Online Course | British Furniture Making, 1660–1914

Posted in lectures (to attend), online learning by Editor on October 28, 2021

State Bed from Hampton Court Castle, ca. 1698 (New York: The Metropolitian Museum of Art, 68.217.1a), as installed in The Met’s newly renovated British Galleries. Photo by Coscia Joseph. As noted in the museum’s online entry: “In the style of Daniel Marot, this bed was made for Thomas, Baron Coningsby (1656–1729), for Hampton Court, Herefordshire, where it remained until 1925. The curtains, counterpane, headcloth, and some of the trims are modern copies of the originals.”

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From ArtHist.net:

Skill, Style, and Innovation:
British Furniture Making from the Restoration to the Arts and Crafts Movement
Online, The Furniture History Society, Wednesdays, 3 November — 1 December 2021

The Furniture History Society, UK, is organising a short course on British furniture makers from 3rd November to 1st December as part of its outreach and educational programme, for British and Irish Furniture Makers Online (BIFMO). Each week three speakers will consider the history of furniture makers and making in Britain. Beginning with the Baroque period, the course will move chronologically through the centuries to conclude in December with the Arts and Crafts movement. In addition to dealing with the output of specific furniture makers, this course aims to provide an integrated account of the furniture trade in the context of the cultural, technical, and industrial developments that occurred in Britain during these three and a half centuries, while also acknowledging other significant factors such as the role of the patron and the involvement of artists and designers. The talks bring to life the careers and work of some of the most important makers of their time—including Gerrit Jensen in the late seventeenth century; Giles Grendey, William Vile, Thomas Chippendale, and John Linnell in the eighteenth century; Thomas Hope, J. C. Crace, and Charles Robert Ashbee in the nineteenth century; as well as less well-known makers, firms of furniture makers, designers, and architects.

Tickets can be purchased for individual weeks or for the entire course at a saving. To purchase tickets, please go to the EventBrite page. This course will be recorded, and the link to the recording will be sent to ticket holders after the event, though please note that Max Donnelly will not be recorded. We are grateful to the Paul Mellon Centre and the Foyle Foundation for their support.

The course runs from 4.00 to 7.30pm (GMT) every Wednesday as follows:

Week 1 | November 3 — British Baroque Furniture, 1660–1715

Wolf Burchard (Associate Curator, Metropolitan Museum of Art), British Baroque Furniture and Furniture Makers
Amy Lim (Oxford University), The Baroque Interior: Furnishing the Great London and Country Houses
John Cross (Furniture historian and maker, specialist on the Jamaican furniture trade), The London Trade, ca. 1660–1720

Week 2 | November 10 — The Early Eighteenth Century and the Furniture Trade, 1715–1760

Adriana Turpin (FHS Project Manager for BIFMO, International Department, IESA), Furniture for the London Merchants
Jeremy Howard (Buckingham University), Fantasy and Exuberance: English Rococo Furniture Makers as Craftsmen and Designers
Norbert Gutowski (Independent furniture maker and restorer, former Subject Leader at West Dean College of Arts and Conservation, Sussex), Eighteenth-Century Furniture Techniques

Week 3 | November 17 — Architects, Furniture, and Patrons, 1760–1815

Megan Aldrich (Department of Continuing Education, University of Oxford), The Furniture Maker and the Architect in the Palladian and Neoclassical Periods
Lucy Wood (Independent furniture historian, formerly curator at the Lady Lever Art Gallery, Liverpool and the Department of Furniture, Textiles, and Fashion, Victoria & Albert Museum), London Furniture Makers in the Time of Chippendale
Rufus Bird (Former Surveyor of the Queen’s Works of Art, Royal Collections), ‘As Refined and Classical as Possible’: George IV and Other Patrons of British Furniture Makers in the Regency Period, 1800–1830

Week 4 | November 24 — The Development of Furniture Firms, Historicism, and Reform, 1815–1860

Max Bryant (University of Cambridge), Beyond Hope: Architects and Furniture in the Age of Historicism and Reform
Ann Davies (MA Courtauld Institute of Art), Furniture for the Great Exhibition 1851
Max Donnelly (Curator of Nineteenth-Century Furniture in the Department of Furniture, Textiles, and Fashion, Victoria & Albert Museum), Furniture at the London International Exhibition, 1862 — not included in the recording

Week 5 | December 1 — From Manufacture to the Arts and Crafts, 1860–1914

Clive Edwards (Emeritus Professor of Design History, Loughborough University), Continuity and Change in Nineteenth-Century Furniture Production
Matthew Winterbottom (Curator of Nineteenth-Century Decorative Arts, Ashmolean Museum, Oxford), At Home in Antiquity: Furniture Designed by Sir Lawrence Alma-Tadema
Annette Carruthers (Former Curator, Decorative Arts, Leicester and Cheltenham Museums), Arts and Crafts Furniture Makers and Designers


Online Lecture | Yuriko Jackall, The Fragonard Project

Posted in lectures (to attend), online learning by Editor on October 25, 2021

From The Wallace Collection:

Yuriko Jackall, The Fragonard Project
Zoom Webinar and YouTube, The Wallace Collection, London, 18 November 2021, 13.00 GMT

Between 2019 and 2021, five of the Wallace Collection’s eight paintings by Jean-Honoré Fragonard were cleaned and restored. This project has led to new discoveries about Fragonard’s working methods and provides the possibility for new interpretations of his work. Join our Head of Curatorial and Curator of French Paintings, Dr Yuriko Jackall, as she discusses this project and gives her reading of The Swing and its place in Fragonard’s career. She will also describe the long shadow of Fragonard’s influence, and how the ups and downs of his glittering career indelibly shaped the way in which we understand his art and the rococo aesthetic today. Thursday, 18 November 2021, 13.00 GMT.

This talk will be hosted online through Zoom and YouTube. Please click here to register for Zoom.

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From the press release for the project:

Jean-Honoré Fragonard, Les hasards heureux de l’escarpolette (The Swing), detail, after conservation, 1767–68, oil on canvas, 81 × 64 cm (London: The Wallace Collection).

Jean-Honoré Fragonard’s painting, The Swing, is the most iconic painting of the entire Rococo movement and one of the Wallace Collection’s most famous works of art. It has been admired for centuries for its romantic composition, skilful brushwork, and masterly use of colour. References to The Swing can be found in literature, contemporary art, design, and cinema. It is sought out and admired by thousands of visitors to the museum each year.

Despite its fame, relatively little is known about the painting. The circumstances of its commission are vague, with Fragonard opting to undertake a painting that other ‘academic’ painters had refused on account of its scandalous theme. Fragonard’s methods in building the composition are also unclear. In addition to this, the paint surface was previously obscured by yellowed varnish and old retouching had become visible.

Thanks to a generous grant from the Bank of America Art Conservation Project, throughout the summer of 2021 The Swing underwent intricate, sensitive highly skilled conservation and technical analysis for the first time. Uniquely, the conservation treatment has taken place in house at the Wallace Collection, with one of its conservation studios temporarily transformed especially for the purpose. The work has been undertaken by Martin Wyld, former Head of Conservation at the National Gallery, where he worked for more than 40 years restoring works by artists such as Leonardo and Velazquez.

Investigations have shed light on the mysteries surrounding The Swing and developed our understanding of Fragonard and his methods as an artist. The removal of the yellowed varnish has transformed the painting. The white lace of the young girl’s dress is now crisp, the composition has taken on a new sense of depth, background details are now apparent, and the overall freshness and texture of the artist’s paint surface has been restored. Little underdrawing or preparatory studies have been identified. Fragonard appears to have worked confidently and skilfully, directly on the canvas, to create The Swing, his finest masterpiece. The painting is being reinstalled in the specially relit galleries in November 2021, alongside the other seven Fragonard works in the Wallace Collection, allowing visitors to see for the first time how the artist developed across his career.

The return of The Swing is accompanied by a special season of events, which encompasses free public talks with special guests, a focused study course, and a book signing. The Collection has documented the conservation process and commissioned an insightful film exploring Fragonard and The Swing’s influence.

Online Conversations | Swing Time

Posted in lectures (to attend), online learning by Editor on October 25, 2021

A series of five conversations hosted by The Wallace Collection:

Swing Time: Serendipitous Conversations about the Rococo
Zoom Webinar and YouTube, The Wallace Collection, London, 8 November — 6 December 2021

Fragonard’s Les hasards heureux de l’escarpolette, known in English as The Swing, is a revered painting in the Wallace Collection and one of the most representative works of art of the entire French 18th century. To celebrate the gentle cleaning and restoration of this rococo icon, we have invited five art practitioners and five scholars to participate in a series of virtual conversations inspired by its key themes: Pink, Identity, Fashion, Play, and The Libertine. Join Dr Yuriko Jackall, Head of Curatorial and Curator of French Paintings at the Wallace Collection, to discover the influence of rococo art, and The Swing in particular, on artistic production today. The series will be recorded and made available on the Wallace Collection YouTube channel. Register for any of the five free talks here.

P I N K  |  Yuriko Jackall in conversation with Flora Yukhnovich and Valerie Steele
Monday, 8 November 2021, 19.00 GMT

Why is the colour pink so often associated with the frivolous, the dainty, and the overtly feminine? A plethora of images—of pink babies, pink flowers, pink fashion accessories—has cemented the gendering of pink in our collective imagination. Such is the case of Fragonard’s Swing, which displays at its centre a young woman in a billowing pink dress. Yuriko Jackall, artist Flora Yukhnovich, and curator Valerie Steele explore the widespread perception of the colour pink as particularly representative of femininity and the Rococo. See full event details here.

I D E N T I T Y  |  Yuriko Jackall in conversation with Catherine Yass and Rosalind McKever
Monday, 22 November 2021, 19.00 GMT

The name and motivations of the person who commissioned The Swing remain obscure. So do the identities of the three people depicted. Only the painter, Jean-Honoré Fragonard, is known to us. In cases like these, art historians rely upon visual clues to understand what is being represented. Yuriko Jackall is joined by artist Catherine Yass and curator Rosalind McKever in a conversation about how visual codes—dress, gesture, and representation of place—shape the way in which we read and perceive identity. See full event details here.

F A S H I O N  |  Yuriko Jackall in conversation with Sami Nouri and Jessica Degain
Monday, 29 November 2021, 19.00 GMT

During the last decades of the ancien régime (1760–1789), Paris became the epicentre of the fashion world. Vogues for hairstyle, dress shape, fabric patterns, or silk colour came and went, with the vertiginous rapidity associated to today’s ever-evolving fashion industry. Like his teacher, François Boucher, Fragonard excelled in putting his protagonists in the latest fashions. The fabrics, trimmings, and garments flowing from the brushes of these painters have, in turn, inspired fashion designers for the last 250 years. Join Yuriko Jackall, haute-couture fashion designer Sami Nouri, and curator Jessica Degain as they explore how 18th-century fashions continue to resonate today. See full event details here.

P L A Y  |  Yuriko Jackall in conversation with Monster Chetwynd and Alice Strang
Monday, 6 December 2021, 19.00 GMT

In sharp opposition to the architectural and rectilinear motifs of Classicism, the rococo aesthetic is populated by sinuous forms inspired by nature. Rocks, shells, leafy branches and sprigs of flowers introduce novelty and a sense of surprise into the furniture, wall panels and textiles of the eighteenth century. In turn, the unexpected playfulness of these rococo interiors encouraged a certain theatricality and whimsy in the demeanour of those who inhabited them. Yuriko Jackall, artist Monster Chetwynd, and curator Alice Strang discuss the resonance of rococo playfulness in contemporary practice, with special attention to layering, unusual juxtapositions, and the role of performance art as a means for exploring the eccentricities of everyday life. See full event details here.

T H E  L I B E R T I N E  |  Yuriko Jackall in conversation with Simon Bejer and Chantal Thomas
Monday, 6 December 2021, 19.00 GMT

After enduring years of tight control under Louis XIV, the 18th-century privileged classes enjoyed unprecedented freedom during the Regency and the reign of Louis XV. In Paris, their lives unfolded at the opera, the theatre, and the masked ball. In their country estates and suburban maisons de plaisance, they tasted the escapist delights of the French pleasure garden. The intimacy of these environments invited a relaxation of etiquette and, occasionally, the transgression of moral codes. In the final conversation of our series, Yuriko Jackall, artist and theatre designer Simon Bejer, and writer Chantal Thomas, discuss how changes in moral codes in 18th-century France impacted the arts and literature. See full event details here.



Online Talk | Ann-Sophie Lehmann, Object Biography

Posted in lectures (to attend), online learning by Editor on October 22, 2021

From the BGC:

Ann-Sophie Lehmann, Object Biography: The Life of a Concept
Online, Seminar in Museum Conversations, Bard Graduate Center, New York, 2 November 2021

Jan Luyken, Design for frontispiece, Het Leerzaam Huisraad, 1709, 14 × 90 cm (Amsterdam: Rijksmuseum, RP-T-1989-183).

The object biography has gained popularity in art history, material culture studies, archaeology, history, conservation and restoration, and museum studies. As a concept, the biography creates attention for the individual trajectories of objects and how these change over time; it enables the connection of different approaches, usually dealt with by sub-disciplines (i.e. research into making, provenance, exhibition history, conservation, reception); it offers entry points even if no information is available and encourages interdisciplinarity as objects straddle many fields. Finally, the object biography stimulates new forms of writing because it lends the object a voice and foregrounds narrative.

But the concept’s anthropocentric foundations also raise questions. To have a ‘biography’ implies biological and mental development, which objects typically do not have. Are young objects less settled and do objects grow wiser the older they get? Metaphors of birth, maturing, and death might cover up exclusively thing-specific characteristics. Likewise, the proposed ‘life’ implies agency, but do objects really speak for themselves? Who actually tells their story, and would objects be better if we used concepts such as itineraries or necrographies to capture their histories?

This talk presents a brief history and theory of the concept of the object-biography, from its literary and didactic origins in the eighteenth-century to its recent critics, asking what the concept can help us see, which we otherwise would not. This free talk takes place, via Zoom, on Tuesday, November 2, at 5.00pm. Registration information is available here.

Ann-Sophie Lehmann is chair of art history & material culture at the University of Groningen. She recently published Lessons in Art: Art, Education, and Modes of Instruction, edited with E. Jorink and B. Ramakers (Leiden 2019). For an overview of her publications and activities is available here.


Online Series | The Museum and Gallery Today

Posted in lectures (to attend), online learning by Editor on October 22, 2021

From the PMC:

The Museum and Gallery Today: Paul Mellon Lectures 2021
Six Online Lectures, 20 October — 11 February 2022

Established in 1994, this lecture series was named in honour of Paul Mellon (Yale College, class of 1929), the philanthropist, collector of British art, and founder of both the Yale Center for British Art (YCBA) in New Haven and the Paul Mellon Centre for Studies in British Art (PMC) in London. Co-organised by the two institutions, these biennial lectures have traditionally been given by a specialist in British art, first at the National Gallery, London, and again at the YCBA in New Haven.

This year’s series, entitled The Museum and Gallery Today, is exclusively online and features individual talks from some of the world’s most distinguished museum and gallery directors. The lectures are presented as free live webinars. Registration is required (for each lecture, individually).

20 October 2021
Gabriele Finaldi (Director of the National Gallery)

3 November 2021
Kaywin Feldman (Director of the National Gallery of Art, Washington, DC)

10 November 2021
Thelma Golden (Director and Chief Curator of the Studio Museum in Harlem)

11 November 2021
Iwona Blazwick (Director of the Whitechapel Gallery)

24 November 2021
Maria Balshaw (Director of Tate)

11 February 2022
Eve Tam (Former Director of the Hong Kong Museum of Art)

Lecture Series | Printing Abolition, 1783–1807

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

Fold-out engraving in Charles Crawford, Observations on Negro-Slavery (Philadelphia: Eleazer Oswald, 1790)
(Philadelphia: Penn Libraries, Kislak Center for Special Collections, Rare Books and Manuscripts)

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From Penn Libraries:

Michael Suarez, Printing Abolition: How the Fight to Ban the British Slave Trade Was Won, 1783–1807
The A.S.W. Rosenbach Lectures in Bibliography
Online and In-person, University of Pennsylvania, Philadelphia, 25, 26, and 28 October 2021

In this series of highly illustrated lectures (originally scheduled for March 2020), Michael Suarez offers a fresh perspective on British abolition, richly informed by political prints and personal correspondence, newspapers and pamphlets, account books and committee minutes, parliamentary reports and private diaries. Suarez’s revisionist history not only traces the production and distribution of abolitionist print, but also reveals the hidden networks that variously sustained the first humanitarian mass media campaign. Abolition forces brilliantly exploited the power of print to contend with the complex legacies of the American and French Revolutions, the slave revolt in present-day Haiti, and the Napoleonic Wars. Seeking to understand how both abolitionists and their foes exploited systems of influence through printed words and images in many forms, Suarez delineates the strategies that abolitionists devised to overcome accusations of religious fanaticism, economic malfeasance, and political sedition. Exploring the first author’s book tour in the UK, a consumer boycott fostered by the radical press, and the fashionable publisher who clandestinely worked as press agent for the pro-slavery interest, these lectures will demonstrate the power of bibliography and book history to rewrite established narratives and to recover lives and labors typically left out of conventional accounts.

These three lectures will be held in person and also livestreamed via Zoom webinar (advance registration required to receive Zoom link). In addition, the lectures will be recorded and available for viewing and as podcasts approximately several weeks after being presented.

Michael F. Suarez, S.J. has served as Director of Rare Book School, Professor of English, University Professor, and Honorary Curator of Special Collections at the University of Virginia since 2009. Professor Suarez serves as Editor-in-Chief of Oxford Scholarly Editions Online. His recent books include The Cambridge History of the Book in Britain, Volume V, 1695–1830 (Cambridge University Press, 2009), co-edited with Michael Turner, and The Oxford Companion to the Book (Oxford University Press, 2010), a million-word reference work co-edited with H. R. Woudhuysen. The Book: A Global History, also co-edited with H. R. Woudhuysen, first appeared in 2013. In 2014, Oxford University Press published his edition of The Dublin Notebook, co-edited with Lesley Higgins, in the Collected Works of Gerard Manley Hopkins. He delivered the 2015 Lyell Lectures in Bibliography at the University of Oxford.

Feeding the Machine: A Triple System of Networks
Monday, 25 October 2021, 5.30pm (EST)

Register for this lecture (attending in person or attending virtually, via Zoom webinar).

Commodity Culture and the Political Economies of Print
Tuesday, 26 October 2021, 5.30pm (EST)

Register for this lecture (attending in person or attending virtually, via Zoom webinar).

Beyond Westminster: Toward More Global Forms of Knowing
Thursday, 28 October 2021, 5.30pm (EST)

Register for this lecture (attending in person or attending virtually, via Zoom webinar).

Rosenberg Lecture | Jessica Fripp, The French Academy in Rome

Posted in lectures (to attend), online learning by Editor on October 18, 2021

Hubert Robert, View of the Gardens at the Villa Mattei, 1761, red chalk on paper
(Dallas Museum of Art, fractional gift of Charlene and Tom Marsh, 2006.17)

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From the DMA:

Jessica Fripp, The French Academy in Rome: Adventures in Bromance
Annual Rosenberg Lecture
Online and In-Person, Dallas Museum of Art, 11 November 2021, 7.00pm

Presented by the Michael L. Rosenberg Foundation

Winning the Royal Academy’s prix de Rome was a major accomplishment for aspiring painters and sculptors in 18th-century France. The prize came with a three-year funded stay in Rome, and provided an opportunity for artists to finish their education by viewing firsthand antique, Renaissance, and Baroque works of art in the Eternal City. But, much like students who study abroad today, their time in Rome involved just as much play as work.

In this lecture, Jessica L. Fripp, Associate Professor of Art History and Undergraduate and Graduate Coordinator at Texas Christian University, will talk about works of art that provide a view into the less studious side of artists’ time in Rome: caricatures. What can these ‘silly’ drawings tell us about life in Rome as a young artist and the role of friendship and play in academic artistic training?

This talk will be livestreamed on the DMA’s YouTube channel, with limited in-person seating available. Dr. Fripp’s recent book Portraiture and Friendship in Enlightenment France will be available for purchase at the DMA Store, and a book signing will follow the event on-site.

To register (for either in-person or virtual attendance), click here»

Online Conference | Buying Art and Antiquities in 18th-Century Italy

Posted in conferences (to attend), online learning by Editor on October 17, 2021

From the conference program:

Buying Art and Antiquities in Eighteenth-Century Italy
La compra de arte y antigüedades en la Italia del siglo XVIII
Online, UNED, Madrid, 4, 11, 18, 23 November and 2 December 2021

Organized by Pilar Diez del Corral Corredoira and David Ojeda Nogales

Jean-François Sablet, In the Antiquities Shop, Rome, 1788 (Private Collection)

The third meeting of the international conference series Transnational Relations and the Arts will address the issue of art and antiquities markets in eighteenth century. With the Grand Tour at its peak, men from all over Europe and beyond flooded into the cities of Italy, mainly Rome but also Naples, Venice, and Florence. These grand tourists fed an already flourishing art market and were also active agents of the spread of ancient marbles and vases, Old Master paintings, ancient coins, and medals back to their homelands, not to mention the diffusion of an international ‘buon gusto’ among the middling and upper classes. For virtual access via Zoom, please email dojeda@geo.uned.es and diezdelcorral@geo.uned.es. The conference is also available for streaming (without registration) here.

This conference is part of the results of the I+D+i project (PID2020-117326GB-I00), FAKE- La perdurabilidad del engaño: Falsificación de Antigüedades en la Roma del siglo XVIII, and the Ramón y Cajal research Project (2017-22131), Academias artísticas, diplomacia e identidad de España y Portugal en la Roma de la primera mitad del siglo XVIII, both funded by the Ministerio de Ciencia e Innovación.

First Session — Agents and Art Markets
4 November 2021, 15.00 (Madrid Time)

• Sascha Kansteiner (Curator of Greek and Roman sculpture, Staatliche Kunstsammlungen, Dresden), Cavaceppi: Sculptor, Restorer, Dealer, Publisher, and Forger
• Jeffrey Laird Collins (Professor of Art History and Material Culture, Bard Graduate Center, New York), The Pope, the Curator, the Milord, and his Dealer: Rome’s Red-Hot Antiquities Market in Theory and in Practice.
• Heiner Krellig (Independent Scholar, Venice and Berlin), Preliminary Notes for a History of the Art Market in Eighteenth-Century Venice
• Paola D’Alconzo (Universidad de Nápoles Federico II), Il mercato di antichità nel Regno di Napoli nel XVIII secolo: quadro normativo e alcuni casi esemplari
• Alexandre Vico Martori (Universidad de Gerona), ‘Quattro quadri dipinti per il traverso dipinti in tavola’: El redescubrimiento de Sandro Botticelli y la adquisición de las spalliere del Palazzo Pucci

Second Session — Agents and Art Markets, part 2
11 November 2021, 15.00 (Madrid Time)

• Paweł Gołyźniak (Institute of Archaeology, Jagiellonian University), Philipp von Stosch (1691–1757) and His Dominant Position in Terms of Trade, Collecting, and Research of Engraved Gems in Eighteenth-Century Italy
• Tara Zanardi (Hunter College of the City University of New York), Isabel de Farnesio, Filippo Juvarra, and the Modern Interior at La Granja
• Mercedes Simal (Unversidad de Jaén), Troiano Acquaviva y el mercado artístico romano: un agente al servicio de los reyes de España y Nápoles
• Elena Dmitrieva (Department of the Classical Antiquities, The State Hermitage Museum), Russian Buyers of Antique and Modern Gems in the Italian Art Market in the Second Half of the Eighteenth Century
• Odile Boubakeur (Ecole du Louvre / Université Paris-Saclay), ‘Italy, Garden of the World’…or ‘jardin à l’anglaise’? British Supremacy on the Italian Antique Art Market through the Eighteenth Century

Third Session — Collectors and Their Collections
18 November 2021, 15.00 (Madrid Time)

• Tracy L. Ehrlich (Associate Teaching Professor, Parsons School of Design / The New School, New York), Alessandro Albani and European Practices of Collecting and Display in the Era of the Grand Tour
• Fabrizio Federici (Independent Scholar), Dispersing a Collection in Eighteenth-Century Italy: The Paintings and Statues of the Cybo Malaspina Family
• John E. Davies (FRHistS, former County Archivist Carmarthenshire Archive Service, independent scholar), An Examination of the Art Collecting of the First Baron Cawdor
• Theresa Kutasz Christensen (Exhibitions Researcher, Prints, Drawings, and Photographs, Baltimore Museum of Art), The King is Dead, Long Live the King’s Things: The Transformation of Private Pleasures into Public Propaganda in Gustav III of Sweden’s Museum of Antiquities
• Alexander V. Kruglov (Independent Scholar, New York), The Russian Grand Tour: Sculptures Purchased by Count and Countess of the North in Rome in 1782

Fourth Session — Collectors and Collections
23 November 2021, 15.00 (Madrid Time)

• Daniela Roberts (Assistant Professor, Institute of Art History, University of Würzburg), Grand Tour Pickings: Antiquities for Georgian Gothic Houses
• Maureen Cassidy-Geiger (Independent Scholar), Bringing Rome Home: Souvenirs and Gifts for Crown Prince Friedrich Christian of Saxony/Poland during His Sojourn in the Eternal City, 1738–39
• José Antonio Vigara Zafra (UNED), El Grand Tour del VI conde de Fernán Núñez: un ejemplo de cultura cortesana en la Europa de la Ilustración
• Domenico Pino (University College London), Gems Never Seen Before: William Hamilton, Vesuvius, and the Rising Taste for Precious Marble in Europe, c. 1770
• Ginevra Odone (Université de Lorraine / La Sapienza Università di Roma / Society for the History of Collecting, Italian Chapter), From Rome to London: Expertise, Dealer, and Buyer for Two Antique Hands

Fifth Session — Works of Art
2 December 2021, 15.00 (Madrid Time)

• Max Kunze (Professor at the University of Mannheim), Winckelmann and the Venus Menophantus or Emphatic Aspects of Restored Sculptures in the Eighteenth Century
• Alexis R. Culotta (Professor of Practice, Tulane University), Commemorating Italy?: The Walpole and Brand Cabinets as Grand Tour Souvenirs of Elsewhere
• David Ojeda (UNED), Forgeries in the Eighteenth Century and Classical Art: A Methodological Conundrum
• Julio C. Ruiz (Universidad Rovira i Virgili, Tarragona), Sobre un torso masculino con indumentaria militar en el Museo del Prado
• Lorenzo Ebanista (Independent Scholar), La felloplastica napoletana nel XVIII secolo tra scenografie presepiali, souvenirs del Grand Tour e rappresentazioni naturalistiche
• Eliška Petřeková (Masaryk University Brno), Between a Souvenir and Archeological Documentation: The Cork Model of the Paestum Temple in the Chancellor Metternich‘s Collection

Online Seminar | The Perth Literary and Antiquarian Society, 1784–1914

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

From The Wallace Collection:

Mark Hall, The Perth Literary and Antiquarian Society, 1784–1914: Collecting Scotland, Collecting the World
Wallace Collection Seminars on the History of Collections and Collecting
Online, Monday, 25 October 2021, 5.30pm

Perth Museum & Art Gallery, Scotland, is currently managed on behalf of Perth & Kinross Council by the cultural trust, Culture Perth & Kinross. The Museum’s history as a local authority service dates back just over a century, to the first decade of the twentieth century. It is part of a history of collecting spanning four centuries, beginning in the late eighteenth century. Its formative iteration, both in terms of a collection and a physical museum, was the Perth Literary and Antiquarian Society, founded in 1784.

The Museum is looking back at this history as part of its project to create a new museum in Perth. In the context of that project, this contribution will summarise the collecting significance and history of the Perth Literary and Antiquarian Society from its Enlightenment origins and including its colonial legacy. In the presentation a range of collecting case studies will be discussed to further emphasis the local and international network of collectors and donors the Society relied on and to demonstrate the rich range of the collections. The case studies will include the Cambus Bronze Age sword, collecting John Knox, and the collectors Colin Robertson (1783–1842), David Ramsay (1794–1860), and the Riach Brothers—active respectively in America, Oceania, and the Middle-East.

Dr Mark Hall is Collections Officer for Culture Perth & Kinross, Perth Museum & Art Gallery, Scotland.

Please note that this seminar will take place on Zoom and YouTube, and will not be held at the Wallace Collection. Admission is free, and registration is required. More information and details of future seminars can now be found here.

Online Series | Graphic Landscape

Posted in conferences (to attend), lectures (to attend), online learning by Editor on October 7, 2021

‘Part of the Interior of the Elephanta’, from Thomas and William Daniell, Antiquities of India, Oriental Scenery, aquatint, 1795.

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From the Paul Mellon Centre:

Graphic Landscape: The Landscape Print Series in Britain, 1775–1850
Online, Paul Mellon Centre and the British Library, 2, 4, 9, 11 November 2021

Organized by Mark Hallett and Felicity Myrone

Graphic Landscape: The Landscape Print Series in Britain, 1775–1850 is a four-day programme of online webinars taking place between 2 and 11 November 2021, presented jointly by the Paul Mellon Centre for Studies in British Art and the British Library.

Landscape and topographical print series proliferated in the late eighteenth century and in the first decades of the nineteenth century. Indeed, the format seems to have enjoyed an artistic and commercial boom in this period. Some examples of these series, such as Turner’s Liber Studiorum (1807–19) and Constable’s English Landscape Scenery (1830–33), are extremely well known. Many others, however, have still to receive sustained and critical attention. This programme of four online seminars is designed to look afresh at the late Georgian and early Victorian landscape print series and to stimulate new research on this important strand of graphic art. Participants will bring a wide range of perspectives to bear on the topic and address works in a variety of graphic media.

Graphic Landscape: The Landscape Print Series in Britain, 1775–1850 is co-convened by Mark Hallett at the Paul Mellon Centre and Felicity Myrone at the British Library.

Additional information—including paper abstracts, speaker biographies, specific times, and registration links—can be found here.

T U E S D A Y ,  2  N O V E M B E R  2 0 2 1

Day 1 | 12.00–14.00

12.00  Print, Politics, and Industrialisation
•  Introduction by Mark Hallett (Director, Paul Mellon Centre) and Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library)
• Amy Concannon (Senior Curator, Historic British Art, Tate), ‘A Captur’d City Blazed’: Printmaking and the Bristol Riots of 1831
• Lizzie Jacklin (Keeper of Art, Tyne & Wear Archives & Museums), Mining Landscapes: Thomas Hair’s Views of the Collieries
• Morna O’Neill (Associate Professor of Art History, Art Department, Wake Forest University), John Constable, David Lucas, and Steel in English Landscape

T H U R S D A Y ,  4  N O V E M B E R  2 0 2 1

Day 2 | 12.00–14.00

12.00  Print and Property
•  Introduction by Richard Johns (Senior Lecturer in History of Art at the University of York)
•  John Bonehill (Lecturer, History of Art, University of Glasgow), Picturing Property: The Estate Landscape and the Late Eighteenth-Century Print Market
•  Kate Retford (Professor of Art History, Birkbeck, University of London), Views of the Lakes at the Vyne
•  James Finch (Assistant Curator, 19th-Century British Art, Tate Britain), Amelia Long’s Views from Bromley Hill

T U E S D A Y ,  9  N O V E M B E R  2 0 2 1

Day 3 | 12.00–14.00

12.00  Revisiting the Canon
• Introduction by Cora Gilroy-Ware (Associate Professor, History of Art, University of Oxford)
• Greg Smith (Independent Art Historian), Engaging with the Voyage Pittoresque de la France: Thomas Girtin’s Picturesque Views in Paris and Their Appeal to the ‘Most Eminent in the Profession’
• Timothy Wilcox (Independent Scholar), John Sell Cotman’s Architectural Antiquities of Normandy: A Catastrophic Miscalculation?
• Gillian Forrester (Independent Art Historian, Curator and Writer), A Glossary for the Anthropocene? Turner’s Liber Studiorum in the Era of Climate Change

T H U R S D A Y ,  1 1  N O V E M B E R  2 0 2 1

Day 4 | 14.00–16.00

14.00  A Wider View: From Collaboration to Empire
• Introduction by Mark Hallett (Director, Paul Mellon Centre) and Felicity Myrone (Lead Curator, Western Prints and Drawings, British Library)
• Sarah Moulden (Curator of 19th-Century Collections, National Portrait Gallery), Creative Collaboration: Cotman’s Norfolk Etchings
• Eleanore Neumann (PhD Candidate, University of Virginia), Translating Topography: Women and the Publication of Landscape Illustrations of the Bible (1836)
• Alisa Bunbury (Grimwade Collection Curator, Ian Potter Museum of Art, University of Melbourne), Taken From Nature: Printed Views of Colonial Australia
• Douglas Fordham (Professor of Art History, University of Virginia), Travel Prints or Illustrated Books?

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