Exhibition | James Gillray’s Hogarthian Progresses

Posted in exhibitions, graduate students, lectures (to attend) by Caitlin Smits on March 17, 2016

From The Lewis Walpole Library:

James Gillray’s Hogarthian Progresses
The Lewis Walpole Library, Farmington, CT, 6 April — 16 September 2016

Curated by Cynthia Roman


James Gillray, The life of William-Cobbett, written by himself. : Now you lying varlets you shall see how a plain tale will put you down! / Js. Gillray inv. & fec. Published in London, 29 September 1809 (Lewis Walpole Library).

Sequential narration in satiric prints is most famously associated with the ‘modern moral subjects’ of William Hogarth (1697–1764): Harlot’s Progress (1732), A Rake’s Progress (1735), Marriage A-la-Mode (1745), and Industry and Idleness (1747) among others. Less well-known is the broad spectrum of legacy ‘progresses’ produced by subsequent generations drawing both on Hogarth’s narrative strategies and his iconic motifs. James Gillray (1756–1815), celebrated for his innovative single-plate satires, was also among the most accomplished printmakers to adopt Hogarthian sequential narration even as he transformed it according to his unique vision. This exhibition presents a number of Gillray’s Hogarthian progresses alongside some selected prints by Hogarth himself.


Study Day 
James Gillray’s Experimental Printmaking
Organized by Esther Chadwick, History of Art, Yale University and Cynthia Roman, The Lewis Walpole Library, Yale University, 10 June 2016

Graduate Student Seminar
Collecting the Graphic Work of William Hogarth 
Sheila O’Connell, Former Curator of Prints, British Museum, 14 June 2016

Graduate Student Seminar
Connoisseurship: Graphic Satire from William Hogarth to James Gillray
Andrew Edmunds, Collector and Dealer, 15 June 2016

Master Class for Graduate Students
A Contest of Two Genres: Graphic Satire and British History Painting in the Long Eighteenth Century
Mark Salber Phillips, Professor of History at Carleton University, Ottawa, and Cynthia Roman, Curator of Prints, Drawings, and Paintings at the Lewis Walpole Library, 22–26 August 2016

Master Class for Graduate Students
The Comic Image 1800–1850: Narrative and Caricature
Brian Maidment, Professor of the History of Print, Liverpool John Moores University
Cynthia Roman, Curator of Prints, Drawings, and Paintings at the Lewis Walpole Library, 14—16 September 2016

Exhibition | Vices of Life: The Prints of William Hogarth

Posted in books, catalogues, exhibitions by Editor on June 17, 2015


William Hogarth, After (detail), 1736, etching and engraving, 41 x 33 cm
(Städel Museum, Frankfurt am Main)

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Press release for the exhibition now on view at the Städel Museum:

Vices of Life: The Prints of William Hogarth
Laster des Lebens: Druckgrafik von William Hogarth
Frankfurt’s Städel Museum, Frankfurt, 10 June — 6 September 2015
Schloss Neuhardenberg, Brandenburg, TBA

Curated by Annett Gerlach

From 10 June to 6 September 2015—in its bicentennial year ‘200 Years Städel’—Frankfurt’s Städel Museum will be presenting prints by the English painter, engraver and etcher William Hogarth (1697‒1764). Altogether seventy works including the famous printmaking series A Harlot’s Progress (1732), A Rake’s Progress (1735) and Marriage à la Mode (1745) will be on view in the exhibition hall of the Department of Prints and Drawings. These visual novels from the Städel holdings take the fashions, vices and downsides of modern life in the London metropolis as their themes. Hogarth conceived of his artworks as printed theatre of his times and with them he laid the cornerstone for socio-critical caricature in England. The prints owe their special quality to the keen powers of perception and caustic humour of an artist who contributed so greatly to shaping the image of his era that it is still referred to as ‘Hogarth’s England’ today. Executed during Johann Friedrich Städel’s lifetime, the engravings are among the Städel’s oldest holdings and mirror the critical spirit inherent to this institution since its founding.

7ae46414-a95d-4811-9541-1211f58c01d0William Hogarth was born in London in 1697. In keeping with an early eighteenth-century fashion, his father Richard opened a coffee house at which only Latin was spoken. The business failed, and Richard Hogarth had to serve five years in London’s notorious Fleet Prison for failure to pay his debts. As was usual at the time, his wife and children had to accompany him. In 1713, after his father’s release, William Hogarth began an apprenticeship as a silver engraver where he also learned the rudiments of the complex techniques of intaglio printing—engraving and etching. Following his seven-year training, he went into business for himself as an engraver and attended the privately run St Martin’s Lane Academy, an art school in London, to acquire the art of painting. In 1724 he also became a member of the academy of royal court painter James Thornhill (1675‒1734), whose daughter Jane he married in 1729. It was not with his paintings, however, that Hogarth achieved a breakthrough with the public, but with the prints made after his works on canvas. With the series A Harlot’s Progress, produced in the early 1730s, he founded a new genre he later dubbed modern moral subjects. Hogarth conceived of these subjects as contemporary, moral-didactic history scenes. He thus took a stand against the hierarchization of the visual arts, a firmly entrenched principle of academy doctrine which granted classical history painting pride of place. With his printmaking works, he succeeded in creating a new, up-to-date genre based on the keen observation of reality. In 1755 Hogarth was elected to the Royal Society of Arts, which he quit again just two years later on account of artistic and personal differences. His appointment as royal court painter followed in 1757, but never led to any commissions. The final years of the artist’s life were overshadowed by bitter disputes between himself and his critics. A stroke in 1763 left Hogarth severely handicapped and he died the following year in his home in Leicester Fields, a district of London.

The presentation in the exhibition gallery of the Department of Prints and Drawings focuses primarily on those of William Hogarth’s printmaking series that earned him international fame: A Harlot’s Progress, A Rake’s Progress und Marriage à la Mode. There is a very simple reason for the fact that his works on paper secured him a place in art history: prints can be circulated far better than paintings. It was by these means that the artist reached the enlightened and educated public of his day in large numbers. Already the first edition of A Harlot’s Progress (1732) comprised 1,240 sold copies. In six episodes, this series describes the rise and fall of a young woman who has come from the country to the city to find work. To earn a living she ends up as a prostitute and lands in prison as a result. The final scene shows the wretched funeral of the protagonist, whose life has already come to an end at the age of twenty-three. Hogarth had numerous real and literary models to look to for his creation of this figure. Inspired by his great interest in the social characterization of his time, he directed his critical, ironical gaze to all strata of society, from the highest nobility to the most abject circumstances. The sick and needy of all generations formed the downside of the economic boom enjoyed by the colonial and commercial metropolis and its many profiteers.

In his second series, A Rake’s Progress (1735), consisting of eight prints, Hogarth tells the story of the social decline of Tom Rakewell, who brainlessly squanders his inheritance and is thrown first into debtors’ prison and then the madhouse. Rakewell’s incarceration on grounds of indebtedness is reminiscent of the artist’s own biography. Entirely unlike his father, however, William Hogarth was an excellent businessman and very clever at taking advantage of the London press—which was flourishing in his day—and its public impact for his own purposes. In newspapers such as the London Daily Post, the General Advertiser or the London Journal he published announcements of his prints and advertised them for subscription.

Hogarth borrowed the title of his third major series, published in 1745, from a comedy by John Dryden (1631‒1700). Marriage à la Mode is about an espousal arranged by the two spouses’ fathers. Neither the bride nor the groom is the least bit interested in the other, both amuse themselves on the side, and the situation comes to a dramatic conclusion. Hogarth’s protagonists feign innocence and practise deception, abandon themselves to their passions and founder on their false ideals. Looking to true stories for orientation and integrating well-known persons and recognizable sites, he warned his public of the dangers of modern life—dangers still very real today. In 1751, with his popular prints Beer Street and Gin Lane, he supported a public campaign against the excessive consumption of gin. The former scene presents the enjoyment of beer as healthy and beneficial in contrast to the destructive effects of gin portrayed in the latter.

From mid century onward, in addition to socio-critical themes Hogarth also devoted himself to matters of national and political relevance, which represent a further focus of the exhibition. In several works, the artist addressed the relationship between France and England, which were at war. The Gate of Calais (1748) was his response to his arrest on suspicion of espionage during one of his trips to France. In 1756, in The Invasion, he again caricatured the French as grotesque, haggard figures who are after the tasty beer and luscious roast beef of the English. Some fifteen years later, in the print The Times, Plate 1 (1762), Hogarth made an urgent appeal for the cessation of the Seven Years’ War.

In 1753, Hogarth published his own art-theoretical deliberations in the book The Analysis of Beauty. In it he concerned himself with the foundations of visual-artistic production and particularly the matter of how to achieve beauty and grace. Hogarth considered the study of nature to be the key to beauty. He called upon his readers to perceive the objects of nature with their own eyes and judge them according to rational criteria. The German writer Christlob Mylius (1722–1754) was in London when Hogarth’s Analysis came out, and he translated it into German the very next year. Johann Friedrich Städel had a copy of this translation in his library, and it will be on display in the show.

In conjunction with the exhibition, the Städel Museum is publishing a catalogue by Annett Gerlach with approximately 50 pages, 10€. Following its presentation at the Städel Museum, the show will be on view at Neuhardenberg Castle. The exhibition is being sponsored by the Hessische Kulturstiftung.


Installation view of the exhibition Vices of Life: The Prints of William Hogarth at Frankfurt’s Städel Museum (June 2015)


Display | William Hogarth, 1697–1764

Posted in exhibitions by Editor on November 26, 2014

Now on view at Tate Britain:

William Hogarth, 1697–1764
Tate Britain, London, 27 October 2014 — 26 April 2015
Bristol Museum & Art Gallery, Summer 2015

William Hogarth, The Painter and his Pug, 1745 (London: Tate, purchased 1824).

William Hogarth, The Painter and his Pug, 1745 (London: Tate, purchased 1824).

This display marks the 250th anniversary of the death of Hogarth. It includes almost all of his paintings in the Tate Collection, as well as prints, drawings and rarely seen items from the Tate Library and Archive.

The story of art in this country often begins with William Hogarth, who died in late October 1764. Satirist, printmaker, portraitist, history painter and art theorist, in the two hundred and fifty years since his death Hogarth has regularly been positioned as the founding father of British art. This persistent notion was reflected in the early years of Tate’s displays: for decades his was the earliest British work on show at Tate.

Hogarth first gained recognition painting scenes from the theatre. He went on to make his name with his darkly humorous ‘modern moral’ series depicting the declining fortunes of foolish or ignoble characters, and brought similar vivacity to the polite interiors of his ‘conversation piece’ portraits. In 1735 he founded an academy for artists and later wrote a treatise on the aesthetic theories he developed over the course of his career. Whether painting, printmaking or writing, he was concerned with forging and defending a distinctly British art.

In 1951 Tate mounted the first major exhibition of Hogarth’s work since 1814. Tate gained independence from the National Gallery in 1955 and started acquiring works in its own right, and further exhibitions and displays followed reflecting research into Hogarth’s life and art. From the early 1950s Tate also acquired work by earlier British artists, allowing Hogarth to be seen in the context of his predecessors: an innovative champion of British art, but by no means the first British artist.

Read more about Hogarth at the Tate

The online materials are useful, particularly Tim Batchelor’s account of the “Exhibitions and Displays” of Hogarth’s work at Tate (11 November 2014). CH

Exhibition | Hogarth, Reynolds, Turner: The Dawn of Modernity

Posted in exhibitions by Editor on March 20, 2014

From the museum:

Hogarth, Reynolds, Turner: Pittura inglese verso la modernità
The Dawn of Modernity: Painting in Britain in the 18th Century
Fondazione Roma Museo, Palazzo Sciarra, Rome, 15 April — 20 June 2014

Curated by Carolina Brook and Valter Curzi

pittura-inglese-romaThe exhibition offers the public a comprehensive overview of the social and artistic development that took place during the XVIII century in step with the hegemony gained by Great Britain at the historical, political, and economic level. For this purpose a corpus of over one hundred works belonging to prestigious institutions such as the British Museum, the Tate Gallery, the Victoria & Albert Museum, the Royal Academy, the National Portrait Gallery, the Museum of London, and the Uffizi Gallery has been formed and is accompanied by a nucleus of works from the important American collection belonging to the Yale Center for British Art.

During the eighteenth century England became an authentic international power, leader of the Industrial Revolution and of the domination of the sea routes, and thus raised the issue of establishing its own artistic school for the first time. The economic development lead by Great Britain created a new middle-class which included professionals, industrialists, merchants, scientists and philosophers who, having found that visible arts considerably affirmed their new social status, became patrons of those masters who over the century contributed to the definition of a domestic school.

The exhibition is divided into seven sections featuring a selection of works by the most significant English painters, for the purpose of documenting the portrait and landscape genres that found more fortune during this century, creating a figurative language capable of interpreting modernity which, in the nineteenth century, became a reference throughout Europe. Visitors may admire artists such as Hogarth, Reynolds, Gainsborough, Wright of Derby, Stubbs, Füssli, Constable, and Turner. Their works offer a significant cross-section of the peculiarity and originality of English art, an exhibition of which has not been held in Rome since 1966.

Update (added 19 April 2014) The exhibition press release, which details the seven sections, is available as a PDF file here».

The catalogue is available from Skira:

Carolina Brook and Valter Curzi, Hogarth, Reynolds, Turner: Pittura inglese verso la modernità (Rome: Skira, 2014), 304 pages, ISBN: 8857222707, €40.

Exhibition: ‘Sin and the City’, Hogarth at Princeton

Posted in exhibitions by Editor on August 31, 2011

From the exhibition website:

Sin and the City: William Hogarth’s London
Firestone Library, Princeton University, 26 August 2011 — 29 January 2012

William Hogarth, "Beer Street," 1751, etching and engraving (Princeton University: Graphic Arts Collection, Firestone Library)

This fall the Princeton University Library will celebrate eighteenth-century London as seen through engravings by one of its most popular storytellers. Sin and the City: William Hogarth’s London, on view 26 August 2011 to 29 January 2012, presents Hogarth’s unflinching chronicle of the city’s development from a medieval town to a swirling modern metropolis.

Whether examining scenes along the impoverished roads of St. Giles parish, peering into the dark cellars of Blood Bowl Alley, or accompanying a procession to the Tyburn gallows, Hogarth’s engravings plunge us into a city that is not only grand and powerful but also chaotic, crime-ridden, and sometimes even heartbreaking.

The exhibition includes 70 engravings by Hogarth, along with the work of his contemporaries, such as Jonathan Swift, John Gay, and Henry Fielding, among others. Period maps and original documents from the first production of The Beggar’s Opera will also be on view.

A full exhibition checklist is available here»

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Afternoon Roundtable Discussion: A Midnight Modern Conversation
Princeton University, 7 October 2011

Linda Colley, Shelby M.C. Davis 1958 Professor of History, Princeton University;
Mark Hallett, Professor of History of Art, University of York;
Tim Hitchcock, Professor of Eighteenth-Century History, University of Hertfordshire; and
Claude Rawson, Maynard Mack Professor of English, Yale University.
James Steward, Director of the Princeton University Art Museum will moderate.

A reception will follow.

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Additional information is available at the Events page. The exhibition organizers have also created a useful map detailing key locations for Hogarth’s prints.

Forthcoming: ‘Hogarth’s Hidden Parts’

Posted in books by Editor on November 21, 2010

Out this month, as noted at the publisher’s website:

Bernd W. Krysmanski, Hogarth’s Hidden Parts: Satiric Allusion, Erotic Wit, Blasphemous Bawdiness and Dark Humour in Eighteenth-Century English Art (Hildesheim, Zürich and New York: Georg Olms Verlag, 2010), ISBN: 9783487144719, EUR 48.

If you think of William Hogarth as a moralist who gave charitable support to foundlings and provided ethical guidance through his pictorial satires, then it is high time you changed your mind. This challenging, thoroughly researched and thought-provoking book reveals many new findings on Hogarth, showing us a different, hidden and immoral English artist: a carouser, a debauchee, and a spiteful joker who mercilessly attacked his contemporaries. Although a pictorial satirist and a successful print-dealer, Hogarth nevertheless wallowed in obscene amusement, frequented prostitutes, possibly had paedophilic tendencies, and seemingly died from the lingering effects of syphilis. Hogarth the popular painter and engraver is shown here as a dark humorist who dealt primarily in sexual double entendre and produced blasphemous motifs that satirically lambasted “high” religious art and debunked the eighteenth-century taste for Old Master work. This book ought to change the way we think about Hogarth.

Review: ‘William Hogarth’s Surprising Cosmopolitanism’

Posted in books, reviews by Editor on March 14, 2010

Recently posted at H-Albion:

Robin Simon, Hogarth, France and British Art (London: Greenhill Books/Lionel Leventhal, 2007), 313 pages, ISBN 978-0-9554063-0-0, $90.

Reviewed by Douglas Fordham, Assistant Professor of Art History, University of Virginia; published on H-Albion, January 2010.

Since his death in 1764, William Hogarth has become a protean figurehead for a great many impulses in British culture. John Trusler’s “Hogarth Moralized” (1768) was an early and overt instance of the ends to which Hogarth’s life and oeuvre could be put, and Hogarth continues to be, if not moralized, then at least channeled into a disparate series of voices and roles. While the “New Art History” of the past two decades has turned its pragmatic sights on Hogarth the calculating businessman, it has also tended to reduce the artist to a somewhat bland spokesman for a polite and commercial age.[1] In the writings of David Solkin and David Bindman, in particular, Hogarth has been cast as a cultural latitudinarian, mainstream in his preoccupations and eager to please. To the extent that Hogarth’s works reveal contradictions, unpleasant truths, or impolite expressions they tend to be viewed as apt reflections of an anxious age. This view of the artist offered a calculated response to Ronald Paulson’s towering contribution to Hogarth scholarship, beginning in the 1970s, which emphasized the artist’s antinomian impulses and his empathetic eye for the sub-cultural. If Hogarth merges seamlessly into hegemonic discourses in the former, he activates a dizzying array of allusions and a daunting density of meaning in the voluminous writings of Paulson.[2] While each of these accounts, and a great many others, have transformed our understanding of the artist and his age, readers are ultimately tasked with choosing which Hogarth they prefer. For it hardly seems possible for one individual to embody so many contrary impulses.

Robin Simon makes a welcome contribution to this debate in “Hogarth, France and British Art,” where he offers a surprisingly fresh iteration of the artist and his milieu. Simon’s Hogarth is cosmopolitan in his understanding of European Old Masters and contemporary French art, sophisticated in his handling of oil paints, and a friend to “Tory wits” and Whig politicians alike. Hogarth emerges in Simon’s account as an intellectually serious artist and a deeply gifted painter who almost single-handedly elevated British art to a Continental level of refinement. In his desire to translate French theories and standards into a uniquely English vernacular, “Hogarth demands to be ranked with the literary giants of the ‘Augustan’ age in England” (p. 8). Simon shares with Paulson a propensity for making analogies between English literature and art, and some of Simon’s most compelling observations entail comparisons between Hogarth’s paintings and the English stage. . . .

The paradox latent in Simon’s approach is that Hogarth already had an English visual vernacular at his disposal in London printshops, on painted street signs, and in countless urban spectacles. While Simon deliberately challenges the “determinedly insular” (p. 3) quality of recent Hogarth scholarship, at what cost does Hogarth the cosmopolitan painter become divested from Hogarth the graphic satirist as Diana Donald and Mark Hallett, for example, have presented him?[3] This is a question of synthesis, however, rather than a legitimate critique of Simon’s stated aims. On its own terms, Simon’s book deserves to be read by everyone with an interest in British culture in the first half of the eighteenth century, and it dramatically improves our understanding of Anglo-French relations. It also manages to present us with yet another incarnation of the artist from which to choose. This is a significant accomplishment in itself, and if this new Hogarth sits uncomfortably alongside his forebearers, then it can only encourage us to look anew at Hogarth’s astonishingly diverse and provocative career.

For the full review, click here»

Notes (more…)

Print Quarterly, September 2019

Posted in books, catalogues, exhibitions, journal articles, reviews by Editor on September 2, 2019

James Gillray, New Morality; – or – The Promis’d Installment of the High-Priest of the Theophilanthropes, with the Homage of Leviathan and his Suite, 1798, hand-colored etching, 8 × 24 inches (New Haven: Yale Center for British Art, Paul Mellon Collection, B1981.25.1001). 

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The eighteenth century in the current issue of Print Quarterly:

Print Quarterly 36.3 (September 2019)


Allison M. Stagg, “William Cobbett, James Gillray and the Market for Caricatures in 1790s Philadelphia,” pp. 263–74.

In the decades immediate following the American Revolution (1775–83), caricature prints were imported from London to cities along the east coast of North America. Evidence of a transatlantic transfer of British satirical imagery can be found in the numerous advertisements published in American newspapers from this period. Despite the frequency with which caricatures are mentioned in newspapers, few details can readily be discerned from them. The advertisements primarily reference the general arrival of collections of British caricature prints, usually as an addendum to other imported items such as books, stationery and even clocks, and provide little to no mention as to what specific caricatures crossed the Atlantic (263) . . . Details found in documents dating from the last decade of the eighteenth century, however, allow for a more thorough examination of the availability of and interest in imported and American caricatures in Philadelphia in the late 1790s. The primary source is an account book in the collection of the American Antiquarian Society in Worcester, MA, of the famous British radical, polemicist and publisher William Cobbett (1763–1835), who took refuge in American in 1793 (264).

N O T E S  A N D  R E V I E W S

Truusje Goedings, Review of Wolf Eiermann, Claudia Steinhardt-Hirsch and Eckhard Leuschner, Prachtvoll illuminirt: Das Handkolorit in der Druckgrafik, 1493–1870 (Hirmer Verlag, 2018), pp. 304–06.

Neglected for a long time, the hand-colouring of prints, book illustrations and maps has been the subject of serious research during the last three decades, resulting in major exhibitions with comprehensive catalogues. . . [The present] catalogue, edited by Wolf Eiermann . . . is another effort to make the picture of 400 year of handcolouring more complete . . . The Sammlung Frank, a private collection in Stuttgart focused on German art and formed in the previous century, served as the main source, supplying about 110 of the 134 catalogued items (304) . . . The period from c. 1760 to 1880 is well represented with about one hundred items, mainly topographical, but also on costumes and natural history, including a rare example of Christian Gottlieb Ludwig’s Ectypa vegetabilium . . . / Nach der Nature verfertigte Abdrucke der Gewachse (nature-printed prints of plants; Halle and Leipzig, 1760–64) with 200 nature prints in contemporary colouring” (306).

Peter Fuhring, Review of Thomas Wilke, Innendekoration: Graphische Vorlagen und theoretische Vorgaben für die wandfeste Dekoration von Appartements im 17. und 18. Jahrhundert in Frankreich, 2 volumes (Scaneg Verlag, 2016), pp. 308–10.

The study of prints related to the decoration of secular interiors in France from the seventeenth and eighteenth centuries, in association with theoretical guidelines, . . . reveals an ambition that is difficult to fulfill. . . So far not a single catalogue or study encompasses the entire French print production of wall decorations, mantelpieces and ceilings made during both centuries. . . Further research is necessary to complete the still lacunar state of our knowledge. This is what Wilkie strives to do. His study is composed of two parts: the first volume offers a presentation of the issues as set out in the title, while the second consists of a catalogue of prints that form the basis of the author’s demonstration (308).

Véronique Meyer, Review of Katie Scott, Becoming Property: Art, Theory, and Law in Early Modern France (Yale University Press, 2018), pp. 313–15.

[Scott’s] recent book . . . examines the relationship between intellectual property and the visual arts in France from the sixteenth century to the beginning of the nineteenth . . . It traces the history of this relationship, highlighting key moments with exemplary case studies as well as citing regulations and legal texts, (313) and examines the role of the parties involved, including booksellers, publishers, engravers, draughtsmen and authors. Although the sixteenth and seventeenth centuries occupy and important place in the book, which shows how the definition of privilege and copyright evolved over the years, it is above all France of the Enlightenment and Revolution that lies at the heart of this study (314). . . [It] is a must for all who are interested in the history of printmaking, the decorative arts and artistic theories and institutions such as the Académie Royale (315).

David Bindman, Review of Cynthia Roman, ed., Hogarth’s Legacy (Yale University Press, 2016), pp. 315–16.

Hogarth’s enormous and long-lasting influence on art and popular imagery is the subject of a series of essays, largely by scholars of eighteenth-century art, including . . . Douglas Fordham, Dominic Hardy, Brian Maidment, Patricia Mainardi, Ronald Paulson, Mark Salber Philips, and Michael Printy. . . Collections of essays inevitably fall somewhere on the spectrum between the tightly focused, based on a close conversation between the authors, and the loose and baggy, in which the connections between the essays are more informal. Although the quality of the essays is uniformly excellent, this volume tends more toward the baggy . . . The main and entirely commendable purpose of the volume seems to have been to make scholarly use and draw further attention to the relatively little-known and underused, and in some areas quite spectacular, collections of Hogarth engravings and late eighteenth-century caricature in the Walpole Library (315).

Roger Paas, Review of Josef Biller, Calendaria Bambergensia: Bamberger Einblattkalender des 15. bis 19. Jahrhunderts von der Inkunabelzeit bis zur Säkularisation, 2 volumes (Anton H. Konrad Verlag, 2018), pp. 317–19.

Biller has dedicated over four decades to the collecting and studying of broadside (316) calendars published for the bishopric of Bamberg, and the results of his in-depth research have now been published in a detailed and richly illustrated two-volume catalogue (318).

Daniel Godfrey, Review of Anke Fröhlich-Schauseil, Schenau (1737–1806): Monografie und Werkverzeichnis der Gemälde, Handzeichnungen und Druckgrafik von Johann Eleazar Zeißig, gen. Schenau (Michael Imhof Verlag, 2018), pp. 319–23.

The son of a damask weaver from Großschönau in Saxony, Schenau fled the outbreak of the Seven Years’ War in 1756 to Paris. There he Frenchified his name and established a reputation as an artist of ‘society paintings’ focused on liaisons between the sexes, coiffure and the texture of material. The mentorship of Johann Georg Wille (17151808), engraver, print publisher and art dealer, must have motivated Schenau to execute a set of twelve etchings in 1765, six of children acting as adults and six of heads . . . These were to remain Schenau’s only autograph prints (319) . . . Yet, Schenau’s career developed in symbiosis with the print.

Mark Bills, Review of John Ford, Rudolph Ackermann and the Regency World (Warnham Books, 2018), pp. 323–25.

Although Ackermann belongs to and epitomizes the Regency Period (17881830), one cannot help but think that he would be a very useful figure in the art and design world of today (323) . . . John Ford has absorbed an enormous body of material and given us a fascinating chronological account of Ackermann as well as adding important new research and insights (324).

P U B L I C A T I O N S  R E C E I V E D

• Joachim Jacoby, Guillaume Jean Constantin (1755–1816): A Drawings Dealer in Paris (Ad Ilissum for the Fondation Custodia, 2018), p. 339.

• Peter Stoll, Französische Buchillustration des 18. Jahrhunderts in der Oettingen-Wallersteinschen Bibliothek (Universität Augsburg Bibliothek, 2018), p. 339.

• Thora Brylowe, Romantic Art in Practice: Cultural Work and the Sister Arts, 1760–1820 (Cambridge University Press, 2019), p. 339.

• Helen Rosslyn, A Buyer’s Guide to Prints (The Royal Academy of Arts in association with the London Original Print Fair, 2018), p. 342.



Call for Papers | ASECS 2020, St. Louis

Posted in Calls for Papers by Editor on July 16, 2019



2020 American Society for Eighteenth-Century Studies Conference
Hyatt Regency at the Arch, St. Louis, 19–21 March 2020

Proposals due by 15 September 2019

Proposals for papers to be presented at the 51st annual meeting of the American Society for Eighteenth-Century Studies, in St. Louis, are now being accepted. Proposals should be sent directly to the session chairs no later than 15 September 2019. Along with our annual business meeting, HECAA will be represented with the Anne Schroder New Scholars’ Session, chaired by Susanna Caviglia. A selection of additional sessions that might be relevant for HECAA members is included below. A full list of panels is available as a PDF file here.

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Anne Schroder New Scholars Session [Historians of Eighteenth-Century Art and Architecture]
Susanna Caviglia (Duke University), susanna.caviglia@duke.edu

This is an open session for advanced graduate students and early career scholars in the art and architectural history of the eighteenth century.

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Presidential Session: Fostering Eighteenth-Century Studies in Unwelcoming Places (Roundtable)
Michael Yonan (University of Missouri), yonanm@missouri.edu

The contemporary American cultural landscape poses challenges to scholars of the eighteenth century. While our research engages with Enlightenment ideals, we often conduct it while living and working in places seemingly opposed to those ideals. Recent political developments in multiple states (including Missouri) promise to impact the future development of our field significantly. This roundtable offers a forum for discussing these concerns. How can scholars, especially younger scholars, negotiate the tricky world of contemporary politics as they pursue their scholarly agendas? Topics may include: accepting a job in a state whose political mainstream differs from one’s own; contemporary reproductive rights and eighteenth-century studies; queering the eighteenth century in queerphobic settings; ideological fundamentalism and eighteenth-century scholarship; eighteenth-century antecedents to the contemporary political climate; and other subjects.

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Innovative Course Design
ASECS, asecsoffice@gmail.com

ASECS invites proposals for a new course on eighteenth-century studies or a new unit (1–4 weeks of instruction) within a course. Proposals may address a specific theme, compare related works from different fields (music and history, art and theology), take an interdisciplinary approach to a social or historical event, or suggest new uses for instructional technology. The unit/course should either have never been taught or have been taught recently for the first time. Applicants should submit a 750–1500 word proposal that focuses sharply on the leading ideas distinguishing the unit/course. The proposal should indicate why particular texts and topics were selected and (if possible) how they worked; ideally, a syllabus will be provided. The competition is open to current members of ASECS. Up to three proposals will be selected for presentation during the Innovative Course Design session at the Annual Meeting; a $500 award will be presented to each of the participants, who also will be asked to submit an account of the unit/course, a syllabus, and supplementary materials for publication on the ASECS website.

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The Sister Arts in Eighteenth-Century Ireland [Irish Caucus]
Scott Breuninger (University of South Dakota), Scott.Breuninger@usd.edu

During the eighteenth century, the sister arts of painting and poetry in Ireland were often linked to notions of political or social authority. Working in a society divided by religion, gender, and race, Irish artists were faced with the uncomfortably stark nature of political power and the (mis-)attribution of meaning(s) to their work. In this context, many of the themes explored by Irish poets, playwrights, musicians, and artists (among others) were necessarily grounded in discourses that tried to walk a fine line between personal expression and social expectations. Some of these creative works explicitly drew from Ireland’s past to inform their meaning, others looked toward the future with varying degrees of optimism and pessimism. In this nexus of aesthetic creativity, artists were forced to negotiate with a wide range of pressures that were unique to Hibernia. This panel welcomes proposals that address how issues of artistic representation related to questions of political and social power within eighteenth-century Ireland. Of particular interest are proposals that investigate how politically disenfranchised groups in Ireland addressed the connection between artistic representation, political power, and/or historical memory along lines associated with religion, gender, and race.

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Eighteenth-Century Italian Economies of Exchange [Italian Studies Caucus]
Irene Zanini-Cordi (Florida State University), izaninicordi@fsu.edu

The European Grand Tour destination, a center of port commerce for Europe and the Levant, and an ambitious participant in the Enlightenment Republic of Letters via an array of scientific and literary academies, prolific periodical publications, and the epistolary exchange of individual lights, Italy in the eighteenth century is especially fertile terrain for examining European and wider exchange economies. We seek papers on innovative networks in eighteenth-century Italy that sought to circulate, trade in, and trade on knowledge and ideas, material and cultural goods, and human beings. These may include but are not limited to the circulation of periodical literature; commercial ports of trade; Grand Tour networks; the trade in natural philosophical texts, instruments, specimens, and knowledge; fashion; the art market; culinary arts; and musical and theatrical production.

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Representations of Nature in Art, Literature, Philosophy, and Science of Eighteenth-Century Italy [Italian Studies Caucus]
Francesca Savoia (University of Pittsburgh), savoia@pitt.edu

In a period of burgeoning knowledge about the natural world, how did artists, writers, philosophers and scientists—working in or visiting Italy in the eighteenth century—respond to the wondrous and/or dreaded manifestations of Nature? How fruitfully did the artistic, figurative and literary representations, interpretations and/or re-creations of natural objects and phenomena intersect with philosophical speculation and scientific research? This session seeks contributions that address these questions from the widest range of disciplinary perspectives: ecocriticism; eco-critical art history; eco-musicology; environmental history; history of science; cultural studies.

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Repairing the Eighteenth Century
Katarina O’Briain (St. Mary’s University), kobriain@gmail.com; and Allison Turner (Columbia University), acturn@gmail.com

In a special issue of Studies in the Novel from 1996, Eve Kosofsky Sedgwick introduced the idea of reparative reading as a tool for replenishing (and repairing) literary studies. Whereas “paranoid” criticism sought to expose a damaging ideological substratum at every turn, Sedgwick’s reparative method would approach cultural objects with a sense of their potential for meaning-making: “this is the position,” she writes, “from which it is possible . . . to assemble or ‘repair’ the murderous part objects into something like a whole—though, [she] would emphasize, not necessarily like any preexisting whole.” To repair, Sedgwick implies, is not to restore some object or environment to a pastoral original; it is rather a way of doing anything at all with inevitably broken or mixed materials. If “the eighteenth-century origins of critique,” in Simon During’s phrasing, have been well established, this panel asks whether and how the notion of repair might offer new ways of thinking about our period. How, for instance, might repair complicate or contradict traditional narratives of capitalist accumulation and the rise of the consumer society? What sorts of repair are offered in response to political, environmental, and social crisis? Are there ways of thinking about repair outside of conventional notions of improvement, innovation, or progress? We invite proposals that approach repair in diverse ways—as a material process, methodological position, aesthetic operation, or conceptual tool. Proposals for papers that speak to the limits of repair or that suggest ways we might move beyond it are also welcome.

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Amateur or Professional? Reconsidering the Language of Artistic Status
Paris Spies-Gans (Harvard Society of Fellows), pspiesgans@gmail.com; Laurel Peterson (The Morgan Library & Museum), laurel.o.peterson@gmail.com

The categories of ‘amateur’ and ‘professional’ have long been used to demarcate artistic activity. However, these classifications are frequently anachronistic, and do not reflect the language that was used at the time—they are often inflected as much by historiography as by the lives that people lived. Indeed, ‘amateur’ did not enter the English language until the late eighteenth century. Our panel seeks to challenge the distinction of amateur vs. professional, asking instead what these terms meant in the eighteenth century, to artists as well as to their publics. We hope to suggest that a reevaluation of these terms can reorient, expand, and, perhaps, reshape our study of this period. We invite papers that explore the concepts of ‘amateur’ and/or ‘professional’ across artistic fields. Topics might include materiality, media, gender, social class, travel, and public exhibitions or displays. Presenters might challenge the binary of amateur vs. professional as it is applied to drawing vs. painting, to fine vs. decorative arts, to female vs. male artists, to private vs. public activity, to academic training vs. self-teaching, etc. Where did one cross over from being an amateur to being a professional, or vice versa? To what degree are these retroactively applied categories helpful to the study of the eighteenth-century world, and to what degree might they be delimiting?

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The Rise of the House Museum: Domestic Curatorial Practices
Kirsten Hall (The University of Texas at Austin), kirstenahall@utexas.edu; and Teri Fickling (The University of Texas at Austin), terifickling@utexas.edu

When Elizabeth Bennet and the Gardiners are led on a tour of Pemberley by housekeeper Mrs. Reynolds, Elizabeth owns, “Mrs. Reynolds could interest her on no other point. She related the subjects of the pictures, the dimensions of the rooms, and the price of the furniture, in vain.” As the Pemberley tour proves, the rising popularity of country house tours as a leisure pursuit suggests that the gentry had become captivated by the prospect of seeing up close how others—especially the rich, powerful, or famous of the present and past—lived through their catalogues of “fine carpets and satin curtains.” On one hand, “great house” tourism shored up class hierarchies, celebrating the prestige of the aristocracy. On the other hand, the case of Mrs. Reynolds seems to show how the practices of archiving and exhibiting were increasingly open not just to the elites of clubs and universities but also to women and, to some extent, the working class. This panel invites papers that address the popularity of domestic curatorial practices in the long eighteenth century, inviting a range of interdisciplinary perspectives that may consider topics such as: collecting, curating, and housekeeping in the public vs. private spheres; the relationship between literary genres like biography, the novel, the travel guide, and the encyclopedia and house tours; taxonomic and empirical methods in the arts and sciences; tourism and secular pilgrimage; women and museums; historic preservation, antiquarianism, and historical consciousness; current scholarly practices in historicizing ordinary life in the eighteenth century; and the status of eighteenth- century historic house museums today.

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Mineralogy and Artful Metamorphosis
Tara Zanardi (Hunter College), tzanardi@hunter.cuny.edu; and Christina Lindeman (University of Southern Alabama), clindeman@southalabama.edu

The burgeoning field of mineralogy in the eighteenth century not only pointed to the increase in the scientific study and mining practices of minerals, such as amethyst and emeralds, but also to their greater manipulation by artisans, architects, and artists in the creation of decorative objects, textiles, jewelry, interiors, and garden grottoes. Since antiquity humans have analyzed and contemplated minerals for their beauty, intricate structures, purported mystical and therapeutic powers, economic benefits, and spiritual and chemical properties. In the 1700s, they were avidly incorporated in elite and amateur collections and displayed in natural history cabinets, and this interest became more systematic and rigorous, aided by a constellation of institutions and governing bodies that funded expeditions and fostered scientific inquiry. This session invites papers to consider the multiple and complex roles of minerals in artistic and natural history contexts. How did the raw materials, mined at home or abroad, relate to nationalistic and imperial pursuits and the kinds of terrestrial bounty boasted by nations? How were such materials then catalogued, displayed, wielded, or molded in their new, ‘civilized’ environments? How were such natural objects sources of pleasure, instruction, wonder, spirituality, and the exotic? Ultimately, how did these minerals undergo metamorphosis in new and artful ways that embodied an individual’s or collective taste, knowledge, and identity? We also welcome papers that address the explorative methods of quarries and the labor used to extract minerals.

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Art Professions
Carole Paul (University of California, Santa Barbara), paul@arthistory.ucsb.edu

The eighteenth century seems to have been a watershed in the emergence and evolution of various different kinds of work involving the visual arts, some of which were established as professions during the period. This session aims to trace the development of some of these types of work, considering not only how they evolved over the course of the century, but also how they were related and, concomitantly, what factors—cultural, economic, social, etc.—engendered their growth or professionalization. How, or were, those who did this kind of work remunerated? How did they identify themselves professionally, if they did so at all? Examples include museum curators, directors, and guards, tour guides, art and architectural critics, dealers, restorers, landscape architects, interior decorators, art historians, connoisseurs, and antiquarians. Papers that address these types of work are encouraged; if they discuss individual figures, they should do so in relation to the broader context.

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On Mimesis (Roundtable)
Edmund Goehring (The University of Western Ontario), egoehrin@uwo.ca

Robert Pippin, taking up Hegel’s claim that art had become a “thing of the past,” proposes that, with Modernist French painters, representational art ceased “to compel conviction, to arrest attention, to maintain credibility” (“After the Beautiful”). Wye Allanbrook, in laying out a poetics of the music of Mozart’s era, is still more emphatic that something irrevocable happened at the beginning of the nineteenth century. By her account, a curtain came “down on habits of thought about music’s nature”—that is, the mimetic tradition—“that had been sustained in one mode or another since antiquity” (“The Secular Commedia”). These observations (and similar ones could be added) indicate how the question of representation in the arts is still a lively one and how much it is sustained by eighteenth-century thought and practice. This roundtable welcomes contributions, from across disciplines, that probe this topic further. Responses might consider (but need hardly be limited to) narrative approaches beholden to thresholds or tipping points, the social/political dimensions of these changes in poetics, the persistence of mimesis into modernity, or challenges to mimesis—in the theory or practice of art—that appeared well before the nineteenth century.

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Colonial Matter
Kaitlin Grimes (University of Missouri-Columbia), krgxb6@mail.missouri.edu; and Danielle Ezor (Southern Methodist University), dezor@mail.smu.edu

The long eighteenth century witnessed a freer and faster movement of increasingly diverse goods around the world than had ever existed before. New objects, materials, and consumables traversed oceans and crossed over lands to serve new global marketplaces. These material goods travelled not just from or to Europe as much recent scholarship has suggested, but between global metropoles well outside of Europe, as for example between China and New Spain or India and East Africa. However, colonialism facilitated the movement of these goods, and so colonialism also marked these objects, materials, and consumables. Studies of traded materials provide a greater understanding of relations between colonizer and colonized as well as illustrate how particular materials were received and perceived in an eighteenth-century colonial context. This panel seeks to explore the connection between material culture and colonialism and to decentralize Europe as the main purveyors of these materials. Such topics could include but are not limited: colonial materials, objects used to house, contain, or exhibit colonial goods and consumables and their display; the trade and/or market of colonial goods in the long eighteenth century; and colonial interpretations of such objects and consumables. The goal of this panel is to develop an ongoing conversation on the relationship between material culture and colonialism within the long eighteenth century and how colonialism’s role in spreading objects aids in the comprehension of eighteenth-century material and visual culture.

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“Too political, too big, no good”: Picturing Politics
Jessica L. Fripp (Texas Christian University), j.fripp@tcu.edu

“Too political, too big, no good” were the words Kim Sajet, director of the Smithsonian’s National Portrait Gallery, reportedly used to turn down Julian Raven’s gift of his propagandistic/fan-art portrait of Donald Trump, Unafraid and Unashamed. Inspired by this amusing, if somewhat absurd, event, this panel seeks papers that address political art in the long eighteenth century (1660–1830) that was celebrated at the time but is now maligned, or vice versa. Topics might include: official commissions celebrating events that have fallen out of favor due to changing understandings of histories of power (for example, colonial or imperialistic endeavors); works that have been positively or negatively affected by the vagaries of taste for a style or an artist; works taken up independently by artists that were well-received or rejected; or works that demonstrate the conflict between the needs of a political regime and the public. What did it mean for a work of art to be ‘too political’, ‘too big’, or ‘no good’ in the eighteenth century? What impact do these value judgments have on our understanding of political art, then and now?

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Built Form
Janet R. White (UNLV), janet.white@unlv.edu

Architects, landscape architects, interior designers, and historians of these disciplines are invited to submit abstracts to this interdisciplinary session dealing with the built environment of the long eighteenth century. Subjects might include analysis of individual eighteenth-century buildings, interiors or landscapes; discussion of eighteenth-century treatises that has an impact on built form; analysis of the work of individual designers; and discussion of movements such as Neo-Palladianism or French Structuralism.

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Do-Overs: Repetition and Revision
Elizabeth Mansfield (Penn State), ecm289@psu.edu

François-André Vincent’s painting Arria and Paetus (1784), now in the collection of the Saint Louis Art Museum, provides an occasion to revisit the significance of repetition in the long eighteenth century. As is well known, the practice of creating copies was not only a standard part of academic training, it was also a means of enhancing professional reputations and commercial success. A related but distinct phenomenon was the creation of variants. Vincent’s Arria and Paetus exemplifies this phenomenon. The painting in Saint Louis was exhibited at the 1785 Salon near a likewise fully finished but utterly different conception of the scene, also by Vincent. Both paintings represent the same encounter between the defeated Roman general and his wife, intent on mutual suicide to preserve the family’s honor. Whether the variants were presented at the Salon together to show the artist’s range, to illustrate a particular narrative theory, to create a quasi-cinematic visual effect, or were merely artifacts of artistic indecision remains uncertain. What is certain is that Vincent’s interest in repetition and variation is not unique. To gain a better understanding of this and other instances of authorial variation, it is necessary first to consider this phenomenon as a practice, as a mode of cultural expression and interchange. Toward this end, this session will address repetition and revision with priority given to papers that discuss variants in the visual arts.

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Collecting, Antiquities, and Eighteenth-Century Art
Lauren DiSalvo (Dixie State University); lauren.disalvo@dixie.edu; and Katherine Iselin (University of Missouri), ktp.iselin@gmail.com

The influence of the Greco-Roman world permeated eighteenth-century visual and material culture following the excavations that began at Pompeii and Herculaneum. Demand for large-scale sculpture and their copies, Greek vases, and the many Neoclassical paintings that were influenced by antiquity rose in the wake of eighteenth-century excavations as collectors passionately sought such objects. Likewise, more portable souvenirs such as prints, micro-mosaics, fans, gems, and architectural models also found their way into collectors’ hands. This panel seeks papers that examine the intersections of collecting, antiquities, and eighteenth-century art. What new perspectives can be used to explore how Greco-Roman art functioned in collecting during the long eighteenth century? This panel looks to examine collecting more broadly, including collections of specific collectors, types of popular collectibles, or reworked Greco-Roman artifacts. Papers focusing on non-traditional or little-known objects and collectors are particularly welcome.

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Experiencing the Past: Bringing Collections to Life through Experiment and Reconstruction
Al Coppola (John Jay College), acoppola@jjay.cuny.edu

Scholars such as Richard Sennett, Paola Bertucci and Pamela H. Smith of Columbia University’s Making and Knowing Project have drawn new attention to early modern crafts-people and artisanal practices in order to enrich our understanding of the bonds between making and knowing. In order to explore the embodied knowledge of historical actors, this cross-disciplinary scholarship brings together experts working in fields like technical art history, history of science and medicine, and food studies with modern scientists and artisanal practitioners. Insofar as this work promises to lend new insights into the ways life was experienced in the eighteenth century, this panel seeks participants who have undertaken—or plan to embark on—projects involving the recreation of historic recipes, experiments or related historical material. It seeks to understand the challenges, rewards, and unexpected findings that emerge when historical documents or objects are put into active use. Relevant projects might have to do with the recreation of historic recipes for medicines, food, drink, or pigments, the re-enactment of experiments with historical instruments, or other engagements. The panel especially welcomes projects that reach into the public realm, and it hopes to feature a special format in which a roundtable discussion will be enriched by tastings, demonstrations or other kinds of experiences. This panel has already secured interest from a collaboration between the Minneapolis Institute of Art, the Wangensteen Historical Library at the University of Minnesota, and the Tattersall Distilling Co. that explores the culture of distilled spirits in the eighteenth-century Atlantic world: https://bit.ly/2HcTtxI .

Note: Once papers for this session have been selected, the authors will consult with the panel chair, the Program Committee, and the Diversity, Equity, Inclusivity and Accessibility Committee regarding food allergies, scent sensitivities, etc.

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Herbarium: Illustration, Classification, Exchange
Sarah Benharrech (University of Maryland), sbenharr@umd.edu

This session proposes to focus on the cultural practices and on the literary and philosophical representations associated with herbaria and herbarium-making in the eighteenth century. It is inspired by the works of A. Cook who has demonstrated the importance of herbarium-making in the botanical activities of J.-J. Rousseau, of M. Flannery who highlighted their aesthetic value, and of S. Müller-Wille who examined their taxonomic and nomenclatural significance in the building of organized knowledge. As a collection of pressed plants, a herbarium replaces drawings, engravings, or textual descriptions of plants, with actual specimens. Herbaria might be bound and display a systematic classification; but when left unbound like decks of cards they allow for a flexible and temporary arrangement of plants. At the same time herbaria involve issues related to (re)presentation through the manner in which dry specimens are placed on paper. And last, herbaria were treated as commodities in the transactions among botanists and amateurs engaged in the social practice of gift exchange. As trophies brought back by colonialists and their supporters, herbaria captured the many ambiguities of naturalistic exploration and colonial exploitation. Presentations on material culture, networks and diffusion of knowledge, empire and botanical knowledge, imaginary and literary herbaria, or on other cultural practices associated with plant collection and preservation are welcome. Please send a 200-word abstract in English or in French.

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Political Revolutions and Art Historical Exile
J. Cabelle Ahn (Harvard University), jahn01@g.harvard.edu; and Elizabeth Saari Browne (MIT), esbrowne@mit.edu

In recent decades, scholars have investigated the revivals, echoes, and continuities of eighteenth-century artistic styles into and beyond the nineteenth century. Taking their lead, this session questions the effects that the presumed links between style, genre, medium and politics have had on our understanding of eighteenth-century artists whose oeuvres traverse the centuries and political regimes, but whose works, for the most part, remain unchanged. The turning of the century in France, for instance, was particularly marked by the colossal fragmentation in historical consciousness owing to the French Revolution. While scholars have recently challenged the transformative role of the Revolution as creating neat breaks in cultural consciousness that directly align with shifts in governance, the spotlight has remained firmly on ‘revolutionary’ artists whose production primarily sought to create an explicitly public and political effect. This approach leaves the visual productions of artists active during this tumultuous period—such as Clodion (1738–1814), Anne Vallayer-Coster (1744–1818), and Jean-Jacques de Boissieu (1736–1810)—in limbo, as seemingly oblivious to the gradual liberation of intellectual and cultural vision in the revolutionary period. Through this session, we aim to address the continuities of artistic production in moments of profound political change and historical segmentation (roughly 1776–1815), and we welcome papers that take on such ‘defiantly anachronistic’ artists as case studies, topics that examine similar divisions in other European and American schools, and proposals that offer methodological solutions for addressing these erasures.

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Global Animals
Adela Ramos (Pacific Lutheran University), ramosam@plu.edu; Gabriela Villanueva (UNAM: National Autonomous University of Mexico), g.villanueva.noriega@comunidad.unam.mx; and Bryan Alkemeyer (The College of Wooster), balkemeyer@wooster.edu

With some exceptions, the groundbreaking work of eighteenth-century scholars in animal studies over the last two decades has focused on English and French histories and literatures. The trend could appear symptomatic of what Karen Stolley has identified as the “partial diversification” of eighteenth-century studies, which even as it strives to account for “peripheral” or “global” enlightenments, tends to overlook the Spanish American eighteenth century. Africa, as Wendy Laura Belcher has pointed out, has likewise been under-studied. This panel seeks to address how animal studies might avoid the “methodological nationalism” (Ulrich Beck) of the traditional Humanities that Rosi Braidotti critiques in The Posthuman in order to “unthink Eurocentrism and anthropocentrism” with animals. How did other literatures and worldviews that might be regarded as outside of the center respond to the animal question and engage in the debate concerning the human/animal divide during the eighteenth century? Presentations from all fields (art history, history, literature, political theory) that provide an overview of how methodological and/or theoretical approaches might expand the national focus of animal studies, case studies which situate a text, event, or figure in a global context, or which investigate animals in underrepresented national literatures or histories are all equally welcome.

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The Visual Gothic
Kristin O’Rourke (Dartmouth College), kmo@dartmouth.edu

The burning of Notre Dame cathedral made clear how present the Gothic still is today in everyday life in Paris and throughout much of Europe: as tourist attraction, as spectacle, as nostalgia, as cultural or religious symbol. This panel strives to think about how the visual image of the Gothic impacted contemporary art and literature of the eighteenth and early nineteenth centuries. The ‘new’ Gothic fantasy of Walpole’s Strawberry Hill, Gilpin’s picturesque tours, the Troubadour style in French art, and the restoration and completion of centuries-old cathedrals, for example, demonstrate how the Gothic re-gained a hold over architecture, painting, and literature at a time of political and social change throughout Europe. Was the Gothic revival a rejection of the classicism spurred on by the Grand Tour and Napoleon’s empire, or one aspect of a nascent Romanticism? How do politics and religion figure into an aesthetic focus on the vernacular and idiosyncratic aspects of the Gothic as opposed to the universalizing rationality of the classical tradition? Can we read an anti-modern, anti-Enlightenment reaction in the art of the time, or was the Gothic just another form of exoticism?

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Sight and Seeing in Eighteenth-Century Fiction
John Han (University of Tennessee – Knoxville), jshan111@gmail.com

The development of the microscope and telescope drastically changed the way people used sight to interface with the world in the eighteenth century. But between such major shifts in modes of seeing—from the cellular to the cosmic—the most basic mode of sight itself changed. Manifested in technical uses—such as the technique of surveying, the practices of landscaping, and the art of engravings—vision became a formal site of practical epistemology. Sight, therefore, became the subject across a variety of texts, such as William Stow’s survey Remarks on London, William Hogarth’s The Analysis of Beauty, and William Chambers’s Dissertation on Oriental Gardening. Related to but apart from the scientific and technical arena, the eighteenth-century literary world—reliant on images, imagination, and imagery—portrayed the act, the process, or the object of seeing in its poems, dramas, and novels. From descriptions of characters looking at one another, to mirrors, and toward an outside environment, eighteenth-century writers allegorized the act of seeing. What do fictional accounts of sight tell us about the relationship between sight and imagination, ocular proof and illusion, material visibility and internal subjectivity?

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Rethinking Turquerie: New Definitions and Approaches
Ashley Bruckbauer (University of North Carolina at Chapel Hill), albruckbauer@gmail.com

A vogue for all things ‘Turkish’ spread throughout Europe during the eighteenth century. Trade and travel between the Ottoman Empire and European states enabled Ottoman goods, including coffee, textiles, and costume albums, to flow into Europe. Likewise, artists living in the Levant, such as Jean-Baptiste Vanmour, produced numerous prints and paintings of Ottoman society for European audiences. Such objects inspired Turkish-themed masquerades in Rome, London, and Paris as well as portraits of European elites dressed à la turque. French nobles built cabinets turcs furnished with divans, sophas, and ottomans, while British and Polish monarchs erected Turkish-style tents and kiosks. Despite its immense popularity, European visual and material culture related to the Ottoman Empire remains underanalyzed. Like other forms of exoticism, turquerie has often been trivialized as a ‘decorative’ style lacking both veracity and substance. This panel aims to critically rethink eighteenth-century objects and images categorized as turqueries. In line with recent reassessments of chinoiserie and the rococo, it seeks to explore new definitions and approaches that recognize the diversity and complexity of these works of art. Is turquerie a useful term? What are its characteristics and strategies? How do objects expand or challenge traditional understandings of turquerie? How is it similar to and different from other types of exoticism? Proposals addressing any aspect of the engagement of visual and material culture with real or imagined Ottoman forms, styles, and subjects are welcome.

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From Tabula Rasa to Terra Incognita: Landscape and Identity in the Enlightenment
Shirley F. Tung (Kansas State University), sftung@ksu.edu

Enlightenment philosophical discourse situates travel as both the navigation of the literal terra incognita and the figurative terra incognita of the self, conflating geographical bodies with the bodies of the travelers crossing the terrain. In turn, eighteenth-century travelers seized upon this metaphor of embodied earth to depict the ever-expanding borders of personal and national identity. The historical transition of how landscape was conceived—from prospects offering a ‘blank slate’ to places inscribed (and re-inscribed) with meaning—speaks also to its growing importance as a material and symbolic site where the potentiality of traveling subjects and the nations they represent could be explored on a global stage. Enlightenment era travel writers employed landscape as a means of actively shaping the dominant paradigm by conveying to their readership the perceived incommensurability between what their nation was becoming and what they, as self-reflexive subjects, might be. Such reconciliatory expressions of shifting selfhood anticipated solutions to particular sets of challenges commonly associated today with imperialism. The attempted resolution of these dynamic and oft-burdened relationships between individuals, homelands, and distant places lent a particular structure to eighteenth-century accounts of landscape which are evident across various genres and media. Accordingly, this panel welcomes proposals on landscape and identity in relation to Enlightenment literature, visual art, philosophy, geography, and science, and from within or across various national perspectives. Papers might focus on travel literature (both fictional and non-fiction accounts), loco-descriptive poetry, visual representations of landscape, cartography, tourism, scientific experiments and discoveries, philosophical treatises, and colonialism and/or empire.

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The Woman of Color in the Eighteenth Century
Regulus Allen (Cal Poly, San Luis Obispo), rlallen@calpoly.edu; and Nicole Aljoe (Northeastern University), n.aljoe@northeastern.edu

The republication of the 1808 novel The Woman of Colour, A Tale; the debut of Belle, a film inspired by the 1779 portrait of Dido Elizabeth Belle; the reissue of the 1767 text The Female American; a new edition of Lady Mary Wortley Montagu’s 1763 Turkish Embassy Letters; and work by scholars such as Lyndon Dominique, Felicity Nussbaum, and Sarah Salih have facilitated a greater focus on eighteenth-century representations of women of color, and have indicated that such depictions are more prevalent and complex than the criticism has previously suggested. This panel invites papers from all disciplines as we consider verbal and visual depictions of women of African, American, or Asian descent and their impact on eighteenth-century culture and society.

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Bringing Historical Maps into GIS (Workshop)
Kacie Wills (Illinois College), kacie.wills@gmail.com; and Erica Hayes (Villanova University), ericay.hayes@gmail.com

Interacting with historical maps in their proper geographic space allows for a more accurate representation of a particular place and the changes it has undergone over time. The study of historical maps is important to eighteenth-century scholarship, specifically as it deals with notions of globalization and attempts at de-colonizing empirical approaches to space. This workshop will provide participants with the technical skills to align geographic coordinates to a digitized historical map in the eighteenth—century in order to create a georeferenced historical map. Participants will learn how to use simple tools like Map Warper, an open source image georeferencer tool, in order to overlay the digitized historical map on top of a GIS modern basemap for comparison and use in an interactive web mapping application. This workshop is ideal for scholars working with historical maps or interested in learning digital humanities GIS skills. Workshop participants will need to bring their own laptops. No prior GIS or mapping experience is required.

Note: Please contact the organizers to secure your space in the workshop. Signups will be accepted on a first come, first serve basis; there is a limit of 30 participants. Workshop participants will not be listed in the program. If needed to secure travel funding, a letter from the ASECS Office formally inviting you to participate in the workshop will be provided.

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Visualizing the French Empire
Izabel Gass, izabel.gass@gmail.com; and Philippe Halbert (Yale University), philippe.halbert@yale.edu

In recent years, art history’s ‘global turn’ has worked to acknowledge the vital role that non- Western cultures and imperialism played in the formation of European art and material culture. This commitment to more inclusive narratives has had a pronounced impact on many fields that privilege and address eighteenth-century art and history. For example, the study of British culture in this period has in many instances been fully eclipsed by the emergence of a ‘British Atlantic World’ and a model of empire that no longer views colonies in isolation from metropolitan centers, and vice versa. This phenomenon is comparatively less pronounced among scholars of French art and those exploring the various legacies of France’s ‘first’ overseas empire, which at its height stretched from Cayenne to Québec and also included points in Africa, India, and the Indian Ocean. This panel seeks to address, and hopefully redress, this disparity as we meet in Saint Louis, founded by the French in 1764 and North America’s last French colonial settlement. We are interested in two lines of inquiry: first, historiographical and methodological papers that explore why, exactly, French visual culture (inclusive of canonical art and material culture) of the long eighteenth century has received less of a global perspective within art history; second, papers that take on this global perspective in exploring topics and themes within the visual culture of a larger, lived French colonial experience.

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Burneys and Stuff: Material Culture and the Visual Arts [The Burney Society]
Alicia Kerfoot (SUNY Brockport), akerfoot@brockport.edu

From the mechanical pineapple automaton in Evelina, to the pawnbroker’s shop in Cecilia, the locket in Camilla, or Van Dyke’s The Children of King Charles I of England in The Wanderer, Frances Burney’s novels, plays, letters, and journals are full of the material culture of eighteenth-century life. This panel calls for papers on any aspect of material culture or the visual arts in the works of Frances Burney or other members of the Burney family and their circle (including figures such as Frances Burney’s mother, Esther Sleepe, who was a fan-maker, or her cousin, the artist Edward Francisco Burney). Presentations might consider the relationship between objects as portrayed by any of the Burneys in art and literature (including novels, plays, letters, paintings, craft work, the needle arts, and music) and as surviving objects in archives and collections today. Papers might also focus on the historical and cultural networks that one object can conjure, the relationship between historical object and its textual representation, or on that which cannot be fully captured in the visual, textual, or material representation of stuff.

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“I Refute It Thus”: Encounters with Eighteenth-Century Objects (Roundtable) [Northwest Society for Eighteenth Century Studies]
Marvin Lansverk (Northwest Society for Eighteenth Century Studies), lansverk@montana.edu

Proposals invited on any aspect of encounters with eighteenth-century objects, then and now, whether personal, professional, or philosophical—whether in texts, or with texts, or without texts.

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Shorelines: The Enlightenment Experience of Beaches, Coasts, Harbors, Bays, Islands, and Riversides [South-Central Society for Eighteenth-Century Studies]
Kevin L. Cope (Louisiana State University), encope@lsu.edu

Transitions from water to land are everywhere in the long eighteenth-century experience. Both fictional and factual characters such as Robinson Crusoe and Philips Ashton wash up on beaches; history and portrait painters, including Benjamin West, deploy more than a few shoreline scenes; landscape daubers, whether Caspar David Friedrich or Claude Lorrain, juxtaposed sea against land, as did illustrators such as William Westall; eighteenth-century navies employed artist-navigators to sketch coasts; poets such as Abraham Cowley versified the edging of water along terra firma; explorers discovered assorted uncharted islands and new coasts; casual philosophers such as Margaret Cavendish imagined the arrival at utopian lands; geologists and paleontologists, including John Woodward and John Ray, wandered coasts in search of fossils; optical experts offered mariners ever-better spyglasses by which to sight faraway sands; even musical composers tried to capture the joys of making landfall. The artificial shore—the port; the harbor; the esplanade; the maritime supply infrastructure; even the boathouse—likewise bustled with international cultural, economic, and political activity. This panel will investigate the evocation, rendering, representation, uses, and influence of shores in the full range of long- eighteenth-century genres, disciplines, and pursuits. A special welcome is extended to authors of papers exploring the interaction of media, whether the interplay of early oceanography with imaging of seashores or whether the use of museum architecture to reorganize near-marine coastal artifacts.

ASECS 2019, Denver

Posted in by Editor on March 14, 2019

Frederic C. Hamilton Building, Denver Art Museum (Photo: Wikimedia Commons, August 2010). The Hamilton building, by Daniel Libeskind, opened in October 2006. Works from the Berger Collection Educational Trust have been on long-term loan at DAM since 1996; in February of this year 65 works of British art from the trust—including paintings by Thomas Gainsborough, Angelica Kauffman, George Stubbs, and Benjamin West—were donated to the museum. A selection will be on view beginning 2 March 2019 in Treasures of British Art: The Berger Collection, organized by Kathleen Stuart, curator of the Berger Collection at the DAM.

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2019 American Society for Eighteenth-Century Studies Conference
Grand Hyatt, Denver, 21–23 March 2019

The 50th annual meeting of the American Society for Eighteenth-Century Studies takes place at the Grand Hyatt in Denver. HECAA will be represented by the Anne Schroder New Scholars’ Session, chaired by Susanne Anderson-Riedel and scheduled for Saturday morning. Our annual business meeting will take place Friday evening at 6:00. A selection of 31 additional panels is included below (of the 198 sessions scheduled, many others will, of course, interest HECAA members). For the full slate of offerings, see the program.


HECCA Business Meeting
Friday, 6:00–7:00, Mt Evans

Anne Schroder New Scholars Session (HECAA)
Saturday, 8:00–9:30, Mt Harvard
Chair: Susanne ANDERSON-RIEDEL, University of New Mexico
1. Danielle EZOR, Southern Methodist University, “‘Of Exquisite Whiteness’: Porcelain and Constructing Race”
2. Lauren Kellogg DISALVO, Dixie State University, “‘Fancy Portraits’ and Women in Antique Guise”
3. Joshua HAINY, Truman State University, “John Flaxman’s Shield of Achilles: The Visualization of an Ancient Greek Text”
4. Katherine ISELIN, University of Missouri, “A Collection of the ‘Spintrian’ Medals of Tiberius and the Role of Ancient Erotic Art in Eighteenth-Century Collecting Culture”

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

Roundtable: From Dissertation to Book (Cultural Studies Caucus)
Thursday, 8:00–9:30, Mt. Sopris B
Chair: Rajani SUDAN, Southern Methodist University
1. Melissa SCHOENBERGER, College of the Holy Cross, “The Author and the Applicant”
2. Bridget ORR, Vanderbilt, “Thinking Bigger: Being Read by Publishers and the Profession beyond Your Professors”
3. James MULHOLLAND, North Carolina State University, “What I’ve Learned about Writing a Book: Lessons about Time Management, Revision Plans, and Interacting with Publishers”
4. Angie HOGAN, University of Virginia Press, “What to Expect from a University Press Publisher”
5. Robert MARKLEY, University of Illinois, “From Dissertation to Book . . . to Book, to Book”

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Producers, Creators, Designers: Women Artists
Thursday, 8:00–9:30, Mt. Evans
Chairs: Franny BROCK, University of North Carolina, Chapel Hill and Lindsay DUNN, Texas Christian University
1. Kelsey BROSNAN, New Orleans Museum of Art, “Flowers, Fluids, and Femininity: The Olfactory Texture of Anne Vallayer-Coster’s Flower Paintings”
2. Katie SAGAL, Cornell College, “Vegetal Reality and Artistic Originality: Henrietta Maria Moriarty’s Botanical Illustrations”
3. Kelsey MARTIN, University of North Carolina, Chapel Hill, “Prints, Politics, and Publics: Women Printmakers during the 1789 French Revolution”
4. Molly MAROTTA, Florida State University, “‘That union of parts’: Museum Building as Nation Building in Barbara Hofland’s Ekphrastic Descriptions in the 1835 Description of the House and Museum of the North Side of Lincoln’s Inn Fields, The Residence of Sir John Soane”

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Making Stars: Biography and Celebrity
Thursday, 8:00–9:30, Mt. Wilson
Chairs: Nora NACHUMI, Yeshiva University and Kristina STRAUB, Carnegie Mellon University
1. Elaine MCGIRR, University of Bristol, “Shooting Star: Theophilus Cibber’s Disastrous Self-Fashioning”
2. Jane WESSEL, Austin Peay State University, “Charles Mathews and Transmedia Biography”
3. Stuart SHERMAN, Fordham University, “Actress-Autobiographers in Print and Time: Catherine Clive, Eliza Haywood, Charlotte Charke, and the Mid-Century Pivot from Playhouse towards Periodicity”
4. Heather McPHERSON, University of Alabama, Birmingham, “Image/Counter-Image: Contesting Celebrity in Graphic Satire”

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Roundtable: Race, Gender, Empire, and the Archives (SHARP)
Thursday, 9:45–11:15, Grays Peak A
Chair: Sean MOORE, University of New Hampshire
1. Beth Fowkes TOBIN, University of Georgia, “Drawings in the Archives”
2. Rachael Scarborough KING, University of California, Santa Barbara, “Race, Gender, and Religion in the Ballitore Collection”
3. Rebecca SCHNEIDER, University of Colorado, Boulder, “Jamaican Archives and the Study of Freedom, Dead and Alive”

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Reinventing Graduate Student Mentoring
Thursday, 9:45–11:15, Mt. Elbert A
Chair: Kathryn TEMPLE, Georgetown University
1. Manushag POWELL, Purdue University
2. Jacob MYERS, University of Pennsylvania
3. Lisa MARUCA, Wayne State University
4. Mark VARESCHI, University of Wisconsin, Madison
5. Juliet SHIELDS, University of Washington
6. Mita CHOUDHURY, Purdue University Northwest

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Collecting Studies: Circulation and Disruption
Thursday, 9:45–11:15, Mt. Evans
Chair: Bénédicte MIYAMOTO, Université Sorbonne Nouvelle
1. Sarah BAKKALI, Université Paris Nanterre, “The Portfolio as ‘Portable Museum’: Disrupting French Collecting Practices”
2. Cristina MARTINEZ, University of Ottawa, “The Removal of Poussin’s Sacraments from Italy: Smuggling, Displacing Cultural Property, and Developing Copyright”
3. Jeffrey SCHRADER, University of Colorado, Denver, “Sacred Images as a Foundation of Collecting Practices in the Spanish Monarchy”
4. Louisiane FERLIER, The Royal Society, “Classifying the Royal Society Collections in the Eighteenth Century (and Now)”

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Gesturing toward the Antique
Thursday, 9:45–11:15, Torrey Peak
Chairs: Monica Anke HAHN, Community College of Philadelphia and Craig HANSON, Calvin College
1. Ersy CONTOGOURIS, Université de Montréal, “Emma Hamilton’s Attitudes: Appropriating the Antique”
2. Tracy EHRLICH, Parsons School of Design/The New School, “Gesture, Antiquity, Aesthetics: Rome before Winckelmann and Goethe”
3. Amy FREUND, Southern Methodist University, “When in Rome: Antiquity and Ambition in Jean Ranc’s The Sons of the Duke of Berwick
4. Ashley HANNEBRINK, Harvard University, “Classicizing Gestures in and around French Eighteenth-Century Sculpture”

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Changing Faces: New Directions in Portraiture
Thursday, 11:30–1:00, Mt. Harvard
Chair: William CLARK, Queens College and The Graduate Center, CUNY
1. Vivian P. CAMERON, Independent Scholar, “A Question of Identity: Vigée-Lebrun’s Madame Dugazon as Nina
2. Caroline CULP, Stanford University, “Painting Outside Time: Icons and Anachronism in Copley’s Revolutionary Boston”
3. Dorothy JOHNSON, University of Iowa, “Historical Faces/Historical Fictions? Art and Ontology in David’s Portraits”
4. Bradford MUDGE, University of Colorado, Denver, “Face Value: Portraits, Money, and Genre”

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Roundtable: Forms of Empire (Race and Empire Caucus)
Thursday, 2:30–4:00, Grays Peak B
Chairs: Julie Chun KIM, Fordham University and Sunil AGNANI, University of Illinois, Chicago
1. Eugenia ZUROSKI, McMaster University, “What Happened in the Chinese Summer House?: Empire’s Ambivalent Details”
2. Chloe Wigston SMITH, University of York, “Empire, Handmade”
3. Douglas FORDHAM, University of Virginia, “Worldmaking in Aquatint”
4. Edward LARKIN, University of Delaware, “Visualizing the Chronotope of Empire”
5. Abby COYKENDALL, Eastern Michigan University, “The Empire of Form and the British Novel: Clara Reeve’s Destination
Respondent: Wendy Anne LEE, New York University

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Roundtable: Recovering Women’s Satiric Voices; or, A Feminist’s Work is Never Done, I
Thursday, 2:30–4:00, Pike’s Peak
Chair: Sharon SMITH, South Dakota State University
1. Jonathan SADOW, SUNY Oneonta, “Satirizing ‘Satire’ and Haywood’s Eovaai
2. Ersy CONTOGOURIS, Université de Montréal, “Hannah Humphrey, London’s Leading Caricature Printseller”
3. Susan CARLILE, California State University, Long Beach, “The Satiric Voices of Charlotte Lennox”
4. Shawn Lisa MAURER, College of the Holy Cross, “Recovering ‘Satirical’ Austen: The Work of the Juvenilia”
5. Jocelyn HARRIS, University of Otago, “Jane Austen, Satirist”

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Small Things in the Eighteenth Century, II
Thursday, 2:30–4:00, Torrey Peak
Chair: Beth Fowkes TOBIN, University of Georgia
1. Marina KLIGER, Institute of Fine Arts, New York University, “‘Small gifts kindle friendship’: Amateur Art and the Politics of Exchange in Post-Revolutionary France
2. Joanna GOHMANN, The Walters Art Museum, “A Small Box with a Big Punch: A Case Study in the Intellectual Complexity of Small Things”
3. Nathalie RIZZONI, Sorbonne Université, “French Eighteenth-Century Handscreens or Cardboard Treasures in American Public Collections”

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Interactions between Art and Insurance
Thursday, 4:15–5:45, Mt. Wilson
Chair: Jennifer CHUONG, Harvard University
1. Avigail MOSS, University of Southern California, “A Gallery of Risk and Virtue: The Eighteenth-Century Image of Insurance”
2. Matthew HUNTER, McGill University, “From the Ship and Bladebone to The Slave Ship and Back Again: Turner and Insurance”
3. Sarah CARTER, McGill University, “Underwriting Art: Thomas Coutts and Fuseli’s Milton Gallery”

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Publishing in an Eighteenth-Century Journal
Thursday, 4:15–5:45, Mt. Elbert A
Chair: Matthew WYMAN-MCCARTHY, Eighteenth-Century Studies
1. Eve Tavor BANNET, Studies in Eighteenth-Century Culture
2. Robert MARKLEY, Eighteenth-Century Theory and Interpretation
3. Cheryl NIXON, Eighteenth-Century Studies
4. Cedric REVERAND, Eighteenth-Century Life
5. Roxann WHEELER, Studies in Eighteenth-Century Culture

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Members Reception
Thursday, 6:00–7:30, Capitol Peak

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F R I D A Y , 2 2 M A R C H 2 0 1 9

Print Room Pedagogies: Teaching in the Print Room
Friday, 8:00–9:30, Mt. Evans
Chair: Hope SASKA, University of Colorado, Boulder
1. Thora BRYLOWE, University of Colorado, Boulder, “Learning to Look: Teaching Literature in the Museum”
2. Rebecca MAY, Duquesne University, “‘The very subject before us…the flies that haunt the places of dissection’: Teaching Anatomical Knowledge Using Archival Illustrations”
3. Cynthia ROMAN, Yale University, “W. S. Lewis’s Print Room to the Lewis Walpole Library: Making Connections between Documentary Content and Materiality in the Study of Eighteenth-Century Prints”
4. Alden GORDON, Trinity College, “Print History Courses for Undergraduate Liberal Arts Students”

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The Landscape Garden in Eighteenth Century England and Beyond
Friday, 8:00–9:30, Mt. Elbert B
Chair: Janet WHITE, University of Nevada, Las Vegas
1. Elizabeth MJELDE, De Anza College, “William Gilpin at Stowe”
2. Dana Gliserman KOPANS, SUNY Empire State College, “…to the gulph in which I am now swallowed up’: Some Literary Uses of Landscape Architecture”
3. Felix MARTIN, Aachen University, “Frank Lloyd Wright’s Taliesin—An English Landscape Garden?”

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Bon Appétit: Dining in the Eighteenth Century
Friday, 8:00–9:30, Mt. Yale
Chair: Joanna GOHMANN, The Walters Art Museum
1. Sarah Sylvester WILLIAMS, Independent Scholar, “Nicolas Lancret and the Sociability of Dining”
2. Nicole MAHONEY, University of Maryland College Park, “The Politics of Dinner: French Sociability, Material Culture, and Cuisine in the Early American Republic”
3. Lauren FREESE, University of South Dakota, “‘Life is like a good bowl of punch’: The Communicative and Social Function of Food Imagery in Eighteenth-Century American Periodicals”
4. Thomas NEAL, University of Akron, “‘La mesa ilustrada’: Culinary Discourse in Eighteenth-Century Spain”

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Picturing the Stage I (Theatre and Performance Studies Caucus)
Friday, 9:45–11:15, Pike’s Peak
Chair: Michael BURDEN, New College, Oxford University
1. Laurence MARIE, Columbia University, “Is Painting the New Model for Eighteenth-Century Acting?”
2. Deborah PAYNE, American University, “Theatrical Illustrations as Scholarly Evidence”
3. Laurel PETERSON, The Morgan Library and Museum, “Spectacular Stages: Set Design and Mural Painting in the Age of Vanbrugh”
4. Mark LEDBURY, University of Sydney, “Painter, Playwright, Entrepreneur: Prince Hoare and Innovation Transfer in 1790s London”

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Art, Literature, and Medicine in Eighteenth-Century Italy
Friday, 9:45–11:15, Mt. Yale
Chair: Francesca SAVOIA, University of Pittsburgh
1. Paolo PALMIERI, University of Pittsburgh, “Animal magnetism in Da Ponte’s libretto for Mozart’s Così fan tutte
2. Wendy Wassyng ROWORTH, University of Rhode Island, “Anatomists and Portraiture: Some Encounters on the Grand Tour in Italy”
3. Rebecca MESSBARGER, Washington University, St. Louis, “Visceral Sense: From Criminal Corpses to Donor Bodies in Eighteenth-Century Bologna”
4. Irene Zanini CORDI, Florida State University, “This Body of Mine in Pain: Women’s Poetic and Discursive Portrayals of the Medicated Female Body”

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50 Years of Women at ASECS
Friday, 9:45–11:15, Mt. Sopris B
Chair: Melissa SCHOENBERGER, College of the Holy Cross
1. Margaret Anne DOODY, University of Notre Dame
2. Felicity NUSSBAUM, University of California, Los Angeles
3. Heather McPHERSON, University of Alabama, Birmingham
4. Kristina STRAUB, Carnegie Mellon University
5. Susan S. LANSER, Brandeis University

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Roundtable: Job Market Crash Course (Graduate Student Caucus)
Friday, 11:30–1:00, Maroon Peak
Chair: Kristin DISTEL, Ohio University
1. Dennis MOORE, Florida State University, “How (and How Much) to Promote Your Accomplishments”
2. Ann CAMPBELL, Boise State University, “How to Adapt a Tenure-Track Dossier to Apply for Lectureships”
3. Jonathan KRAMNICK, Yale University, “Perspectives on the Changing Job Market”
4. Joseph BARTOLOMEO, University of Massachusetts, Amherst, “Be ‘Yourself’: The Professional Persona”
5. Aleksondra HULTQUIST, Stockton University, “Adjunct to Tenure Track?”

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The Colors of Race
Friday, 11:30–1:00, Mt. Elbert B
Chairs: Oliver WUNSCH, Harvard Art Museums and Jennifer CHUONG, Harvard University
1. Rebecca CHUNG, The Legacy Press, “‘Not quite black’: Lady Mary Wortley Montagu’s Representations of Racialized Skin, in Text and Portraiture”
2. Sarah COHEN, SUNY Albany, “Fabricating Race through Metalwork in French Sugar Casters”
3. Elizabeth ATHENS, University of Connecticut, “That ‘Variety of Complexions’: Racial Variance in William Hogarth’s The Analysis of Beauty
4. Olivia CARPENTER, Harvard University, “‘Rendered Remarkable’: Race, Color, and Character in The Woman of Colour

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ASECS Business Meeting, Presentation of Awards, and Presidential Address
Friday, 2:30–4:15, Colorado Ballroom
ASECS Business Meeting All ASECS Members are encouraged to attend.
Presiding: Lisa BERGLUND, Executive Director
ASECS Presidential Address
Presiding: Christopher MS JOHNS, Norman and Roselea Goldberg Professor of History of Art Vanderbilt University
Melissa HYDE University of Florida, “Ambitions, Modest and Otherwise: Women and the Visual Arts in France”

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Friday, 4:30–6:00, Mt. Oxford
Chairs: Lauren Kellogg DISALVO, Dixie State University and Sarah Sylvester WILLIAMS, Independent Scholar
1. Matthew GIN, Harvard University, “Made Anew: Repurposed Materials and the Production of Ephemeral Festival Architecture in Eighteenth-Century Paris”
2. Shaena WEITZ, Independent Scholar, “The Afterlife of ‘Nina’: Creative Reuse of Music in Post-Revolutionary France”
3. Bethany WONG, Whittier College, “Sarah Siddons in America”
4. Mary CRONE-ROMANOVSKI, Florida Gulf Coast University, “Seats of Power: Repurposing the Chair in Three Novels of the Long Eighteenth Century”

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Picturing the Stage, II (Theatre and Performance Studies Caucus)
Friday, 4:30–6:00, Pike’s Peak
Chair: Austin Peay State University
1. Jennie MACDONALD, Independent Scholar, “‘The Most Artistic Thing’: Framing the Theatre in Miniature”
2. Mita CHOUDHURY, Purdue University Northwest, “Domesticity Re(de)fined: The Architecture of Theatrical Space at Home”
3. Vanessa ROGERS, Rhodes College, “Picturing Polly: Iconographical Approaches to The Beggar’s Opera

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Freakery: The Limits of the Body
Friday, 4:30–6:00, Mt. Wilson
Chair: Stan BOOTH, University of Winchester
1. Noelle GALLAGHER, University of Manchester, “Noseless in London: Nasal Disfigurement in Eighteenth-Century British Literature and Art”
2. Scott SANDERS, Dartmouth College, “Freaky Sounds: Vocal Physiology as conceived through Marginalized Voices”
3. Tonya HOWE, Marymount University, “‘Sometimes we frame our Selves to be lame’: Bodies of Farce on the Eighteenth-Century Stage”

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Virtute Duce, comite Fortuna Music for Harpsichord and Flute by Elisabetta de Gambarini and Anna Bon, A Lecture-Recital
Friday, 7:30–9:00, Colorado Ballroom
Kimary FICK, Oregon State, Baroque Flute
Alison DeSIMONE, University of Missouri, Kansas City, Harpsichord

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S A T U R D A Y , 2 3 M A R C H 2 0 1 9

Pressing Questions for ASECS at 50: The Digital Humanities and the Global Eighteenth Century
Saturday, 9:45–11:15, Mt Evans
Chair: Christy PICHICHERO, George Mason University
1. Jeff RAVEL, MIT
2. Nicole ALJOE, Northeastern University
3. Paris SPIES-GANS, Harvard University
4. Rebecca GEOFFROY-SCHWINDEN, University of North Texas
5. Karen STOLLEY, Emory University
6. Michael YONAN, University of Missouri
7. Chi-Ming YANG, University of Pennsylvania
8. Kristel SMENTEK, MIT

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Art and Material Culture from the Ibero-American Realms
Saturday, 2:00–3:30, Mt. Harvard
Chair: Jeffrey SCHRADER, University of Colorado, Denver
1. Rachel ZIMMERMAN, Colorado State University, Pueblo, “Sacred, Secular, Exotic, European: Imitation Lacquer Chinoiserie in Colonial Minas Gerais, Brazil”
2. Sabena KULL, University of Delaware, “Floral Garland Paintings in Eighteenth-Century Peru: Circumscribing the Sacred from Europe to the Colonial Andes”
3. James MIDDLETON, Independent Scholar, “Dress and Trade in a Mid-Eighteenth-Century New Spanish Topographical Painting”
4. Gustavo FIERROS, University of Denver, “Toward an Equinoctial Landscape during the Eighteenth Century”

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Between Art and Labor: Craft in the Global Eighteenth Century
Saturday, 2:00–3:30, Mt. Elbert B
Chair: Cassidy PICKEN, Capilano University
1. Ruth MACK, SUNY Buffalo, “‘Useful, Again and Again’: Theory in Worker-Poet Craft”
2. Isabelle MASSE, McGill University, “The Transmission of Craftsmanship: Making Pastel Sticks in Eighteenth-Century Lausanne”
3. Katarina O’BRIAIN, St. Mary’s University, “Phillis Wheatley and the Limits of Craft Labor”

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Living with the Ancients
Saturday, 3:45–5:15, Mt. Princeton
Chair: Paul KELLEHER, Emory University
1. Helen DEUTSCH, University of California, Los Angeles, “‘TO VIRTUE ONLY and HER FRIENDS, A FRIEND’: Pope, Wimsatt, and the Erotics of Criticism”
2. Chris ROULSTON, University of Western Ontario, “Sexuality in Translation: Anne Lister and the Ancients”
3. Caroline GONDA, University of Cambridge, “Identity and the Classics in Anne Damer’s Notebooks”

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Going Public: Taking Eighteenth-Century Material Culture into the Public Eye
Saturday, 3:45–5:15, Torrey Peak
Chair: Jamie KINSLEY, Arizona State University
1. Susannah OTTAWAY, Carleton College, “‘The Biggest Object in Our Collection’: Material Culture and Museum Collaboration in the History of Social Welfare”
2. Susan EGENOLF, Texas A&M University, “Gods in the Western Midlands: Bringing Josiah Wedgwood to 21st-Century Texas”
3. Maureen HARKIN, Reed College, “Tapestry and Topiary: Adam Smith’s Defense of Craft”
4. Caitlan TRUELOVE, University of Cincinnati College-Conservatory of Music, “Ambiguity and Intertextuality in the Music of Outlander (2014–Present)”
Respondent: Jessica RICHARD, Wake Forest University

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Women and Whiteness
Saturday, 3:45–5:15, Mt. Elbert A
Chair: Katharine JENSEN, Louisiana State University
1. Emily Clare CASEY, St. Mary’s College of Maryland, “White Revivals: Women in the Guise of Shakespeare’s Miranda in Eighteenth-Century Portraiture”
2. Christopher DOUGLAS, University of Alabama, “More than ‘half an Englishwoman’: Performing Race, Nationality, and Belonging in The Woman of Colour
3. Katherine ARPEN, Guilford College, “Elevating the White Heroine in Paul et Virginie
4. Oliver WUNSCH, Harvard Art Museums, “Carriera’s Whiteness”

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Quinquagenary Reception and Cash Bar
Saturday, 5:30–6:30, Capitol Peak

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