Enfilade

Conference | Ales through the Ages

Posted in conferences (to attend), online learning by Editor on August 7, 2022

From the announcement (20 July 2022) and the conference website:

Ales through the Ages
Online and in-person, Colonial Williamsburg, 11–13 November 2022

Craft beer may be enjoying a surge in popularity, but as participants in Colonial Williamsburg’s Ales through the Ages conference will discover, there’s nothing new about the beverage. In this one-of-a-kind history conference, offered both virtually and in-person November 11–13, participants will journey through time and space with some of the world’s top beer scholars to follow beer from its primitive roots to its modern form.

Register to reserve your opportunity to mingle with an international lineup of guests including maltsers, authors, brewery owners, social media influencers, and entrepreneurs. Speakers include
• Pete Brown, author, journalist, broadcaster, and consultant in food and drink, and 2020 recipient of Imbibe Magazine’s Industry Legend award, delivering the opening keynote, sponsored by the Virginia Beer Museum: The Highs and Lows of Researching Beer History
• Award-winning author and former journalist, Martyn Cornell, an authority on the history of British beer and the development of British beer styles, discussing the origins of Pale Ale
• George ‘Butch’ Heilshorn, co-founder of Earth Eagle Brewings and Talisman Spirits, going Back to the Future of Botanical Beers
• Food and drink historian Marc Meltonville on reconstructing a Tudor brewery and producing beer from a 16th-century recipe, the products of his venture with the FoodCult project
• Maltster Andrea Stanley on developments in malting technology in the 18th and 19th centuries
• Author Lee Graves exploring the connection between early American brewing and the West African beer traditions of enslaved populations
• Craig Gravina journeying through 400 Years of Beer and Brewing in New York’s Hudson Valley
• Journalist and author Stan Hieronymus providing insight into Breaking the Lupulin Code
• Ron Pattinson on the transformative story of UK brewing during World War I
• ‘The Beer Archaeologist’, Travis Rupp, sharing what he’s dug up most recently on ancient brewing
• Kyle Spears and Dan Lauro from Carillon Brewing Co. on operating a historic brewery in the modern world

The full program is available here»

In-person registrants will have the opportunity to enjoy a pint from the past with speakers and other attendees at an opening reception on Friday night sponsored by Aleworks Brewing Company that will feature their historic brew collaborations with Colonial Williamsburg; Saturday lunch accompanied by 18th-century theater and historically-based brews; and a post-conference gathering at Virginia Beer Company with guest speakers, Historians on Tap. Tickets for the event at Virginia Beer Company are available to in-person attendees for $20 and include beer samples from local breweries, including special brews developed in partnership with Colonial Williamsburg’s 18th master of historic foodways, Frank Clark. Attendees are also encouraged to bring and share homebrews for a truly unique taste-testing experience.

In-person registration is $275 per person and includes access to lectures, the welcome reception, and the Saturday lunch. Virtual-only registration is $100 per person and includes access to lectures through the conference streaming platform. Both in-person and virtual-only registration include a 7-day ticket voucher to Colonial Williamsburg’s Art Museums and Historic Area, valid for redemption through 31 May 2023. A limited number of virtual and in-person conference scholarships are available to students, museum or non-profit professionals, and emerging brewers with an application deadline of September 20. Special room rates at Colonial Williamsburg hotels are available for in-person conference registrants. All registrants will have access to the main conference lectures via the streaming platform through 31 December 2022.

This conference is made possible by the generosity of private and corporate sponsors including Virginia Beer Company, Virginia Beer Museum, and Aleworks Brewing Company.

Exhibition | Making Music in Early America

Posted in exhibitions by Editor on August 6, 2022

From the press release (11 July 2022) for the exhibition:

Making Music in Early America
DeWitt Wallace Decorative Arts Museum, Colonial Williamsburg, 20 August 2022 — December 2025

Organized by Amanda Keller

Organized piano by Longmen, Clementi & Company, London, 1799 (Colonial Williamsburg: Museum Purchase. Conservation of this instrument is made possible by a gift from Constance Tucker and Marshall Tucker in memory of N. Beverly Tucker, Jr. 2012-150).

In the 18th century, music was everywhere: in the workplace, the military campsites, the quarters of the enslaved, the church, the theater, the ballroom, and the home. Music was an essential part of life that helped foster a sense of community, whether people were accompanying the organ in song at church or enjoying an impromptu concert at home. Making Music in Early America, a new exhibition to open on August 20, 2022, in the Mark M. and Rosemary W. Leckie Gallery at the DeWitt Wallace Decorative Arts Museum, one of the Art Museums of Colonial Williamsburg, will envelop visitors in the musical world of the 18th and 19th centuries.

As told through more than 60 instruments and their accessories, the social history and material culture of early American music will be revealed. This is the first exhibition to show the full scope of Colonial Williamsburg’s musical instruments collection including some pieces that were recently acquired. It is scheduled to remain on view through December 2025. Organized in five sections featuring music in the home, in religion, in education, in public performance, and in the military, Making Music in Early America will include harps, organs, violins and other string instruments, fifes, flutes, a bassoon, a grand harmonicon, drums, horns, and much more. While the instruments are fascinating in and of themselves, the musicians who played them and their roles in society take center stage in this exhibition.

“Colonial Williamsburg has been collecting early musical instruments for more than 90 years, but we have never before had the opportunity to show the full range of the collection,” said Ronald Hurst, the Foundation’s Carlisle H. Humelsine chief curator and vice president for museums, preservation, and historic resources. “Supported by examples of original sheet music and paintings of early Americans playing their instruments, this exhibition will place these remarkable objects in their rich, historic context.”

Among the many highlights of Making Music in Early America is a barrel organ, or hand organ, made by Longman, Clementi & Co. in London, England, ca. 1789–1801. It is a hand-cranked organ that could be played inside the home on demand with no musical talent required. The organ barrels operated much like a music box and included dance music, religious music, and military marches. They produced music on demand similar to a juke box or record player, if one had the strength to crank the handle and switch out the barrels to change the tunes. In the 17 September 1767 edition of The Virginia Gazette, an item advertising a similar instrument read: “Just Imported from London, a VERY neat HAND ORGAN, in a mahogany case, with a gilt front, which plays sixteen tunes, on two barrels; it has four stops, and every thing is in the best order. The first cost as 16£ sterling, and the Lady being dead it came in for, any person inclining to purchase it may have it on very reasonable terms. Inquire at the Post Office, Williamsburg.”

“This incredibly diverse collection of musical instruments offers us ways to tell the stories of the people who lived here during the 18th and early 19th centuries by examining who interacted with these instruments and why,” said Amanda Keller, Colonial Williamsburg’s manager of historic interiors and associate curator of household accessories who organized this exhibition. “The instruments become even more fascinating when you discover who played them and what role music played in society.”

One of the earliest hunting horns known in American collections is another featured object in the exhibition. Simple hunting horns were being made in the American colonies as early as 1765, but the majority were imported from Europe like this brass horn, made by Johannes Leichamschneider in Vienna, Austria, ca. 1715. As hunting horns were worn by the rider, they were easily battered. As a result, early hunting horns rarely survived, and this is an outstanding example that scholars come to The Colonial Williamsburg Foundation to study. Although the horn section may have been modified over time and updated, the bell is original. Only one other just like this example survives with a history of use at Mount Vernon. It is recorded that George Washington’s enslaved valet, William Lee, performed the important duties of Huntsman, tending to the horses and hounds, as well as blowing the hunting horn during fox hunts at Mount Vernon and other estates. Although the history of Colonial Williamsburg’s hunting horn is unknown, it illustrates the once-prominent role played by free and enslaved huntsmen in the early South.

Revolutionary War military instruments are especially rare, and this brass ‘Hessian’ drum, from the Frebershausen area in the Hesse-Kassel region of what is now Germany, ca. 1770–85, is another featured object to be on view in Making Music in Early America. It was brought over by one of the many so-called Hessian units hired by the British to fight in the American Revolution and was most likely captured by American forces. Made of brass, this drum still has some secrets to reveal: Colonial Williamsburg’s experts, with the aid of colleagues across the Atlantic, are researching to which regiment it belonged and are using the painted colors around the top and bottom bands to help solve its mystery.

Also included in the exhibition will be ways for visitors to be able to hear the sounds of four of the instruments (banjo, harpsichord, organized piano, and musical glasses) as well as an opportunity to see a musician play an organized piano (the period term indicating the addition of several organ stops playable from the same keyboard).

Additionally, guests will be able to use an interactive touch screen to view an extraordinary music book in the Colonial Williamsburg collection that was owned by Peter Pelham (1721–1805), an English-born American organist, harpsichordist, teacher, and composer. Born in London, Pelham and his family immigrated to Boston in 1730. While there, Pelham’s father apprenticed him to Charles Theodore Pachelbel, son of composer Johann Pachelbel who is known for “Canon in D,” which is still popular today. Pelham followed Pachelbel to Charleston in 1736 and remained there for a number of years, studying with Pachelbel and later becoming a harpsichord teacher himself. Pelham returned to Boston in 1744 to serve as the first organist of Trinity Church. In 1750 Pelham moved to Williamsburg, to serve as organist at Bruton Parish Church. While in Williamsburg Pelham actively participated in the city’s musical life, giving concerts and teaching young ladies to play the spinet and harpsichord. Additionally, he supported himself and his family by serving as clerk to the royal governor, supervisor of the printing of money, and keeper of the Public Gaol. The music book that will be on view includes music that Pelham enjoyed as well as some of his original compositions. It has never been on view before, and although the original book is too fragile to be placed on view, this digital interactive will allow visitors to page through the book and see the music for themselves.

Making Music in Early America is generously funded by an anonymous donor.

Symposium | Architecture and Health, 1660–1830

Posted in conferences (to attend) by Editor on August 5, 2022

James Gibbs, The Great Hall of St Bart’s, London, 1730s (Photo by David Butler). Situated on the first floor of the hospital’s North Wing, the Great Hall is approached by way of a grand staircase, the walls of which were decorated by William Hogarth. At the top of the stairs, the Great Hall is accessed by a dominating doorway opening into the large hall, decorated with portraits and dedications to the early contributors to the redevelopment of the hospital. More information is available here»

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From The Georgian Group:

Architecture and Health, 1660–1830
Georgian Group Symposium, St Bartholomew’s Hospital, London, 3 November 2022

Following successful symposia held by the Georgian Group in previous years—on the Adam Brothers, James Gibbs, Women and Architecture, and Georgian London Revisited (online)—this year’s symposium will address Architecture & Health in the long eighteenth century. Appropriately, it will be held in James Gibbs’s Great Hall at St Bartholomew’s, an institution celebrating its 900th anniversary. A series of short papers by both established and younger scholars, and from a range of disciplines, will examine how and where medicine was studied and debated, how knowledge was disseminated, and how healthcare was provided in what spaces and through what mechanisms. The symposium will be held from 10am to 5pm and will be led by Ann Marie Akehurst. Tickets (£70) include a buffet lunch and reception; a limited number of student tickets (£35 ) are also available. Please read the Terms and Conditions before booking. If tickets have sold out for this event, please email members@georgiangroup.org.uk to be added to the waiting list.

P R O G R A M M E

9.30  Registration

10.00  Welcome

Session 1: Transmission of Medico-Scientific Knowledge
• Matthew Walker — The Architecture of English Anatomy Theatres 1660–1800
• Janet Stiles Tyson — Elizabeth Blackwell’s A Curious Herbal and Bart’s
• Danielle Wilkens — Health in the Academy: Jefferson’s University of Virginia and Landscapes of Inequity

Session 2: Outside the Institutions: Health and Environment
• Joana Balsa de Pinho — Health, Architecture and Urbanism in the Early Modern Era: From Prevention to Treatment
• Allan Brodie — Georgian Margate: A Landscape and Townscape of Health
• India Knight — The Spa at Hampstead

Session 3: Places of Confinement
• Anna Jamieson — ‘Bedlam’s Picture Gallery’: Health, Performance, and the Built Environment at Bethlem
• Leslie Topp — Early Asylums and the Curious Appeal of Prison Designs
• Marina Ini — John Howard and the Quarantine Centres of the Eighteenth-Century Mediterranean
• Sarah Akibogun — The (Other) Woman in The Attic: Considering Post-Colonial Lenses on the Treatment of Madness in Georgian England

Session 4: Enduring Hospital Spaces
• Tessa Murdoch — French Protestant Hospital in Clerkenwell, 1742
• Elisabeth Einberg — Hogarth’s Use of Architectural Space to Bring Home the Message
• Dan Cruickshank — Bart’s Great Hall
• Will Palin — Bart’s Heritage

5.00  Drinks Reception

Call for Papers | CAA 2023, New York

Posted in Calls for Papers by Editor on August 4, 2022

I’ve highlighted here a selection of panels related to the eighteenth century; but please consult CAA’s full listing for additional possibilities. CH

111th Annual Conference of the College Art Association
New York Midtown Hilton, 15–18 February 2023

Proposal due by 31 August 2022

CAA’s 111th Annual Conference will be held 15–18 February 2023 at the New York Midtown Hilton. Most sessions will be held in person, and some will be convened virtually (Zoom). The full conference schedule will be posted on 1 October 2022.

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Accessorizing the Medieval and Early Modern World
Chairs: Kristin M. O’Rourke and Jane Carroll (Dartmouth College), kristin.o’rourke@dartmouth.edu and jane.l.carroll@dartmouth.edu

Queen Elizabeth I would not hold an audience without her ropes of pearls, nor would a nineteenth-century dandy stroll the boulevards without his top hat and cane. This session hopes to go beyond the fabric of fashion to explore how carefully chosen accessories of dress allow subjects to add successive layers of signification to their costume. How accessories were worn or handled also carried meaning, as we see reflected in art. We seek papers that explore through case studies, theoretical, or historical discussions how items such as lace, buttons, ribbons, jewelry, umbrellas, gloves, fans, shoes, wigs, and so forth, transformed basic costumes into successive, diverse self-presentations.

Did accessories retain stable meanings over time and place? What forces influenced change and rupture? Beyond the elite consumer, can we trace a history of accessories, like aprons or caps? What is the gendered history of particular objects and were those lines ever transgressed? Additionally, we encourage work that explores how global trade or colonialism impacted material and fashion history over time. This panel sits at the intersection of art history, material culture, fashion history, cultural anthropology, among other disciplines. We hope to tease out the visual and iconic meanings of accessories over the centuries.

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Atlantic/Pacific: American Art Between Ocean Worlds (AHAA)
Chairs: Caitlin Meehye Beach and Katherine Fein (Columbia University), cbeach1@fordham.edu and katherine.fein@columbia.edu

The Americas have long been traversed by circuits of cultural and commercial exchange linking both ocean worlds, including long-distance Indigenous trade routes in the pre- and extra-colonial world, the Manilla Galleon Trade (1565–1815), the transcontinental railroad (completed 1869), and the Panama Canal (opened 1914). While studies frequently highlight the interconnectedness of the Americas in relation to land, this panel asks what happens when we orient the study of ‘American art’—broadly conceived—around not continental landmasses but bodies of water: namely, the Atlantic and Pacific Oceans. As Paul Gilroy, Tiffany Lethabo King, Robbie Shilliam, and others suggest, watery spaces— oceans, littorals, shoals, archipelagos—can open onto innovative and essential ways of thinking about cultural production and critique.

This panel invites contributions that foreground the role of visual and material culture in forging, revealing, and/or problematizing the interconnectedness of the Atlantic and Pacific worlds. How were these spaces linked through the movement of people, materials, objects, and ideas in the wake and apart from slavery, colonialism, forced migration, and exclusion? How might recent scholarship about the fraught connections across these spaces reframe narratives of American art history? What might the methods and objects of American art offer to broader investigations of oceanic networks? And finally, how can we find ways to think about trans- and inter-oceanic exchanges that acknowledge their interrelation while also holding space for local specificity? We welcome research-in-progress, curatorial projects, and artistic interventions that engage these and other questions as they position American art at the confluence of ocean worlds.

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Drawing as an Art: Invention and Innovation in Britain (HBA)
Chair: Laurel Peterson (Yale Center for British Art), laurel.peterson@yale.edu

In 1715, the artist and art theorist Jonathan Richardson described the practice of drawing as “the very spirit, and quintessence of art.” Drawing’s accessibility and speed primes it for innovation. Artists such as Thomas Gainsborough, J.M.W. Turner, Elizabeth Siddal, and Sonia Boyce have turned to drawing as a site of experimentation. Indeed, the utility, accessibility, and ease of drawing mean that it is practiced by painters, printmakers, sculptors, architects, scientists, administrators, and craftspeople alike. Despite its importance to the history of British art and architecture, rarely is drawing satisfactorily integrated into canonical histories, whether on its own terms or as a key link between mediums. This panel invites papers that identify drawings as sites of innovation and invention, produced across time, throughout Britain and its former empire. Panelists might consider the role played by drawings in the development of artistic composition, as a means of knowledge production, as studied and practiced within academic contexts, or as an end in itself. Papers might also consider the role played by collections of drawings and their impact on art making in Britain.

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Eighteenth-Century Atmospheres: Science, Politics, Aesthetics (ASECS)
Chairs: Cigdem Talu (McGill University) and Dimitra Vogiatzaki (Harvard University), merve.talu@mail.mcgill.ca and vogiatzaki@g.harvard.edu

First used in English in Rev. John Wilkins’s Discovery of New World (1638) as a climatic term, the word atmosphere came to gradually yield its literal meaning to a figurative one over the course of the eighteenth century; by 1817 we find it in Coleridge’s Biographia Literaria denoting a ‘moral environment.’ Drawing from twentieth-century phenomenology, new aesthetics, and affect studies, contemporary theories of the atmospheric seem to oscillate between the two approaches in an attempt to map it in conceptual, aesthetic and philosophical terms, whether defining it as the intangible space that opens up ‘in-between’ the individual and the collective, or as a space that is increasingly conceived in its comprehensive ecological, racial, and gendered dimensions.

This session seeks to retrace the origins of an ideologically tense atmosphere by exploring how scientists, philosophers, artists, and architects—among others—began to envision and visualize the world ‘in-between’ in the Age of Reason. From the materialist contig/nuities of Diderot’s rêve to Mesmeric utopianism; from Bernulli’s Hydrodynamica to the urban response to the threat of miasma; and from Montesquieu’s political theory of climates to the climactic articulation of sensational interiors: what were the figurative, conceptual, and even material means mobilized to grasp the shifting notion of atmospheres in the eighteenth century? What was the role of non-Western perspectives and the agency of marginalized individuals or groups in its shaping? We particularly invite proposals that foreground the ideological repercussions of this atmospheric awareness in the arts and sciences of the time.

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Environmental Crises and Their Impact on the Arts and Architecture of the Eighteenth-Century Atlantic World (HECAA)
Chairs: Luis J. Gordo Peláez and C. C. Barteet (The University of Western Ontario), luisgordopelaez@csufresno.edu and cbarteet@uwo.ca

Over the past decades, our global society has begun to document the undeniable impact of global warming. Extreme weather patterns are bringing about more severe flooding, fires, droughts, epidemics, and so on that at times coincide with volcanic eruptions and earthquakes that exacerbate already dire situations. As we are also recognizing the roots of our increasingly desperate global condition has its roots in the rise of Christian European colonialism that spread across the earth; an enterprise based on conquest and an extraction economy and the exploitation of resources and peoples. By the eighteenth century, signs of environmental crises were appearing across the Atlantic world, as peoples responded to severe droughts, deforestation, floods, hurricanes, epidemics, and other natural disasters and the challenges they posed for colonial and early independent societies. Not unexpectedly art and architecture responded to these events. Through art and architecture peoples explored new forms of engineering, building, religiosity, environmental studies, and etc. In this panel we seek to explore the impact of environmental crises on the art and architecture of the eighteenth-century Atlantic world. Papers that explore new technologies, architectural and engineering projects, artistic representations, and the like are welcomed.

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Ethics and Social Justice in Early Modern Iberian Global Art, 1492–1811 (virtual session)
Chair: Lisandra Estevez, estevezl@wssu.edu

The dual paradigms of ethics and social justice in early modern global Iberian art (1492 to 1811) are the foci of this session. The bracketed date is significant as it opens it up with the hallmark year of transatlantic Spanish colonization and concludes with the year that Spain officially banned slavery on the peninsula and in its colonies (although the practice remained in territories such as Cuba). The geographic scope of this panel includes Iberia (both Spain and Portugal), Mexico, the Caribbean, Central America, South America, the Philippines, and Goa.

Many of the artists whom we esteem and study as the ‘greats’ of the Spanish Golden Age enslaved Africans or had praxes that necessitated exploitative labor and social hierarchies, with Velázquez as the best-known example. Papers that focus on the writing of art histories that reevaluate the ethics entailed in canon formation as well on the art and agency of Afro-Iberian and Indigenous/First Nations artists in view of social justice methods are especially welcome. The role played by specific subjects, art genres, art practices, and institutions such as portraiture, still-life paintings, collecting, and the Holy Office of the Inquisition as arbiters of cultural control add layers of complexity to the reappraisal of ethics and social justice in the arts of the early modern Iberian world. Ethics and social justice are jointly considered to reevaluate both visual and art historical praxes as manifested in diverse art media that include architecture, books, drawing, manuscripts, painting, printmaking, and sculpture.

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Iberian Art in a Global Context: A Tribute to Jonathan Brown (Society for Iberian Global Art)
Chair: Edward J. Sullivan, edward.sullivan@nyu.edu

This panel honors the legacy of Jonathan Brown (1939–2022), one of the founding members of the American Society for Hispanic Art Historical Studies, the predecessor of the Society for Iberian Global Art (SIGA). Though perhaps best known for his scholarship on Diego Velázquez and Spain’s Golden Age, Brown’s extensive bibliography also encompasses the history of collecting; the critical fortunes of seventeenth-century Spanish art in the modern world; and viceregal painting, which he explored during the latter part of his career. Papers that touch on any aspect of Jonathan Brown’s wide-ranging interests, including those that reflect on his impact on the study of global Iberian art in the United States, are welcome. Topics could include:
• Patronage studies across imperial Spain
• Art and architecture at the early modern European court
• European sources of the painting of New Spain
• Transnational collecting in the early modern world
• The meaning of Las Meninas
• Interactions between conservation studies and art history
• Intersections of memoir and scholarship

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Illustrated Albums as Sites for Knowledge Production, Commercial Mediation, and Technological Investigation
Chair: Paulina Banas (University of Alabama at Birmingham), pbanas@uab.edu

Illustrated albums, from small travel publications to larger encyclopedias, while often consulted by scholars and the larger public for their appealing illustrations, textual information, or the scientific or artistic value of images, have a largely forgotten and complex history of production that requires further investigation. Since many of these books included illustrations executed on various media and reproduced through diverse traditional and modern printmaking techniques, these books often relied on greater financial investments and a higher number of contributors than many other non-illustrated publications. Additionally, the production of multi-volume books with hundreds of expensive plates, such as the Dutch collector Albertus Seba’s Thesaurus (1734–65), or La Description de l’Égypte (1809–22), written by the French scholars who accompanied Napoleon to Egypt, could take decades and involve temporary suspensions of the publication process, sometimes affected by the death of the author(s) or the change of direction in the publishing process. Finally, the production of illustrated albums could also call for well-measured marketing strategies (for instance, commercial prospectuses), and the preparation of various editions with differentiated formats and quality of prints thus responding to the changing public demand.

This panel seeks papers that bring light to the structural aspects of the book market and the production of illustrated albums across time and location. It particularly welcomes researchers who examine the process of production of illustrated books as dependent on technical and commercial aspects associated with publication and printmaking, that could affect the conceptualization of these books and the knowledge emerging from these products.

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Implicit Lessons: The Sociality of Instructional Texts from 1793 to 1993
Chairs: Colleen M. Stockmann (Gustavus Adolphus College) and Aleisha Elizabeth Barton (University of Minnesota), cstockmann@gustavus.edu and barto392@umn.edu

Artists and amateurs have long absorbed the lessons of art-making through the distribution of printed instruction, from the first American type foundry to the invention of the portable document format (PDF). This session examines technical manuals as objects of study in their own right, specifically in the context of the United States. With a focus on praxis and pedagogy as sites of social transformation, we seek to center the under-examined arena of creative instruction. As recent studies within American art and material culture suggest, process manuals and design guides can be interrogated as an archive of the social, political, and aesthetic philosophies of making. Scholarship such as Elizabeth Bacon Eager’s work on nineteenth-century technical drawing and Kristina Wilson’s study of racialized midcentury design directives suggest the implicit politics present within instructive texts that often remain undetected in discussions of completed works and compositions. Panelists may consider a wide range of materials, including: pattern book templates, photography manuals, advice columns for interior design, papermaking guides, and drawing manuals. This session seeks papers that, for example: theorize notions of directional versus didactic, dissect the interplay of handwork and vocational training, and/or provide a critical interpretation of instructional messaging. We invite elaborations on the theme that center the imaginative potential of instructive texts via experimentation and improvisation. Papers that tell the stories of unexpected interpretations of manuals and technical lessons are encouraged, especially as they pertain to marginalized makers and mediums underrepresented in the archives.

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Liquidities: Seascapes as Subject and Method
Chair: Kelly Presutti, kelly.presutti@gmail.com

When Joseph Vernet painted France’s ports in an array of grand canvases in the eighteenth century, the result was so effective that it countered the nation’s actual naval shortcomings—Louis XV declared, “there can be no navy other than that of Vernet.” When the sea is vast, unknown, and elsewhere, representation takes on an expanded capacity to stand in for, and alter, the real. As such, seascapes offer unique insight into commerce, conflict, and ways of controlling distant lands; oriented outward, they exemplify a tension between here and elsewhere; their subject demands a fluid response at odds with any fixed interpretation. Further, from early modern trade to contemporary flows of capital, water permeates the history of art. In an age when we look increasingly to both transcend national and disciplinary limitations and to contend with the global impact of rising tides, the time is ripe to revisit the seascape.

This panel calls for new approaches to studying the sea in art. Beyond the potential for metaphor, how have artists historically addressed liquidity? In what ways has the sea been rendered, claimed, and marked by visual representation? How have seascapes contended with the sweeping expanse of the world’s oceans, and what lessons might they impart for making distant waters more palpably present today? Open to a wide geographical and chronological scope, we seek novel ideas for situating seascapes in a global perspective, illuminating environmental issues related to waterways, and tracing fluidity as a potential methodological model.

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The Art of Sleeping in Early Modern and Modern Western World
Chairs: Guy Tal and Gal Ventura, guy1tal1@hotmail.com and galventura1@gmail.com

Both the historical and art-historical dimensions of human sleep were largely disregarded until the end of the twentieth century. Indeed, as a foremost physiological necessity, sleep was initially regarded as a ‘non-social’ experience: a natural rather than a culturally dictated event. Nonetheless, sociologist Marcel Mauss argues in a well-known essay that our movements, gestures, and the other ways in which we use our bodies are in themselves a product of socio-cultural learning processes. The meanings, methods, motives, and management of sleep thus vary culturally, socially, and historically. One should therefore distinguish between the biological notion of ‘being asleep’ and the cultural and historical implications of sleeping, or what sociologist Brian Taylor calls ‘doing sleeping’, referring to the techniques, rituals, and regulations forming our social conception of sleep.

In addressing this understudied topic, this session seeks to explore perspectives on sleep and sleeplessness through visual representations and artifacts ranging from the cultural, societal, medical, and psychological in the early modern and modern Western world (from 1500 to the present). This session includes studies on sleeping environments, sleeping postures, clothing, beds, and daily objects designated to produce or facilitate sleep, the psychology of sleep manifested in toys and transitional objects, and occurrences when sleep is obstructed by dreams and nightmares. How, for example, do images echo theories and common beliefs concerning sleep, dreams, and nightmares? And what can be learned from artifacts—whether real or representational—regarding sleep?

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The Art of the Periodical
Chair: Max Koss (Leuphana University Lüneburg), maxkoss@uchicago.edu

The recent effervescence of periodical studies has led to a renewed interest in the role of periodicals in the history of art, not only as platforms for the dissemination of text and image but as objects with artistic qualities in and of themselves. This panel seeks to address this ontological duality of periodicals by soliciting papers dealing with the material nature of periodicals, their design, their production, and the circumstances of their reception, as they relate to the periodicals’ dimension as artworks.

As a quintessentially modern medium, periodicals occupy a liminal position in many humanities disciplines but are at the same time only graspable in their totality with the application of a multi-perspectival methodology that takes into account their multimodal nature as a medium combining text with image in potentially endless variations.

This panel, however, wants to approach periodicals with an art historical eye, a hitherto neglected angle from which to describe and analyze this form of printed matter. A particular focus is the ‘facture’ of periodicals, specifically the sources and origins of their materials, not least paper, and their relative expense or cheapness, as well as the economy of reproductive technologies used to print and illustrate periodicals.

The panel welcomes contributions that address any kind of periodical or group of periodicals from the late eighteenth century onwards. The panel particularly welcomes proposals on periodicals produced and distributed in the global South, as well as those produced by marginalized groups, including, but not limited to women, BPoC, and LGBTQIA.

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The Dutch Americas (HNA)
Chairs: Stephanie C. Porras (Tulane University) and Aaron M. Hyman (Johns Hopkins University), sporras@tulane.edu and ahyman6@jhu.edu

Porcelain, lacquerware, carved ivory, sea shells, aromatic spices: even just a list of goods portered from the East to the Dutch Republic evokes a multi-faceted and multi-sensorial history. The last thirty years have seen a staggering amount of work on the material culture and artistic production enabled by the long-distance trade of the Dutch East India Company (VOC). With a few notable exceptions, far less art historical attention has been paid to the activities of the Dutch West Indian Company, the WIC. With footholds in North America, the Caribbean, South America, and the west coast of Africa, the company played a vital role in the shaping of the Americas and the transatlantic traffic of raw materials (tobacco, pearls, sugar, gold), refined artistic products, and people (both willing settlers and enslaved laborers).

This session aims to begin the process of assembling and reassessing the visual and material corpus related to Dutch trading companies in the Americas and is part of a larger, multi-year project that aims to redress this historiographic imbalance between east and west. Papers are welcome that treat any facet of Dutch artistic culture as it was inspired by the Americas or took shape in these geographies. Potential topics include: botanical expeditions and illustrations, plantation architecture, the material culture of slavery, mapping and navigation (particularly of complex waterways), engineering projects, inter-imperial artistic influence (critical to zones of contact and piracy like the Caribbean), the collection of Americana in the Netherlands, the mobilization of artistic resources (pearls, shells, pigment, etc.).

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Note (added 4 August 2022) — The original posting did not include information for Accessorizing the Medieval and Early Modern World. But certainly should have!

Call for Essays | The Académie Royale Art Collection

Posted in books, Calls for Papers by Editor on August 2, 2022

Jean-Baptiste Martin, View of the Salon of Diana at the Louvre, a Gathering of the Académie Royale de Peinture et de Sculpture (Séance de l’Académie royale de peinture et de sculpture au Louvre), ca. 1712–21, oil on canvas, 30 × 42 cm (Paris: Musée du Louvre, RF 1998-36).

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From ArtHist.net:

The Académie Royale Art Collection
Edited by Markus Castor, Sofya Dmitrieva, and Anne Klammt

Proposals due by  30 September 2022; selected contributions will be due 31 March 2023

Our book aspires to highlight the importance of the art collection that the Académie royale de peinture et de sculpture assembled in the century and a half of its existence (1648–1793) and show that this unique, yet almost entirely unstudied, body of works is essential to our understanding of eighteenth-century art and institutional practices.

The Académie royale art collection consisted mainly of reception pieces—the works that young artists submitted for examination by the academic jury to become full members of the institution. It also included miscellaneous donated artworks as well as portraits of the Académie’s patrons that the institution frequently commissioned from current members. Around 300 paintings and some 30 sculptures were on display in the Académie’s rooms at the Louvre and daily surrounded the artists who lived and worked there. The latter could also consult a rich collection of engravings at the Académie’s print room.

The collection was a unique corpus for multiple reasons. Firstly, as almost all the prominent old regime artists were members of the Académie royale, it united such iconic reception pieces as Watteau’s Pilgrimage to the Isle of Cythera (1717), Chardin’s Ray (1728), and Greuze’s Septimius Severus and Caracalla (1769). Secondly, these and other examinational works now offer invaluable insights into academic reception practices and aesthetic values as much as the commissioned portraits of the Académie’s patrons—into its behind-the-scenes personal networks. Finally, the hang of the works in the Louvre is an outstanding example of eighteenth-century curatorial work: since the collection’s arrangement was decided upon by academicians themselves, it stands an important ‘internal’ counterpart to the Académie’s public display, the Salons.

After the French Revolution, this one-of-a-kind body of works got dispersed and is shared today by the Louvre, the Versailles, the ENSBA, and several French regional museums. Thankfully, however, two detailed descriptions are still extant: in 1715, when the collection was housed on the Louvre’s ground floor, it was documented by Nicolas Guérin (Paris: J. Collombat), and in 1781, when it moved to the first floor, it was recorded by Antoine-Nicolas Dezallier d’Argenville (Paris: De Bure). In 1893, the two descriptions were republished as one volume by Anatole de Montaiglon. Two key critical works on the collection are the exhibition catalogue Les peintres du roi, 1648–1793 (Paris: Réunion des musées nationaux, 2000) and Hannah Williams’s monograph Académie Royale: A History in Portraits (Farnham: Ashgate, 2015).

The present book is part of the project run by the DFK Paris in collaboration with the Centre Dominique-Vivant Denon (Louvre) and the INHA that aspires to reconstruct the collection digitally and build a database of the works that constituted it.

We invite contributions that define the role of the Académie royale art collection and discuss its history and arrangement. Issues of our interest include but are not limited to:
• Collection arrangement: How did the hangs of the collection on the first and the ground floor of the Louvre differ? What were the guiding principles of the collection’s arrangement? What role did genre play in it? What was the function of different rooms and how did the works adorning the room reflect it? Did the arrangement reflect the Académie’s institutional hierarchy? How did prints, sculptures, and paintings that formed the collection work together?
• Instructive function of the collection: How did these sculptures, paintings, and prints, seen by the Académie’s students on day-to-day basis, influence their work? What message (if any) did they convey?
• Reception pieces: What role did the reception play in the artist’s career? What was the canon of academic reception pieces? How did it help crystallise the academic genre classification?
• Commissioned portraits: Who were the Académie’s patrons whose portraits the institution commissioned from its members? What role did these patrons play in the history of the Académie royale? How were they related to each other and what was their specific interest in sponsoring the institution?
• Conférences de l’Académie royale: How do the lectures that the members regularly delivered at the Académie royale relate to the collection? How do both reflect the Académie’s institutional and aesthetic values? What is the significance of the Salle d’Assemblée as the centre of the institutional life of the Académie royale?
Dispersal of the collection: How were the works constituting the collection distributed after the French Revolution? What were the unique stories of these paintings, prints, and sculptures post-1793?

Contributions are welcome in English or French and are expected to be between 5,000 and 15,000 words in length. If you are interested, please send a short 300-word abstract and a brief 50-word biography to Sofya Dmitrieva sofya.k.dmitrieva@gmail.com by 30 September 2022. The deadline for selected contributions will be 31 March 2023.

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Note (added 12 August 2022) The posting has been updated to include the editors and the painting by Jean-Baptiste Martin (from the PDF file of the Call for Essays)

Call for Papers | Boiseries: Decoration and Migration

Posted in Calls for Papers by Editor on August 1, 2022

From the Call for Papers:

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 

Proposals due by 2 September 2022

This 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.

From an historical perspective boiseries have always, in a sense, been mobile. In the eighteenth century, Paris joiners and carvers travelled to locations outside the city to install panelling, and entire decorative schemes were sent abroad to Germany, Spain, and Latin America. Accompanied by mirrors and tapestries from royal manufactories, these panels disseminated French style in accordance with the diplomacy of the monarch and the desires of foreign courts. Boiseries executed for particular sites but not installed were also sometimes reused elsewhere: failed deliveries and changes in taste during the period from commission to installation occasioned opportunities for buyers, and sets of panelling conceived as complete ensembles were broken up and dispersed for use in multiple locations, or disused altogether. Shifting fashions and continual reallocations of appartements at Versailles set into motion near-ceaseless rotations of décors, including boiseries. And, notwithstanding the legal categorisations of panels, once fixed, as immeubles, removals were negotiated by tenants during their lease of, and on their departure from, urban hôtels.

In the nineteenth century, the pace and directionality of movement changed, as elements of interior decoration began to be acquired for their own merit and eighteenth-century boiseries became the relics of a physically and culturally disappearing French national history as well as the trophies of an international collecting elite. Elements of woodwork, disassembled from demolished châteaux or reproduced in survey drawings and plaster casts, made their way into rooms in Britain and the United States, their proportions and ornament amplified and metamorphosed—to borrow terms used by John Harris and Bruno Pons—to match the pitch of the French Second Empire and later living.

Professional interior decorators and commercial dealers in decorative arts were largely to credit, providing channels by which goods could easily be transported from place to place. However, boiseries also emigrated, as it were, with exiles of the Republic, extending the presence of French style to less-cosmopolitan regions and adding geopolitical to social and architectural concerns.

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.

This conference provides a unique opportunity for cultural historians of France, art and architectural historians, historians of collecting, curators, and heritage professionals to meet in a room reassembled following the landmark Château de Bercy sale (1860) and to meditate on the finer points of its significance in the dispersal of French cultural patrimony.

The organisers invite abstracts for 20-minute papers on topics engaging with, but not limited to:
• The relative mobility (meubles/immeubles) of boiseries in the 18th century
• Collecting, architectural salvage, and markets for boiseries in the 19th and 20th centuries
• Exchanges of taste and culture as a result of political displacement, in particular the influence of French émigrés
• Memory and the material traces of Empire
• Documentary and curatorial challenges posed by collections of boiseries
• The management of architectural heritage in private and commercial spaces today

Confirmed speakers include Dr Lee Prosser (Historic Royal Palaces), Frédéric Dassas (Musée du Louvre), Dr Ulrich Leben (German Ambassador’s residence, Paris), Dr Mathieu Deldicque (Musée Condé, Château de Chantilly), and Dr Tom Stammers (University of Durham).

Some funds will be available to support travel and accommodation for speakers. The conference is generously supported by the University of Buckingham, The Chislehurst Society, and Chislehurst Golf Club as part of a programme of events marking the 150th anniversary of the death of Napoleon III at Camden Place.

Submissions for 20-minute papers (300 words) should be sent to lindsay.macnaughton@buckingham.ac.uk and laura.jenkins@courtauld.ac.uk by Friday, 2 September 2022. We look forward to receiving your abstracts.

For more information, please visit: boiseriescamdenplace.wordpress.com (coming soon).

With thanks from the organisers: Dr Lindsay Macnaughton (University of Buckingham) and Laura C. Jenkins (The Courtauld Institute of Art).

New Book | Baroque Prague

Posted in books by Editor on July 31, 2022

The Czech edition appeared in 2017:

Vít Vlnas, Baroque Prague, translated by Derek Paton (Prague: Karolinum Press, Charles University, 2022), 330 pages, ISBN: ‎ 978-8024643762, $30.

Baroque Prague is a lavish excursion through Prague’s important baroque period, beginning with the defeat of Czech Protestants at the Battle of White Mountain in 1620 and ending with the philosophical era of Enlightenment in the eighteenth century. In this book, Vit Vlnas explores both the material and spiritual transformations the city went through during this boisterous period, treating the baroque epoch as a cultural phenomenon vital to the current genius loci of the great Central European capital. Vlnas guides readers through the city from Prague Castle to the Lesser Town, Old Town, and New Town, as well as Vyšehrad, the important historic fortress. In a special section, he takes us to equally important baroque monuments outside of the historical city center. Lushly illustrated with over 200 color plates, including both historical images and contemporary photographs of architectural exteriors, the text is accompanied by helpful maps indicating the location of the monuments, as well as a glossary of prominent figures during the period. Both a highly readable introductory study and a work for experienced scholars of the history of Bohemia, Baroque Prague is an exciting homage to Europe’s great ‘city of a hundred spires’, and shows how a place’s storied past informs its present soul.

Vít Vlnas is head of the Institute of Christian Art History at Charles University and head of the Center for Humanistic Studies at the Moravian Museum.

Call for Papers | Design, Description, and Discovery in Cataloging

Posted in Calls for Papers by Editor on July 30, 2022

From ArtHist.net:

Terms of Art: Design, Description, and Discovery in Cataloging
Online, The Hood Museum of Art and Dartmouth Research Computing, Hanover, NH, 22–24 February 2023

Proposals due by 31 August 2022

An unusually tagged bronze statue, found in museum storage, “Brought in By Campus Police Oct. 1966” (Photo courtesy Beth Mattison).

Institutions such as museums, libraries, and archives have a mission to preserve, interpret, and disseminate cultural heritage. In addition to new acquisitions for their collections, these institutions must also update the tools with which researchers access and study these holdings, objects, and works of art. Increasingly, stakeholders like academics, educators, and the public treat a collection’s digital representation—its metadata records—as an entry point for discovery. Paradoxically, these web-based experiences meant to expose collections to broad audiences often assume users have specialized knowledge of the terms and processes GLAM (Galleries, Libraries, and Art Museums) institutions use to describe their own work, making them inaccessible to the majority of visitors. Additionally, variation and evolution of language often outpaces or does not align with public understanding. For example, someone interested in 17th-century Dutch art might not know that the phrase “Dutch Golden Age” has colonialist implications and has been removed from many museums’ internal databases. The search language isn’t wrong, it’s just outmoded.

The Hood Museum of Art and Dartmouth Research Computing are organizing a virtual symposium to bring together museums, libraries, and archives to discuss issues of access and ethical vocabularies in cultural heritage. The aim of the virtual conference is to develop the debate about how the language we use to describe collections impacts the communities that create and seek out art. The organizers hope to prompt dialogue on the issues curators and researchers face in trying to maintain equitable and anti-racist progress and research. Additionally, this symposium will emphasize the role of technologists who specialize in user-centered design as critical to promoting equity in information systems. In combining subject-matter specialists and user-centered design technologists, we aim to bridge the communication gap between institutions and the publics they serve, allowing each to educate the other about how they describe collections.

This virtual conference will feature panels, workshops, and roundtables from different institutions around the world. Speakers will be compensated at the rate of $250 per person.

Types of Panels
• Papers, posters, or case studies: 20-minute presentation with 10-minute Q&A
• Roundtables or panel discussions: 45- or 50-minute presentation with 10-minute Q&A
• Extended discussions and workshops: 90-minute participatory session with a 5- or 10-minute break for ideation, brainstorming, cross-pollination
• Other: a session you would like to submit that doesn’t fit the above criteria (prototyping, hackathon/datathon)

Organizers
• Meredith Steinfels, Assistant Director, Digital Platforms, Media, and Archives
• John Bell, Program Director, Data Experiences and Visualizations Studio
• Ashley Offill, Associate Curator of Collections
• Elizabeth Rice Mattison, Andrew W. Mellon Associate Curator of Academic Programming

Application requirements and submission details are available here»

Deadlines
Session submission: 31 August 2022
Approval and feedback: 3–7 October 2022

This conference is made possible by the generous support of the Leslie Center for the Humanities.

Exhibition | Chroma: Ancient Sculpture in Color

Posted in exhibitions by Editor on July 29, 2022

Installation view of Chroma: Ancient Sculpture in Color, on view at The Metropolitan Museum of Art
(Photo by Anna-Marie Kellen for The Met)

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Not explicitly an eighteenth-century exhibition, but central to eighteenth-century conversations. From The Met:

Chroma: Ancient Sculpture in Color
The Metropolitan Museum of Art, New York, 5 July 2022 — 26 March 2023

Ancient Greek and Roman sculpture was once colorful, vibrantly painted and richly adorned with detailed ornamentation. Chroma: Ancient Sculpture in Color reveals the colorful backstory of polychromy—meaning “many colors,” in Greek—and presents new discoveries of surviving ancient color on artworks in The Met’s world-class collection. Exploring the practices and materials used in ancient polychromy, the exhibition highlights cutting-edge scientific methods used to identify ancient color and examines how color helped convey meaning in antiquity, and how ancient polychromy has been viewed and understood in later periods.

The exhibition features a series of reconstructions of ancient sculptures in color by Prof. Dr. V. Brinkmann, Head of the Department of Antiquity at the Liebieghaus Skulpturensammlung, and Dr. U. Koch-Brinkmann, and introduces a new reconstruction of The Met’s Archaic-period Sphinx finial, completed by The Liebieghaus team in collaboration with The Met. Presented alongside original Greek and Roman works representing similar subjects, the reconstructions are the result of a wide array of analytical techniques, including 3D imaging and rigorous art historical research. Polychromy is a significant area of study for The Met, and the Museum has a long history of investigating, preserving, and presenting manifestations of original color on ancient statuary.

New Book | The Historic Heart of Oxford University

Posted in books by Editor on July 28, 2022

Distributed by The University of Chicago Press:

Geoffrey Tyack, The Historic Heart of Oxford University (Oxford: Bodleian Library Publishing, 2022), 192 pages, ISBN: 978-1851245284, $55.

Over eight centuries, the University of Oxford—the third oldest university in Europe—gradually came to occupy a substantial portion of the city, creating in the process a unique townscape containing the Bodleian Library, the Sheldonian Theatre, and the Radcliffe Camera. This book tells the story of the growth of the forum universitatis, as the architect Nicholas Hawksmoor called it, and relates it to the broader history of the University and the city. Based on up-to-date scholarship, The Historic Heart of Oxford University draws upon the author’s research into Oxford’s architectural history and the work of Christopher Wren, Nicholas Hawksmoor, James Gibbs, and Giles Gilbert Scott. Each of the eight chapters focuses on the gestation, creation, and subsequent history of a single building or pair of buildings, relating them to developments in the University’s intellectual and institutional life, and to broader themes in architectural and urban history.

Accessible and well-illustrated with plans, archival prints, and specially commissioned photography, this book will appeal to anyone who wishes to understand and enjoy Oxford’s matchless architectural heritage.

Geoffrey Tyack is an emeritus Fellow of Kellogg College, University of Oxford, and President of the Oxfordshire Architectural and Historical Society.

C O N T E N T S

1  The University Church and the Congregation House
2  The Divinity School and the Duke Humfrey’s Library
3  The Schools Quadrangle
4  The Sheldonian Theatre
5  The Old Ashmolean Museum
6  The Clarendon Building
7  The Radcliffe Camera and Radcliffe Square
8  The New Bodleian and the Weston Library

Notes
Further Reading
Picture Credits
Index

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