Burlington Magazine Scholarship | French 18th-Century Art
From The Burlington:
The Burlington Magazine Scholarship | French 18th-Century Fine and Decorative Art
Applications due by 30 March 2025
Applicants must be studying, or intending to study, for an MA, PhD, post-doctoral or independent research in the field of French 18th-century fine and decorative arts within the 12-month period the funding is given. The start date of successful applications should be at the beginning of the academic year (generally September). Earlier start dates will be considered for independent scholars or post-doctoral research. The funding is open to UK and international applicants. Research funded by this scholarship may lead to the submission of articles for publication in the Magazine: as such, the panel are looking for object related research, of the kind that the Burlington publishes.
To apply, please send your CV, description of project/research (no longer than 2 pages of A4), budget, proof of Institution you are attending/will attend to: scholarship@burlington.org.uk. Applications must be sent in PDF or Word document (.docx) format. Applications can only be submitted via email by 30 March 2025. The successful applicant will be notified by 31 May 2025.
Call for Applications | Baroque Summer Course: Death
From ArtHist.net:
Baroque — Death / Barock — Tod
24th Baroque Summer Course, Bibliothek Werner Oechslin, Einsiedeln, Switzerland, 22–26 June 2025
Organized by Anja Buschow Oechslin, Axel Christoph Gampp, and Werner Oechslin
Applications due by 23 February 2025
Death is omnipresent. No one can escape it; it is among us and goes about its business as it sees fit. If one takes seriously the “memento mori” that we encounter in droves on tombstones and that is addressed to us, the (still) living, then one can see that this commingling of life and death is of central importance to human culture and has always had a significant impact on its art forms.
This ubiquity and omnipresence of death was summed up in the long-popular Dance of Death: “we all die” according to the biblical saying “Omnes Morimur.” Patritius Wasserburger put this into verse for Count Sporck as “Zuschrift an das sämmtlich-menschliche Geschlecht” (“Letter to the whole human race”):
“You popes! Cardinals!
You bishops! You abbots!
You lappeted gentlemen!
You canons! You prelates!
All manner of priests,
Of high dignity, and also of lower rank. […]”
He records them all, even the “drunkards”:
“Oh you brothers of the wet stream!
Guzzle, dance, sing songs!
You are wild and tipsy, jolly: bluster, sleep around, shack up, rave!
Go on, twirl, feast, roister!
But: woe for eternity.”
Michael Heinrich Rentz illustrated this in his dramatic images and emphasized the direct partnership—and equality—of man and death. The series of images, first printed in 1753, was realized as a perfect baroque book, “full of meaning, instruction, and spirit.” And we are already amid the exuberant baroque pleasure in shaping and designing. Baroque rhetoric, with its astute precepts of “argutezza” or even “cavillatio,” takes particular pleasure in the boundaries, in the contact between life and death. Nothing is alien to this and the desire to transcend such boundaries fires the imagination. In 1774, the Archbishop and Elector of Mainz, who had been blessed with the “temporal right of sovereignty,” was mourned accordingly: “The tombstones may restrict his generous hands, but his heart allows no limits to be set, such as to work immortally in faithfulness to God, thus in love for his needy people.” After the “passing away,” as if only a small disturbance had occurred, it is all about the “denatus”; he has merely changed his condition—for the better, of course.
Glorification of human deeds in light of the future life after death, as the motto of the Duke of Brauschweig, Johann Friedrich, says: EX DURIS GLORIA. The separation through death is followed by reflection and the gain of a “better life.” Death is given this powerful, dialectical function of the historical continuation of “lived reality” by virtue of idealization. It challenges all the arts and the artifices of rhetoric, which “mediate” in all possible tones of a “heroic poem” in an “Imitatio Epica,” whether allegory, or panegyric or in the “Epicedium” particularly assigned to funeral ceremonies.
Those who focus so much on the afterlife, as was the case in the Baroque ecclesiastical world in the most pronounced way, have before their eyes all the glory that is emulated in this world with the greatest artistic effort in order to convey it to people and their sensory perceptions. This is what led someone like Karl Wilhelm Ferdinand Solger to recommend: “He who cannot reach God in his spirit should seek him in images, he will not be led astray.” To “draw God down into his sphere” was the motto and it fit best precisely where the scene is changed, as it were, with death. Friedrich Wilhelm Schelling saw it correctly: “This symbolic view is the church as a living work of art.” And there is more, something fundamental, hidden behind this paradigm of human destiny and the conditions of privileged human existence. Marsilio Ficino states this in the first sentences of his “Cristiana religione” (1474/5). If man could not distinguish between good and bad in the “lume dell’intellecto,” he would be the most miserable creature, as he, unlike other living creatures, also has to dress himself. And at the beginning of “Platonica Theologia” (1482), he formulates its essence: “Si animus non esset immortalis: nullum animal esset infelicius homine.”
Art draws its deeper justification from this and declares that no effort is too great for it, especially when it comes to the furnishings for funeral ceremonies, when entire church interiors are covered with allegorical scenes and high catafalques are erected. The unsurpassable dialectic of life and death calls for the greatest artistic invention, which is particularly desirable in “baroque” times and results in works of art that would give even someone like Wölfflin a headache. When Rudolf Wittkower opened the Guarini Congress in Turin in 1968, he had a whole repertoire of “unorthodox” forms at hand: “Paradossi ed apparenti contraddizioni, volute incongruenze”; it is much more than just “varietà” and—in the tradition of Nicholas of Cusa—also encompasses mathematics: “Famose (!) compenetrazioni di spazi diversi.” He observes the juxtaposition of “morbidi moduli ornamentali manieristici” and “forme cristalline di estrema austerità.” They are “prodigi strutturali.” And Wittkower’s insight was: “intelletto” and “emozione” are not separate, but belong together, just as—in art—life and death appear intertwined and death, if man takes his divinely inspired, spiritual life seriously, is ultimately only a gateway to another world. It is understandable that a cemetery is then described as “the Elysian Fields.” There are no limits to the imagination and to art.
The course is open to doctoral candidates as well as junior and senior scholars who wish to address the topic with short papers (20 minutes) and through mutual conversation. As usual, the course has an interdisciplinary orientation. We hope for lively participation from the disciplines of art and architectural history, but also from scholars of history, theology, theatre and other relevant fields. Papers may be presented in German, French, Italian or English; at least a passive knowledge of German is a requirement for participation. The Foundation assumes the hotel costs for course participants, as well as several group dinners. Travel costs cannot be reimbursed. Please send applications with brief abstracts and brief CVs by email to: anja.buschow@bibliothek-oechslin.ch. The deadline is 23 February 2025.
Concept / Organization: Dr. Anja Buschow Oechslin (Einsiedeln), Prof. Dr. Axel Christoph Gampp (Uni Basel, Fachhochschule Bern), Prof. Dr. Werner Oechslin (Einsiedeln)
The Courtauld Announces New Manton Centre for British Art
From the press release earlier this fall (6 August 2024) . . .
The Manton Foundation has donated $12 million to The Courtauld to create the Manton Centre for British Art. The Centre, named after British art collectors and philanthropists, Sir Edwin Manton and Florence, Lady Manton, will help secure The Courtauld’s ambition of becoming a world leader in the field of British art and marks the continued commitment of the Manton family to arts education.
The Manton Centre for British Art will serve as an intellectual hub for art historians, curators, critics, artists, and students nationally and internationally, providing a platform for sharing world-leading research and for teaching the next generation of British art specialists. Located initially at The Courtauld’s current campus at Vernon Square, the Manton Centre will later be housed in the purpose-designed premises at Somerset House, providing the physical and intellectual home for The Courtauld’s research and teaching on British art. The Courtauld’s specialists in British art will become members of the Centre and help shape its activities and development. The Centre will operate as the base for students taking modules in British art as part of their MA degree and also provide a home for The Courtauld’s PhD students researching British art.
Professor Mark Hallett, Märit Rausing Director, said: “This is a thrilling moment for The Courtauld. Our new Manton Centre will place British art in a global context, and aim to deliver truly world-class teaching and research in this rich, endlessly fascinating field of study. The Centre will support students through a generously endowed programme of scholarships, and offer a dynamic programme of activities and events across the year. We are hugely grateful to the Manton Foundation for their generous gift, which will enable us to support the very best new thinking and teaching on British art for generations to come.”
Julia Krapf and Sandy Niles, Trustees of The Manton Foundation, said: “After a visit to The Courtauld and several discussions with its leadership and faculty, we came away impressed by the dedicated academic training offered to students interested in British art, including the period of most interest to our grandparents. We are excited and motivated by the opportunity to help The Courtauld strengthen and formalize its research capacity in that area.”
The Centre will present an ambitious and dynamic programme of events including:
• An annual lecture in memory of Sir Edwin and Lady Manton
• An annual international conference devoted to a major topic in the field
• Regular workshops devoted to specific areas of British art
• An annual programme of seminars and lectures enabling scholars, curators, critics, and artists to share their thinking and research
• An annual ‘scholar in residence’ programme, designed to host a leading figure in the field of British art
The Manton Centre for British Art will also pursue collaborations with other scholarly and artistic institutions both in the UK and around the world. In pursing these collaborations and partnerships, the Centre will engage with all areas and periods of British art, and with a wide range of partners and interlocutors.
MA Program at The Courtauld
From The Courtauld:
MA, History of Art, The Courtauld, London
Applications due by 20 January 2024
The Courtauld’s MA in History of Art is one of the largest graduate Art History programmes anywhere in the world and offers an unrivalled combination of breadth and depth. The course provides the best research-led teaching in a unique, single-subject setting. This rich academic resource is complemented by the internationally renowned excellence of the Courtauld Gallery, which is famous for the quality of its collection and the ambition and scholarship of its exhibition programme. . . .
Next year’s Special Option modules (each open to 10–12 students) include these four offerings on the 18th century:
• Architecture and Empire: Imperial Legacies at Home and Abroad, ca. 1620–1920 | Kyle Leyden
• Art and the Matter of Global Encounter in Early Modern France, ca. 1550–1820 | Sarah Grandin
• Art, Oceans, and the British Empire, ca. 1750–1900 | Tom Young and Esther Chadwick
• Beijing and Beyond: Art and Empire in Early Modern China, ca. 1600–1900 | Stephen Whiteman
More information is available here»
Morgan Library & Museum Fellowships
From The Morgan Library & Museum:
The Morgan Library & Museum is offering four fellowships for pre- and post-doctoral students. Applications must be submitted by 31 December 2024.
1 Drawing Institute Predoctoral Research Fellowship, 2025–26
The Morgan Drawing Institute will award one nine-month Predoctoral Research Fellowship to an advanced-level graduate student who has completed all course work and exams. The student should be currently engaged in carrying out research leading to the completion of a doctoral dissertation in the history of art, a significant component of which pertains to the history, theory, collecting, function, or interpretation of drawings. The stipend is $4000/month for 9 months, September/October 2025–May/June 2026, plus a $2000 travel allowance intended to support or subsidize a short research trip.
2 Drawing Institute Postdoctoral Research Fellowship, 2025–26
The Morgan Drawing Institute will award one nine-month Postdoctoral Research Fellowship to a scholar in the first decade of their career following the completion of the Ph.D. or equivalent advanced degree. The Postdoctoral Research Fellowship supports an independent research project, ideally working toward a clearly defined publication relating to some aspect of the history, theory, collecting, function, or interpretation of drawings. The stipend is $4850/month for 9 months, generally expected to run between September/October 2025 – May/June 2026, plus a $2000 travel allowance intended to support or subsidize a short research trip. If a fellowship is sought for a specific time (e.g. around a professor’s semester-long sabbatical), that should be clearly indicated in the application.
3 Belle da Costa Greene Curatorial Fellowships
The Morgan Library & Museum seeks applications for the Belle da Costa Greene Curatorial Fellowship, a two-year curatorial fellowship to be awarded to two promising scholars with experiences and perspectives that have not been adequately reflected in the curatorial and special collections fields. Named for the Morgan’s first director, one of the most prominent American librarians and cultural leaders of the first half of the twentieth century and a woman of African-American descent, this full-time program will equip the Fellows with a strong working knowledge of museum and special collections library operations and provides the Fellows with resources and mentorship to further a professional career in libraries, archives, or museums. The Morgan seeks candidates who are interested in working on specific projects as outlined on the museum’s website. The program will provide the Fellows with experience in a variety of core curatorial activities, such as exhibition and publications planning, research on the collection and on potential acquisitions, the creation of public programs, and donor relations. The Fellows will also have the opportunity to propose and curate an installation or small exhibition in the museum. The salary is $52,000 annually; excellent benefits. Fellows will also have a travel budget of $2000 per year for research and for activities supporting their professional development, such as attendance at a conference.
4 Shelby White & Leon Levy Fellowship in Manuscript Cataloging
The Morgan Library & Museum invites applications for the Shelby White & Leon Levy Fellowship in Manuscript Cataloging. The Fellowship is intended for new professionals who have demonstrated engagement with general cataloging or archival processing and wish to enhance their skills through intensive specialized training. This is a unique opportunity for early-career professionals to receive training and mentoring as members of the Morgan Library & Museum curatorial and cataloging staff. Starting in February 2025, the Fellowship will consist of 650 hours, and applicants will have a choice between full-time (35 hours per week) or part-time (21 hours per week) work in order to complete the 650 hours. Fellows will be assigned to work on specific groups of 19th- or 20th-century correspondence. They will be expected to research the historical and cultural context in which the letters and documents were produced, create collection and item level records in CORSAIR—the Morgan’s collections database—according to DCRM(MSS), assign accession numbers, and attend to the rehousing and conservation needs of the material. Considerations will be given to applicants’ areas of experience or expertise, such as specific language skills or subject specialization in art, literature, history, film, history of science, etc.
Preservation Long Island Receives Curatorial Internship Grant
From the press release (18 November 2024). . .
High chest of drawers, Queens County, New York, 1740–70, walnut, tulip poplar, pine (Preservation Long Island purchase, 1961.13.1).
The Decorative Arts Trust is thrilled to announce that Preservation Long Island (PLI) is the recipient of the 2025–27 Curatorial Internship Grant. Headquartered in Cold Spring Harbor, New York, PLI was founded in 1948 as the Society for the Preservation of Long Island Antiquities. PLI advances the importance of historic preservation in the region through advocacy, education, and stewardship. Their program areas include interpreting historic sites, collecting art and material culture pertaining to Long Island history, creating publications and exhibitions, and providing direct support and technical assistance to individuals and groups engaged in local preservation efforts.
In 2026, PLI will celebrate the United States Semiquincentennial as well as the 50th anniversary of their landmark furniture publication, Long Island is My Nation: The Decorative Arts and Craftsmen, 1640–1830. PLI’s Peggy N. Gerry Curatorial Fellow will collaborate with Chief Curator & Director of Collections Lauren Brincat on a series of objectives aimed at cataloging Long Island furniture in public and private collections across the region, reexamining these objects from new perspectives, and enhancing their accessibility to 21st-century researchers and the public. The Fellow will take a leading role in a new initiative building upon previous scholarship towards the creation of a collaborative Long Island furniture digital database, an exhibition, and an accompanying catalogue. Also, the Fellow will coordinate and participate in a Long Island furniture symposium in summer 2025. PLI will post the Peggy N. Gerry Curatorial Fellow position on their website at preservationlongisland.org in spring 2025. For more information about Curatorial Internship Grants, visit decorativeartstrust.org/cig.
Attingham Courses in 2025
Daniel Zuloaga y Bonetta, El Salón Gasparini del Palacio Real de Madrid, 1875, oil on canvas, 58 × 72cm
(Madrid: Museo Nacional del Prado, P006884)
◊ ◊ ◊ ◊ ◊
Attingham offerings for 2025:
London House Course
Led by David Adshead, 1–7 April 2025
Applications due by 17 January 2025
This seven-day non-residential course studies the development of the London house from the Renaissance to the present. It combines numerous visits to houses, many of them private, with a series of lectures by leading authorities. Progressing broadly chronologically and exploring all over London, the course takes members inside grand aristocratic buildings, smaller domestic houses, artists’ studios, and the garden suburb.
◊ ◊ ◊ ◊ ◊
The 72nd Summer School
Led by Tessa Wild and David Adshead, 28 June — 13 July 2025
Applications due by 31 January 2025
This intensive 16-day residential course will include visits to country houses in Sussex, Oxfordshire, Derbyshire, Northamptonshire, and Lincolnshire. Accompanied by specialist tutors and lecturers, the Summer School will examine the country house in terms of architectural and social history, focus on the collections of fine and decorative arts with close-up in-depth study, and encourage discussion on topical issues of conservation and interpretation.
◊ ◊ ◊ ◊ ◊
Royal Collections Studies
Led by Helen Jacobsen, 31 August — 9 September 2025
Applications due by 14 February 2025
Run on behalf of The Royal Collection Trust, this ten-day residential course offers participants the opportunity to study the magnificent holdings of paintings, decorative art, jewelry, books, and arms and armor in the Royal Collection and to examine the architecture and interiors of the palaces that house them. Based near Windsor, the course will also examine the history of the collection and the key roles played by monarchs and their consorts over the centuries.
◊ ◊ ◊ ◊ ◊
New Perspectives in Country House Studies
Led by Elizabeth Jamieson, 21–25 September 2025
Applications due by 14 February 2025
Based in Yorkshire, this intensive five-day themed, residential course will focus on a series of fresh perspectives that are currently informing country house studies, including the global and colonial contexts of objects; craftspeople, and makers, both then and now; women as patrons, as collectors and as instigators of change in the country house; how the buildings were lived and worked in, and how they reflect both the lives of their occupants and wider social change.
N.B. This short course is intended for anyone who has a professional or academic interest in the arts and heritage. The Attingham Trust welcomes all applications, including those at the early stages of their career, in the process of completing their academic studies, and from backgrounds under-represented in these fields.
◊ ◊ ◊ ◊ ◊
The Study Programme: From Granada to Madrid
Led by Annabel Westman and Helen Jacobsen, 12–18 October 2025
Applications due by 14 February 2025
This intensive seven-day residential course to Spain will begin at the Alhambra palace complex in Granada, renowned for its architectural and decorative beauty. The programme will continue to Madrid, where a mix of architecture, interiors, and works of art will be studied, with a focus on the exceptional decorative arts in Spanish royal and aristocratic collections. Visits are planned to palaces, private houses, and gardens and—as with all Attingham courses—the course will be supported by local curators and experts and will include visits with privileged access.
IDEAL Internship Grants from Decorative Arts Trust
Family Room at Filoli, Woodside California
(Photo by Jeff Bartee)
◊ ◊ ◊ ◊ ◊
From the press release (28 October 2024) . . .
The Decorative Arts Trust is pleased to announce the six institutions that received IDEAL Internship Grants for 2025: the Asheville Art Museum in Asheville, North Carolina; Bard Graduate Center in New York City; The Clay Studio in Philadelphia; Filoli in Woodside, California; the High Museum of Art in Atlanta; and the Liberty Hall Historic Site in Frankfort, Kentucky.
The IDEAL Internship Grants program was established in 2020 to create opportunities for undergraduate students of color through collaborations that create meaningful introductions to the museum field and introduce new perspectives and voices to curatorial practice. Since its founding, the program has supported 16 interns.
Once the Asheville Art Museum reopens following the damage brought by Hurricane Helene, the curatorial department will host two undergraduate interns to assist with the development and educational programming for two upcoming exhibitions.
Liberty Hall, Frankfort, Kentucky, built in 1796 (Photo by Christopher Riley, Wikimedia Commons, November 2018).
Bard Graduate Center will create an internship within their Marketing, Communications, and Design department, specifically for Pratt Institute’s Undergraduate Communications Design program. The intern will work closely with staff on exhibition design, catalog production, and institutional branding.
The Clay Studio, in Philadelphia, will hire an intern who will gain valuable experience working with both physical and digital archival systems, the documentation of artworks, and exhibition planning and implementation.
Filoli, a Georgian Revival estate turned museum in Woodside, California, will host a Collections Intern to gain tangible and meaningful experience in preservation, cataloging, photography, and database management.
As the High Museum of Art in Atlanta approaches its centennial anniversary in 2026, the curatorial team will welcome an intern to assist with the reinstallation of American art galleries and conduct research on objects in the permanent collection.
Liberty Hall Historic Site in Frankfort, Kentucky, will host an intern to study the Black experience at two houses owned by the prominent Brown family, specifically regarding the buildings’ construction, urban enslavement, emancipation, and Reconstruction.
For updates about applying for these internship opportunities, visit the institutions’ websites and follow them on social media. The IDEAL Internship Program is part of the Decorative Arts Trust’s Emerging Scholars Program. For upcoming grant application deadlines, visit decorativeartstrust.org or email thetrust@decorativeartstrust.org.
Call for Applications | Seminar in Curating Prints
From ArtHist.net and Print Quarterly:
Seminar in Curating Prints
London and Paris, 12–27 March 2025 (9 days)
Applications due by 18 September 2024
Print Quarterly invites applications for a program dedicated to prints connoisseurship and curatorial practice, spanning from printmaking techniques to innovative strategies of display and public engagement in a museum context. The program will take place over approximately nine days in London and Paris in the period 12–27 March 2025, with exact dates to be confirmed in October 2024. Most sessions will be held in museum print rooms, but insights into commercial print publishing, current printmaking, and the art market will also be provided. The program will be led by the editor of Print Quarterly, Rhoda Eitel-Porter, with the contributions of international senior experts.
The program is tailored to early and mid-career curators with responsibility for prints and works on paper seeking professional development. Applications from scholars involved with print curating or advanced graduate students pursuing a thesis on a print-related topic will also be considered. A maximum of ten participants will be admitted to the program. The seminars will allow participants to strengthen their knowledge of and familiarity with prints across media and contexts, while exploring new fields and methods, including non-Western traditions. Besides furthering their knowledge of the subject, the seminar will also stimulate the participants to think differently and further on how to manage, display, and deploy their collections for the benefit of the public. Furthermore, through exposure to other museum curators and managers at the host venues and selected experts, participants will develop their network within the community of print scholars. The working language is English. Participants will be asked to prepare one or two short presentations of five to ten minutes on selected topics.
Travel, accommodation, and meal expenses will be covered by the program. The program is supported by The Getty Foundation, as part of The Paper Project: Prints and Drawings Curatorship in the 21st Century.
Applications with the following (as PDF files) should be emailed to curating@printquarterly.co.uk by 18 September 2024.
• A brief letter of intent of no more than one page summarizing your interest in the program. The letter should describe your current responsibilities and work, your future hopes and ambitions, and an explanation of how participation in the program might help you achieve your goals. It should also include your thoughts about what you would hope to see covered in the program and wish to learn from it.
• A curriculum vitae that includes your name, title, current position (and whether this is part- or full-time), affiliation, email address, residential address, nationality/citizenship, languages spoken, education, publications, and name and contact details of two references.
Participants will be selected and notified by late October 2024. Questions about the program may be directed to curating@printquarterly.co.uk.
Call for Applications | Getty Residential Scholars: Repair
From ArtHist.net:
Getty Residential Scholars: Repair
Getty Research Institute, Los Angeles, 2025–26
Applications due by 1 October 2024
The Getty Research Institute is pleased to announce that the 2025–2026 application for residential grants and fellowships for pre-docs, post-docs, and scholars is open as of 1 July 2024. Applications are due by 1 October 2024 at 5pm PT.
For 2025–2026, Getty invites scholars and arts professionals to apply for a residential fellowship on the topic of repair, a theme that bridges time periods, world geographies, and professional practices. Situated between the forces of creation and destruction, the act of repair can be deeply transformative, with the potential to heal, alter, and renew the material environment. Scholars are asked to think critically about repair, questioning interpretive assessments about the ideal state of any object or site, in addition to querying what constitutes damage or whether to repair the ruined or the broken. Beyond such physical interventions, art and sites of commemoration are often mobilized to heal a fractured social fabric. Indeed, art itself may be offered as reparation to address past wrongs or to recuperate loss. The issue of repair has deep bearing for the arts, conceived in the broadest sense, and especially for institutions that aim to preserve and share global cultural heritage.
Under the umbrella of the annual theme, dedicated grants are available via the African American Art History Initiative (AAAHI).
Please find the full call for applications and theme text on the Scholars Program webpage.
Applicants need to complete and submit the online Getty Scholar Grant application form with the following:
1 Project Proposal (not to exceed five pages, typed and double-spaced): Each application must include a description of the applicant’s proposed plan for study and research (not to exceed five pages, typed and double-spaced). The proposal should indicate:
• how the project addresses the annual theme
• if applicable, how it would benefit from the resources at the Getty, including its library and collections.
• Applicants for AAAHI grants should additionally describe how their projects will generate new knowledge in the field of African American art history.
2 Curriculum Vitae
3 Optional Writing Sample
Applicants will be notified of their application outcome approximately six months after the deadline.
Contact
Email: researchgrants@getty.edu
Attn: Getty Scholar Grants
Enfilade 
leave a comment