Call for Papers | Color Charts

Posted in Calls for Papers by Editor on November 25, 2019

From ArtHist.net:

Color Charts as Trading Zones between Science and Art, 1500–1800
9th International Conference of the European Society for the History of Science
Bologna, 31 August — 3 September 2020

Proposals due by 5 December 2019

This is a call for abstracts for a symposium proposal to be submitted to the 9th International Conference of the European Society for the History of Science (ESHS) that will be held in 2020 in Bologna.

The seminal role played by color in the progress of science, technology, industry, and commerce during the early modern period and enlightenment has never been thoroughly analyzed from a broad perspective. Today we tend to compartmentalize the historical investigation of color science, artisanal technology, and commercial endeavors as separate fields. However, historically, coloring substances represent a clear-cut intersection between these three worlds. The opening of communication channels between artisanal and academic worlds has been defined by Pamela O. Long as a “trading zone” (Long 2011). From the early modern period, the growing interest of natural philosophers in the processes of manufacturing pigments and dyestuffs and the ability to control their use with systematic and scientific approaches were fundamental factors in the technological and commercial advancements that are usually associated with the period. The tacit color knowledge of artisans was gradually traded to the sciences and popularized in dictionaries, encyclopedias, and academic journals.

Besides the publication of color recipes and mixing instructions as handbooks, this specific trading zone allowed the production of (colored) visual tools, like color charts, painting palettes, sample cards and pattern books, relating to color technology, color teaching, and color selling. These visual tools have been generally regarded as painters’ instruments and teaching aids for amateur painters, and only in few recent studies linked to the sciences (Lowengard 2006; Kuehni and Schwarz 2008; Bushart and Steinle 2015; Karliczek and Schwarz 2016). We propose a symposium which will focus on intersectional aspects of trading color-related information and knowledge, from chemistry through commerce to art, with a specific focus on color charts.

We invite historians of science and from other disciplines to submit cross-disciplinary papers discussing topics like:
• Color charts and raw materials relating to botany, zoology, mineralogy, pharmacy
• Color charts and experimenting and developing colors for dyeing, porcelain, enamel, watercolors, oil painting, glass manufacturing
• Color charts and scientific illustrations (cartography, petrography, zoology, botany, mineralogy)
• Color charts and color selling (color samplers, color cakes, color cases, color price and relating fraud)
• Color charts and teaching (paintings, printing, dyeing)

Please send your abstracts (300 words) with a cv (150 words) to Giulia Simonini (giulia.simonini@tu-berlin.de) by December 5, 2019.

Cited Literature
• Pamela O. Long, Artisan/Practitioners and the Rise of the New Sciences, 1400–1600 (Corvallis, 2011).
• Sarah Lowengard, The Creation of Color in Eighteenth-Century Europe (Gutenberg-e, 2006).
• Rolf G. Kuehni and Andreas Schwarz, Color Ordered: A Survey of Color Order Systems from Antiquity to the Present (New York, 2008).
• Magdalena Bushart and Friedrich Steinle, eds., Colour Histories: Science, Art, and Technology in the 17th and 18th Centuries (De Gruyter, 2015).

London Art Week Winter 2019

Posted in Art Market by Editor on November 23, 2019

From the press release:

London Art Week Winter
London, 1–6 December 2019

The galleries and auction houses of London Art Week throw open their doors for the third iteration of LAW Winter, from Sunday 1 to Friday 6 December 2019. Thirty-two special exhibitions and Old Master sales offer millennia of art at locations throughout Mayfair and St. James’s. Whilst the emphasis is on pre-contemporary works, art on display dates back as far as the days of ancient Greece and Rome through to the present time.

London Art Week is a wonderful excuse for collectors, curators and art lovers to explore many of the capital’s most illustrious commercial art galleries and spaces, and enjoy events and talks. All the works displayed are for sale, with prices starting below £1,000, and the expert dealers are on hand to share their knowledge. Like visiting a series of mini museums, following the London Art Week Winter 2019 map (drawn by artist Adam Dant) reveals rarely-seen medieval art from Spain, ‘giant leaf’ renaissance tapestries inspired by exotic plants of the New World, ground-breaking female artists of the 20th century, art influenced by the orient, and works by famous ‘blue chip’ artists of the 17th to 20th centuries. . . .

The ‘Bleu Celeste’ broth-bowl and cover with stand (Vincennes, 1755), one of only three known examples, is offered by Oliver Forge & Brendan Lynch Ltd, in connection with their exhibition Ottoman Patronage and European Merchandise: Works of Art from Turkey and France, 1530–1820 (the catalogue is available here).

The full LAW press release, with additional highlights is available here»


Call for Papers | Paintings, Peepshows, and Porcupines

Posted in Calls for Papers by Editor on November 22, 2019

From the Call for Papers:

Paintings, Peepshows, and Porcupines: Exhibitions in London, 1775–1851
The Huntington Library, Art Museum, and Botanical Gardens, San Marino, California, 17–18 September 2021

Organized by Jordan Bear and Catherine Roach

Proposals due by 1 April 2020

In 1820, the Romantic painter Théodore Géricault sent his now-famous image of a shipwreck, The Raft of the Medusa, by boat to London. There, it was shown at Bullock’s Egyptian Hall, a display space that also featured attractions as varied as live reindeer and Napoleon’s carriage, captured at Waterloo. This well-known episode was not an aberration or a Romantic eccentricity; it was, quite simply, business as usual. In many nineteenth-century cities, exhibiting outside of official art venues was not uncommon, nor was it necessarily an act of rebellion. Recent scholarship has challenged preconceptions about audience and cultural hierarchy in relation to Géricault’s Raft, but we are only beginning to understand the role of artworks within a broader culture of display.

This conference will assemble an international group of distinguished scholars to rethink some of our fundamental assumptions about exhibitions in the eighteenth and nineteenth centuries. It will focus on London as the center of an exhibitionary culture and as a hub of empire. It will consider a vibrant period of this culture, roughly from the opening in 1775 of the Leverian Museum, or Holophusikon, brimming with artifacts from Captain Cook’s voyages, to the staging in 1851 of the Great Exhibition, which inaugurated a new age of international shows.

The protagonist of many of the most influential art historical studies of recent decades has been the figure of the spectator, who has brought with her a revitalized engagement with the surprisingly varied modes of the reception of works of art. And while the foregrounding of the experience of the spectator, or ‘beholder’, or ‘observer’, has broadened the compass of the discipline considerably, we still hold a relatively orthodox view of the kinds of venues, events, and display practices that are deemed worthy of inquiry. Even as art historians have valorized the expressive possibilities of alternative exhibition spaces so central to avant-garde identity, the appearance of paintings in the precincts of commercial entertainment has, for many years, been consigned to a position of marginal curiosity in the history of art. Exhibition-makers are often characterized as either renegades or hucksters—as if aesthetically daring artists were not part of the market, or as if commercial displays could not contain works of aesthetic or cultural merit. Both the sheen of avant-garde rebellion and the tarnish of lucre continue to color approaches to eighteenth- and nineteenth-century displays.

Even the most adventurous of recent studies have not fully accounted for the most singular feature of the display of these works of art in the first decades of the century: their embeddedness in an exhibitionary landscape consisting of the richest imaginable array of artifacts, environments, and living creatures. Imperialist expansion and the need to justify it brought an increasingly wide range of objects to European urban centers. Moreover, these diverse displays were consumed in concert. They were part of a round of seasonal entertainments that might include viewing oil paintings in the morning and taxidermy in the afternoon—or viewing examples of both at a single venue. To recapture this context, talks given at this event will consider relationships among venues or trace the circulation of objects and visitors among multiple sites of display.

Speakers will include
• Ann Bermingham (University of California, Santa Barbara)
• Rosie Dias (University of Warwick)
• Meredith Gamer (Columbia University)
• Mark Hallett (Paul Mellon Centre for Studies in British Art)
• John Plunkett (University of Exeter)

We are now seeking additional speakers to join this roster. Early career scholars and scholars from underrepresented groups are especially encouraged to apply. We anticipate that papers will be 35–40 minutes in length, and will be presented to the Huntington’s larger scholarly community. The generous support of the Huntington’s Research Department will cover economy airfare, hotel accommodation, and incidental transport expenses for speakers. To apply, please send an abstract of 250 words and a CV to huntingtonconference2021@gmail.com by 1 April 2020.

Call for Applications | Masterclass on Wax-Resin Linings

Posted in opportunities by Editor on November 22, 2019

From the programme flyer:

Conserving Canvas Initiative — The Dutch Method Unfolded: Masterclass on Wax-Resin Linings
University of Amsterdam, 29 June — 10 July 2020

Applications due by 14 December 2019

The Department of Conservation and Restoration of Cultural Heritage of the University of Amsterdam (UvA) is pleased to announce The Dutch Method Unfolded, a masterclass on wax-resin linings to be held at the UvA from 29 June to 10 July 2020. The two-week program is supported by the Getty Foundation as part of its Conserving Canvas initiative.

The goal of the masterclass is to disseminate knowledge on the history of wax-resin linings, a remedial conservation method invented in the Netherlands in the first half of the 19th century and extensively used by paintings conservators in Europe and abroad until the 1970s. The masterclass will also inform on the impact of wax-resin linings on the physical and material characteristics of paintings. Furthermore, it will provide a platform to share expertise and reflect on the consequences of the method for today’s conservation of lined paintings.

The masterclass is a joint initiative of the University of Amsterdam with the following Dutch museums: Frans Hals Museum, Amsterdam Museum, Mauritshuis, Rijksmuseum Amsterdam, Stedelijk Museum Amsterdam, and Van Gogh Museum, in collaboration with the Cultural Heritage Agency of the Netherlands (RCE) and the Stichting Restauratie Atelier Limburg (SRAL).
The masterclass is offered to a group of maximum 14 mid-career professionals in conservation including conservators of cultural heritage, art historians, curators, collection manager, and conservation scientists. The participants of the masterclass will receive funding for travel and accommodation.

The participants of the masterclass will be selected via an open call which closing date is 14 December 2019. Further information regarding registration and the program, is available here. For inquiries, please contact the program organization at wax-resin-fgw@uva.nl. Further information on the Getty’s initiative can be found here.

At Bonhams | Fine European Ceramics

Posted in Art Market by Editor on November 19, 2019

Pair of Sèvres bottle coolers (Seaux à bouteille) from a service for Madame du Barry, ca. 1770, each side reserved with a gilt-edged circular medallion depicting a seated putto in a landscape with attributes of Music, Poetry, War, and Peace–with the putto emblematic of Poetry holding a scroll with the inscription “Ode sur le mariage de M le Dauphin. le 16 May 1770” (Ode on the marriage of the Dauphin. the 16 May 1770).

◊  ◊  ◊  ◊  ◊

Press release, via Art Daily, for the sale at Bonhams:

Fine European Ceramics
Bonhams, London, 4 December 2019

An exceptionally rare pair of Sèvres bottle coolers from a service commissioned by Madame du Barry, the final maîtresse-en-titre of Louis XV, will be offered at Bonhams Fine European Ceramics sale in London on Wednesday, 4 December (lot 114). The pair is estimated at £60,000–80,000.

Madame du Barry (1743–1793) rose from humble origins as the illegitimate daughter of a seamstress to become the last, and with Madame de Pompadour, the greatest of the maîtresses-en-titre of Louis XV (The title refers to the chief mistress of the French Kings who enjoyed a semi-official position at court). Famed for her beauty among the ranks of high society courtesans, she caught the eye of Louis XV in 1768. The King procured a title for her through an arranged marriage with Comte Guillaume du Barry, and in 1769 she was officially presented to the court of Versailles. From then on she was regarded as the maîtresse-en-titre. Louis installed her in the Château de Louveciennes and in a suite of apartments directly below his own in Versailles itself. He also took the unusual step of including her in the private family gathering on the eve of the wedding of his son, the Dauphin and future Louis XVI, to Marie Antoinette.

The service was purchased by Madame du Barry in September 1770. Consisting of only 39 expensive and opulent pieces it was clearly intended as a status symbol, its use confined to intimate suppers with influential figures at court. An ode to the marriage of the Dauphin to Marie Antoinette inscribed on the coolers, can be interpreted as an attempt to curry favour and further cement her position at court. On Louis XV’s death in May 1774, du Barry was banished from court—Marie Antoinette famously disapproved of her, and for many years refused to acknowledge her presence. She eventually returned to Louveciennes, where she lived until her arrest in 1793 during the French Revolution. She was executed in December that year.

Bonhams Head of European Ceramics, Nette Megens said, “Pieces from this very select service made for Madame du Barry hardly ever appear on the market. There were only three bottle coolers in the service, and this pair offers collectors with a once in a lifetime opportunity.”

Lot 42 — Meissen silver-gilt mounted tankard with Chinoiserie decoration, ca. 1723–24.

Other highlights in the sale include:

Lot 117 — A large Berlin porcelain vase given to Sir Andrew Buchanan by the King of Prussia, ca. 1859 (estimate £25,000–30,000). Distinguished 19th-century Scottish diplomat Sir Andrew Buchanan had an unusually wide-ranging career, and earned the gratitude not only of the British government, but also of the nations in which he served. The King of Prussia presented him with the magnificent Berlin vase; and the Danish king Frederick VII gave him a service of 18 plates by the Royal Copenhagen factory, with scenes after famous designs by Berthel Thorvaldsen. These are also in the sale (lot 121) , estimated at £10,000–15,000.

Lot 42 — A rare Meissen silver-gilt mounted tankard with Chinoiserie decoration, ca. 1723–24 (estimate £20,000–30,000). This piece is from private European collection and shows the very best of chinoiserie painting and gilding on early Meissen porcelain.

Lot 105 — A Nymphenburg Commedia dell’Arte figure of Mezzetin dressed as a Harlequin, ca. 1760–65 (estimate: £30,000–50,000). This figure is traditionally paired with another Commedia dell’Arte figure, Lalage, who holds a bowl and a spoon, ready to feed the ‘infant’ in Mezzetin’s arms (actually a monkey dressed as a baby).

New Book | The Mobility of People and Things

Posted in books by Editor on November 18, 2019

From Routledge:

Elisabeth A. Fraser, ed., The Mobility of People and Things in the Early Modern Mediterranean: The Art of Travel (New York: Routledge, 2019), 160 pages, ISBN: 978-1138488083, $150.

For centuries artists, diplomats, and merchants served as cultural intermediaries in the Mediterranean. Stationed in port cities and other entrepôts of the Mediterranean, these go-betweens forged intercultural connections even as they negotiated and sometimes promoted cultural misunderstandings. They also moved objects of all kinds across time and space. This volume considers how the mobility of art and material culture is intertwined with greater Mediterranean networks from 1580 to 1880. Contributors see the movement of people and objects as transformational, emphasizing the trajectory of objects over single points of origin, multiplicity over unity, and mutability over stasis.

Elisabeth A. Fraser is Professor of Art History at the University of South Florida, Tampa.


List of figures
List of Plates
Chapter Abstracts

Elisabeth Fraser, Introduction
1  Sylvia Houghteling, ‘From Scorching Spain and Freezing Muscovy’: English Embroidery and Early Modern Mediterranean Trade
2  Meredith Martin and Gillian Weiss, A Tale of Two Guns: Maritime Weaponry between France and Algiers
3  Julia Landweber, Furnishing the Taste for Coffee in Early Modern France
4  Ashley Dimmig, Substitutes and Souvenirs: Reliving Polish Victory in ‘Turkish’ Tents
5  Elisabeth Fraser, The Ottoman Costume Album as Mobile Object and Agent of Contact
6  Leyla Belkaïd-Neri, Entangled Styles: Mediterranean Migration and Dress in Pre-Modern Algiers
7  Michèle Hannoosh, The Art of Wandering: Alexander Svoboda and Photography in the Nineteenth-Century Mediterranean

Contributor Biographies

Exhibition | The Golden Age of English Painting

Posted in books, catalogues, exhibitions by Editor on November 17, 2019

Press release for the exhibition:

The Golden Age of English Painting: From Reynolds to Turner
L’âge d’or de la peinture anglaise: De Reynolds à Turner
Musée du Luxembourg, Paris, 11 September 2019 — 16 February 2020

Curated by Martin Myrone and Cécile Maisonneuve

This exhibition, showing a selection of masterpieces from Tate Britain, highlights a key period in the history of painting in England, from the 1760s to around 1820, capturing the originality and diversity of the period. It takes visitors from the founding of the Royal Academy, with artists such as Reynolds and Gainsborough, to the turning point in the early 19th century, notably with Turner. The public will rediscover the great classics of British art here, all too rarely exhibited in France.

The reign of George III was preponderant for British art, with the founding of the Royal Academy of Arts, of which Joshua Reynolds (1723–1792), was the first president at the height of his career. This period also saw Thomas Gainsborough (1727–1788) join the Academy. In their own ways, Reynolds and Gainsborough, both masters of portraiture, brought novel visual and intellectual innovations to the genre, honouring the great masters while reinventing the wheel. With signs of an artistic golden age booming, this movement was also supported by major players in trade and industry, and then by the king himself.

The exhibition tackles the confrontation of the two portrait painters, through full-length paintings and intimate studies of members of the royal family or personalities of the day. Reynolds’s intellectual ambitions contrast with Gainsborough’s pictorial ease. Redefining British art alone, they raised the next generation to new heights. A selection of major portraits by their competitors and/or followers, such as John Hopper, William Beechey, and Thomas Lawrence, recall the influence of these two precursors. The exhibition also addresses the themes of lineage, family, and home with the genre painting that gave birth to a new approach to childhood. Reynolds’s extraordinary portrait The Archers puts the concept of wilderness at the service of a heroic representation of the British ruling class, while Gainsborough, George Stubbs, and George Morland focus their attention on the picturesque, through paintings depicting everyday life, especially in rural areas.

With the political and commercial exploitation of overseas territories as the basis for artistic progress, part of the exhibition addresses the presence of Great Britain in India and the Caribbean. Another section discusses the tremendous growth of watercolour, which allowed many artists to stand out by meeting the needs of a new amateur society. The last part of the exhibition shows how British artists such as Henri Fuseli, John Martin, P.J. de Loutherbourg, and J.M.W. Turner sublimated narrative figuration, paving the way for a new conception of art as a support for the imaginary.

Amandine Rabier, L’âge d’or de la peinture anglaise (Paris: Gallimard / Réunion des musées nationaux, 2019), 56 pages, ISBN: 978-2072859595, 10€.


Call for Papers | Ordering Colours

Posted in Calls for Papers by Editor on November 17, 2019

From ArtHist.net:

Ordering Colours in 18th- and Early 19th-Century Europe
Technische Universität Berlin, Chair for the History of Science, 13–14 March 2020

Proposals due by 30 November 2019

The question of how to order colours reaches far back, but in the 18th century, particularly in its second half, we see a steeply increasing number of studies that indicates a broad and urgent interest in classifying colour. Quite diverse contributions from the sciences, arts, crafts, and trade created a diverse field of colour order research in the 18th century. The workshop will explore, examine, and discuss those efforts and hereby contribute to the history of color in 18th- and early 19th-century Europe. Proposals from other epochs are welcome when focussing on or crossing substantially the 18th or early 19th centuries; for instance the revival of antique knowledge/ ideas. While focussing on Europe, the workshop also welcomes studies of other cultural regions. The workshop will be opened by a keynote talk by Jose Luis Caivano (Buenos Aires).

According to the multidisciplinary historical approaches, we invite contributions from the history of arts, artisanry, economy, technology, science as well as scholars from restoration, cultural, and material studies. Work in progress contributions are as welcome as finalized results. There might be detailed case studies, but also comparative, long-term and cross-sectional studies on the history of materials, objects, practices, theories, or ideas. Through all the bewildering variety of colour research of that period, the focus of the workshop will be on the attempts of ordering or even systematizing colours.

Topics might include, among others
• Colour samples, colour ordered objects, colour selections, colour collections, and colour atlases
• Colour diagrams: illustrations, papertools
• Colour codes, colour nomenclatures, colour references, and colour systems
• Colour experiments
• Early colour print and the trichromatic idea
• Discussion about colour primaries
• Natural history and colour
• Mining, chemistry, and colour knowledge
• Colour materials: porcelain, dyes, Indian / inks
• Commercial and theoretical interest in colour orders: developers, producers, traders
• Exchange of colour knowledge and objects in Europe: networks, connectors, translators, hotspots, and peripheries.

Please send your proposal in English (up to 350 words) before 30th November 2019 to tanja.kleinwaechter@tu-berlin.de. Notification of acceptance will be given by 22nd December.

Conference | Cardinal Alessandro Albani

Posted in conferences (to attend) by Editor on November 13, 2019

From ArtHist.net:

Cardinal Alessandro Albani: Collecting, Dealing, and Diplomacy in Grand Tour Europe
Collezionismo, diplomazia ed il mercato nell’Europa del Grand Tour
British School at Rome / Biblioteca Nazionale Centrale
, 11–13 December 2019

Organised by Clare Hornsby and Mario Bevilacqua

The British School at Rome and the Centro di Studi sulla Cultura e l’Immagine di Roma present Cardinal Alessandro Albani: Collecting, Dealing, and Diplomacy in Grand Tour Europe. Exploring the multifaceted life and career of Cardinal Alessandro Albani (1692–1779), the conference will bring together an international range of art historians alongside scholars of related humanistic disciplines to open a new chapter on the multifaceted life and career of the ‘Father of the Grand Tour’.

The two keynote lectures on Wednesday evening, 11th December at BSR, will be given by the noted senior scholars Carlo Gasparri and Salvatore Settis, curators of The Torlonia Marbles: Collecting Masterpieces, the spring 2020 exhibition of antique sculpture from the famed collections of the Torlonia family in Rome who own the Villa Albani Torlonia and the antiquities collected there by Cardinal Alessandro Albani.

The conference has groups of papers on different themes relating to Alessandro Albani’s life and career including his private life, his association with scholars and artists—particularly Johann Joachim Winckelmann and Giovanni Battista Piranesi, his diplomatic and political associations, his dealing and networking in the European art market and of course his antiquities collections—both those he sold and his third collection which remains largely intact at Villa Albani Torlonia in Rome. His particular connection with the British—both as Grand Tourists in Rome and politically as allies of the papacy —is a focus of this conference, notably the sale of his vast drawings collection including the Cassiano del Pozzo ‘Paper Museum’ to the English King George III through the dealing efforts of the architect brothers Robert and James Adam. His commission to the architect Carlo Marchionni for the new Villa outside the northern walls of Rome to house his collection and as a location to host parties for foreign dignitaries is also examined.

This conference is taking place only a few months before the long-awaited exhibition of the private Torlonia collection opens in Rome—a collection where many Albani objects have been kept—no doubt this gathering of researchers including both established and younger scholars from a variety of disciplines and international backgrounds will provide a valuable focus for discussion of the future directions for study and research on this most important figure of the Roman 18th century.

On Thursday 12th at BSR there will be a presentation by Adriano Aymonino and Colin Thom introducing the Adam letters digital publication project and a display of Albani-related rare books and early photographs of Villa Albani from the BSR library and archive collections alongside the volumes of The Paper Museum of Cassiano del Pozzo: A Catalogue Raisonné, published by the Royal Collection Trust.

The conference is open to all without charge; registration is welcome though not obligatory: albaniconvegno@gmail.com. An edited and expanded volume of essays based on the conference papers is planned. The conference is generously sponsored by The Paul Mellon Centre for Studies in British Art and we thank our partners the Biblioteca Nazionale Centrale di Roma, the Fondazione Torlonia, and the Royal Collection Trust.

Conference Coordination
Mario Bevilacqua, Direttore, Centro di Studi sulla Cultura e l’Immagine di Roma
Clare Hornsby, Research Fellow, British School at Rome

Honorary Committee
Elisa Debenedetti, Andrea De Pasquale, Marcello Fagiolo, Carlo Gasparri, Barbara Jatta,
Tim Knox, Maria Vittoria Marini Clarelli, Stephen Milner, Martin Postle.

Scientific Committee
Mario Bevilacqua, Amanda Claridge, Clare Hornsby, Ian Jenkins, Harriet O’Neill,
Susanna Pasquali, Jonny Yarker

W E D N E S D A Y ,  1 1  D E C E M B E R  2 0 1 9

British School at Rome

18.00  Stephen Milner (Director BSR), Welcome

18.15  Keynote Address
• Carlo Gasparri, La collezione di sculture antiche in Villa Albani a Roma: Una storia ancora da scrivere

18.40  Keynote Address
• Salvatore Settis, Lo specchio dei principi: Fra Villa Albani e il Museo Torlonia

T H U R S D A Y ,  1 2  D E C E M B E R  2 0 1 9

British School at Rome

9.30  Social and Cultural History
Chair: Adriano Aymonino
• Angela Cipriani, Il cardinale Alessandro Albani nei manoscritti del Diario di Romannella Biblioteca Casanatense, 1762–73
• Heather Hyde Minor, Winckelmann and Albani: Text and Pretext
• Ginevra Odone, Rivalità e gelosie tra antiquari: Il Conte di Caylus, il cardinale Alessandro Albani e i loro intermediari
• Brigitte Kuhn-Forte, Alessandro Albani e Winckelmann

10.45  Discussion and coffee break

11.30  Art and Diplomacy
Chair: Susanna Pasquali
• Maëlig Chauvin, Il cardinale Alessandro Albani e i regali diplomatici: l’arte al servizio della politica
• Susanne Mueller-Bechtel, Il principe ereditario di Sassonia Federico Cristiano, Alessandro Albani e le arti
• Matteo Borchia, I vantaggi della diplomazia: Alessandro Albani protettore di artisti tra Roma e l’Europa

12.15  Discussion followed by a lunch break

14.00  Art and Collecting: Museo Cartaceo
Chair: Clare Hornsby
• Adriano Aymonino and Colin Thom, Introducing the Adam Letters Project
• Lisa Beaven, Fashioning a New Classical Aesthetic: Camillo Massimo, Alessandro Albani, and the Palace at the Quattro Fontane
• Francesca Favaro, Il privilegio di copiare: Apprendere l’architettura nella biblioteca di Alessandro Albani. Le copie prodotte da B.A. Vittone (1704–1770)
• Rea Alexandratos, Albani Drawings and Prints in the British Royal Collection: George III’s Purchase of 1762

15.15  Discussion and coffee break

16.00  Painting
Chair: Maria Celeste Cola
• Robin Simon, The Significance of Alessandro Albani’s Patronage of Richard Wilson
• Steffi Roettgen, ‘Noi non siamo venuti che per vedere il Parnasso di Mengs’: Note sul complesso rapporto del pittore sassone con il cardinale Albani

17.00  Discussion and close

F R I D A Y ,  1 3  D E C E M B E R  2 0 1 9

Biblioteca Nazionale Centrale

9.30  Archives, Library, and Literature
Chair: Andrea de Pasquale

• Andrea de Pasquale, Introduction to the session
• Alviera Bussotti, Alessandro Albani mecenate delle lettere
• Brunella Paolini, Alessandro Albani nell’archivio di famiglia di Villa Imperiale a Pesaro
• Antonio Becchi, Bibliotheca Albana Romana: Documenti inediti e prospettive di ricerca

10.30  Discussion and coffee break

11.15  Architecture: Villa and Architect
Chair: Marcello Fagiolo
• Susanna Pasquali, Phases of Construction at Villa Albani: What We Know So Far
• Patricia Baker and Giacomo Savani, ‘Contriv’d according to the strictest Rules of Art’: The Reception of Roman Baths and Gardens at Villa Albani
• Elisa Debenedetti, ‘Studi sul Settecento Romano’: Villa Albani nei Taccuini di Carlo Marchionni
• Alessandro Spila, Carlo Marchionni a villa Albani: Una possibile evoluzione progettuale

12.30  Discussion followed by a lunch break

14.00  Archaeology and Antiquarianism
Chair: Carlo Gasparri
• Eloisa Dodero, Da Palazzo Albani alle Quattro Fontane al Museo Capitolino: La nuova vita della collezione del cardinale Alessandro
• Caroline Barron, The Epigraphic Collection of Cardinal Alessandro Albani
• Elizabeth Bartman, Alessandro Albani as Restorer
• Christoph Frank, Drawing the Albani Collection: Giovanni Battista Piranesi and Some of His Contemporaries

16.30  Discussion and close

Exhibition | The Torlonia Marbles

Posted in books, catalogues, exhibitions by Editor on November 13, 2019

From the Fondazione Torlonia . . . (In 1866 the Torlonia family bought the Villa Albani and its collection):

The Torlonia Marbles: Collecting Masterpieces
Musei Capitolini at Palazzo Caffarelli, Rome, 25 March 2020 — 10 January 2021

Curated by Carlo Gasparri and Salvatore Settis

From 25 March 2020 to 10 January 2021, ninety-six marbles from the Torlonia Collection will be on view to the public at a major show in Rome, in the new exhibition venue of the Musei Capitolini at Palazzo Caffarelli.
 The exhibition The Torlonia Marbles: Collecting Masterpieces is the first step of the agreement signed the 15th of March 2016 between the Ministry for the Cultural Heritage Activities and Tourism and the Torlonia Foundation, and is a result of the institutional agreement signed by the Directorate General for Archaeology, Fine Arts and Landscape and the Special Superintendency of Rome with the Torlonia Foundation itself. The scientific project for enhancing the collection is entrusted to Salvatore Settis, who is curating the exhibition with Carlo Gasparri; both are archaeologists and academics of the Accademia dei Lincei. The exhibition is organized by Electa, publisher of the catalog. The sculptures selected have been restored thanks to the contribution of Bvlgari.

This will be the opportunity to inaugurate the new prestigious exhibition venue in Roma Capitale of the Musei Capitolini at Palazzo Caffarelli. The choice of the location was dictated by the intention to focus the exhibition on the history of collecting. In this respect, the history of the Torlonia Museum at the Lungara (founded by Prince Alessandro Torlonia in 1875), with its 620 catalogued works of art, appears of outstanding importance. This collection is the result of a long series of acquisitions and some significant shift
 of sculptures between the various residences of the family.
 We can even say that the Torlonia Marbles constitute a collection of collections or rather
 a highly representative and privileged cross-section of the history of the collecting of antiquities in Rome from the 15th to the 19th centuries. The items on display are not only outstanding examples of ancient sculpture (busts, reliefs, statues, sarcophagi, and decorative elements), but also a reflection of a cultural process—the beginnings of the collecting of antiquities and the crucially important transition from the collection to the Museum, a process where Rome and Italy have had an indisputable primacy. In this way the exhibition traces the formation of the Torlonia Collection. The last of its five sections eloquently relates to the adjacent exedra of bronzes and the statue of Marcus Aurelius 
in the Musei Capitolini, bringing out the ties between the beginnings of private collecting
 of antiquities and the significance of the donation of the Lateran bronzes to the city of Rome by Sixtus IV in 1471.

The project to organize the exhibition of the Torlonia Collection in the renovated spaces
 of the new venue of the Musei Capitolini at Palazzo Caffarelli, restored to life by David Chipperfield Architects Milan. 
The March 2020 event is the first stage of a traveling exhibition, for which agreements are in progress with major international museums and which will conclude with the identification
 of permanent exhibition spaces for the opening of a new Torlonia Museum.

Also see the article by Elisabetta Povoledo from The New York Times (28 October 2019).