tim Barringer (Yale University)
• Douglas Fordham (University of Virginia), Techniques of the Imperial Observer: How Aquatint Travel Books Taught Britons to See

Online Talk | Alec Cobbe, Birds, Bugs and Butterflies

Posted in books, catalogues, exhibitions, lectures (to attend), online learning by Editor on May 9, 2021

Tomorrow, from The Decorative Arts Trust:

Recounting the Life of the ‘Peacock’ Worcester Service (1763)
Alec Cobbe, joined with Leslie Fitzpatrick
Online, Monday, 10 May 2021, 1.00pm (ET)

Join us as we learn about some incredible ceramics from Ireland with artist, designer, and collector Alec Cobbe. Alec will share an illustrated talk about the creation, dispersal, and recovery of the ‘Peacock’ Worcester service of 1763, the largest mid-18th-century service recorded from any British porcelain manufacturer. Thomas and Lady Betty Cobbe of Newbridge House, County Dublin, acquired the service after becoming acquainted with Dr. Wall’s porcelain factory in Worcester as they traveled from Dublin to Bath.

This lecture features scholarship that is part of a recent publication and exhibition Birds, Bugs and Butterflies: Lady Betty Cobbe’s ‘Peacock’ Worcester Porcelain composed by Alec and shown at Dublin Castle (October 2019 to February 2020).

After his presentation, Alec will be joined in conversation with Leslie Fitzpatrick, who previously served as the Samuel and M. Patricia Grober Associate Curator of European Decorative Arts at the Art Institute of Chicago.

This program is dedicated in memory of Christopher Monkhouse, a recipient of the Decorative Trust’s Award of Merit, whose extraordinary 2015 exhibition and publication Ireland: Crossroads of Art and Design, 1690–1840 continue to serve as a testament to the incredible material culture of Ireland.

Participants will receive an email with the event link after registering. If you have any questions about this or other programs, please email carrie@decorativeartstrust.org.

Registration is available here (pay what you can)

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From Boydell and Brewer:

Alec Cobbe, Birds, Bugs and Butterflies: Lady Betty Cobbe’s ‘Peacock’ China: A Biography of an Irish Service of Worcester Porcelain (London: Boydel Press, 2019), 143 pages, ISBN: 9781783274727, £45 / $80.

A major contribution to our knowledge of the Worcester porcelain factory in its early years, based on a single large and elaborate dinner service commissioned by an Irish family.

2020 Winner of the American Ceramic Circle Book Award

The early years of the famous Worcester porcelain factory established by Dr Wall have always been a little mysterious, owing to the destruction of the records of the business for this period. Alec Cobbe’s discovery of family papers listing the purchases over a period of years of a particularly beautiful and ornate table set have enabled him to give a vivid glimpse of how the factory interacted with its customers. He is able to describe the commissioning of perhaps the largest service of first period Worcester porcelain on record by Thomas and Lady Betty Cobbe for Newbridge House Co. Dublin. It was bought in stages from 1763 as the family travelled from Dublin to Bath each year, stopping at Worcester en route, as other Irish gentry did. The Cobbe service, uniquely in the context of British porcelain, was accompanied by a full set of Irish silver and steel cutlery fitted with Worcester porcelain handles matching the service. The various pieces of porcelain and their historical context are described as well as their painted decoration, and the sources for it. The later history of the service is outlined and its gradual dispersal in the nineteenth century, culminating in a final sale of the remaining pieces lot by lot in a Christie’s sale in 1920. This book celebrates Cobbe’s reassembly of more than 160 pieces of the original service over a period of more than thirty years and their return to Newbridge following their exhibition in the State Apartments at Dublin Castle. Overall, the book gives an important insight into Irish social life and patronage in the mid-eighteenth century.

Alec Cobbe was born in Ireland and still resides in Newbridge House, Co. Dublin, where his ancestors have lived since it was built in the middle of the eighteenth century. He practises as an artist and designer. As a passionate collector, he added to his family’s historic collections and assembled the world’s largest group of composer-owned keyboard instruments.

C O N T E N T S

Foreword
Preface and Acknowledgements

Beginnings
‘Snuff for Dr Walls’: The Cobbes in Worcester and London
Plans for Collecting and Entertaining
The Peacock Service and Its Cutlery
The Decoration of the Original Peacock Service
The Service through Later Centuries, Sale, and Reassembly

Appendices
I. Transcripts from Worcester and Cobbe archives, accounts, and inventories
II. Hypothetical tally of the original Peacock Service
III. Transcript of Christie’s 1920 sale catalogue
IV. Known destinations of Cobbe pieces
V. A note on the nomenclature of Worcester porcelain pieces
VI. Inventory of Worcester blue-scale porcelain from the original service and re-assembled pieces in Lady Betty’s pattern of birds, insects, and butterflies

Online Seminars | Sartorial Society Series, Summer 2021

Posted in lectures (to attend), online learning by Editor on May 6, 2021

I’ve included here a selection of talks most relevant to the 18th century, but the whole series looks terrific.CH From the Sartorial Society Series:

Looking Back: The Historicisms, Hauntings, and Heritage of Dress
Sartorial Society Series, Summer Semester 2021

A digital seminar series exploring the history of dress, fashion, and bodily adornment.

“The past has to be taken apart. Old themes are worn as new details.” –Judith Clark

When introduced to histories of dress, we are often met with timelines of fashion that imply a neat, progressive evolution of fashionable styles through the years. Clothing is framed as an index to history. Yet dress does not conform to an orderly chronology. It is full of disruptive reverberations, re-interpretations, and revivals. The fashions of the past are repeatedly dismantled and reimagined, sending sartorial echoes through time.

The historic resonance of dress can also carry an emotional weight on a personal level. Clothes can serve as welcome memories of loved ones, or less-welcome spectres of the past. Memories of clothes can be deeply nostalgic, while the garments not-worn can serve as ‘sliding-door’ moments, causing us to dwell on the parallel lives we did not live or bodies unlike our own. This has been explored, for example, by Shahidha Bari, who describes “spectral visions of ourselves [that] haunt these garments like all things that are romanticised and never realised.”

Dress maintains its capacity to ‘haunt’ in the setting of the museum or archive. Elizabeth Wilson described museums of dress as ‘mausoleums of culture’: haunted and eerie. She stated that ‘there are dangers in seeing what should have been sealed up in the past. We experience a sense of the uncanny when we gaze at garments that had an intimate relationship with human beings long since gone to their graves.’ Carol Tulloch has written of the power of archives to access personal fashion histories that may otherwise have been lost, suggesting that: “archives enable a lived experience to be revived and reassessed time and time again.”

The Sartorial Society Series is organised by a group of dress historians and curators with the aim of celebrating the diverse, innovative, and excellent research emerging in the field of dress history. We want to create a space that welcomes and supports dress historians from all backgrounds, and fosters positive connections within our field. The series will encourage collegiality and will be an open, inclusive, and friendly space to meet others interested in dress history. We encourage BYO wine, tea or soft drink of choice and invite you to join the post-talk Q&A.

All sessions are held on Thursday evenings at 6pm UK time (BST/GMT). Most talks are 20 minutes; some are 10 minutes. Registration links are available here.

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Week 1 | Nostalgia and Nationalism
20 May 2021

• Cecilia Gunzburger, French Revolutionary Dress in the Bourbon Restoration: The Political Uses of Historic Dress
• Sabine Wieber, Vienna’s 1879 Festzug and the Habsburg Empire’s ‘Glorious’ Past
• Alison Toplis, An Exploration of the Smock as a Nostalgic Spectre of Rural England

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Week 3 | Reconstruction and Reproduction
10 June 2021

• Amber Pouliot, Serena Partridge’s ‘Accessories’ Collection for the Brontë Parsonage Museum: Haunting the Heritage Context
• Jordan Mitchell-King​, Reanimating Dress: Interpreting Historical Clothing through Experimental Wearing
• Cynthia Chin Kirk, ‘I Am Only Fond of What Comes from the Heart’: Memory and Trauma in Martha Washington’s Purple Silk Gown

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Week 4 | Performance and Performativity
24 June 2021

• Ella Hawkins, The Time is Out of Joint: ‘Haunted’ Costuming at Shakespeare’s Globe
• Hilary Davidson, Looking Back Through Fashion: Regency Romanticisms
• Anouska Lester, ‘Item, One Ghost’s Crown’: Haunting and Loss in Philip Henslowe’s 1598 Theatrical Inventories

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Week 7 | Historicism, Revival, and Re-Use
29 July 2021

• Serena Dyer, Sartorial Chronology and Fashionable Anachronism: Historicism, Temporality, and the Making of Dress Histories
• Sarah Hodge, A Fancy for the Past: Historical Style in Britain, 1800–1851
• Ruby Hodgson, Robe a la Grand-Mere: Re-Use of 18th-Century Silk in Romantic Era Dress
• Jane Hattrick, Queering the Hartnell Crinoline: Reinventing Second Empire French Fashions, Fantasy, Gender Performativity, and the Royal Body

Online Conference | Reimagining the Court Portrait, 1500–1800

Posted in conferences (to attend), online learning by Editor on May 4, 2021

From CRASSH at Cambridge:

Dressing a Picture: Reimagining the Court Portrait, 1500–1800
Online, CRASSH, University of Cambridge, 6–7 May 2021

Organized by Ana Howie and Alessandro Nicola Malusà

Juan Pantoja de la Cruz, Portrait of Doña Ana de Velasco y Girón, Duchess of Braganza, 1603 (Alicia Koplowitz Collection).

As Ulinka Rublack asserts in Dressing Up, her seminal book on dress in early modern Europe, society was extremely dress-literate and nowhere more so than in the courtly environments that generated and fuelled fashion. Within these sartorially-minded elite communities, one was constantly on display. Capturing dressed sitters in paint for prosperity, portraiture was a unique vehicle for the inherent dialectic in clothing between subject and observer, and presentation and perception. As such, this conference will examine three themes surrounding early modern portraiture: the artist, the depicted material culture and the setting for its iconographic display, that is the court. We aim to examine these connections via the prism of the period’s intricate social stratification and complex gender power dynamics. To provide sufficient breadth, the conference will present papers dealing with material between 1500 and 1800.

Considering the interdisciplinary nature of our project—spanning history, dress studies, art theory, gender history, court studies and architectural history—we believe that our conference will generate exciting contributions from leading international scholars. This conference will meaningfully contribute to the wider scholarly debate on the significance of early modern portraiture as pivotal sources for numerous branches of historical research and not just art history. Our conference will both firmly enable this discussion and bring attention to this burgeoning field of interdisciplinary historical studies. Registration is available here»

Keynote Speakers
• Erin Griffey (University of Auckland)
• Karen Hearn (UCL)
• Katarzyna Kosior (Northumbria University)
• Mei Mei Rado (LACMA)
• Catherine Stearn (Kentucky University)
• Cordula van Wyhe (York University)

T H U R S D A Y ,  6  M A Y  2 0 2 1

All times are BST.

13.00  Welcome and Opening Remarks

13.20  Panel 1: Materialising Courtly Bodies
Chair: Holly Fletcher (University of Sussex)
• Panel Keynote — Karen Hearn (UCL), ‘Richly apparelled, and her belly laid out …’: Signalling (or not Signalling) Pregnancy in 16th- and Early 17th-Century Court Portraits
• Ana Howie (University of Cambridge), ‘White Ruff and Red Cuffs, on a Black Dress. The Negro Dressed in Yellow’: Materialising Bodies in van Dyck’s Portrait of Elena Grimaldi-Cattaneo
• Lisa Nunn (East Anglia), ‘A Hundred Times Fitter for a Barn than a Palace’: A Gendered Analysis of the Protectorate Portraits of Elizabeth Cromwell and Her Daughters

14.50  Break

15.00  Panel 2: Negotiating Gender in Early Modern Portraiture
Chair: Sophie Pitman (Aalto University)
• Panel Keynote — Catherine Stearn (Kentucky University), Countess or Queen, Countess and Queen: How Dress and Portraiture Illuminate the Role of Elizabeth I’s Privy Chamber Women
• Vanessa de Cruz Medina (Independent Scholar, former Prado Museum & Villa I Tatti Fellow), Ladies-in-Waiting and Portrait Galleries: Identity, Family, and Power at Early Modern Habsburg Courts
• Alice Blow (University of Cambridge), Gender Ambiguity in The Cobbe Portrait of Henry Wriothesley, Third Earl of Southampton, c.1590–93

16.30 Break

16.40  Panel 3: The Court Portrait: Global Considerations
Chair: Giorgio Riello (European University Institute)
• Panel Keynote — Mei Mei Rado (LACMA), Qing Imperial Portraits and Europe
• Jessica Hower (Southwestern University), Drawing an Empire: Elizabeth I, The Armada Portrait, and the Creation of a British Atlantic World
• Marina Hopkins (Warburg Institute), The Portrait of María Luisa de Toledo with Her Indigenous Companion
• Alejandro M. Sanz Guillén (Universidad de Zaragoza), Shoguns and Emperors: Representations of the Japanese Court in Europe during the 18th Century

F R I D A Y ,  7  M A Y  2 0 2 1

13.10  Panel 4: The Court: A Stage for Princely Society
Chair: Caroline van Eck
• Panel Keynote — Katarzyna Kosior (Northumbria University), Defining the Royal Court in Poland-Lithuania: Some Textual Evidence From Jan III Sobieski’s Lifetime (1629–1696)
• Martina Vyskupova (Slovak National Museum), Portrait Representation of Maria Theresa as a Queen of Hungary Seated on a Horse in the Context of Period Female Equestrian Portraits in the 18th Century
• Pedro Manuel Tavares (Centro de História de Arte — CHAIA), D. Joana de Áustria, Embodiment of Political/Religious Propaganda of the Habsburg Women, Beyond the Validos Power
• Anna Lisa Nicholson (University of Cambridge), The Transfiguration of Hortense Mancini: How the Vagabond Duchess Became the Patron Saint of Brides

15.20  Break

15.30  Panel 5: The Artist Behind the Portrait
Chair: Alexander Marr (University of Cambridge)
• Panel Keynote — Cordula van Wyhe (York University), Fashioning Displaced Identities: Anthony van Dyck as Portraitist of the French Exiles
• Sarah Emily Farkas (University of North Carolina at Chapel Hill), Sibylle of Cleves: Cranach, Convention, and Clothing Identity in Lutheran Saxony
• Alessandro Nicola Malusà (University of Cambridge), The Sitter as Artist: Depicting Mourning Dress and Negotiating Authority in the Regencies of Christine of France and Marie Jeanne Baptiste of Savoy-Nemours

17.00  Break

17.30  Featured Keynote Address
Chair: Ulinka Rublack (University of Cambridge)
• Erin Griffey (The University of Auckland), ‘Beauties Silken Livery’: Dressing the Face at the Early Modern Court

18.30  Final Remarks and Thanks

Online Lecture and Conference | Piranesi @300

Base of the Antonine Column from Piranesi’s Campo Marzio (Rome, 1762)
(British School at Rome Library)

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Clare Hornsby, Piranesi at the BSR: Thomas Ashby’s Curious Campo Marzio
Online Lecture, 6 May 2021, 18.00–19.30 CET

Piranesi @300
Online Conference, 19–21 May 2021

Giovanni Battista Piranesi (Venice 1720 – Rome 1778) was one of the leading figures in 18th-century Italian and European culture. An artist, engraver, architect, merchant, intellectual, and polemicist, he was essential in the formation of modern aesthetic sensibility, for the birth of modern archaeology, for the theories of architecture and urbanism. His influence has been enduring, from Romanticism to the avant-garde movements of the 20th century, up to the present day.

The third centenary of Piranesi’s birth struggled to achieve resonance in 2020 due to the pandemic. Initiatives to celebrate the great artist’s work will resume in Rome in May 2021, accessible online internationally.

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On Thursday, May 6, the British School at Rome, will host an online lecture exploring Piranesi’s book Campo Marzio di Antica Roma of 1762, its magnificent map, and some of the curiosities of the copy of the volume held in the rare books collections of the library at BSR. This lecture by Clare Hornsby in collaboration with Valerie Scott BSR librarian will feature the recently launched initiative of BSR Library and Archive, the Digital Collections website, of which the Piranesi Campo Marzio volume will be a highlight.

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On 19, 20, and 21 May a group of Roman institutions—the Biblioteca Nazionale Centrale, British School at Rome, Villa Médicis-Académie de France, and the Centro di Studi sulla Cultura e l’Immagine di Roma—have organised an online conference, Piranesi@300, bringing together  more than 20 Italian and foreign scholars (from Brazil, the United States, Japan, Germany, France, England, Spain, etc.) to present new research and new analyses of some of the many aspects of Piranesi’s extraordinary personality and creativity.

During the week of the conference, further presentations will be made available via video recording; a highlight is The Digital Piranesi presented by a team from the University of South Carolina. Additionally, the YouTube channel of the Biblioteca Nazionale Centrale will host contributions from a number of Piranesi experts, including the Director of the Vatican Museums Barbara Jatta and the restoration team which brought the church of Santa Maria del Priorato on the Aventine hill in Rome, Piranesi’s architectural masterpiece, back to its original beauty.

1 8 – 2 4  M A Y  2 0 2 1

Pre-recorded sessions (available all week)

Hosted on the website of the University of South Carolina

• Jeannie Britton, From Page to Screen: A New Look at Piranesi’s Annotated Images

• Zoe Langer, The Digital Piranesi: New Approaches to Translating the Opere

• Jason Porter, The Virtual Piranesi: New Methods of Immersive Literacy

• Michael Gavin, Piranesi’s Diagrammatic Sublime

Hosted on the YouTube channel of the Biblioteca Nazionale Centrale, Rome

• Barbara Jatta (Direttore, Musei Vaticani), Piranesi in Vaticano

• Daniela Porro (Soprintendente Speciale archeologia, belle arti e paesaggio di Roma) Restauri della Soprintendenza alla piazza di S. Maria del Priorato

• Alessandro Mascherucci (Soprintendenza Speciale archeologia, belle arti e paesaggio di Roma), Problematiche tecniche del restauro al complesso piranesiano

• Giorgio Ferreri (Sovrano Militare Ordine di Malta), S. Maria del Priorato, i restauri

• John Wilton-Ely (Professor Emeritus, Hull University), Soane’s Attitude towards Piranesi

• Maria Cristina Misiti (Ministero della Cultura) and José Maria Luzon Nogué (Real Academia de Bellas Artes de San Fernando, Madrid), Piranesi dal libro cartaceo all’opera multimediale

• Sergei Tchoban (Tchoban Voss architects, Berlin), Imprint of the Future: Destiny of Piranesi‘s City

• Pierluigi Panza (Politecnico di Milano), Piranesi alla Scala

W E D N E S D A Y ,  1 9  M A Y  2 0 2 1

Hosted by Biblioteca Nazionale Centrale, Roma

9.45  Welcome by Andrea De Pasquale (Direttore, Biblioteca Nazionale Centrale, Roma) and Marcello Fagiolo (Presidente, Centro di Studi sulla Cultura e l’Immagine di Roma)

10.00  Piranesi’s Techniques: Drawing, Etching
Chairs: Mario (Bevilacqua (Università di Firenze / Centro di Studi sulla Cultura e l’Immagine di Roma) and Simonetta Prosperi Valenti Rodinò (Roma)
• Andrea De Pasquale (Biblioteca Nazionale Centrale, Roma), Piranesi e il suo torchio
• Giovanna Scaloni (Istituto Centrale per la Grafica, Roma), L’Istituto centrale per la grafica per Piranesi
• Lucia Ghedin (Istituto Centrale per la Grafica, Roma) and Sofia Menconero (Sapienza – Università di Roma), La tecnica di reflectance transformation imaging (RTI) applicata alle matrici calcografiche: una sperimentazione sulla serie delle Carceri piranesiane
• Ginevra Mariani (Roma), Progetto Piranesi: il catalogo generale delle matrici di Piranesi, 2010–2020. Nuovi dati e future prospettive sull’opera incisa di Giambattista Piranesi
• Stefan Morét (Staatliche Kunsthalle Karlsruhe), The Role of Drawn Copies after Antique Ornaments in Piranesi’s Workshop
• Bénédicte Maronnie (Università della Svizzera Italiana, Mendrisio), Pratiques graphiques dans l’atelier de Giovanni Battista Piranesi à l’exemple d’un dessin inédit conservé à Zurich

13.30  Lunch Break

14.30  Piranesi and European 18th-Century Collections
Chairs: Mario Bevilacqua (Università di Firenze / Centro di Studi sulla Cultura e l’Immagine di Roma) and Barbara Jatta (Vatican Museum)
• Ebe Antetomaso (Biblioteca Corsiniana e dei Lincei, Roma), Materiali piranesiani nella collezione Corsini: appunti dai bibliotecari
• Charleen Rethmeyer and Georg Schelbert (Humboldt-Universität zu Berlin), Piranesi in Prussia: Spotlights on a Variable Relationship
• Gudula Metze (Staatliche Kunstsammlungen Dresden), 1720–1778: Piranesi and the Kupferstich-Kabinett Dresden

16.45  Break

17.00  Keynote Address
• Delfin Rodriguez Ruiz (Universidad Complutense, Madrid), Piranesi e la Spagna

T H U R S D A Y ,  2 0  M A Y  2 0 2 1

Hosted by the British School at Rome

9.45  Welcome by Chris Wickham (Director, British School at Rome)

10.00  Piranesi: Architect, Antiquarian, and Theorist
Chairs: Clare Hornsby (BSR) and Caroline Barron (Birkbeck)
• Maria Grazia D’Amelio Università di Roma ‘Tor Vergata’) and Fabrizio De Cesaris Sapienza – Università di Roma), Giovan Battista Piranesi e l’architettura pratica
• Lola Kantor-Kazovsky (The Hebrew University of Jerusalem), Piranesi’s Carceri, Cartesian ‘Dream Argument’ and Scientific Interests in Early 18th-Century Venice
• Silvia Gavuzzo Stewart (Roma), La dedica di Piranesi a Lord Charlemont nella Tavola II delle Antichità Romane
• Paolo Pastres (Deputazione di Storia Patria per il Friuli), Fantasia al potere: Piranesi, Algarotti e la lezione di Antonio Conti
• Cristina Ruggero (Berliner-Brandenburgische Akademie der Wissenschaften, Berlin), ‘Onde per riguardo della Pianta… non resta che l’indice ad incidersi’: Piranesi e Villa Adriana
• Eleonora Pistis (Columbia University, New York), Piranesi without Images: The Thinkability of Architecture

13.45  Lunch Break

14.30  From Venice to Rome: Piranesi as Artist, Dealer, and Entrepreneur
Chair: Harriet O’Neill (British School at Rome / Royal Holloway University of London)
• Enrico Lucchese (Univerza v Ljubljani), Pulcinella e poveri Cristi: Per Giambattista Piranesi disegnatore e i suoi rapporti con Giandomenico Tiepolo
• Francesco Nevola (Atene), Piranesi: Peritissimo in tutte le Arti Liberali

15.30  Keynote Address
• Heather Hyde Minor (University of Notre Dame, South Bend, Indiana), Piranesi’s Epistolic Art

F R I D A Y ,  2 1  M A Y  2 0 2 1

Hosted by the Villa Médicis-Académie de France à Rome

9.45  Welcome by Sam Stourdzé (Direttore, Accademia di Francia a Roma)

10.00  Piranesi’s Influence: Europe and Beyond
Chair: Heather Hyde Minor (University of Notre Dame)
• Olga Medvedkova (Centre National de la Recherche Scientifique, Paris), ‘La Dévideuse italienne’ ou habiter la ruine
• Valeria Mirra (Roma), Dalla fortuna di Giovanni Battista Piranesi in Francia allo stabilimento dei ‘Piranesi frères’ a Parigi
• Helena Perez Gallardo (Universidad Complutense, Madrid), Sotto il cielo di Parigi: Piranesi negli incisori e fotografi francesi nel 1850
• Angela Rosch Rodrigues (Universidade de São Paulo, Brasil), G. B. Piranesi at the Brazilian National Library: A Trajectory of the rovine parlanti from Rome to Rio de Janeiro
• Hiromasa Kanayama (Keio University, Tokyo), La raccolta piranesiana nel Giappone dell’Ottocento: le vicende della collezione Kamei

13.15  Lunch Break

14.30  Piranesi in the 20th Century
Chair: Francesca Alberti (Académie de France à Rome)
• Giacomo Pala (Universität Innsbruck) Piranesi: Posthumous Architect
• Angelo Marletta (Università degli Studi di Catania), Forma Urbis forma architecturae: Piranesi, Kahn e i frammenti di Roma
• Victor Plahte Tschudi (Oslo School of Architecture and Design), Alfred H. Barr and the Reinvention of Carceri as Modern Art

16.30  Break

17.00  Keynote Address
• Alain Schnapp, Piranèse, ruine des ruines

 

 

Online Conference | Country House Gardens and Landscapes

Posted in conferences (to attend), online learning by Editor on April 28, 2021

From the conference flyer:

Razored Hedgerows, Planted Trees, and Natural Delights: Country House Gardens and Landscapes
Online, Centre for the Study of Historic Irish Houses and Estates, Maynooth University, 11 May 2021

After the disappointing cancellation of the annual conference in 2020, the Centre for the Study of Historic Irish Houses and Estates is pleased to announce the 19th annual Historic Houses Conference, which will be held online (via Zoom) at Maynooth University on 11 May 2021.

Country houses sit in the middle of designed landscapes. Their backdrop, large or small, might be a combination of parkland, pasture, woods, and waterways, as well as formal gardens blazoned with horticultural delights. These natural features complement the built heritage and often share similar stories about their creation, improvement, loss, or recovery. The acres surrounding a mansion house may have shrunk over the centuries, but the terrain itself remains even if in different ownership and used for other purposes today.

This one-day online conference will include papers on a number of houses and gardens, examining their history, survival, and changing fortunes, with papers on Emo Court, Annes Grove, Doneraile, Glin Castle, Brodsworth Hall, Vaux-le-Vicomte, Lambay Castle, Illnacullin, Johnstown Castle, Newbridge, and the Glebe Churchill; as well as presentations on glasshouses, plant collections, and the art of landscape design. The day will conclude with an online forum on the subject of gardens and well-being in the twenty-first century.

Speakers include Sarah Couch, Michael O’Sullivan, Catherine Fitzgerald, Neil Porteous, Hugh Carrigan, Anne O’Donoghue, Kim Wilkie, Alexandre de Vogue, Matthew Jebb, Chris O’Neill, Cathal Dowd Smith, Eleanor Matthews, and Adrian Kelly.

Attendance is free, but places are limited; for details on how to register please contact cshihe@mu.ie.

Doneraile Court (side of the house), near the town of Doneraile in County Cork, Ireland; most of the house dates to the early eighteenth century. After an extensive renovation by the Office of Public Works, the house opened to the public in 2019. The 400 acres of walled parkland are laid out in the style of Capability Brown (Office of Public Works).

Online Symposium | Speculative Minds in Georgian Ireland

Posted in conferences (to attend), online learning by Editor on April 27, 2021

From the conference programme:

Speculative Minds: Commerce, Experiment, Innovation, and the Arts in Georgian Ireland
Online, Thursday, 27 May 2021

Organized by Toby Barnard and Alison FitzGerald

Maynooth University and the Irish Georgian Society are partnering to deliver a live online symposium, Speculative Minds: Commerce, Experiment, Innovation & the Arts in Georgian Ireland on Thursday, 27th May 2021. The symposium has been convened by Dr Toby Barnard, Emeritus Fellow of Hertford College, Oxford University, and Dr Alison FitzGerald, Associate Professor, Maynooth University. The symposium will appeal to both a specialist audience of academics and the general public. Bookings can be made online through the Irish Georgian Society’s website. Price: €40; full-time students  are free (to register for a student place please email emmeline.henderson@igs.ie with a photo of your student ID).

The period between 1750 and 1837 saw a striking increase in the introduction of new materials, new manufacturing processes, and new products. ‘Novelty’ was at a premium: touted in newspaper advertisements, puffed in trade catalogues and pattern books, and encouraged by energetic individuals and learned groups. These initiatives were driven by simple curiosity, focused experimentation, patriotic and humanitarian ideals, and the quest for profit. Homes, small workshops, and large manufactories all felt the impact of these ‘polite and commercial’ impulses and the resulting artefacts; they spread beyond the peerage and landed elite through the professional and middling sorts. Arguably it was the latter who spread these developments most widely, thereby drawing Ireland deeper into the ambit, attitudes and fashions of Britain, continental Europe and the North Atlantic world. British artists, artificers, and entrepreneurs were quick to exploit the Irish market, feeding the appetite for what was new; as the potter Josiah Wedgwood wrote to his business partner in 1773, “Will not the people of Ireland like these things better that come from London?” This symposium investigates the intellectual, cultural, and mercenary forces behind these phenomena, looking closely at specific cases. It aims to clarify the nexus between art, commerce, and science in Georgian Ireland, especially in towns, most notably in Dublin, Britain’s ‘second city’.

Speculative Minds has been made possible through sponsorship from Sara Moorhead and Ecclesiastical Insurance. The symposium forms an action of the Irish Georgian Society’s Conservation Education Programme, overseen by Emmeline Henderson, IGS Assistant Director and Conservation Manager. The IGS’s Conservation Education Programme is supported by the Department of Housing, Local Government and Heritage and The Heritage Council and Merrion Property Group.

P R O G R A M M E

9.45  Welcome by David Fleming (Senior Lecturer, University of Limerick)

10.00  Toby Barnard, MRIA (Hon.) (Emeritus Fellow of Hertford College, Oxford University), A Taste for Pastes: Dr Henry Quin, James Tassie, and the Empress of Russia

10.30  Alison, FitzGerald (Associate Professor, Department of History, Maynooth University), Classicism and Commerce: Josiah Wedgwood and His ‘Seed[s] of Consequence’

11.00  Coffee Break

11.30  James Kelly, MRIA (Professor of History, and Head of the School of History and Geography, Dublin City University), The Impact of the English Visual Caricature Tradition on the Product of Single-sheet Caricature in Ireland, 1780–1830

12.00  Questions & Answers

12.30  Lunch Break

1.30  Leonie Hannan (Senior Lecturer, Department of History, Queen’s University Belfast), A Culture of Curiosity: Scientific Enquiry in the Eighteenth-Century Home

2.00  Finola O’Kane, MRIA (Professor, School of Architecture, Planning and Environmental Policy, University College Dublin), Dublin’s Sugar Landscapes in the Eighteenth Century

2.30  Jonathan Wright (Lecturer, Department of History, Maynooth University), The Merchant, the Quaker, and the Enslaved Boy: A Story of Slavery in Mid-Eighteenth-Century Ulster

3.00  Questions & Answers

Abstracts of papers and speakers’ biographies are available here»

Image: Detail from John Rocque’s Exact Survey of Dublin (1756).

Panel Discussion | Enduring Versailles

Posted in books, lectures (to attend), online learning by Editor on April 23, 2021

Adam Perelle, Veue et Perspective du Chasteau de Versailles, avec le parterre d’eau du costé du Jardin, detail, 1680s.

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From Eventbrite:

Panel Discussion: Enduring Versailles
Online, Wednesday, 28 April 2021, 18.30–20.00 (EST)

To celebrate the launch of the new book edited by Mark Ledbury and Robert Wellington, The Versailles Effect: Objects, Lives, and Afterlives of the Domaine (Bloomsbury Academic, 2020), we invite you to join us for a panel discussion on the place of the château de Versailles, the Trianons, and the domaine in the history of art today. As symbol, system and ecology, the Château and Domain of Versailles has long held a central but complex place in the history of Western art and in the global imaginary. The panel—hosted by the Historians of Eighteenth-Century Art & Architecture— will discuss how and why Versailles still remains at the center of long-eighteenth-century studies today. How does the monument to the Bourbon regime fare in the era of recuperative histories of gender, race, and class? Why bother with Versailles?

This is an online event; a Zoom link will be sent, one day prior, to those who have registered (via Eventbrite).

Conveners
• Mark Ledbury—Power Professor of Art and Visual Culture, The University of Sydney
• Robert Wellington—Senior Lecturer, Centre for Art History and Art Theory, Australian National University

Panellists
• Basile Baudez—Assistant Professor in Architectural History, Department of Art and Archeology, Princeton
• Sarah Grandin—The Clark-Getty Paper Project Curatorial Fellow, Clark Art Institute
• Junko Takeda—Professor of History, Maxwell School of Citizenship and Public Affairs, Syracuse University
• Aaron Wile—Associate Curator, Department of French Paintings, National Gallery of Art, Washington, D.C.

US/UK/France
Wednesday, 28 April 2021
15.30–17.00 (PDT)
18.30–20.00 (EST)
23.30–01.00 (GMT)
00.30–02.00 (CEST)

Australia/New Zealand
Thursday, 29 April 2021
08.30–10.00 (AEST)
10.30–12.00 (NZST)

Should you wish to order a copy of The Versailles Effect, we invite you to take advantage of a 30% discount by entering the code AAH21 at the Bloomsbury website.

Online Talk | Imagining the Etruscans: Modern European Perceptions

Posted in lectures (to attend), online learning by Editor on April 21, 2021

The keynote talk for this year’s New York Workshop of Etruscan Art, given by Maurizio Harari, addresses reception history, including the eighteenth century:

Maurizio Harari, Imagining the Etruscans: Modern European Perceptions of an Ancient Italian Civilization
Online, Thursday, 29 April 2021, noon (ET)

Since the late rise of humanism and through a real crescendo in the 18th to 20th centuries, the Etruscans, an ancient people of pre-Roman Italy, became (and remain) a subject of lively discussions among scholars, as they saw a wide popularity in pseudo-scientific exploration and publication. This lecture aims to explore the ideological features of the foundation process of a highly specialized, but often self-referential discipline, so-called ‘Etruscology’, which only saw its real scholarly development in the first half of the 20th century. In that context, this major branch of scholarship was created with its roots in the rather complicated connections between the Italian territorial situation of Etruscan civilization and the European dimension of its reception and popularization.

Maurizio Harari is Professor of Etruscan and Italic Archaeology and Director of the Archaeological Museum at the University of Pavia, Italy. Author of over 200 publications, his reach focuses on Etruscan and Italic art and archaeology, especially issues of image making and meaning, wall painting, Etruscans of the Po-River region, and the sacred and political institutions of Etruscan cities. Co-Director of excavations at the Italian site of Verucchio since 2011, he is also a specialist in the historiography of Etruscology and its situation within the archaeological disciplines of Europe and the Mediterranean. He has collaborated widely across Europe, including with the European Research Council and on publication of the Enciclopedia dell’arte antica classica e orientale and the Lexicon Iconographicum Mythologiae Classicae, and he is fellow and member of multiple institutions, including the Istituto Nazionale di Studi Etruschi ed Italici.

The New York Workshop of Etruscan Art is an initiative promoted jointly by Columbia University and New York University. The ambition of the workshop is to advance our understanding of the artistic and visual dimensions of pre-Roman Italy by promoting discussion and sustained reflection on their role within the field of Etruscan studies, but it does not prescribe a specific intellectual agenda. This year, the workshop will: advance discussion of buildings, their roofs and decoration and the avenues they provide to investigate production processes, networks of interaction and creation, the sacred image and the porousness of Italic arts; reflect on the impact of 3D-modeling and reconstructions on our understanding of Etruscan aesthetics; present new findings from the Corpus Speculorum Etruscorum; present unpublished bronze figurines of subordinate characters; explore the relation with comedy of the imagery of Praenestine cistae.

Please join us for the keynote talk of this year’s New York Workshop of Etruscan Art given by Maurizio Harari. The event will be live-streamed; RSVP to receive the webinar link.

Online Talk | Helen Jacobsen on the Château de Bagatelle

Posted in lectures (to attend), online learning by Editor on April 20, 2021

François-Joseph Bélanger, Château de Bagatelle, 1777, Bois de Boulogne, Paris.

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This upcoming talk is the final installment of the Attingham Trust Spring Lecture Series. Annabel Westman—after more than 40 years of being involved with Attingham—recently announced that she is retiring from her position as executive director, to be succeeded by Helen Jacobsen. (You’re able to stage a virtual passing of the baton by watching a recording of Annabel’s March 8 talk for the lecture series— “What tone is salmon-coloured? Interpreting documentation in historic textile furnishing schemes” —just before you tune in for Helen’s.)

Helen Jacobsen, The Château of Bagatelle: The Story of a Remarkable House and Its Collections
Online, Wednesday, 28 April 2021, 6pm (BST)

Helen Jacobsen, the Director of the Attingham French Eighteenth-Century Studies course, looks at the absorbing story of the Château of Bagatelle, the former hunting lodge in the Bois de Boulogne that was transformed into a jewel of French neoclassicism as the result of a bet between Marie-Antoinette and her brother-in-law, the Comte d’Artois. Much more than a plaything, Bagatelle survived the Revolution and became the much-loved home of two more of the greatest patrons of French art, the 4th Marquess of Hertford and Sir Richard Wallace. Helen, who is also the Curator of French 18th-century decorative art at the Wallace Collection, will chart the life of the house under all three owners, and investigate the continuing connections between Bagatelle and Hertford House.