sKBL International Summer School, 2020: Dutch Country Houses

Posted in opportunities by Editor on July 8, 2019

This new program launches in 2020 with applications accepted between 1 August 2019 and 1 April 2020. From the program flyer:

sKBL International Summer School: Historic Country Houses in the Netherlands
The Netherlands, 3–11 July 2020

Applications due by 1 April 2020

The first edition of the sKBL International Summer School will start in 2020. Many associate England, France, and Germany with beautiful castles and stretched-out rural estates. Within Europe, the Netherlands is not as often associated with this, even though it contains hundreds of special castles, historic country houses, and rural estates. The sKBL International Summer School wants to change this by focusing on this versatile Dutch monumental heritage with knowledgeable participants of various nationalities. The organisation also aspires to create an international network of connoisseurs and professionals, which can be of great use to Dutch castles, country houses, and rural estates.

The 2020 edition, which will be held from 3 to 11 July, is open for participants outside the Netherlands who are conducting professional research on topics that relate to the preservation and conservation of monumental heritage. It is important that we establish interaction between not only the participants, but also the owners of the domains to be visited. This way, knowledge, science, and stories come together, and we can learn and enrich ourselves.

This (pilot) 2020 edition focuses on the historic country houses that have been built in large numbers in the area around Amsterdam in earlier centuries by merchants and aristocrats. This study programme will bring the participants to Amsterdam and to country houses in Kennemerland, the Beemster Polder, ‘s-Graveland, and the Vechtstreek. Dutch experts and researchers will contribute with lectures and guided tours. Future editions may relate to the noble rural estates in Gelderland, the Noordelijke Lustwarande, castles in Limburg, the manors of Overijssel, and so forth. Furthermore, our organisation is searching for cooperation with Belgium, so that their monumental heritage can become part of this curriculum as well.

Practical Points

The language used during the Summer School is English. We aim to attract as many foreign participants as possible, therefore the number of Dutch participants will be limited. In the admission assessment, the Board of Governors will ensure that the composition of the group will be well-balanced. Students are also welcome. The substantive programme also offers opportunities for discussions and reflection. The programme may be changed due to circumstances. The organisation of the Summer School does not (yet) have scholarships.

A minimum of 25 and a maximum of 40 people can participate in the Summer School. You can sign up from 1 August 2019. The application period closes on 1 April 2020. All registered participants will be notified whether or not they have been admitted before 30 April 2020. The participation fee must be paid before 31 May 2020. After 1 June 2020, free cancellation is only possible if a participant on a (possible) waiting list is willing to take a vacant place. The Board of Governors has the decisive vote in this. We do not communicate about admissions and rejections of candidates.

Due to the preparatory stage all costs are not yet fully clear, and the participation fee will be definitively announced on 1 August 2019, but will likely be around € 2,400.- and will comprise supervision, entrance fees, lectures, overnight stays, transport during the programme and most meals. The programme will start with a welcome cocktail and dinner on 3 July 2020 and ends on 11 July 2020 after breakfast.

The Board of Governors regards this 2020 edition as an opportunity to gain experience. In doing so we can change or improve the admission requirements and/or future programmes. After the programme all participants are asked to fill out an evaluation before 30 September 2020.

Admission requirements for the sKBL Summer School 2020:
• Every participant is required to have a demonstrable professional involvement in fields that relate to the preservation or maintenance of castles, historic country houses and rural estates. This may be a scientific or other similarly professional or intellectual engagement. Other relevant (work) experience may also lead to admission. The Board of Governors of the sKBL Summer School will assess the admissions for the 2020 edition.
• All participants are required to submit a curriculum vitae with a motivation letter (in English).
• Every participant must be able to demonstrate that they speak English.
• Every participant must have completed, or must be currently enrolled in, higher professional education, academic education or a similar education. The Board of Governors reserves the right to deviate from this rule.
• Participants must be physically able to join this intensive programme.
• The sKBL Summer School is not in any way responsible for accidents or theft during this programme. We advise every participant to take an individual travel or cancellation insurance.

Applications can be sent to
sKBL International Summer School Board of Governors Attn. Mr. René W.Chr. Dessing
Veerpoortdijk 105
The Netherlands
or by email to rdessing@skbl.nl stating ‘application sKBL Intl. Summer School 2020’

The Digital Piranesi

Posted in fellowships, opportunities, resources by Editor on May 15, 2019

Along with highlighting the project generally, this posting also aims to publicize a related two-year post-doc position (May 31 is the application due date).

The Digital Piranesi is a developing digital humanities project that aims to provide an enhanced digital edition of the works of Italian illustrator Giovanni Battista Piranesi (1720–1778). This project aims to make Piranesi’s views, maps, and texts accessible in a complete digital collection and, in an interactive digital edition, to make them visible, legible, and searchable in ways that the original works are not. The scale and breadth of Piranesi’s works require innovative methods of presentation, discovery, and analysis. By digitally illuminating and enacting many of the graphic features of his designs, this project will provide new ways of seeing this rare and complex historical material.

The University of South Carolina is one of fewer than ten institutions to hold a complete set of Piranesi’s posthumous Opere (1837–39), a set of twenty-nine elephant-folio volumes, housed in the Irvin Department of Rare Books and Special Collections, that assembles all of his individual publications (such as Views of Rome and Imaginary Prisons). Alternatively historical and imaginative, Piranesi’s representations of ruins are exercises in rigorous archeological investigation as much as they are fanciful experiments in urban imagination. The Digital Piranesi aspires to appeal to these two elements of Piranesi’s own works—the historical and the imaginative—and to explore the ways that Piranesi’s works seem to predict many elements of digital design. His illustrations of ruins and crypts are immersive, his architectural studies often consist of multiple layered images, and his maps and ruins include detailed alphabetic keys. His indexed maps, annotated architectural studies, immersive interiors, and multi-image views push the limits of the printed page. While his earliest works were individual engravings of Roman ruins marketed towards visitors on the grand tour, he quickly began producing increasingly larger images and adding not only textual keys but also indices, prefaces, and dissertations. Pushing against the limits not only of the printed page but also of the bound book, his multi-plate engravings become elaborate foldouts in bound volumes, and the references in his maps and indices direct users through unnumbered pages and between different publications. His works are rare—his complete works are exceedingly so—and they constitute a colossal corpus with expansive pedagogical and scholarly potential lacking in any comprehensive searchable index. The Digital Piranesi aims to make the content and connections in this rich body of work easily accessible and searchable.

Piranesi’s architectural views and his referential networks require complex interactions with the spaces of the printed, illustrated book. These ways of interacting with print—tracing cross-references, ‘reading’ an image through its explanatory key—call for specific methods of preservation and display beyond producing digital images. The Digital Piranesi heeds this call by performing the links that Piranesi forges between maps, indices, and images; across unnumbered pages in multiple volumes; and within heavily-annotated engravings. Piranesi’s images are most frequently viewed individually, divorced from their original larger networks of cross-referencing. The digital environment, although it is unable to reproduce the materiality of his original works, offers a way of experiencing Piranesi’s works that is complementary to his vision. Digitally representing not only Piranesi’s images but also their interconnections, composite layers, and verbal references promises to reveal new insights about eighteenth-century Rome, the birth of art history as a discipline, and the graphical representation of knowledge.

With the support of a grant from the National Endowment for the Humanities’ Division of Preservation and Access for 2019–21, the University of South Carolina is able to hire a postdoctoral fellow, who will contribute to the digital project’s ongoing development and assist in curating an exhibit to commemorate the tricentennial of Piranesi’s birth in the fall of 2020. The application deadline is 31 May 2019. More information is available here.

Summer School Program | Three Exhibitions at The Prado

Posted in graduate students, opportunities by Editor on May 9, 2019

From H-ArtHist:

Escuela de Verano: Tres exposiciones temporales en el Prado, Concepción y organización
Museo Nacional del Prado, Madrid, 8–10 July 2019

Applications due by 24 May 2019

La Escuela de Verano del Museo del Prado es una nueva iniciativa académica de la Escuela del Prado cuyo objetivo principal es abarcar aquellos aspectos de la formación de jóvenes historiadores del arte, futuros conservadores y gestores de museos que las Universidades no pueden cubrir con su programación y que solo se pueden abordar desde una institución como el Prado. Los cursos profundizarán en diversos temas relacionados con el Museo del Prado, sus colecciones, la museografía y la museología, y en distintos aspectos relativos a la gestión de esta gran institución museística, desde la investigación a la exposición de obras de arte o a la conservación de sus colecciones.

Coincidiendo con el Bicentenario del Museo y partiendo de tres de las grandes exposiciones temporales organizadas por el Prado en 2019: Fra Angelico y los inicios del Renacimiento en Florencia; Velázquez, Rembrandt, Vermeer. Miradas afines; y Solo la voluntad me sobra. Dibujos de Goya, el objetivo de esta edición de la Escuela de Verano es acercar a los alumnos al proceso de creación de una exposición desde el momento mismo de su concepción. Esta edición de la Escuela estará dirigida por José Manuel Matilla (Jefe del Área de Dibujos y Estampas del MNP ) y Alejandro Vergara (Jefe del Área de Pintura Flamenca y Escuelas del Norte (hasta 1700) del MNP ). Los alumnos tendrán la oportunidad de recibir la información directamente de los profesionales de distintas disciplinas involucrados en el proceso de una exposición –diseñadores, restauradores, coordinadores de exposición, …- y de poder aprender a través del contacto directo con las obras de arte. El reducido número de alumnos permitirá un contacto directo con el claustro de profesores, y a la vez lograr una participación activa en un ambiente dinámico de recíproca colaboración entre profesores y alumnos.

La Escuela de Verano se desarrollará durante tres días consecutivos, en sesiones que combinarán clases teóricas y clases prácticas que consistirán en visitas a diversos espacios del Museo del Prado como las Salas de Exposiciones Temporales y Permanente, los Talleres de Restauración y los Almacenes de obras de arte, o el Gabinete de Dibujos y Estampas, entre otros.

La Escuela de Verano es una actividad gratuita gracias a la colaboración de la Fundación Banco Sabadell. El plazo de inscripción es de 30 de abril al 24 de mayo de 2019. El número máximo de alumnos admitidos en la Escuela de Verano será de 30 (en dos grupos de 15 participantes por grupo). Los aspirantes no deben superar los 30 años y deben estar en el último año del grado o ser estudiantes de postgrado. No se admitirán candidatos que posean una nota media inferior a notable en el grado. Consultas: escuela.prado@museodelprado.es.

Summer School | Rethinking the Baroque

Posted in graduate students, opportunities by Editor on May 5, 2019

From H-ArtHist:

Summer School | Rethinking the Baroque (Seventeenth and Eighteenth Centuries), New Historical and Critical Perspectives
Turin, 2–7 September 2019

Applications due by 31 May 2019

The Fondazione 1563 invites scholars who are younger than 40; active in the disciplines of history, art history, architecture, and literature; and who hold a PhD, a certificate of specialization, a 2nd-level master’s, or are enrolled in the second year of such study courses to apply to participate in the Summer School Rethinking the Baroque (XVII and XVIII Centuries): New Historical and Critical Perspectives. Candidates need to have a knowledge of Italian and English corresponding at least to a level B2. The courses of the Summer School will all be taught in Italian.

Participation in the Summer School is free. The Foundation will also cover the costs of the living expenses (accommodation and food) for the period running from the night of September 1 to the night of September 6 included, as identified by the Foundation. In addition, the Foundation will cover the costs of the guided tours, the transfer from/to the venue of the school. Travel expenses to and from Torino are, however, not covered by the Foundation.

Candidates must apply through the specific application form found here by 5.00pm of 31 May 2019. Candidates must upload their CV and an abstract of current or ongoing research. The research should present new critical perspectives relevant to the subject of the Summer School.

The Summer School will take place from September 2 to September 7, 2019 at the historical residency ‘Vigna di Madama Reale’, Strada Comunale San Vito Revigliasco 65, 10133 (Torino), or in a different venue in Torino that will be established by the Foundation.

The Summer School will address periods and turning points of cultural production in the field of art, architecture, literature, music, theatre, and history in Europe in the XVII and XVIII centuries, and it will further develop the critical reflection on the studies dedicated to the Baroque and its chronology.

The Summer School will be structured as follows:
• Lectures by experts in different disciplines, including Professor Franco Benigno (Professor of Modern History at the Scuola Normale Superiore, Pisa) and Professor Ingrid Rowland (Department of History, University of Notre Dame).
• Discussions in small seminar groups on cross-disciplinary issues related to historical criticism and methodologies, conducted with the support of scholars who won the scholarships of the Baroque.

Study Programme at the Foundation in the years 2013–17
• Formative sessions on digital humanities and digital tools applied to research
• Occasions to present and discuss participants’ research
• A presentation of the exhibition Roma, Torino, Parigi 1680–1750, a product of the project Antico e Moderno: Roma, Torino, Parigi 1680–1750, curated by Michela di Macco and Giuseppe Dardanello and developed by the Foundation. The exhibition will be on view at Venaria Reale in Spring 2020
• Guided tours to key art historical places in Torino, with particular attention to the Royal Museums and their collections

During the Summer School—and particularly during the workshop sessions—participants will have the opportunity to exchange critical and methodological points of view on the research they submitted when they applied for the summer school. The outcomes of these sessions might be included in papers for a future collective publication in an electronic version with ISBN, at the Foundation’s expense. A certificate of participation from the Foundation will be provided at the end of the Summer School.

More information is available here»

Two New HECAA Positions, Now Open

Posted in Member News, opportunities, site information by Editor on April 18, 2019

At this year’s annual HECAA business meeting, held in Denver on 22 March 2019, the membership discussed and gave general approval to the creation of a HECAA website and social media presence. The executive board is now eager to receive applications for these two positions. Although Enfilade was originally conceived as a ‘newsletter’ for HECAA, it was apparent within weeks of the site’s launch in 2009 that the readership would be much broader than the organization’s membership and thus the site has always had a somewhat peculiar relationship to the organization. As described in the recently updated constitution & bylaws, Enfilade will continue to be affiliated with HECAA—much like Journal18—but now seems to be a good time for developing distinct web and social media presences. These promising initiatives have my full support, and I look forward to what emerges. And no worries: I’ve no plans to discontinue Enfilade any time soon! The familiar format of a decade-old blog will scroll into the future as well. Craig Hanson

HECAA Website Designer

$2500–$3000 for an estimated 60–80 hour project,
using Wix, Weebly, or WordPress

Desired Features
• home page + interior pages, some with password-protected access for members only
• ability to add special events page (for future conferences, etc)
• portal page should be mobile-responsive
• integrated donation/payment system, with PayPal or similar to facilitate membership renewals, donations, other payments
• event calendar
• social photo gallery, integrated with social media posts

• a demonstrated competency with web design and familiarity with at least one of the possible software platforms
• a vision for the look and feel of HECAA’s web presence
• strong visual/writing skills
• an ability to work independently and to teach yourself/acquire new technical skills as needed

To apply, send CV, cover letter, and examples of past work in web design or content creation to Amelia Rauser arauser@fandm.edu. The HECAA Executive Board will review applicants beginning 15 May 2019.

HECAA Social Media Manager

$1500 stipend for one year, 1 July 2019 — 30 June 2020
about 10 hours/week expected

Establish and maintain two social media accounts on behalf of HECAA (Instagram + either Twitter or a Facebook Group). Create HECAA’s social media tone and look. Support website maintenance, once the HECAA website is completed.

• make/oversee/coordinate at least one social media post per week, more during times of peak HECAA activity
• generate content for posts
• use accounts to highlight the work of HECAA members, build community, and increase visibility of eighteenth-century art history
• using Instagram as the chief platform, create content that is both aesthetically pleasing and informational
• may coordinate different HECAA members for temporary account takeovers
• coordinate with Enfilade and Journal18 to mutually enhance each other’s social media presence
• keep website up to date and in sync with social media and Enfilade: update calendar, sync photo gallery with social posts, etc.

• familiarity with Instagram plus either Facebook or Twitter
• a vision for HECAA’s social media identity and presence
• good people/ networking skills
• good research skills (for content generation purposes)
• strong visual/writing skills

To apply, send CV, cover letter, and two sample posts (geared to a platform of your choice) to Amelia Rauser arauser@fandm.edu. The HECAA Executive Board will review applicants beginning 1 June 2019.

Call for Manuscripts | Brill Series, History of Collecting & Art Market

Posted in books, opportunities by Editor on March 27, 2019

History of Collecting & Art Market
Brill Book Series, Edited by Christian Huemer

Brill‘s ‘Studies in the History of Collecting & Art Markets’ is a peer-reviewed book series dedicated to original scholarship on the social, cultural, and economic mechanisms underlying the circulation of art. Over the last two decades interest in the formation, display, and dissolution of art collections increased tremendously; art markets, trade routes, and dealer networks became a rich field of interdisciplinary inquiry. Scholarship brought forth a lot of information about the flamboyant personalities to whom the possession of art was a lifestyle; regarding the ‘social life of things’, i.e. the provenance of individual artworks, many research gaps could be closed.

This shift in scholarly attention from the production side to the consumption side of the art world is also reflected in the emergence of specialized post-graduate courses offered by a number of institutions internationally, as well as an ever-increasing stream of exhibitions, conferences, and publications devoted to the subject. Brill‘s book series accommodates scholarly monographs, collections of essays, conference proceedings, and works of reference that engage in the broadly defined topic of art markets and collecting practices throughout history.

We invite scholars to submit their English language manuscript proposal for the book series to Liesbeth Hugenholtz, acquisitions editor at Brill (hugenholtz@brill.com) or to the series editor Christian Huemer (C.Huemer@belvedere.at).

Christian Huemer (Belvedere Research Center, Vienna)

Editorial Board
Malcolm Baker (University of California, Riverside), Ursula Frohne (Westfälische Wilhelms-Universität Münster), Daniela Gallo (Université de Lorraine, Nancy), Hans van Miegroet (Duke University, Durham), Inge Reist (The Frick Collection, New York – retired),  Adriana Turpin (Institut d’Etudes Supérieures des Arts, London), Filip Vermeylen (Erasmus University, Rotterdam)

More information about the series is available here»

caa.reviews Seeks Editors, 2019–22

Posted in opportunities by Editor on March 20, 2019

Worth noting that the Field Editor for Eighteenth-Century Art is one of the open positions; from CAA News:

caa.reviews Seeks Editor-in-Chief
Applications due by 1 April 2019

The caa.reviews Editorial Board invites nominations and self-nominations for the position of Editor-in-Chief for a three-year term, July 1, 2020–June 30, 2023. This term is preceded by one year of service on the editorial board as editor designate, July 1, 2019–June 30, 2020, and followed immediately by one year of service as past editor. Candidates should have published substantially in the field and may be academic, museum-based, or independent scholars; institutional affiliation is not required. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to the fields of art history, visual studies, and the arts.

Working with the editorial board, the editor-in-chief is responsible for the content and character of the journal. The editor-in-chief supervises the caa.reviews Council of Field Editors, assisting them in identifying and soliciting reviewers, articles, and other content for the journal; develops projects; and makes final decisions regarding content.

The editor-in-chief attends the caa.reviews Editorial Board’s three meetings each year—held in New York in May and October and once at the Annual Conference in February—and submits an annual report to CAA’s Board of Directors. CAA reimburses the editor-in-chief for travel and lodging expenses for the two New York meetings in accordance with its travel policy, but the person in this position pays these expenses to attend the conference. The editor-in-chief also works closely with the CAA staff in New York and receives an annual honorarium paid quarterly.

Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a letter describing your interest in and qualifications for appointment, a CV, at least one letter of recommendation, and your contact information to: caa.reviews Editor-in-Chief Search, CAA, 50 Broadway, 21st Floor, New York, NY, 10004; or email the documents to Publications and Programs Editor Joan Strasbaugh, jstrasbaugh@collegeart.orgDeadline: April 1, 2019; finalists will be interviewed in early May.

caa.reviews Seeks Four Field Editors
Application due by 15 April 2019

In addition, CAA invites nominations and self-nominations for four individuals to join the caa.reviews Council of Field Editors for a three-year term July 1, 2019–June 30, 2022. An online journal, caa.reviews is devoted to the peer review of new books, museum exhibitions, and projects relevant to art history, visual studies, and the arts.

The journal seeks four field editors in the following areas:

  • Design History
  • Eighteenth-Century Art
  • Architecture and Urbanism
  • Theory and Historiography

Working with the caa.reviews editor-in-chief, the caa.reviews Editorial Board, and CAA’s staff editor, each field editor selects content to be reviewed, commissions reviewers, and considers manuscripts for publication. Field editors for books are expected to keep abreast of newly published and important books and related media in their fields of expertise, and those for exhibitions should be aware of current and upcoming exhibitions (and other related projects) in their geographic regions.

The Council of Field Editors meets yearly at the CAA Annual Conference. Field editors must pay travel and lodging expenses to attend the conference. Members of all CAA committees and editorial boards volunteer their services without compensation.

Candidates must be current CAA members and should not be serving on the editorial board of a competitive journal or on another CAA editorial board or committee. Nominators should ascertain their nominee’s willingness to serve before submitting a name; self-nominations are also welcome. Please send a cover letter describing your interest in and qualifications for appointment, a CV, and your contact information to: caa.reviews Editorial Board, CAA, 50 Broadway, 21st Floor, New York, NY 10004; or email the documents to staff editor Joan Strasbaugh, jstrasbaugh@collegeart.orgDeadline: April 15, 2019.

2019 Walter Muir Whitehill Prize in Early American History

Posted in opportunities by Editor on March 15, 2019

From the prize announcement:

2019 Walter Muir Whitehill Prize in Early American History
Awarded by The Colonial Society of Massachusetts

Essays due by 15 January 2020

This prize of $2500, established in memory of Walter Muir Whitehill, for many years Editor of Publications for the Colonial Society and the moving force behind the organization, will be awarded for a distinguished essay on early American history (up to 1825), not previously published. The Society hopes that the prize may be awarded annually.

A committee of eminent historians will review the essays. Their decision in all cases will be final. By arrangement with the editors of The New England Quarterly, the Society will have the winning essay published in an appropriate issue of the journal.

Essays are now being accepted for consideration. All manuscripts submitted for the 2019 prize must be postmarked no later than January 15, 2020. The Society expects to announce the winning candidate in the spring of 2020.

Entries submitted for consideration should be addressed to:

Whitehill Prize Committee
c/o The New England Quarterly
Department of History
University of Massachusetts, Boston
100 Morrissey Blvd.
Boston, MA 02125

Additional information, including prize specifications and a list of past winners, is available here»

Art Markets: An Integrated Perspective

Posted in opportunities by Editor on February 9, 2019

From the program’s website:

Art Markets: An Integrated Perspective
International Thematic School
Lyon, 24–28 June 2019

Registration due by 15 March 2019

The thematic school is organized by the LARHRA and the Université Lumière Lyon 2 in collaboration with the Université Libre de Bruxelles and Erasmus University, Rotterdam. It aims to provide the research community interested in the study of art markets with an interdisciplinary theoretical approach and methodological tools in line with the most up-to-date analytical methods in order to bring out new research perspectives. About fifteen international specialists in art history, economics, law, sociology, finance, and digital humanities from all over Europe and the United States will animate it in a spirit of exchange and sharing of knowledge.

The art market is essentially a multidisciplinary object of study. While it is now a significant sector of the global economy, it has always it played a seminal role in the circulation and reception of art, and provided the context within which artists created their work. Researchers from disciplines as diverse as economics, finance, law, history, art history or sociology have contributed to a better understanding of the complexity and specificity of this market. Despite the advances made in each of these fields, research on the art market still too often suffers from a compartmentalization by disciplinary field.

The Art Markets thematic school aims to bring together the international community of researchers working on the art market and to offer participants the opportunity to better understand the scientific approaches of other disciplines. Sharing a common knowledge base and concepts is a necessary condition for developing transdisciplinary collaborations. To this end, this training offers an interdisciplinary theoretical approach and methodological tools in line with the most up-to-date analytical methods. The articulation between historical and contemporary analyses from the point of view of economics, finance, sociology, and law is particularly innovative.

Indeed, in the era of globalization and digital technology, art markets are undergoing profound changes that are leading to a reconfiguration of the modalities of interaction between actors and intermediaries. Issues related to artistic exchanges, the emergence or decline of markets, financial speculation, the concentration of actors and the role of agents in building the economic and social value of art, have accelerated the need to use robust analytical techniques to better understand these issues. But are they so new? These phenomena benefit from being re-examined in the light of their historical contexts in order to understand their logic and dynamics over time. At the same time, the analysis of contemporary art markets allows us to shed light with the advantage of hindsight on the practices, mechanisms and strategies put in place since the emergence of markets for visual arts and the first globalization from the 16th century onwards. In addition, quantitative analytical methods, data modelling and visualization have paved the way for important methodological and epistemological explorations

The training is aimed at the entire scientific community: professors-researchers, researchers, post-doctoral fellows, doctoral students, staff of research support (ITA). It should also be of interest for experts and professionals active in the art market. It is open to all participants from Master 2 level onwards, preferably in a discipline related to the study of art markets: economic history, art history, economics, finance, sociology, and law.

Contact: artmarkets2019@sciencesconf.org

This thematic school has received support from the CNRS, IDEX Lyon, Université Lumière Lyon 2, LARHRA, College académique Sciences Sociales de l’Université de Lyon.

Seminar | Matthew Hargraves on Watercolor

Posted in graduate students, opportunities by Editor on January 31, 2019

J. M. W. Turner, The Pass at St. Gotthard, near Faido, 1843, watercolor over graphite
(New York: The Morgan Library & Museum, 2006.52)

◊  ◊  ◊  ◊  ◊

From the seminar flyer:

Seminar on Watercolor with Matthew Hargraves
The Morgan Library & Museum, New York, 15 March 2019

Applications due by 1 February 2019

The Morgan Library & Museum has an extensive collection of drawings from the Renaissance to the present, many of which feature the use of colored washes. Participants in this graduate seminar will look closely at the use of watercolor by artists of different schools, with a particular focus on the widespread use of the medium during the late eighteenth and early nineteenth centuries in Britain. From around 1750 to 1850, the period typically considered to be watercolor’s ‘golden age’, the medium came to be seen as a distinctively British art. In fact, however, watercolor had been used across Europe for centuries, and this seminar will examine the origins of watercolor, its adoption and development by British artists in the eighteenth century, and the spread of watercolor as a drawing medium in the Romanic period. Among the sheets examined will be examples by Albrecht Dürer, William Blake, Caspar David Friedrich, Eugène Delacroix, and J.M.W. Turner. The seminar will begin at 10am and last until 4pm.

Matthew Hargraves is Chief Curator of Art Collections at Yale Center for British Art in New Haven.

This seminar is open to graduate students in the history of art. Interested participants are kindly
invited to submit a one paragraph statement, which should include the following:
• Name and email
• Academic institution, class year, and field of study
• Interest in drawings
• Reason/s for wanting to participate in the seminar

A brief recommendation from the student’s advisor is welcome but not required. Applications should be submitted electronically by 1 February 2019 with the subject header ‘Watercolor Seminar’ to: drawinginstitute@themorgan.org. Participants will be notified by 11 February 2019.