Online Talks | NDENCA, Series 4, May–July 2021
From NDENCA (click for lots more information on speakers and presentation abstracts).
New Directions in Eighteenth- and Nineteenth-Century Art (NDENCA)
Series 4: May–July 2021
Organised by Freya Gowrley and Madeleine Pelling
New Directions in Eighteenth- and Nineteenth-Century Art (NDENCA) is a digital seminar series aimed at championing new scholarly voices working across visual and material cultures in this period. It aims to take a global perspective, and in particular welcomes contributions by scholars from minority groups. Series 4 seminars take place on Mondays, via Zoom and are open to all. To book tickets, please email us at, ndencaseminar@gmail.com.
Papers are available on our YouTube channel for up to one month after their live session.
P R O G R A M M E
24 May 2021
1) Caroline McCaffrey-Howarth (Visiting Research Fellow, University of Leeds, Curator, 17th- and 18th-Century Ceramics and Glass, V&A Museum), Sèvres-mania’ and the Standardisation of Ceramics Connoisseurship
7 June 2021
2) Amara Thornton (Honorary Research Associate, UCL Institute of Archaeology), Caribbean Collections Histories: Archaeology and Empire
14 June 2021
3) Nat Reeve (PhD Candidate, Royal Holloway, University of London), Queer Tombs and Reframing Doom: Elizabeth Siddal and Georgiana Burne-Jones’s Unfinished Collaborative Project
21 June 2021
4) Emily Doucet (University of Toronto), Illuminating Infrastructures: Nadar’s Underwater Photography and the Expansion of Marseille’s Modern Port
28 June 2021
5) Miguel Angel Gaete (PhD Candidate, University of York), Territorial Fantasies, Sexual Nuances, and Savage Energy: Orientalism and Tropicality in Eugène Delacroix and Johann Moritz Rugendas
5 July 2021
6) Kate Heller (Research Associate, Art Institute of Chicago), Wrought(-Iron) Boundaries: A Victorian Ecology of Thomas Jeckyll’s Norwich Gates
12 July 2021
7) Camilla Pietrabissa (Postdoctoral fellow, IUAV University of Venice), Drawing in 18th-Century Venice: The Origins of the Veduta and the Modern Culture of Spectacle
19 July 2021
8) Samuel Raybone (Lecturer in Art History, Aberystwyth University), Global Impressionism and the Idea of Wales
26 July 2021
9) Cabelle Ahn (PhD Candidate, Harvard University), Drawing Site-Specificity: The 1797 Exhibition of Drawings in the Louvre
New Book | Interest and Connection in the Eighteenth Century
From the U of Virginia Press:
Jacob Sider Jost, Interest and Connection in the Eighteenth Century: Hervey, Johnson, Smith, Equiano (Charlottesville: University of Virginia Press, 2020), 204 pages, ISBN 978-0813945040 (cloth), $55 / ISBN 9780813945057 (paperback) $28 / ISBN 978-0813945064 (ebook), $28.
Can a single word explain the world? In the British eighteenth century, interest comes close: it lies at the foundation of the period’s thinking about finance, economics, politics, psychology, and aesthetics. Interest and Connection in the Eighteenth Century provides the first comprehensive account of interest in an era when a growing national debt created a new class of rentiers who lived off of interest, the emerging discipline of economics made self-interest an axiom of human behavior, and booksellers began for the first time to market books by calling them ‘interesting’. Sider Jost reveals how the multiple meanings of interest allowed writers to make connections—from witty puns to deep structural analogies—among different spheres of eighteenth-century life.
Challenging a long and influential tradition that reads the eighteenth century in terms of individualism, atomization, abstraction, and the hegemony of market-based thinking, this innovative study emphasizes the importance of interest as an idiom for thinking about concrete social ties, at court and in families, universities, theaters, boroughs, churches, and beyond. To ‘be in the interest of’ or ‘have an interest with’ another was a crucial relationship, one that supplied metaphors and habits of thought across the culture. Interest and Connection in the Eighteenth Century recovers the small, densely networked world of Hanoverian Britain and its self-consciously inventive language for talking about human connection.
Jacob Sider Jost is Associate Professor of English at Dickinson College and author of Prose Immortality, 1711–1819 (Virginia).
C O N T E N T S
Introduction
1 The Whig Theory of Mind: Influence and Interpretation in Lord Hervey
2 The Variety of Human Wishes
3 Professor Smith
4 Interesting Narratives
Conclusion: Reigning Words and Glorious Revolutions
Acknowledgments
Notes
Bibliography
Index
Online Workshop | The Power of Imagination
From ArtHist.net:
Die Kraft der Einbildung: Physiologie, Ästhetik, Medien
Online, 8–9 July 2021
Registration due by 6 July 2021
Die Einbildungskraft steht am Kreuzungspunkt der Problemlinien, die in der DFG-Kolleg-Forschungsgruppe »Imaginarien der Kraft« nachgezeichnet werden. Zum einen reguliert sie als menschliches Vermögen die Vermittlungen zwischen sinnlicher Wahrnehmung und begrifflichen Vorstellungen, zum anderen ist sie als ausgezeichnete Kraft des Menschen selbst Gegenstand unterschiedlicher, ja widersprüchlicher Konzeptualisierungen. Der Workshop diskutiert historische und gegenwärtige Modelle der Einbildungskraft, um ihre je unterschiedlich gefassten Fähigkeiten und Leistungen, aber auch ihre Grenzen und immer wieder besprochenen Gefahren zu beschreiben. Entwirft man sie als somatische Disposition oder pathologische Abweichung, als regelhaften kognitiven Prozess oder Effekt numinoser Einflüsse, als Reproduktion von Wahrgenommenem oder kreatives Potential?
Kontakt und weitere Informationen:
DFG-Kolleg-Forschungsgruppe “Imaginarien der Kraft”
Gorch-Fock-Wall 3, 1. Stock (links)
20354 Hamburg
Email: imaginarien.der.kraft@uni-hamburg.de
D O N N E R S T A G , 8 J U L I 2 0 2 1
15.00 Begrüßung, Frank Fehrenbach, Cornelia Zumbusch
15.30 Claudia Swan (St. Louis), Shells, Ebony, and the Dutch Colonial Imaginary
16.15 Rüdiger Campe (New Haven), Vorstellungskraft und Einbildungskraft. Leibniz’ vis repraesentativa und die ästhetischen Folgen
Moderation: Dominik Hünniger
17.00 Pause
17.30 Birgit Recki (Hamburg), Synthesis als bildgebendes Verfahren. Kant über Funktionen und Formen der Einbildungskraft
18.15 Rahel Villinger (Basel), ‘…wir können alles dieses aus der bildenden Kraft herleiten’. Kant und die Einbildungskraft der Tiere
Moderation: Adrian Renner
F R E I T A G , 9 J U L I 2 0 2 1
15.00 Öffnung des Konferenzraums
15.15 Daniel Irrgang (Berlin), Siegfried Zielinski (Saas-Fee), Die neue Einbildungskraft bei Vilém Flusser
16.00 Thomas Jacobsen (Hamburg), Träume, Wünsche, Fantasien … und divergentes Denken
Moderation: Lutz Hengst
17.15 David Freedberg (New York), VR, AR and Einbildungskraft
Lorraine Daston (Berlin): Respondenz
Moderation: Frank Fehrenbach
18.15 Schlussdiskussion
Call for Articles | The Eighteenth Century in Comics and Graphic Novels
From ArtHist.net:
Die Aufklärung und das 18. Jh. in Comic und Graphic Novel
The Enlightenment and the 18th Century in Comics and Graphic Novels
Special Issue of Jahrbuch Der OGE 18
Jahrbuch Der Österreichischen Gesellschaft Zur Erforschung Des Achtzehnten Jahrhunderts 2022
Proposals due by 31 July 2021; completed articles will be due 31 December 2021
Anlässlich ihres 40-Jahr-Jubiläums widmet die Österreichische Gesellschaft zur Erforschung des 18. Jahrhunderts ihr Jahrbuch 2022 Repräsentationen von Aufklärung und dem 18. Jahrhundert in Comics und Graphic Novels. Zwar ist die Rezeption historischer Inhalte in der Populärkultur ein etabliertes Forschungsfeld, doch haben die Text-Bild-Narrationen dieses Mediums—verglichen etwa mit Computerspielen—bislang kaum Aufmerksamkeit gefunden. Vorliegende Arbeiten (wie C. Gundermanns Jenseits von Asterix, 2007) haben einerseits einen fachdidaktischen Schwerpunkt auf Aspekte der Vermittlung, andererseits keinen definierten Fokus auf das 18. Jahrhundert. — Dieses ist aber in mehrfacher Hinsicht interessant: Graphic Novels (etwa zu Voltaire) können Ideen der Aufklärung recht präzise auf den Punkt bringen; manche historisierenden Donald Duck-Darstellungen (etwa jene von Erika Fuchs) spiegeln dagegen durchaus tieferes Verständnis der deutschen Klassik. Dennoch hat sich bislang niemand diesem Thema wissenschaftlich angenähert. Die OGE18 will das mit ihrem Jubiläumsjahrbuch nun ändern.
Gesucht werden wissenschaftliche Aufsätze (im Umfang von rund 40.000 bis 50.000 Zeichen inkl. Leerzeichen), die die Verhandlung von Motiven, Figuren, Ereignissen und Ideen des ‚langen‘ 18. Jahrhunderts in Comics oder Graphic Novels kritisch diskutieren. Aufsätze können in deutscher, englischer oder französischer Sprache eingereicht werden. Abgabetermin ist der 31. Dezember 2021. Die Beiträge werden einem Peer-Review-Verfahren unterzogen. Bei Interesse senden Sie bitte bis spätestens 31. Juli 2021 eine knappe Skizze Ihres Beitrags an die Herausgeber_innen Thomas Assinger (thomas.assinger@sbg.ac.at), Elisabeth Lobenwein (elisabeth.lobenwein@aau.at) und Thomas Wallnig (thomas.wallnig@univie.ac.at).
Call for Papers | The Presence of America in Madrid
From ArtHist.net:
The Presence of America in Madrid
Real Academia de San Fernando, Madrid, 3–4 February 2022 (dates TBC)
Organized by Luisa Elena Alcalá and Benito Navarrete Prieto
Proposals due by 20 September 2021
Organized within the context of the research project AmerMad (América en Madrid: Patrimonios interconectados e impacto turístico en la Comunidad de Madrid / America in Madrid: Interconnected Patrimony and Touristic Impact in the Comunidad de Madrid), in collaboration with the Royal Academy of San Fernando, this colloquium seeks to analyze the current state of knowledge regarding viceregal art in Madrid. As is well known, during the early modern period, hundreds of objects, artworks, painted and illustrated documents, and manuscripts were sent from the Spanish viceroyalties in America to Iberian Spain. This circulation has been the object of renewed academic interest in recent years. In response to this trend, it seems necessary to better understand the particular place that Madrid, as both city (villa) and court (corte), occupied within this broader phenomenon.
The presence of objects with a Spanish American provenance in Madrid has mostly been studied through the lens of the monarchy since the crown was a primary patron, generator, and receiver of all kinds of objects and images, both of documentary and artistic value. Nonetheless, as Madrid grew and developed into a major city in the 17th and 18th centuries, it began to harbor many important institutions that offer other scenarios to explore: great convents, schools, academies, hospitals, and churches with their respective religious congregations, all of them places of productive encounters for many people involved and/or connected in some way with life on the other side of the Atlantic.
One of the aims of this colloquium is to refresh and update what we know about the Spanish American patrimony in Madrid between the 16th and the 18th centuries. Another objective is to consider the place that these works should or could occupy in a renewed narrative of the history of art in Spain that is more inclusive, transversal, and multicultural.
What stories about Madrid and its art have gone amiss? And, have they remained in the background because of traditional disciplinary divides, such as the one that separates Spanish art (or art in Spain) from Spanish American art? How can we think of Madrid as a crossroads where Iberian and colonial art met? How did objects that came from America interact or engage with local developments of taste, consumption, religious practice, devotion and identity, as well as artistic processes and projects taking place in the capital? What kinds of functions did these works have, and how can we characterize their social impact? In addition, we encourage consideration of how these objects were displayed, if they were more or less visible, and how they have been transformed by changing displays, their meanings becoming more or less relevant for Madrid´s society as times changed.
We invite proposals based on original research that can contribute to advancing the current state of knowledge and explore new questions and theoretical frameworks for our better understanding of these unique objects and works of art. Please send proposals (of 400–600 words) along with a short CV to elena.alcala@uam.es and benito.navarrete@uah.es.
• Proposals are due by 20 September 2021.
• Accepted participants will be notified by 1 October.
• Papers can be in Spanish, English, French, Italian, or Portuguese
The conference will coincide with the closing days of the exhibition Tornaviaje: Arte Iberoamericano en España (Museo Nacional del Prado, October 2021 — February 2022), and the colloquium will include a visit. Additional activities are planned to complement the conference, including a study session of the relevant holdings in the Real Academia de Bellas Artes de San Fernando, which will be coordinated by Juan Bordes and Itziar Arana as head of projects at the RABASF.
N.B. — The dates are still to be confirmed; the conference may be held 3–4 February or 10–11 February.
Shaker Museum Scheduled To Open in 2023

Rendering of the Shaker Museum in the village of Chatham, New York. Selldorf Architects is charged with the design of the $18million museum complex. Renderings are presented alongside select Shaker objects as part of a special pop-up exhibition The Future is a Gift, on view in downtown Chatham through August 29 (Image: Selldorf Architects/Shaker Museum). Additional views are available at The Architect’s Newspaper.
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From The NY Times . . .
Patricia Leigh Brown, “The Shakers Are Movers, Too,” The New York Times (20 June 2021). The country’s most significant collection of Shaker objects, out of public view for a decade, will relocate to an $18 million museum complex designed by Annabelle Selldorf.
In an earlier life, the moribund red brick Victorian at the foot of Main Street in this thriving Columbia County village [of Chatham, NY] had been a sanitarium, a hotel and tavern, a furniture store and an auto dealership. These were the warm-up acts for its latest incarnation: a permanent new home for the Shaker Museum, widely considered the country’s most significant collection of Shaker furniture, objects and archival material. The museum, set to open in 2023 and to include a new addition, is being designed by the architect Annabelle Selldorf, whose current projects include the expansion of The Frick Collection in New York and an addition for The Museum of Contemporary Art San Diego La Jolla. . . .

Nelson Byrd Woltz has been tasked to design a Shaker-inspired landscape for the complex, pictured here in the landscape site plan (Nelson Byrd Woltz/Courtesy Shaker Museum).
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The museum’s exhibitions are still in the nascent stages. Maggie Taft, a guest curator, said the permanent exhibition will address the fundamental aspects of Shakerism, which reached its Zenith in the 1840s with 18 villages from Maine to Kentucky, but also the unexpected subtexts. The sect—an international Protestant monastic community—was founded in 1774 by Mother Ann Lee, the charismatic illiterate daughter of an English blacksmith (a swatch of one of her aprons is among the museum’s most prized possessions).
Although the sect was known for gender equality, Ms. Taft noted that women and men were “divided in ways that resembled worldly labor divisions”—with men toiling outside on agriculture and other tasks while the women worked indoors. The exhibition will also explore the different generations of Shakerism, especially the third generation after Mother Ann Lee’s death in 1784, when young women’s ‘encounters’ with her were manifested in drawings and texts thought to be ‘gifts’ from the spirits. . . .
The full article is available here»

Tailor’s counter painted blue, pinewood, ca. 1815
(Shaker Museum)
Enfilade Turns Twelve! Buy an Art Book!
From the Editor
As Enfilade turns twelve (22 June), I write with wholehearted thanks! With over 1.1 million views to date—more than 3400 subscribers and 10,000 clicks each month—the site still exists because you’re still reading. And so to celebrate . . .
1) Buy an art book this week. In the world of academic art history publishing, several hundred books sold over a few days is stellar. It’s an important way to communicate that the eighteenth century is a thriving field with a vital, engaged audience. The more people who buy books addressing the eighteenth century, the easier it will be to publish your next book on the eighteenth century.
2) Renew your HECAA membership. In the normal world $30 doesn’t really count as philanthropy. For a small academic society it does. Because HECAA is registered as a 501c3, all donations are tax deductible in the United States. So send in a contribution of $100 or $5. But donate something. Student memberships are just $10. More information is here.
3) Finally, send in news you’d like to see reported! I’m glad to post announcements about conferences, forthcoming books, journal articles, exhibitions, fellowship opportunities, &c. Just about anything except job listings. The postings readers most enjoy are inevitably original content, reports of interesting collections, house museums, resources, and the like. CraigAshleyHanson@gmail.com.
-Craig Hanson
New Book | Crafting Enlightenment
The latest in the Oxford University Studies in the Enlightenment series, from Liverpool UP (with more information from this blog posting by the editors) . . .
Lauren R. Cannady and Jennifer Ferng, eds., Crafting Enlightenment: Artisanal Histories and Transnational Networks (Liverpool: Voltaire Foundation in Association with Liverpool University Press, 2021), 416 pages, ISBN 978-1800348141, £65 / $100.
A ground-breaking volume examining the transnational conditions of the European Enlightenment, Crafting Enlightenment argues that artisans of the long eighteenth-century on four different continents created and disseminated ideas that revolutionized how we understand modern-day craftsmanship, design, labor, and technology. Starting in Europe, this book journeys through France across the Atlantic Ocean to the Americas and then on to Asia and Oceania. Highlighting diverse identities of artisans, the authors trace how these historical actors formed networks at local and global levels to assert their own forms of expertise and experience. These artisans—some anonymous, eminent, and outside the margins—translated European Enlightenment thinking into a number of disciplines and trades including architecture, botany, ceramics, construction, furniture, gardening, horology, interior design, manuscript illustration, and mining.
In each thematic section of this illustrated volume, two leading scholars present contrasting case studies of artisans in different geographic contexts. These paired chapters are also followed by shorter commentary that reflects on pertinent themes from both chapters. Emphasizing how and why artisanal histories around the world impacted civic and private life, commerce, cultural engagement, and sense of place, this book introduces new richness and depth to the conversations around the ambivalent and fragmented nature of the Enlightenment.
Lauren R. Cannady, Assistant Clinical Professor in University Honors at the University of Maryland, is a historian of early modern art and architecture with an interest in intellectual and cultural history. Her previous publications include analyses of early modern garden patterns and French aesthetic philosophy, and her current project is a book on northern European gardens as sites of knowledge production and transmission. Jennifer Ferng is Senior Lecturer in Architecture and Postgraduate Director at the University of Sydney. She received her PhD from MIT. Her second co-edited book Land Air Sea will address how architecture and environment(s) in the early modern era forecasted contemporary issues related to climate change and sustainability.
C O N T E N T S
List of Figures
Acknowledgments
Lauren R. Cannady and Jennifer Ferng, Introduction: Assembling Artisanal Identities across Geographies
I. Envisioning Artisanal Histories
• Chandra Mukerji, Sovereign Sun King
• Emine Fetvaci, Visualizing Urban Festivals in the Ottoman Empire: A Comparison of the Sixteenth and Eighteenth Centuries
• Richard Taws, Telling Artisanal Time
II. Collaborative Objects
• Frédéric Dassas, The Secret to Success: Urbanization and Luxury Decoration at the Place Louis-le-Grand
• Dennis Carr, The Spanish Colonial World in Microscosm: A Puebla Desk-and-Bookcase
• Florina H. Capistrano-Baker, Artisanal Agency, Agnonymity, and Power
III. Religion and the Commerce of Empire
• Neil Kamil, Mark of Disgrace or Matter of Politeness? Materiality, Trust, and Expectations in Early-Eighteenth-Century Virginia
• Lauren R. Cannady, Interregna: The Société des Arts and the Scale of Time
• Thomas Crow, Confessional Complications in Maritime Trade
IV. Corporeal Ecologies
• Sugata Ray, A ‘Small’ Story of the Jasmine Flower in the Age of Global Botany
• Doroty Ko, Fire Walk with Me: Tales of Artisanal Body (Parts) and Innovation in Early Modern China
• Nany Um, Grounded Terrains and Vertical Landscapes in Eighteenth-Century Asia
V. Enlightenment Technologies
• Valérie Nègre, Craft Knowledge in the Age of Enyclopedism
• Jennifer Ferng, Miniature Domination: Mining the Worlds of Goldfields Jewelry and Emu Eggs
• Kaijun Chen, Artisans as Thinkers in the Early Modern World
Summaries
Bibliography
Index
Woman’s Art Journal, Spring / Summer 2021
The eighteenth century in the latest issue of WAJ:
Woman’s Art Journal 42.1 (Spring / Summer 2021)

Marguerite Gérard, Portrait of a Man and Woman in an Interior, 1818 (Tulsa: Philbrook Museum of Art; Taber Art Fund, 2019.9). The painting sold at Christie’s in Paris on 28 October 2019, Sale 17655, Lot 751.
A R T I C L E S
• Sarah Lees, “Marguerite Gérard’s Portrait of a Man and a Woman in an Interior: Portraiture, Landscape, and Social Networks,” pp. 19–26.
• Alison M. Kettering, “Watercolor and Women in the Early Modern Netherlands: Between Mirror and Comb,” pp. 27–35.
R E V I E W S
• Rosie Razzall, Review of Angela Oberer, The Life and Work of Rosalba Carriera (1673–1757): The Queen of Pastel (Amsterdam University Press, 2020), pp. 44–46.
• Wendy Wassyng Roworth, Review of the exhibition catalogue, Angelica Kauffman, edited by Bettina Baumgärtel (Hirmer, 2020), pp. 46–48.
Exhibition | British Stories

Johan Zoffany, The Triumph of Venus (Vénus sur les eaux), ca. 1760, oil on canvas
(Musée des Beaux-Arts de Bordeaux). More information is available here.
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This summer the Musée des Beaux-Arts in Bordeaux, as part of ‘A British Year at the Museum’, presents two exhibitions: British Stories and Absolutely Bizarre! Strange Tales from the Bristol School of Artists, 1800–1840.
British Stories
Musée des Beaux-Arts de Bordeaux, 19 May — 19 September 2021
Organized by Sophie Barthélémy, Sandra Buratti-Hasan, and Guillaume Faroult
The British art collections held by the Bordeaux Museum of Fine Arts form a coherent corpus of thirty paintings, drawings, prints, and sculptures. This exhibition is an occasion to admire them all and compare them with works loaned by the Louvre.

Joshua Reynolds, Portrait of Francis George Hare (1786–1842), ‘Master Hare’, ca. 1788–89, oil on canvas (Paris: Musée du Louvre, RF 1580).
A significant portion of the exhibition is dedicated to portraiture, a genre in which British painters excelled. In the 17th century, Flemish painter Anthony van Dyck was invited to stay at the Court of Charles I of England during the last decade of his career, a period that was a pivotal moment in the development of European portrait art whose conventions van Dyck reinvented (modello of the Double Portrait of the Palatinate Princes Charles Louis I and Prince Rupert, Museum of Fine Arts, Bordeaux). Among his most famous heirs we can mention Sir Joshua Reynolds, represented by his celebrated ‘Master Hare’ (Louvre) and his Portrait of Richard Robinson, Archbishop of Armagh (Museum of Fine Arts, Bordeaux). This survey of British portraiture culminates with the Portrait of John Hunter by Sir Thomas Lawrence (Museum of Fine Arts, Bordeaux).
In the history painting genre, the exhibition gives a special place to artists under-represented in French public collections, namely James Ward, with his superb Baptism of Christ (Louvre), Benjamin West (Phaeton Asking Apollo to Drive the Sun Chariot, Louvre), and Johan Zoffany (The Triumph of Venus and Venus and Adonis, Museum of Fine Arts, Bordeaux). The typically British genre, the conversation piece, is also represented, along with landscape, the latter dominated by the dramatic canvas by John Martin of Macbeth and the Three Witches (Museum of Fine Arts, Bordeaux).
The Museum of Fine Arts and its close partner the Louvre look forward to taking viewers on a fascinating journey of paintings from across the Channel, on an itinerary through the most significant works of art by generations of innovative, inquisitive, and daring artists.
Sandra Buratti-Hasan and Guillaume Faroult, British Stories: Conversations entre le musée du Louvre et des Beaux-Arts de Bordeaux (Paris: Snoeck Édition, 2021), 32 pages, ISBN: 978-9461616302, 10€.



















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