Online Symposium | Printmaking between Art and Science in Britain

Posted in conferences (to attend), online learning by Editor on July 31, 2021

From Eventbrite:

The Itinerant Image: Printmaking between Art and Science in Enlightenment Britain
Online, University of St Andrews, 12–13 August 2021

Charles Reuben Ryley, Ring-Tailed Lemurs, in George Shaw, Museum Leverianum (1792), op. p. 43.

In early modern Britain, the printed image was a major practical and conceptual tool for scientists. As recent research into the graphic practices of the Royal Society has shown, illustrations and diagrams were indispensable to communicating scientific knowledge, both collectively and by individuals. In particular printed images circulated between the Royal Society’s periodicals and the published volumes of its fellows. Some of these images, such as the flea from Robert Hooke’s Micrographia (London 1665), subsequently became widely reproduced and iconic images in the history of science. Yet these printed images were rarely confined to scientific domains; not only were they usually the result of collaboration with artisans and in some cases artists, but the most successful images would often circulate far beyond the scientific communities for which they were initially produced. Further still, images were often copied or translated into new locations, where their meaning might be altered for new audiences.

Over two days, this symposium will bring together scholars and curators of British art, science, and print culture from the seventeenth and eighteenth centuries, to interrogate the creation, use, and function of prints in the production of new scientific knowledge. It considers how the ‘epistemic’ value of an image changed as it was reprinted, adapted, and modified; and pays particular attention to how and when a reproduced image might gain or lose scientific authority.

All sessions will take place over Zoom. Please register for an online ticket. A link will be sent to all attendees in advance of each day’s event.

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14.00–16.30 BST

Welcome and Introduction, Stephanie O’Rourke (University of St. Andrews) and Katherine Reinhart (Bibliotheca Hertziana – Max Planck Institute for Art History)

• Megan Barford (Royal Museums Greenwich), Travelling Charts and Shrinking Paper: Royal Naval Hydrography in the 1830s
• Richard Bellis (University of St. Andrews), Printing the Structures and Textures of Disease: Matthew Baillie’s A Series of Engravings … to Illustrate the Morbid Anatomy (1799–1802)
• Elaine Ayers (New York University), Drawing at a Distance: Botanical Illustration in the East India Company in the Early Nineteenth Century

Respondents: Jack Hartnell (University of East Anglia) and Katy Barrett (Science Museum)

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14.00–16.30 BST

• Anna Marie Roos (University of Lincoln), Lives and Afterlives of the Lithophylacii Britannici ichnographia (1699), the First Illustrated Field Guide to English Fossils
• John Bonehill (University of Glasgow) ‘Curious and Chargeable Cuts’: Michael Burghers and the Illustration of Robert Plot’s Natural Histories
• Meghan Doherty (Berea College), The Long Life of Ephemera: (Re)Printing the Philosophical Transactions of the Royal Society

Respondents: José Marcaida (University of St. Andrews) and Aileen Fyfe (University of St. Andrews)

Online Symposium | The Politics of the Portrait, in Three Parts

Posted in conferences (to attend), online learning by Editor on July 22, 2021

Titus Kaphar, Enough About You, 2016, oil on canvas with an antique frame, on loan from the Collection of Arthur Lewis and Hau Nguyen, Courtesy of the artist, photo by Richard Caspole. More information is available here.

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From the YCBA:

The Politics of the Portrait, in Three Parts
Online, Yale Center for British Art, 23 July — 17 September 2021

Featuring artists, collectors, curators, and scholars, The Politics of the Portrait is a three-part online symposium that considers potential solutions and alternatives regarding the history, display, and making of portraits and the role of representation in today’s sociopolitical climate.

In 2020 the Yale Center for British Art began a research project on Elihu Yale with Members of his Family and an Enslaved Child (ca. 1719), a painting in the collection that depicts one of Yale University’s founders with an enslaved child. This project became a springboard for this online series of conversations among artists, collectors, curators, and scholars to consider potential approaches, revisions, and additions to the canon of art history, curating, and artmaking.

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Part 1 | Art History: Hierarchies of Representation
Friday, 23 July 2021, 12–1:30pm

Tilly Kettle, Dancing Girl, 1772, oil on canvas (New Haven: Yale Center for British Art, Paul Mellon Collection).

Zirwat Chowdhury, Bridget R. Cooks, and Edward Town discuss potential approaches to and revisions of frameworks that are commonly used for telling the history of portraiture with a particular focus on the Black figure. How might we restructure art history to make it a more decentralized, inclusive discipline? What scholarly initiatives have been effective at countering systemic marginalization in the representation of Black and Brown bodies in Western art? How can we overcome the problem that there are few records—material, textual, or visual—of many of the Black figures represented in Western art? Notwithstanding these absences, what work is being done to center the lives of Black figures in historical portraits? What can we learn about these figures from close looking and study in museums?

Zirwat Chowdhury is Assistant Professor of 18th- and 19th-century European Art at the University of California, Los Angeles. Bridget R. Cooks is Associate Professor at the University of California, Irvine. Edward Town is Head of Collections Information and Access at the Yale Center for British Art. The conversations is moderated by Maryam Ohadi-Hamadani, Postdoctoral Research Associate at the Center.

To join us for this program, please register here.

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Part 2 | Curatorial Practice and the Museum: Contextualization and Narratives
Friday, 6 August 2021, 12–1:30pm

Curators Liz Andrews, Christine Y. Kim, Denise Murrell, and Keely Orgeman discuss their recent projects and upcoming exhibitions and consider the ethical, practical, and historical implications of displaying portraits and figurative artworks in museums.

Liz Andrews is Executive Director of the Spelman College Museum of Fine Art. Christine Y. Kim is Curator of Contemporary Art at the Los Angeles County Museum of Art. Denise Murrell is Associate Curator of 19th- and 20th-Century Art at The Metropolitan Museum of Art. Keely Orgeman is Associate Curator of Modern and Contemporary Art at the Yale University Art Gallery. The conversation is moderated by Maryam Ohadi-Hamadani, Postdoctoral Research Associate at the Yale Center for British Art.

To join us for this program, please register here.

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Part 3 | In Conversation: Titus Kaphar and Art Collectors Arthur Lewis and Hau Nguyen
Friday, September 17, 2021, 12–1pm

Titus Kaphar, Arthur Lewis, and Hau Nguyen discuss Kaphar’s practice and the importance of supporting emerging artists, artists of color, and local art communities. The conversation is moderated by Abigail Lamphier, Senior Curatorial Assistant in the Department of Paintings and Sculpture at the Yale Center for British Art.

Kaphar is an American artist whose paintings, sculptures, and installations examine the history of pictorial representation. Kaphar physically manipulates his canvases by cutting, shredding, twisting, breaking, and tearing his paintings and sculptures, reconfiguring them into works that reveal unspoken truths about the nature of history, often in an effort to consider overlooked subjects. By transforming these styles and mediums with formal innovations, he emphasizes the physicality and dimensionality of the canvas and the materials. His practice challenges art historical images and the narratives they normalize.

Kaphar received an MFA from the Yale School of Art in 2006 and is a distinguished recipient of numerous prizes and awards including a MacArthur Fellowship (2018), an Art for Justice Fund grant (2018), a Robert R. Rauschenberg Artist as Activist grant (2016), and a Creative Capital grant (2015). His work appears in the collections of the Crystal Bridges Museum in Arkansas, the Pérez Art Museum Miami, and several New York City museums, including the Brooklyn Museum, the Metropolitan Museum of Art, the Museum of Modern Art, and the Whitney Museum of American Art.

Kaphar lives and works in New Haven, Connecticut. In 2015, he cofounded NXTHVN, a 40,000-square-foot nonprofit arts incubator located in two former manufacturing plants in the Dixwell neighborhood of New Haven. NXTHVN offers fellowships, residencies, and other professional development opportunities to artists, curators, and students in the local community and beyond.

Lewis and Nguyen have built an art collection celebrated for its focus on contemporary women artists and artists of color and were named in the top 200 art collectors by ArtNews in 2020. Over the last thirteen years, the couple have intentionally focused on supporting a wide range of black artists and developing their local art community in Los Angeles. As a result, the core of Lewis and Nguyen’s collection features both emerging and established artists including Genevieve Gaignard, Jennie C. Jones, Titus Kaphar, Kerry James Marshall, Ebony G. Patterson, and Amy Sherald.

Lewis and Nguyen are further renowned for their intentional approach to collecting, which extends beyond building the market value for artworks. Seeing the role of the collector as one of guidance and care, the couple are active in the artist community and enjoy personal relationships with many artists represented in their collection. Lewis is creative director of United Talent Agency’s fine arts group and the UTA Artist Space in Beverly Hills, California. He is a member of the boards of the Hammer Museum and the Underground Museum in Los Angeles, as well as New York’s Studio Museum in Harlem. Nguyen is the owner and creative director of boutique hair salons.

In October 2020, Lewis and Nguyen lent Kaphar’s Enough About You (2016) to the Yale Center for British Art. This artwork was on view in the Center’s galleries for eight months in place of the eighteenth-century group portrait Elihu Yale with Members of his Family and an Enslaved Child. To learn more about why this change was made and a description of the ongoing research into this group portrait, visit New light on the group portrait of Elihu Yale, his family, and an enslaved child.

Online Conference | Travel and Archaeology in Ottoman Greece

Posted in conferences (to attend), online learning by Editor on July 22, 2021

The Hyperian Fountain at Pherae, Edward Dodwell, Views in Greece (London 1821), p. 91.

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From the conference programme:

Travel and Archaeology in Ottoman Greece in the Age of Revolution, c.1800–1833
Online, British School at Athens, 16–17 September 2021

Organised by Alexia Petsalis-Diomidis

Registration due by 20 August 2021

The bicentenary of the Greek War of Independence of 1821 offers a timely opportunity for a re-evaluation of travel and archaeology in the age of revolution. The conference foregrounds diversity and small-scale engagements with the landscape and material past of Ottoman Greece at a time of political tension and explosive violence. The conference will explore the perspectives of both foreign travellers and local inhabitants in order to tease out diverse voices, keeping a sharp focus on the effects of ethnicity, race, gender, and social status.

Within this inclusive intellectual framework we will pose a series of questions to analyse the mediating role of the Greek landscape and its antiquities between travellers and local inhabitants in all their diversity. How did major intellectual and cultural developments of the late eighteenth century, ranging from revolutionary politics in France and America to scientific and museological developments, intersect with actual encounters ‘on the ground’ in Ottoman Greece, specifically with the landscape, local inhabitants, and small-scale objects and antiquities? How did the ethnic, cultural, and religious identities of Ottoman communities affect local perceptions of contemporary travel and the classical material past? How did status (including slave status) and gender shape encounters with the Greek landscape and its antiquities, not least with idealising white sculptured male bodies? How did archaeological-focused travel, with its emerging sophisticated discourses, intertwine with travel undertaken for scientific, military, and Romantic aims?

In this way the conference will give prominence to hitherto marginalised perspectives drawing on recent work to decolonise Ancient Mediterranean Studies, including sensory approaches to access silenced voices, and will develop a micro-cultural history of travel and archaeology in Ottoman Greece in this tumultuous period.

Hosted via Zoom, the conference is free and open to all who are interested, but registration is essential. Speakers’ full papers will be pre-circulated to registered participants at the end of August. To register for the conference, please email Dr Jenny Messenger at jenny@atomictypo.co.uk by 20 August. For Dr Alexia Petsalis-Diomidis’ lecture, registration is separate: a link to register will be available in the ‘Events’ section of the BSA website approximately one month in advance.

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13.00  John Bennet and Alexia Petsalis-Diomidis, Welcome and Introduction

13.15  Panel 1: Travel as a Kaleidoscope of Perspectives
Chair: Estelle Strazdins (University of Queensland)
• Charalampos Minaoglou (National and Kapodistrian University of Athens), Traveling in Europe, Exploring Greek Identity: Orientalism and ‘Westernism’ in Constantine Karatzas’ Diaries
• Federica Broilo (Universitá Degli Studi Urbino ‘Carlo Bo’), Simone Pomardi and the Rediscovery of the Modern Greek Landscape
• Jason König (University of St Andrews), Mineralogy, Ethnography, Antiquarianism: Images of Collecting in the Travel Writing of Edward Daniel Clarke
• Ayşe Ozil (Sabanci University), Local Greek Travel-Writing, Antiquities, and the Diverse Social Landscape in the Post-Revolutionary Ottoman Empire

14.15  Break

14.30  Panel 2: Ottoman Spaces and Identities
Chair: Edhem Eldem (Boğaziçi University and Collège de France)
• Nikos Magouliotis (ETH Zurich, Institute for the History and Theory of Architecture, PhD Candidate), Inside the Villager’s House: Views of European and Greek Authors on the Vernacular Architecture of Late-Ottoman Greece, ca. 1800–30
• Zafeirios Avgeris (Uppsala University, MA Candidate), From Text to Space: Mapping Sir William Gell and Edward Dodwell as Data Layers on an Ottoman Landscape
• Emily Neumeier (Temple University, Philadelphia), Orientalism in Ottoman Greece
• Elisabeth Fraser (University of South Florida), Louis Dupré in Ottoman Greece: Multiple Identities, Contradictory Encounters

15.30  Break

17.30  British School at Athens Public Lecture
• Alexia Petsalis-Diomidis (University of St Andrews), From Ottoman Smyrna to Georgian London: Travel, Excavation, and Collecting of Levant Company Merchant Thomas Burgon (1787–1858)

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13.00  Panel 3: Individuals Collecting Antiquities
Chair: Ayşe Ozil (Sabanci University)
• Estelle Strazdins (University of Queensland), Imagining Ethiopians in the Age of Revolution: Arrowheads from the Marathon Sôros and the Statue of Rhamnoussian Nemesis
• Alessia Zambon (Université Versailles Saint Quentin en Yvelines, Paris), ‘Je vois qu’à Paris on a une bien fausse idée des Grecs…’: Fauvel’s Perception of the Greeks and of the Greek Revolution
• Irini Apostolou, (National and Kapodistrian University of Athens), In Search of Antiquities: The Travels of Alexandre and Léon de Laborde during the Greek War of Independence of 1821
• Michael Metcalfe (The Syracuse Academy), Ancient Inscriptions and British Travellers to Ottoman Greece, 1800–21

14.00  Break

14.15  Panel 4: Antiquities and Official Discourses
Chair: Elisabeth Fraser (University of South Florida)
• Edhem Eldem (Boğaziçi University and Collège de France), ‘Viewing and Contemplating’ (Seyr ü Temaşa): Foreign Travelers and Antiquarians and the Sublime Porte, ca 1800–30
• Aikaterini-Iliana Rassia (King’s College London), Andreas Moustoxydes (1785–1860) and Kyriakos Pittakis (1798–1863) and the Rescue of Greek Antiquities

14.45  Break

15.15  Panel 5: Forms of Philhellenism
Chair: Jason König (University of St Andrews)
• Mélissa Bernier (Ecole Normale Supérieure de Paris, PhD candidate), Samuel Gridley Howe’s Travels: Classical, Romantic, and Philanthropic Philhellenism, 1800–30
• Fernando Valverde (University of Virginia), Greece in the Age of Revolution: An Intimate Poetics of Landscape, Travel, and Liberty

15.45  Break

16.00  Conclusions and Future Directions
• Breakout Rooms
• Roundtable Discussion


Conference | Afterlife of the Mausoleum of Halicarnassus, 1500–1850

Posted in conferences (to attend), online learning by Editor on July 19, 2021

From ArtHist.net:

Re-Conceiving an Ancient Wonder: The Afterlife of the Mausoleum of Halicarnassus, 1500–1850
RWTH Aachen University (online and in-person), 9–11 September 2021

Organized by Anke Naujokat, Desmond Bryan Kraege, and Felix Martin

The importance of the Mausoleum of Halicarnassus for European culture is revealed by its very name, which—in many languages—has become a noun signifying any sufficiently monumental tomb. However, the Mausoleum was destroyed during the Middle-Ages, and many aspects of its appearance remain uncertain, even since the excavation of its foundations in the 1850s. During the Early Modern Period, the main sources of information on this building were thus ancient texts, which were the only references concerning the Mausoleum’s dimensions and appearance. Accurately reconstructing architecture according to brief written descriptions, however, is an impossible task. Yet, despite this difficulty or perhaps due to the liberty it offered the imagination, numerous artists, architects and antiquaries took a keen interest in the monument during the timeframe 1500–1856, mainly using Pliny’s description to suggest reconstructions, devise pictorial representations and seek inspiration for new funerary projects or monumental public architecture.

This workshop aims to examine the afterlife of the Mausoleum during this period. Being an invisible reference, the monument left far more leeway to the imagination than other, existing ancient buildings that also attracted scholarly and artistic attention, such as the Pantheon. The Mausoleum’s invisibility entails that it is not the monument itself that will be investigated here, but rather the ensemble of texts, images and architectural projects referring to this central but unknowable model. Drawing upon recent developments in the methodologies of intermediality and temporality, the project aims to add a new dimension to this discussion by focusing on a precise case study examining the evolution of several key themes over a long period.

The workshop will be organised as a hybrid onsite/online event. It will be possible to listen to papers and join the discussions via Zoom. All are welcome to join, we will gladly provide the event link if you write to us at halicarnassus@ages.rwth-aachen.de.

Organising Committee
• Prof. Dr. Anke Naujokat (RWTH Aachen University)
• Dr. Desmond Bryan Kraege (AHO Oslo School of Architecture and Design)
• Felix Martin M.Sc. (RWTH Aachen University)

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14.00  Welcome

14.15  Anke Naujokat, RWTH Aachen University, Introduction

14.30  I. Tombs and Widows
• Inmaculada Rodriguez Moya (Universitat Jaume I Castellón) and Victor Minguez (Universitat Jaume I Castellón), The Mausoleum of Halicarnassus in the Renaissance Imagination: Royal and Noble Tombs, 1384–1545
• Simone Salvatore (Sapienza Università di Roma), The Iconographic Fortune of Artemisia and the Mausoleum of Halicarnassus in Early Modern Italy, 1500–1630
• Sheila Ffolliott (George Mason University), Embodying the Mausoleum: Artemisia as Model for 16th- and 17th-Century Women and Regents

18.00  Evening Lecture
• Poul Pedersen (University of Southern Denmark / The Danish Halikarnassos Project), The Maussolleion at Halikarnassos and the Ionian Renaissance in Greek Architecture

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9.30  II. The Sangallo Circle
• Peter Fane-Saunders (Birkbeck, University of London), The Mausoleum, Architectural Theory, and the Renaissance Church
• Andreas Raub (Alte Pinakothek, Munich), Antonio da Sangallo the Younger: Mausolea for St. Peter and the Popes
• Fabio Colonnese (Sapienza Università di Roma), Porsenna, Mausolus, and the Pyramids of Antonio da Sangallo the Younger
• Marco Brunetti (Bibliotheca Hertziana – Max-Planck-Institut für Kunstgeschichte), Dream of a Shadow: The Mausoleum of Halicarnassus and the Accademia della Virtù

12.00  Lunch Break

13.30  III. Print Culture and the Seven Wonders
• Katharina Hiery (Universität Tübingen), Maarten van Heemskerck’s Images and the Mausoleum in Print Culture
• Ainhoa de Miguel Irureta (Universidad Católica de Murcia), The Mausoleum of Halicarnassus in 17th-Century Series of the Seven Wonders: Following in the Wake of Maarten van Heemskerck
• Marco Folin (Università degli studi di Genova) and Monica Preti (Head of Academic Programmes, Musée du Louvre, Paris), Fischer von Erlach’s Mausoleum of Halicarnassus

15.00  Coffee Break

15.30  IV. The Mausoleum and the City
• Raphaëlle Merle (Université Paris 10 Nanterre), Travellers and Topography in Early Modern Halicarnassus, 1656–1857
• Daniel Sherer (Princeton University School of Architecture), Architecture and Print Culture in the Late 17th- and Early 18th-Century English Reception of the Mausoleum of Halicarnassus: Intermedium Signification in Hawksmoor’s St George’s Bloomsbury and Hogarth’s Gin Lane, 1670–1751

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9.30  IV. The Mausoleum and the City, continued
• Stefan Hertzig (Architectural Historian and Heritage Specialist, Dresden), An Ancient Wonder for Dresden: The So-Called Pyramid Building of Augustus the Strong on the Neustadt Bridgehead as a Paraphrase of the Mausoleum à la Heemskerck
• Desmond-Bryan Kraege (AHO Oslo School of Architecture and Design), Imaginary Architecture and the Mausoleum’s Move to a Peri-Urban Environment, France, ca. 1750s–1790s

10.30  Coffee Break

11.00  V. Scholarship and a New Vision of History
• Felix Martin (RWTH Aachen University), Building for Posterity: Friedrich Weinbrenner, the Mausoleum at Halicarnassus, and the Pursuit of Permanence around 1800
• Christian Raabe (RWTH Aachen University), Karl Friedrich Schinkel’s Tomb of King Mausolus of Caria

12.00  Lunch Break

13.30 V. Scholarship and a New Vision of History, continued
• Marina Leoni (Université de Genève), Quatremère de Quincy’s Mausoleum of Halicarnassus and French Scholarship
• Lynda Mulvin (University College Dublin), Charles Robert Cockerell (1788–1863): A Pioneering Study of the Mausoleum of Halicarnassus as Part of a Wider Project to Locate Other Unknown Sites and Monuments in ‘Ionian Antiquities’

14.30  Concluding Discussion

Online Lecture | Gem Impressions in the Portuguese Royal Collections

Posted in lectures (to attend), online learning by Editor on July 16, 2021

From the registration page: 

Ana Mónica da Silva Rolo and Noé Conejo Delgado, A Dactyliothec from Pietro Bracci in the Portuguese Royal Family’s Collections
Wallace Collection Seminars on the History of Collections and Collecting
Online, Monday, 26 July 2021, 17.30

During the eighteenth and nineteenth centuries, in Europe, the versatile education of erudite elites was indispensable to and synonymous with social distinction. In this cultural frame, travels through Europe, in the style of the Grand Tour, became especially appreciated among European aristocratic youth. At the same time, interest in Classical antiquity and collecting antiques was enhanced, giving rise to a flourishing activity of replica production and trade, especially in Italy.

The dactyliothec by the Italian artist Pietro Bracci (1700–1773) in the collections of the Museum-Library of the House of Bragança (Vila Viçosa, Portugal) illustrates eighteenth- and nineteenth-century taste, shared by the last generations of the Portuguese Royal House. The set presented is composed of 2,350 plaster moulds of gems and cameos, organized in three thematic series. The first and largest series is dedicated to emblematic pieces of ancient art and the Italian Renaissance. The second series is composed of a selection of reproductions of the best carvings originally made by eighteenth-century craftsmen, like Giovanni or Luigi Pichler and Natal Marchant. The third and last series brings together a total of 180 cameos dedicated to Emperors of Europe. Dated between the end of the eighteenth century and the first quarter of the nineteenth century, this dactyliothec reflects the importance that such casts assumed as souvenirs of Classical art and history for collectors and travellers, as well as their use as an educational resource in the academic training of young aristocrats.

You can register to view this talk via Zoom here, or plan to watch via The Wallace Collection’s YouTube channel.

Ana Mónica da Silva Rolo and Noé Conejo Delgado are both based at the Archaeology Centre UNIARQ of Lisbon University.


Online Exhibition | Making History: Shakespeare and the Royal Family

Posted in exhibitions, online learning by Editor on July 15, 2021

The exhibition is available here:

Making History: Shakespeare and the Royal Family
Online Exhibition, launching 15 July 2021

John Boyne, ‘Falstaff and his Prince’, 1783, etching showing Charles Fox as Falstaff to George’s Prince Hal.

The Shakespeare in the Royal Collection (ShaRC) project is delighted to announce a new digital exhibition, exploring the entwined stories of Shakespeare and the royal family across the centuries, launching on Thursday, 15 July 2021. Making History: Shakespeare and the Royal Family reveals how influential this relationship has been in shaping British culture.

Drawing on new archival research, the exhibition (in eight sections) explores the curious, political, and sometimes tragic connections between Shakespeare and the royal family through access to key objects in the Royal Collection and Royal Archives. A Shakespeare Folio contains handwritten annotations made by Charles I shortly before his 1649 execution. A painting by Thomas Gainsborough marks the short-lived affair of the actress and poet Mary ‘Perdita’ Robinson with George IV when Prince of Wales, casting him in the role of a dashing Prince Florizel. Digital visualisations put viewers in the audience of performances watched by Queen Victoria, bringing historical Shakespearean performances in the State Apartments at Windsor Castle vividly to life for the first time.

A wider online database, allowing users to search over 1,000 Shakespeare-related objects from the Royal Collection and Royal Archives, will also shortly be launched, and can be explored here: https://sharc.kcl.ac.uk/

Shakespeare in the Royal Collection is a three-year AHRC-funded research project led by King’s College London, in collaboration with Birkbeck University of London and The Royal Collection Trust. It investigates the Shakespeare-related holdings in the Royal Collection and Royal Archives, 1714–1945, and provides new information about a broad range of objects created, collected and displayed by generations of members of the royal family.

Online Lecture | David Adshead on Pompeii and Neoclassicism

Posted in lectures (to attend), online learning by Editor on July 12, 2021

From the Attingham Summer Lecture Series:

David Adshead, Pompeii and All That: Reimagining Ancient Worlds
Online, Wednesday, 14 July 2021, 6.00pm (BST)

Wilhelm Zahn, Die schönsten Ornamente und merkwürdigsten Gemälde aus Pompeji, Herculanum und Stabiae (Berlin, 1828).

David Adshead, Co-Director of the Attingham Summer School and Director of the London House Course, will look at the cultural impact of the discovery of Herculaneum and Pompeii. News of the excavation of these ancient Neopolitan cities sent an electric shock of excitement across Europe and beyond and served as a stimulus to the nascent Neoclassical movement. Grand Tourists, artists, and architects flocked to see the statuary, wall paintings, and other artefacts that emerged unscathed from their volcanic overburden. Illustrated publications followed. These cities also caught the attention of philhellenes at a time before travel to Greece and, modern day, Turkey was common, for they had been Greek colonies before they were Roman. The discovery at Pompeii of a temple dedicated to the goddess Isis, decades before Napoleon’s invasion of Egypt, also triggered a fascination in all things Egyptian. Aspects of collecting, design, and decoration were all directly or indirectly influenced as a result.

Registration is available here»

Online Talk | Pushing Boundaries of Photo-Based Work

Posted in lectures (to attend), online learning by Editor on July 11, 2021

Kyungmi Shin, Lunch on the Grass, 2020. The work layers an image of a picnic from 1960s Korea (an image which includes Shin’s father, a Protestant pastor) on top of an image of François Boucher’s Chinese Garden from around 1742. The oil painting by Boucher is in the Musée des Beaux-Arts et d’Archéologie de Besançon. For more information on Shin, see Susan Stamberg’s piece for NPR, “An Artist Explores What ‘Crosses the Ocean’ in Porcelain and Painted Collage,” (12 November 2020), produced in response to the exhibition Kyungmi Shin: Father Crosses the Ocean on view at the Orange County Museum of Art in Santa Ana, California from 24 September 2020 until 21 February 2021.

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From The Getty:

Mercedes Dorame, Kori Newkirk, and Kyungmi Shin
Beyond the Frame: Pushing Boundaries of Photo-Based Work
Online, The Getty, Tuesday, 20 July 2021, 5pm (Pacific Time)

In this conversation, multidisciplinary artists Mercedes Dorame, Kori Newkirk, and Kyungmi Shin discuss how their approaches to art making and activism push the boundaries of photography, transforming it beyond its perceived objectivity and conventional format. Their work is featured in the exhibition Photo Flux: Unshuttering LA, which disrupts the privileging of white narratives in photography by celebrating the diverse, dynamic practices of contemporary Los Angeles artists. The event is free, though advance sign-up is required.

FPS Online Lecture | Angiviller, Rambouillet, and ‘Etruscan’ Taste

Posted in lectures (to attend), online learning by Editor on July 9, 2021

From The French Porcelain Society:

Gabriel Wick and John Whitehead | Angiviller, Rambouillet, and ‘Etruscan’ Taste
Sir Geoffrey de Bellaigue Memorial Lecture
FPS, Online, Sunday, 11 July 2021, 18.00 (BST)

The French Porcelain Society is delighted to host the Sir Geoffrey de Bellaigue Memorial Lecture with Gabriel Wick, curator of the exhibition Vivre à l’Antique, who will explore the fascinating history of Rambouillet, a château associated with the avant-garde ‘Etruscan’ taste championed by the comte d’Angiviller. John Whitehead will discuss the Sèvres-porcelain service created for its dairy. We hope you can join us!

FPS members will receive an email invitation with instructions on how to join the online lecture. If you want to join, please contact us for more details on FPSenquiries@gmail.com. This will be the last Living Room Lecture until Sunday, 5 September 2021.

Rambouillet, 30-miles southwest of Paris, is the most recent and the least-known of France’s royal palaces. Acquired by Louis XVI as a domaine privé only six-years before the Revolution, it served successive sovereigns and presidents as a hunting lodge and rustic retreat until 2009, when it was entrusted to the care of the Centre des Monuments Nationaux and opened to the public. In the second half of the 1780s, the king’s de facto minister of the arts, the comte d’Angiviller, developed a number of remarkable projects for the domain—a proposal for the reconstruction of the château à l’antique, a model farm, extensive plantations of American trees, and the menagerie and dairy. The last of these, conceived as a theatrical evocation of the arts and rituals of the Etruscans, benefitted from contributions by Hubert Robert, Jean-Jacques Lagrenée, Georges Jacob, and the Sèvres manufacture (which Angiviller directed since 1783).


Online Roundtable | New Approaches to Piranesi

Posted in lectures (to attend), online learning by Editor on July 8, 2021

From the program flyer:

New Approaches to Piranesi: A Virtual Roundtable
Online, Friday, 16 July 2021

Organized by Jeanne Britton and Zoe Langer

Join us for a roundtable of lightning talks on interdisciplinary approaches to the works of Giovanni Battista Piranesi (1720–1778). Recent scholarship by Heather Hyde Minor, Carolyn Yerkes, and Susan Dixon, as well as the current bestselling novel Piranesi by Susanna Clarke, have started to open the field of Piranesi Studies to new avenues of research and potentially wider audiences. This roundtable consists of two panels of short presentations of 5–7 minutes followed by ample time for discussion. Papers engage with a wide range of disciplinary fields and methods including globalism, reception, collecting, virtual reality, exhibition curation, book history, archaeology, history of design, and architecture. We hope the themes and format of the roundtable will encourage lively conversation and prompt new critical perspectives that will continue to broaden the interpretation of Piranesi’s works.

Organized by Jeanne Britton and Zoe Langer, Digital Piranesi, Irvin Department of Rare Books and Special Collections, University of South Carolina
Sponsored by Historians of Eighteenth Century Art and Architecture (HECAA)

Panel 1: 10.00–11.30am (EST)
• Hélène Bremer (Art Historian and Independent Curator), For the Love of the Master, 25 Artists Fascinated by Piranesi
• Erik Herrmann (Ohio State University), Another Campo Marzio
• Mireille Linck (Museum Boijmans Van Beuningen), Watermark Research: The Beginning of a Research Tool
• Ari Lipkis (Tyler School of Art & Architecture), Imprisoned in the Fold: Piranesi and the Video Artist
• Jason Porter (University of South Carolina), The Virtual Piranesi: New Methods of Immersive Literacy
• Carla Scagliosi (Galleria Nazionale dell’Umbria), Exploring ‘the Dark Brain of Piranesi’

Panel 2: 1.00–2.30pm (EST)
• George Dodds (University of Tennessee), Giambattista Piranesi, Modernity, and the Continuous Avant-Garde
• Sara Hayat (School of the Art Institute of Chicago), What We Can Learn from 18th-Century Global Histories of Architecture
• Helen Marodin (University of South Carolina), The Magnificence of Rome in the Carceri: Flashes of Light into Piranesi’s Shadowy Prisons
• Thomas Mical (India), Scanning for Duration and Intensity in Piranesi’s Carceri
• Aleksander Musial (Princeton University), Beyond the Capriccio: Piranesi’s Candelabra, Classical Transgression, and their Reception in Warsaw and St. Petersburg
• Kate Retford (Birkbeck, University of London), Piranesi and the Print Room
• Betsey Robinson (Vanderbilt University), Tunnel Visions: Rendering Conventions and Process at the Alban Lake