Exhibition | Clara the Rhinoceros
Jean-Baptiste Oudry, Clara, the Rhinoceros, 1749, oil on canvas, 306 × 453 cm
(Staatliches Museum Schwerin)
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From the press release (11 July 2022) for the exhibition:
Clara the Rhinoceros: Superstar of the 18th Century / Clara de Neushoorn: Superster van de 18e eeuw
Rijksmuseum, Amsterdam, 30 September 2022 — 15 January 2023
Curated by Gijs van der Ham
Clara was strange and new, huge and awe-inspiring—she was utterly unlike any other known animal. This fall, the Rijksmuseum presents Clara the Rhinoceros, an exhibition about an animal who travelled far from her native land of India and became the most famous rhinoceros in the world.
Saint-Germain, J.J., and F. Viger, Clock with Rhinoceros as Carrier, 1755 (Parnassia Collection).
The exhibition shows how new knowledge changed perceptions of the rhinoceros, and how art played its part in this process. The 60 objects on display include paintings, drawings, medals, statues, books, clocks, and a goblet. Very few of these artworks have been displayed before in the Netherlands, and never before have so many exceptional objects devoted to Clara the rhinoceros being presented together. They range from the first-ever European print depicting a rhinoceros—made in 1515 by Albrecht Dürer—to a life-size, full-length portrait of Clara by Jean-Baptiste Oudry dating from 1749. Clara the Rhinoceros runs from 30 September 2022 to 15 January 2023 in the Phillips Wing of the Rijksmuseum.
Clara may not have been the first rhinoceros to come to Europe, but she did become the most famous one. After her long voyage from India, in 1741 she arrived in Amsterdam. Her owner, Douwe Mout van der Meer, was soon showing her to anyone who would pay for the pleasure, whether at fairs, markets, carnivals, or royal courts. For the next 17 years she travelled around Europe in a custom-made cart, accompanied by her entourage. She travelled far and wide: to Vienna and Paris, and to Naples and Copenhagen. Upon her return to the Netherlands, she lived in a field in the North district of Amsterdam. Eventually, Clara died in London in 1758.
People touched, teased, admired, and studied Clara. She prompted this sensational level of interest because no one in Europe had ever been able to see a real live rhinoceros. She was a hyped up, must-see cultural phenomenon, and Mout used print advertising and medals to pump that hype to the max. Until Clara’s arrival, all that Europeans knew of her species was from a print made by Dürer in 1515. He based his drawing on a sketch of a rhinoceros that was briefly in Lisbon, though the sketch wasn’t entirely accurate: it depicted the rhinoceros with an extra horn on its back, for example, and skin that resembled a suit of armour.
Clara’s appearance on the scene changed all this, leaing to a better understanding of the rhinoceros and to more accurate portrayals. Scholars studied her in minute detail, from head to tail, and artists became fascinated by every fold of her skin. A remarkable number of likenesses were made of Clara, in many forms and using many different materials. This exhibition presents an outstanding selection of these objects, including an impressive life-size portrait painted in Paris in 1749 by Oudry (on loan from Staatliches Museum Schwerin), a painting by Pietro Longhi showing Clara standing in front of her audience in Venice (from Ca’ Rezzonico, Venice), a large marble statue by the Flemish artist Pieter Anton Verschaffelt (from the Rothschild collection at Waddesdon Manor), and an exceptionally rare clock mounted on a Clara figure (from a private Dutch collection) made by the Parisian bronzier and clockmaker Jean-Joseph de Saint-Germain.
Clara was almost never free to walk or run. She depended on humans for her survival, and was rarely able to display natural behaviours—except for example the occasions when she needed to cross a river by swimming, and clearly enjoyed the water. In 1750 the Neurenberg biographer Christoph Gottlieb Richter published a conversation between a rhinoceros and a grasshopper, in which the rhinoceros bemoans the way people treat her and stare at her. This book presents a role-reversal, with the rhinoceros appraising and studying people rather than the other way around. And in her 2016 installation Clara, the contemporary artist Rossella Biscotti uses the rhinoceros’s story to interrogate the relationship between humans and animals. The installation, which is also part of the exhibition, shows that Clara’s story is also about colonialism, exoticism, and globalisation, as well as exploitation and power.
The exhibition design for Clara the Rhinoceros and Crawly Creatures is by stage designer Theun Mosk | Ruimtetijd. Graphic design for the exhibition is by Irma Boom.
Gijs van der Ham, Clara the Rhinoceros (Rotterdam: nai101, 2023), 208 pages, ISBN: 978-9462087477, $40.
Exhibition | Process: Design Drawings, 1500–1900
Design drawing for a patinated bronze vase, anonymous, ca. 1780
(Amsterdam: Rijksmuseum)
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From the museum:
Process: Design Drawings from the Rijksmuseum, 1500–1900
Créer: Dessiner pour les arts décoratifs, 1500–1900
Design Museum Den Bosch, Rijksmuseum, Amsterdam, 5 November 2022 — 12 February 2023
Fondation Custodia / Collection Frits Lugt, Paris, 25 February — 14 May 2023
Curated by Reinier Baarsen
This pioneering exhibition is an opportunity to discover a collection of extraordinary design drawings from the Rijksmuseum. The drawings, which date from the period 1500–1900, have been brought together for the first time and are arranged according to the successive stages of the design process.
The focus here is not on big artistic names, but on the crucial role that drawings have played in design. We watch from close-by as the ideas for all sorts of items are formed and we also get to meet their inventors, makers, and patrons. Drawings of vases, chairs and clocks, stoves, sledges, and carriages are shown, from the first rough pencil sketches to beautifully worked-up and colourful presentations. The drawings in this exhibition were recently acquired by the Rijksmuseum in Amsterdam, where they belong to a special collection established by Senior Curator Reinier Baarsen. He offers us a unique insight here into the role that drawing has played in the design process, as well as the superb drawings it has produced.
Reinier Baarsen, Process: Design Drawings from the Rijksmuseum, 1500–1900 (Rotterdam: nai101, 2022), 464 pages, SBN 978-9462087354, €60 / $70.
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Note (added 28 February 2023) — The posting was updated to include the Fondation Custodia as a second venue.
Exhibition | Silver City: 500 Years of Portsmouth’s History
Now on view at the Portsmouth Museum and Art Gallery:
Silver City: 500 Years of Portsmouth’s History
Portsmouth Museum and Art Gallery, 28 May 2022 — 26 February 2023
Curated by James Daly and Susan Ward
Portsmouth Flagons, made in 1683 by Wolfgang Howzer and presented to Portsmouth by Louise de Kéroualle, the Duchess of Portsmouth. She was one of Charles II’s mistresses and presented the Flagons to Portsmouth when she was made duchess, although there is no record of her having visited the town.
Silver City: 500 Years of Portsmouth’s History is a major exhibition at Portsmouth Museum and Art Gallery, telling the story of the city through amazing silver treasures. It showcases many precious objects that have never been on public display before. Most come from the city’s civic collection, but others have been loaned from the Royal Navy, the city’s Anglican cathedral, and the Goldsmiths’ Company Charity. Objects include a model of HMS Victory presented to the city when the Portsmouth Command of the Royal Navy was awarded the Freedom of the City in 1965. It is made from copper taken from the ship and plated in silver.
James Daly and Susan Ward, Silver City: 500 Years of Portsmouth’s History (Portsmouth: Tricorn Books, 2022), 161 pages, ISBN: 978-914615276, £27.
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Frances Parton’s review of the exhibition appeared in October issue of The Burlington Magazine, pp. 1015–17.
American Art, Fall 2022
The latest issue of American Art includes eight essays aimed at ‘Seeing the Survey Anew’. I was particularly intrigued with the piece by K. L. H. Wells on the Index of American Design, a WPA Federal Art Project (1936–1942) that produced thousands of illustrations documenting decorative arts before 1900; the article specifically addresses the “treatment of Shaker and Southwestern design as prime examples of how this government survey of American art helped codify White racial formation” (10). Katherine Fein’s essay is also fascinating, though now I’ve ventured into the dangerous shoals of recommendations. By all means, have a look at all of these thoughtful essays. –CH
American Art 36.3 (Fall 2022)
Commentaries: Seeing the Survey Anew
• Kirsten Pai Buick, “Seeing the Survey Anew: Introduction,” pp. 2–4.
• Jessica L. Horton, “Seeing the National Museum of the American Indian Anew as a Diplomatic Assemblage,” pp. 5–9.
• K. L. H. Wells, “Indexing Whiteness to American Design,” pp. 10–14.
• Michael Lobel, “Reframing Illustration,” pp. 15–19.
• Katherine Fein, “Picturing White Skin on Elephant Tusk,” pp. 20–23.
• Zoë Colón, “Material Absence, Relational Presence: Courtney M. Leonard and the Shinnecock Whales,” 24–27.
• Alexis Monroe, “Whiteness and the West before the Transcontinental Railroad,” pp. 28–32.
• Tanya Sheehan, “Where to Begin: Marking Race in Surveys of American Art,” pp. 33–37.
New Book | Connected Mobilities
From Amsterdam UP:
Paul Nelles and Rosa Salzberg, eds., Connected Mobilities in the Early Modern World: The Practice and Experience of Movement (Amsterdam: Amsterdam University Press, 2022), 282 pages, ISBN: 978-9463729239, €122.
Connected Mobilities in the Early Modern World offers a panorama of movement, mobility, and exchange in the early modern world. While the pre-modern centuries have long been portrayed as static and self-contained, it is now acknowledged that Europe from the Middle Ages onwards saw increasing flows of people and goods. Movement also connected the continent more closely to other parts of the world. This book challenges dominant notions of the ‘fixed,’ immobile nature of pre-modern cultures through study of the inter-connected material, social, and cultural dimensions of mobility. The case studies presented here chart the technologies and practices that both facilitated and impeded movement in diverse spheres of social activity such as communication, transport, politics, religion, medicine, and architecture. The chapters underscore the importance of the movement of people and objects through space and across distance to the dynamic economic, political, and cultural life of the early modern period.
Paul Nelles is Associate Professor of early modern history at Carleton University. His research focuses on the history of books, writing, and religion in early modern Europe. His study of Jesuit communication, The Information Order: Writing, Mobility and Distance in the Making of the Society of Jesus (1540–1573), is forthcoming.
Rosa Salzberg is Associate Professor of Early Modern History, University of Trento. Her research focuses on communication, urban history and the history of migration and mobility in early modern Europe, with a focus on Venice. She is the author of Ephemeral City: Cheap Print and Urban Culture in Renaissance Venice (2014).
C O N T E N T S
Paul Nelles and Rosa Salzberg, Movement and Mobility in the Early Modern World: An Introduction
Moving Bodies
1 John Gallagher, Linguistic Encounter: Fynes Moryson and the Uses of Language
2 Gerrit Verhoeven, Wading through the Mire: Mobility on the Grand Tour, 1585–1750
3 Carolin Schmitz, Travelling for Health: Medicine and Rural Mobility in Early Modern Spain
Crossing Borders
4 Irene Fosi, Mobility and Danger on the Borders of the Papal States, 16th–17th Centuries
5 Paola Molino, News on the Road: The Mobility of Handwritten Newsletters in Early Modern Europe
6 Darka Bili., Quarantine, Mobility, and Trade: Commercial Lazzarettos in the Early Modern Adriatic
Global Networks
7 Paul Nelles, Devotion in Transit: Agnus Dei, Jesuit Missionaries, and Global Salvation in the Sixteenth Century
8 Felicita Tramontana, Getting to the Holy Land: Franciscan Journeys and Mediterranean Mobility
9 Sebouh Aslanian, From Mount Lebanon to the Little Mount in Madras: Mobility and Catholic-Armenian Alms-Collecting Networks during the 18th Century
Index
Conference | Boiseries: Decoration and Migration
From the conference website:
Boiseries: Decoration and Migration from the Eighteenth Century to the Present
Camden Place, Chislehurst (Kent), 12–13 January 2023
Organized by Lindsay Macnaughton and Laura Jenkins
This two-day conference investigates the cultural and commercial migrations of French eighteenth-century boiseries from their places of production in Paris and the Bâtiments du Roi to the drawing rooms of Britain and the United States. It will be the first major study of boiseries in the context of transatlantic cultural history and will build on the landmark studies of panelling as architectural salvage by Bruno Pons (1995, 2001) and the late John Harris (2007). The conference will bring together international experts and emerging scholars in the fields of art, architecture, history, and museums and heritage management and will form part of a programme of events marking the 150th anniversary of the death of Napoleon III at Camden Place.
Camden Place, where the conference will be held, is an English country house whose history and interiors have been shaped by the migration of people and decoration for over 300 years. Home to Chislehurst Golf Club, the Grade II* listed building features architectural elements by the British architects George Dance the Younger (1741–1825) and James ‘Athenian’ Stuart (1713–1788), and played host to the French Imperial court after the fall of the Empire in 1870. French chimney pieces, boiseries from the eighteenth-century Château de Bercy (demolished in 1862), and heavily carved oak panelling are among the elements that make up the house’s many layers, testifying both to the eclectic tastes of its nineteenth-century occupants and to the multifaceted, and multinational, histories of many English country houses.
Organised by Dr Lindsay Macnaughton (University of Buckingham) and Laura C. Jenkins (The Courtauld Institute of Art), with support from Chislehurst Golf Club, The Chislehurst Society, The University of Buckingham, and The Society for the Study of French History.
Tickets are available here. For enquiries, please contact lindsay.macnaughton@buckingham.ac.uk or laura.jenkins@courtauld.ac.uk.
T H U R S D A Y , 1 2 J A N U A R Y 2 0 2 3
10.00 Registration
10.30 Introduction by Lindsay Macnaughton
10.45 Session 1 | The Cultural Impact of French Émigrés in Britain
Moderated by Lindsay Macnaughton
• Camden Place as a Headquarters of Bonapartism, 1870–1879 — Thomas C. Jones (Senior Lecturer, The University of Buckingham)
• The French Imperial Family in Exile: The Display of Collections in Camden Place, 1870–1880 — Rebecca Walker (Independent Scholar)
• Lord Hertford’s Room from the Château de Bercy — Félix Zorzo (Curatorial Assistant, The Wallace Collection)
12.45 Lunch
1.45 Session 2 | Moving Rooms: Markets and Merchants
Moderated by Mark Westgarth
• The Valued Fragment: Georges Hoentschel as Dealer in Historic Interiors — Ulrich Leben (Independent Scholar)
• Decorating on a Grand Scale: British Professional Decorators of the Early 20th Century — Pat Wheaton (Independent Scholar)
• Saviours or Gravediggers of Panelling? Some Thoughts on the Role of Merchants — François Gilles (PhD Candidate, Université de Versailles St-Quentin-en-Yvelines)
3.45 Tea and Coffee Break
4.15 Keynote Lecture
• The Archaeology of Camden Place: An Architectural Conundrum — Lee Prosser (Curator of Historic Buildings, Historic Royal Palaces)
5.15 Closing Remarks
6.00 Drinks Reception
F R I D A Y , 1 3 J A N U A R Y 2 0 2 3
9.30 Tours of Camden Place (Registrants)
10.00 Registration
10.30 Opening Remarks by Laura Jenkins
10.45 Session 3 | Staging the Past: Boiseries and ‘Period Rooms’
Moderated by Laura Jenkins
• History of the Paneling of the State Bedroom of the Hôtel de Chevreuse et de Luynes in Paris, 1765–2014 — Frédéric Dassas (Senior Curator, Musée du Louvre)
• The ‘Roman’ Petit Salon of the Duc d’Aumont and the 18th-Century Origins of the Period Room — Gabriel Wick (Lecturer, NYU Paris)
• ‘Un Décor Authentique et Harmonieux’: Framing and Aestheticising the Cognacq-Jay Collection — Barbara Lasic (Lecturer, Sotheby’s Institute of Art)
12.45 Lunch
1.45 Session 4 | Franco-British Collectors of Boiseries
Moderated by Helen Jacobsen
• British Duc d’Aumale: The Boiseries of Orleans House, from Twickenham to Chantilly — Mathieu Deldicque (Director, Musée Condé, Château de Chantilly)
• Contextualising the Rothschild Collection of Panelling at Waddesdon Manor (provisional title) — Mia Jackson (Curator of Decorative Arts, Waddesdon Manor)
• Uncovering Identity and a Nationalist Narrative: The Imported Interiors at Harlaxton Manor — Carter Jackson (PhD Candidate, Boston University)
3.45 Tea and Coffee Break
4.15 Session 5 | Reuse and Reinterpretation
Moderated by Caroline McCaffrey-Howarth
• Past Lives: The Mona Von Bismarck House, 34 Avenue de New York, Paris — Melany Telleen (Independent Scholar)
• Boiserie Alternatives: Wallcoverings in Glass Beads, Straw, Lacquer, Porcelain, and Feathers — Maureen Cassidy-Geiger (Independent Scholar)
5.45 Closing Remarks
6.00 Tours of Camden Place (Registrants)
Michelangelo as Pan?
Joseph Vernet, detail of a sketch showing the statue of Pan (with fig leaf), by the Aurelian Walls that bounded the Villa Ludovisi to the north, 1737. From D. Cordellier, P. Rosenberg, and P. Märker, Dessins français du musée de Darmstadt (2007), 459.
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I suspect many readers will find this series of postings about a Pan sculpture from Rome’s Villa Ludovisi of interest. Whatever the status of the attribution (itself intriguing), the statue clearly was linked with Michelangelo in the eighteenth century. –CH
Hatice Köroğlu Çam, “A New Self-Portrait of Michelangelo? The Statue of Pan at the Casino dell’Aurora in Rome,” 4 parts, Archivio Digitale Boncompagni Ludovisi (2022–23).
“Part 1: Correspondences” (20 March 2022).
“Part 2: Testimonia: Sketches and Earlier Inventories” (12 September 2022).
“Part 3: Reception” (5 November 2022).
“Part 4: Physical Condition and Conservation Mandates” (5 May 2023), a good place to start as it summarizes the earlier essays.
From Part 1, at the Archivio Digitale Boncompagni Ludovisi:
Pan, attributed to Michelangelo at the Casino dell’Aurora. Collection †HSH Prince Nicolò and HSH Princess Rita Boncompagni Ludovisi, Rome (Photo by T. Corey Brennan, October 2022).
A statue of Pan, for centuries located in the garden of Rome’s Villa Ludovisi, since 1901 has stood unprotected outside the southwest wing of the Casino dell’Aurora. Traditionally attributed to Michelangelo Buonarroti (1475–1564), and once deemed of great monetary value (4000 scudi in a 1749 Boncompagni Ludovisi inventory), it undoubtedly exhibits characteristic features of the master’s sculptural language.
Yet most surprisingly there is no detailed study focusing on this statue. The most recent treatment, that of Maria Elisa Micheli (Museo Nazionale Romane: Le Sculture I.6 I marmi Ludovisi dispersi [1986]), fills not quite a page and a half. Micheli dismisses seventeenth- and eighteenth-century attributions of the Pan to Michelangelo, considering it instead “a modern work of the late sixteenth century.”
The verdict strikes me as too hasty. After comparing the stylistic language of the Pan to that of Michelangelo in a wide range of his sculptures, paintings, and drawings, I have come to the conclusion that even if the sculpture is not by Michelangelo, it highlights many features of his style to a remarkable extent. And those attributes are recognizable even given the fact that the Pan today shows an unfortunate loss of details, especially the face—clear when comparing historic photos of the statue (from 1885) with its present state. . . .
The full posting is available here»
Hatice Köroğlu Çam studied journalism for three years with a double major in art history at Istanbul University in Turkey and then received her BA in art history at Rutgers University (2022), where she wrote her honors thesis on “Decoding Michelangelo’s Passion: Laocoön and Tityus.” She interned at the Archivio Digitale Boncompagni Ludovisi in the Spring and Summer of 2022, which made possible a visit to the Casino dell’Aurora, the home of Princess Rita Boncompagni Ludovisi, in July 2022. Hatice is currently on the staff of the museum store of the Princeton University Art Museum and plans to pursue her academic journey towards a PhD, including further research into the Pan project.
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More information about the Archivio Digitale Boncompagni Ludovisi—initiated by T. Corey Brennan (Rutgers University) while Andrew W. Mellon Professor in the American Academy in Rome (2009–12)—is available here.
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Note (added 5 May 2023) — The posting was updated to include a link to Part 4 of the series of essays.
Call for Papers | The Mutability of Collections
From ArtHist.net and the Seminar on Collecting and Display:
The Mutability of Collections: Transformation, Contextualisation, and Re-Interpretation
Seminar on Collecting and Display
Institute of Historical Research, University of London, 7–8 July 2023
Proposals due by 30 November 2022
We invite proposals for papers reflecting on the ways in which the contents of collections are not permanent but may be subject to numerous mutations. Objects in collections are added, exchanged or disposed of, translated and transformed. Items can be moved to new surroundings and different decorative settings, resulting in altered contexts of display, meaning, and significance. The history of collections is more than a history of objects brought together by acquisitive owners; it is also a history whereby collectors and owners may re-interpret an inherited or purchased collection and re-arrange and complete it in accordance to their taste.
As is well known, the Medici amassed a collection that grew, was looted, regained, distributed over palaces and villas, and finally bequeathed to Tuscany as part of Anna Maria Louisa’s family pact in 1737. Obviously, the Medici’s treasures were not the only collection with a fragmented biography and that of Rudolf II would provide another famous example.In the nineteenth century, William Beckford added new layers of interpretation as he amassed his collections from a variety of different sources. Further translations and reinterpretations ensued when the first collection was dispersed and Beckford created a new collecting environment in Bath.
This session aims to explore the various issues underlying the mutability of collections, including
• the ways in which intentionality, taste, and the periodically fluctuating finances of collectors influenced the composition and display of a collection, sometimes more than once within a collection’s biography
• the ways in which fashion may have directed a collector towards particular groups of objects, as well as their alteration according to the taste of the time
• the ways in which collections may be reinterpreted and take on new meanings according to the spaces in which they were displayed
• the different associations and meanings given to individual objects through their changing representations, displays, or associations
We invite paper proposals of no more than 250 words, investigating the mutability of early-modern collections during their creation, transfer to new locations, transformation, or re-interpretation. Please send your proposals, along with a short bio (no more than 200 words) to collecting_display@hotmail.com by 30 November 2022.
Colloquium | Historical Interiors and Digital Reconstructions
From the conference programme:
Historical Interiors and the Digital: The Possibilities and Limits of Virtual Reconstructions
Les intérieurs historiques et le numérique: possibilités et limites des reconstructions virtuelles pour la recherche
Online and in-person, Paris and Versailles, 17–18 November 2022
Colloque international organisé par Centre allemand d’histoire de l’art Paris, le Mobilier national et le Centre de recherche du château de Versailles
The virtual reconstruction of historical interiors—from architecture to wall decoration and furniture to textiles—has been a proven instrument of cultural mediation in recent years, particularly in museums, exhibitions and/or for the study of historical monuments (for instance in archaeology). Questions of spatial proportions and fundamental architectural units are today at the forefront, with emphasis often placed on the possibility of visiting these spaces virtually, either on a 2D screen or with an immersive headset.
However, when it comes to the recreation of the aesthetic characteristics of interiors, which are one of the key issues for their understanding, the possibilities of these new models seem limited. Depending largely on the harmonious interaction of different materials such as woods, metals, and textiles, as well as the structures of their respective surfaces, the nuances of colour or gold, or even the traces of artisanship, the existing solutions in rendering the materiality of an historic interior remain insufficient, both aesthetically and scientifically. The hope to swiftly overcome the excessively sanitized surfaces of digital models, expressed in 2013 (Kohle 2013, p. 166), has not yet come to fruition. Nevertheless, there is more to it than that, as the possibilities of using virtual reconstruction effectively for researching historical interiors—for example, through the virtual insertion of materials that are no longer ethically justifiable or prohibited today—are not fully exploited.
Focusing on the possibilities and limits of virtual reconstructions of historical interiors, of which questions of materiality are only one aspect, this conference highlights the fundamental issues that occupy current research. To attend in person or online on Wednesday, November 16 and Thursday, November 17, please email interieursetnumerique@dfk-paris.org. To attend the day on Friday, November 18 at Versailles (in person or online), registration is compulsory and free here.
W E D N E S D A Y , 1 6 N O V E M B E R 2 0 2 2
Centre allemand d’histoire de l’art Paris, salle Julius Meier-Graefe
18.30 Conférence inaugurale et discussion
Realism or Believability? The Production of Sensation in Animated Films – Bill Kinder, Boxcar Pictures, Berkeley/Paris
T H U R S D A Y , 1 7 N O V E M B E R 2 0 2 2
Centre allemand d’histoire de l’art Paris, salle Julius Meier-Graefe
9.30 Accueil par Peter Geimer, Directeur du Centre allemand d’histoire de l’art Paris
9.45 Présentation du colloque par les organisateurs
10.00 Études de cas et questions de recherche (1)
Modération : Muriel Barbier, Conservateur en chef du patrimoine, Mobilier national
• Digitally Recreating Lost Eighteenth-Century Irish Interiors: Challenges and Opportunities – Andrew Tierney, Department of the History of Art and Architecture, Trinity College Dublin
• De l’outil scientifique à l’« expérience de visite », le numérique à l’épreuve des enjeux de la restauration des appartements des ducs de Lorraine au château de Lunéville – Thierry Franz, Musée du château de Lunéville
• Restituer les palais impériaux napoléoniens : un défi technique et historique – Philippe Le Pareux, lycée de Valognes (Manche)
• ExploVision présente la première plateforme de consultation et d’échange autour du mobilier patrimonial – Philippe Dechenaux, Explovision
14.15 Galeries et artisanat
• La reconstitution 3D des galeries d’exposition du Garde-Meuble de la Couronne : enjeux, difficultés et compréhension d’un espace disparu – Gatien Wierez, CREHS Université d’Artois
• The Virtual Museum: Digital Reconstructions of the Kongl. Museum at the Royal Palace in Stockholm – Johan Eriksson, Department of Art History, Uppsala Universitet
• Réflexions autour de la galerie disparue de l’hôtel de Noailles à Saint-Germain-en-Laye – François Gilles, UVSQ/ENS Cachan, with Paul Feytis; Louis-Joseph Lamborot; Gabriel Wick
F R I D A Y , 1 8 N O V E M B E R 2 0 2 2
Centre de recherche du château de Versailles, Auditorium, aile Dufour
9.00 Accueil par Mathieu da Vinha, Directeur scientifique du G.I.P. Centre de recherche du château de Versailles
9.15 Autres approches et apports de la 3D
Modération : Benjamin Ringot, G.I.P. Centre de recherche du château de Versailles
• Augmented Reconstruction: On Introducing a Novel Reconstruction Method for Simulating Material and Materiality Using Mixed Realities – Clemens Brünenberg, TU Darmstadt, Department of Architecture, Institute of Classical Archaeology
• Au-delà de l’illustration. Quand des étudiants de licence apportent une contribution à la recherche – Nicolas Priniotakis, Cergy-Paris Université
11.00 Études de cas et questions de recherche (2)
Modération : Benjamin Ringot, G.I.P. Centre de recherche du château de Versailles puis Michel Jordan, laboratoire ETIS – CY Cergy Paris Université / ENSEA / CNRS
• Florence4D – Fabrizio Nevola, Chair of Art History and Visual Culture, University of Exeter
• Reconstitution 3D d’espaces intérieurs de trois domaines royaux : Versailles, Marly, Choisy – Hubert Naudeix, Aristeas
• Reconstitution d’un séjour d’Auguste le Fort à Moritzburg à l’hiver 1728 – Edouard Lussa, Histovery
15.15 Au-delà de la reconstitution 3D
Modération : Michel Jordan, laboratoire ETIS – CY Cergy Paris Université / ENSEA / CNRS
• Experimental Virtual Archaeological-Acoustics: Bringing together Physical, Computer, and Social Science Researchers – Brian Katz, Sorbonne Université, CNRS, UMR 7190
• Sacred Sound / Sacred Space: In Search of Lost Sound, Virtual Acoustic-Visual Reconstruction of Sacred Spaces of the Middle Ages – Stefan Morent, Department of the Institute of Musicology, University of Tübingen
• Reproduire l’histoire: Multi-Sensory Reconstructions of Historical Interiors for Virtual Reality – James Hutson and Trenton Olsen, Lindenwood University, Missouri
17.45 Conclusions
New Book | Architectural Type and Character
From Routledge:
Samir Younés and Carroll William Westfall, Architectural Type and Character: A Practical Guide to a History of Architecture (New York: Routledge, 2022), 272 pages, ISBN: 978-1138584037 (hardback), $128 / ISBN: 978-1138584051 (paperback), $36.
Architectural Type and Character provides an alternative perspective to the current role given to history in architecture, reunifying architectural history and architectural design to reform architectural discourse and practice. Historians provide important material for appreciating buildings and guiding those who produce them. In current histories, a building is the product of a time, its form follows its function, irresistible influences produce it, and style, preferably novel, is its most important attribute. This book argues for an alternative. Through a two-part structure, the book first develops the theoretical foundations for this alternative history of architecture. The second part then provides drawings and interpretations of over one hundred sites from different times and places.
Samir Younes is Professor of Architecture at the University of Notre Dame where he was Director of Rome Studies and Director of Graduate Studies. He teaches architectural design and theory. His books include: The Imperfect City: On Architectural Judgement; Architects and Mimetic Rivalry; The Intellectual Life of the Architect; and Quatremère de Quincy’s Historical Dictionary of Architecture: The True, The Fictive, and The Real.
Carroll William Westfall’s PhD in the history of architecture from Columbia University was followed by five decades of teaching before retiring from the University of Notre Dame. His scholarly and general articles run from studies of Pompeii to critiques of current practice. His books are In This Most Perfect Paradise, a study of Rome in the 15th century; Architectural Principles in the Age of Historicism, a dialectic exchange with Robert Jan van Pelt; and Architecture, Liberty, and Civic Order: Architectural Theories from Vitruvius to Jefferson and Beyond, a review of architectural theory.
C O N T E N T S
List of Illustrations
Preamble
Introduction
Part I
1 The History of Architecture We Have
2 The Alternative: Type, Character, and Style
3 Urbanism
4 The Components and Types of Good Urban Form
Part II
5 The Tholos
6 The Temple
7 The Theatre
8 The Regia
9 The Dwelling
10 The Shop
11 The Hypostyle
Enfilade 
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