Exhibition | Becoming a Woman in the Age of Enlightenment
While, as a rule, I don’t re-post announcements, because this one now includes important details that were previously omitted—additional information regarding the catalogue, venues, and the conferences—I’m glad to make an exception. I wish I could be there next weekend for what sure to be an amazing conference! –CAH
Jacques-Antoine-Marie Lemoine, Woman Standing in a Garden, 1783, black chalk and brush with gray wash on off-white laid paper; Antoine Vestier, Allegory of the Arts, 1788, oil on canvas; and Louis-Léopold Boilly, Conversation in a Park, oil on canvas. All on loan from The Horvitz Collection.
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From the Harn Museum of Art:
Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection
Harn Museum of Art, University of Florida, Gainesville, 6 October — 31 December 2017
Ackland Art Museum, The University of North Carolina at Chapel Hill, 26 January — 8 April 2018
Crocker Art Museum, Sacramento, 13 May — 19 August 2018
Smith College Museum of Art, Northampton, MA, dates TBA
Curated by Melissa Hyde and Mary D. Sheriff
Organized by Alvin Clark
Becoming a Woman in the Age of Enlightenment: French Art from the Horvitz Collection is primarily an exhibition of drawings but will include pastels, paintings, and sculptures selected from one of the world’s best private collections of French drawings. The exhibition will feature nearly 120 works by many of the most prominent artists of the eighteenth century, including Antoine Watteau, Nicolas Lancret, François Boucher, Jean-Honoré Fragonard, as well as lesser-known artists both male and female, such as Anne Vallayer-Coster, Gabrielle Capet, François-André Vincent, Philibert-Louis Debucourt. Ranging from spirited, improvisational sketches and figural studies, to highly finished drawings of exquisite beauty, the works included in the exhibition vary in terms of style, genre, and period.
Becoming a Woman will be organized into thematic sections that address some of the most important and defining questions of women’s lives in the eighteenth century. These include: how the stages of a woman’s life were measured; what cultural attitudes and conditions in France shaped how women were defined; what significant relations women formed with men; what social and familial rituals gave order to their lives; what pleasures they pursued; and what work they accomplished. The aim is to bring new insights to the questions of what it meant to be a woman in this period, by offering the first exhibition to focus specifically on representations of women of a broad range of ages and conditions.
The exhibition will offer fresh perspectives on a subject that still has direct relevance to our times but that has not been the focus of a significant exhibition for decades. Through its conceptual framework, thematic organization, and its emphasis on historical context, the exhibition will provide viewers opportunities to consider what issues pertaining to women’s lives seem to have changed or persisted through time and across space. Although the circumstances and the specifics have changed, many issues remain with us today and can still provoke contentious debates. Pay equity, reproductive rights, gender-discrimination, violence against women, work-family balance, the ‘plight’ of the alpha-female, and the devaluation of the stay-at-home mom, are but a few of the women’s issues that are still hotly contested in the media, in cultural production of all kinds, in politics, and in public and private life.
Becoming a Woman is curated by Melissa Hyde, Professor of Art History, University of Florida Research Foundation Professor, University of Florida, and the late Mary D. Sheriff, W.R. Kenan J. Distinguished Professor of Art History, University of North Carolina, Chapel Hill; the exhibition is organized by Alvin L. Clark, Jr, Curator, The Horvitz Collection and The J.E. Horvitz Research Curator, Harvard Art Museums/Fogg.
The catalogue is available from ArtBooks.com:
Melissa Hyde, Mary D. Sheriff, and Alvin Clark, Becoming a Woman in the Age of Enlightenment: French Art from The Horvitz Collection (Boston: The Horvitz Collection, 2017), 208 pages, ISBN: 978 099126 2526, $39.
François Boucher, Young Travelers, black chalk on cream antique laid paper, framing line in black ink, laid down on a decorated mount, 295 × 188 mm; Jacques-Louis David, Andromache Mourning the Death of Hector, pen with black ink and brush with gray wash over traces of black chalk on cream antique laid paper, 293 × 248 mm; Jean-Baptiste Greuze, The Chestnut Vendor, brush with gray and brown wash on cream antique laid paper, 385 × 460 mm. All works on loan from The Horvitz Collection.
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From the Lecture and Symposium Schedule:
Thinking Women: Art and Representation in the Eighteenth Century
A Symposium in Honor of Mary D. Sheriff
Harn Museum of Art, University of Florida, Gainesville, 20–22 October 2017
• Keynote Address: “The Woman Artist and the Uncovering of the Social World,” Lynn Hunt, Distinguished Research Professor, University of California, Los Angeles
Art, women, and society came together in surprising ways at the end of the eighteenth century. ‘Society’ only began to be conceptualized as an object for study at the end of the 1700s, in particular in reaction to the French Revolution. Art, especially engraving and painting, helped make society visible to itself. Women could join the art world but rarely as fully fledged members, and as a consequence they occupied a kind of in-between position that made them especially attuned to social relations. The life and work of Marie-Gabrielle Capet will be highlighted to show how the social world could be uncovered.
• “Fashion in Time: Visualizing Costume in the Eighteenth Century,” Susan Siegfried, Denise Riley Collegiate Professor of the History of Art and Women’s Studies, Department of Art History, University of Michigan
• “Beauty Is a Letter of Credit,” Nina Dubin, Associate Professor, Department of Art and Art History University of Illinois, Chicago
• “Chardin: Gender and Interiority,” Ewa Lajer-Burcharth, William Dorr Boardman Professor of Fine Arts, Department of History of Art and Architecture, Harvard University
• “The Global Allure of the Porcelain Room,” Meredith Martin, Department of Art History, New York University
• “Pictured Together? Questions of Gender, Race, and Social Rank in the Portrait of Dido Elizabeth Belle and Lady Elizabeth Murray,” Jennifer Germann, Associate Professor, Department of Art History, Ithaca College
• “Becoming an Animal in the Age of Enlightenment,” Amy Freund, Associate Professor & Kleinheinz Family Endowed Chair in Art History, Southern Methodist University
• “Marguerite Lecomte’s Smile: Portrait of a Woman Engraver,” Mechthild Fend, Reader in the History of Art, Department of History of Art, University College London
• “Exceptional, but not Exceptions: Women Artists in the Age of Revolution,” Paris Spies Gans, Doctoral Candidate, Department of History, Princeton University
The final program, with times, is available here»
At the Ackland Art Museum at UNC, Chapel Hill, there will be a sister symposium in Mary’s honor entitled “Taking Exception: Women, Gender, Representation in the Eighteenth Century,” 1–3 February 2018.
Exhibition | Visitors to Versailles, 1682–1789
Press release for the exhibition:
Visiteurs de Versailles, 1682–1789
Château de Versailles, 24 October 2017 — 25 February 2018
The Metropolitan Museum of Art, New York, 16 April — 29 July 2018
Curated by Bertrand Rondot and Daniëlle Kisluk-Grosheide
With nearly 10 million visitors per year, Versailles is one of the most visited historic sites in the world. The palace and gardens of Versailles have attracted visitors ever since the small hunting lodge built by Louis XIII was transformed by Louis XIV into one of the most stunning residences in Europe, open to everyone according to the King’s will.
Cosmopolitan Versailles has welcomed French and foreign travellers, princes, ambassadors, artists, writers, and philosophers, architects, scholars, tourists on the ‘Grand Tour’, and day trippers from near and far. While some came to Versailles to see the King or win his favour, others were received officially by the Sovereign in the Palace, a place of intensive diplomatic activity. From the ambassadors of Siam in 1686 to the ambassadors of the Indian Kingdom of Mysore in 1788, representatives from almost every continent came to Versailles. Each visit was an opportunity to discover beautiful national dress and the originality of the gifts visitors brought with them. Gazettes, literary journals, and official memoires bore testimony to the most important visitors and the parties held in their honour.
The exhibition is the first on this subject and will turn the spotlight on these visitors through more than 300 works from the late 17th century to the French Revolution. With portraits and sculptures, court attire, travel guides, tapestries, Sevres and Meissen porcelain, display weapons and snuffboxes, the exhibition will reveal what visitors discovered upon arriving at Versailles, the sort of welcome awaiting them, what they saw and their impressions, the gifts or memories they left with. Visitors today will discover the palace through the eyes of those who have gone before them over the course of history.
Curators
Bertrand Rondot, Head Curator at the Palace of Versailles, in charge of furniture and objets d’art
Daniëlle Kisluk-Grosheide, Curator at the European Sculpture and Decorative Arts Department of The Metropolitan Museum of Art
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Note (added 28 October 2017) — Relevant to the exhibition is this collection of essays, which grew out of a 2013 conference:
Caroline zum Kolk, Jean Boutier, Bernd Klesmann, and François Moureau, eds., Voyageurs étrangers à la cour de France, 1589–1789: regards croisés (Rennes: Presses universitaires de Rennes, 2014), 392 pages, ISBN: 978 27535 34834, 22€.
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Note (added 12 April 2018) — The original posting listed the start date for the exhibition at The Met as April 9. More information on the latter venue is available here.
At Auction | Gold Laurel Leaf from Napoleon’s Crown
Martin-Guillaume Biennais, gold laurel leaf from the crown made for the coronation of Napoleon, 1804.
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At Fontainebleau on November 19, Osenat plans to auction a gold laurel leaf from the crown made by Martin-Guillaume Biennais for Napoleon’s 1804 coronation, estimated to sell for 100,000 and 150,000 euros ($118,000 to $177,000). As reported by Agence France-Presse, via Art Daily (12 October 2017) . . .
The French leader crowned himself emperor at the Notre Dame cathedral in Paris in 1804, famously taking the Roman-style laurel wreath and putting it on his own head, instead of letting Pope Pius VII do the honours. But at a fitting for the crown in the days leading up to the spectacular event, the ‘little Corsican’ had complained that it was too heavy, the Osenat auction house said. So goldsmith Martin-Guillaume Biennais took six large leaves out of the crown, later giving one to each of his six daughters. . . .
The original wreath was melted down after Napoleon’s fall in the wake of the Battle of Waterloo. . . . [It] had 44 large gold laurel leaves and 12 smaller ones. It cost him 8,000 francs, a considerable fortune at the time, with the box it was stored in setting him back a further 1,300 francs. . .
The full article is available here»
Jacques-Louis David, The Coronation of Napoleon in the Cathedral of Notre Dame; oil on canvas, 1805–07 (Louvre, Paris).
New Book | The Cinematic Eighteenth Century
From Routledge:
Srividhya Swaminathan and Steven Thomas, eds., The Cinematic Eighteenth Century: History, Culture, and Adaptation (New York: Routledge, 2018), 196 pages, ISBN: 978 11386 33995, $150.
This collection explores how film and television depict the complex and diverse milieu of the eighteenth century as a literary, historical, and cultural space. Topics range from adaptations of Austen’s Sense and Sensibility and Defoe’s Robinson Crusoe (The Martian) to historical fiction on the subjects of slavery (Belle), piracy (Crossbones and Black Sails), monarchy (The Madness of King George and The Libertine), print culture (Blackadder and National Treasure), and the role of women (Marie Antoinette, The Duchess, and Outlander). This interdisciplinary collection draws from film theory and literary theory to discuss how film and television allows for critical re-visioning as well as revising of the cultural concepts in literary and extra-literary writing about the historical period.
Srividhya Swaminathan is Professor of English at LIU Brooklyn in New York. Her primary field of research is the rhetoric of eighteenth-century slavery studies and social movements. Her monograph, Debating the Slave Trade (Ashgate 2009), and co-edited collection, Invoking Slavery in the Eighteenth-Century British Imagination (Ashgate 2013), engage with slavery in a transatlantic context.
Steven W. Thomas is Associate Professor of English at Wagner College in New York, where he teaches American literature, theory, and film studies. He has published several scholarly essays about the transatlantic eighteenth century and in 2016, he was a Fulbright Scholar in the graduate film program at Addis Ababa University in Ethiopia.
C O N T E N T S
List of Figures
Acknowledgments
Srividhya Swaminathan and Steven Thomas, Introduction: Representing and Repositioning the Eighteenth Century on Screen
1 Ula Lukszo Klein, Fashionable Failures: Ghosting Female Desires on the Big Screen
2 Dorothée Polanz, Portrait of the Queen as a Celebrity: Marie Antoinette on Screen, a Disappearing Act, 1934–2012
3 Elizabeth Kraft, The King on the Screen
4 Jennifer Preston Wilson, ‘I Have You in My Eye, Sir’: The Spectacle of Kingship in The Madness of King George
5 Sarah B. Stein and Robert Vork, Blackadder: Satirizing the Century of Satire
6 Colin Ramsey, Disney’s National Treasure, the Declaration of Independence, and the Erasure of Print from the American Revolution
7 Courtney A. Hoffman, How to Be a Woman in the Highlands: A Feminist Portrayal of Scotland in Outlander
8 Kyle Pivetti, The King of Mars: The Martian’s Scientific Empire and Robinson Crusoe
9 Srividhya Swaminathan, The New Cinematic Piracy: Crossbones and Black Sails
10 Jodi L. Wyett, Sex, Sisterhood, and the Cinema: Sense and Sensibility(s) in Conversation
11 Steven W. Thomas, Cinematic Slavery and the Romance of Belle
List of Contributors
Index
Exhibition | The World Turned Upside Down
Benjamin West, Death on the Pale Horse, 1796, oil on canvas, 128.5 × 59.5 cm
(Detroit Institute of Arts)
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Now on view at the Haggerty Museum of Art:
The World Turned Upside Down: Apocalyptic Imagery in England, 1750–1850
Haggerty Museum of Art, Marquette University, Milwaukee, 6 October 2017 — 14 January 2018
All that can be annihilated must be annihilated
That the Children of Jerusalem may be saved from slavery.
–William Blake, Milton, ca. 1804–11
The threat of apocalyptic destruction loomed large in eighteenth- and nineteenth-century England, which stood as one of the most powerful nations in the world. Cataclysmic change occurred frequently within and beyond its borders. Political upheavals, natural disasters, and new foreign adversaries led many to believe that the end was at hand. The French Revolution of 1789 in particular was widely seen as the spark of the oncoming apocalypse—whether this was a source of celebration or fear was a matter of significant debate.
At the same time, England’s artistic activity was growing significantly. The Royal Academy of Arts was founded in 1768, and London’s art market saw exponential expansion. In this political and cultural climate, audiences were eager for subjects of destruction and terror. The rise of Romanticism, with its emphasis on the supernatural, grotesque, and terrifying, led artists to explore apocalyptic sources from the Bible to John Milton. Caricaturists couched contemporary events in the language of the apocalypse. Despite their satirical nature, these images often seem prophetic in light of the political changes to come.
The World Turned Upside Down explores the myriad ways that artists in England visualized the apocalypse in a period fraught with political, religious, economic, and cultural change. From political prints to monumental paintings, lavishly illustrated books to cheap pamphlets, apocalyptic imagery pervaded every aspect of English visual culture in this period. The diversity of artistic responses to the dramatic events of the time makes one thing clear: anxiety about the future—of one’s soul and of the English nation as a whole—was inescapable.
William Hogarth, Tailpiece, or The Bathos (detail), 1764, etching and engraving, 31.8 × 33.3 cm
(New York: The Metropolitan Museum of Art)
New Book | The Building Site in Eighteenth-Century Ireland
From Four Courts Press:
Arthur Gibney, The Building Site in Eighteenth-Century Ireland, edited by Livia Hurley and Edward McParland (Dublin: Four Courts Press, 2017), 368 pages, ISBN: 978 184682 6382, €35.
This study by the late Arthur Gibney takes you among labourers, craftspeople, contractors, builders, and designers as they populate the building sites of eighteenth-century Ireland. Gibney tells a story that has never been told so comprehensively before. What kind of contracts bound those involved? How much did it cost to bring a cargo of oak to the Dublin docks from Riga or Shillelagh—or of fir from Trondheim—and what kind of roof trusses or floor framing was it used for? What was distinctively Irish about these structural features? What did plumbers do? How did roofers choose between slates and shingles and pantiles, and how did this choice affect the profile of a roof? Based on extensive documentary research and on a lifetime of experience of building and conservation, Gibney takes the interested layperson, the student, the architect, and the conservationist behind the facades to give us an understanding of paint colours such as Venetian red and Spanish brown, the manufacture of stucco, the variations of Irish, English, and French glass, the composition of masonry walls, and much more, in our great legacy of Georgian buildings.
Arthur Gibney was one of Ireland’s most notable twentieth-century architects. Livia Hurley is an architect and architectural historian in private practice in Dublin. She is one of five editors and principal authors of Architecture, 1600–2000, volume IV of Art and Architecture of Ireland (2014), and she teaches at the School of Architecture, UCD. Edward McParland is a fellow emeritus of TCD. His publications include James Gandon, Vitruvius Hibernicus (1985) and Public Architecture in Ireland, 1680–1760 (2001).
Exhibition | Global Encounters and the Archives: Britain’s Empire
Opening this month at the Lewis Walpole Library:
Global Encounters and the Archives: Britain’s Empire in the Age of Horace Walpole
The Lewis Walpole Library, Farmington, CT, 20 October 2017 — 2 March 2018
Curated by Justin Brooks, Heather Vermeulen, Steve Pincus, and Cynthia Roman
Barrett Ranelagh, Portrait of General Henry Seymour Conway (The Lewis Walpole Library, Yale University).
As part of the year-long celebrations of the 300th anniversary of Horace Walpole’s birth, Global Encounters and the Archives: Britain’s Empire in the Age of Horace Walpole draws on the Lewis Walpole Library’s rich collections to bring Walpole’s global interests to light. As befitting the son of a prime minister (Sir Robert Walpole), the nephew of the auditor-general of the Revenue of America (Horatio Walpole), and the close friend of a secretary of state (Henry Seymour Conway) who oversaw important imperial affairs, Horace Walpole well understood the partisan conflicts that helped shape the British Empires. A lively collaboration between the Lewis Walpole Library and Yale faculty and graduate students, this exhibition takes full advantage of the diverse range of archival resources and special collections held by the Library, including manuscripts, printed texts, and graphic images in presenting conflicting visions of empire through the domains of political economy, diplomacy, slavery, and indigenous peoples.
In association with this exhibition, the library will sponsor a two-day conference in New Haven on 9-10 February 2018. The conference papers will present new archival-based research on Britain’s global empire in the long eighteenth century.
Curated by Justin Brooks (Doctoral Candidate in History, Yale University), Heather V. Vermeulen, (Ph.D., Lecturer in African American Studies, Yale University), Steve Pincus (Bradford Durfee Professor of History, Yale University), and Cynthia Roman (Curator of Prints, Drawings, and Paintings, The Lewis Walpole Library).
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George Haggerty, The Many Lives of Horace Walpole
Yale Center for British Art, New Haven, 26 October 2017
In his charming biography of Horace Walpole, R.W. Ketton-Cremer makes the point that “one of the difficulties which confront a biographer of Walpole is his remarkable versatility. He was active in many fields—in politics, social life, literature, architecture, antiquarianism, printing, virtú; and it is not easy to include them all in the compass of a single volume.” George Haggerty, who is currently writing a new biography of Horace Walpole, will take up this challenge in his lecture with and through Walpole’s letters. Haggerty asserts that Walpole writes himself into his experience by means of his epistolary imagination. George E. Haggerty is the Distinguished Professor and Chair of the Department of English at the University of California, Riverside. Yale Center for British Art Lecture Hall, Thursday, 26 October 26 2017, 5:30pm.
Queer Biography and the Archives: A Roundtable with George Haggerty
Beinecke Rare Book and Manuscript Library, New Haven, 27 October 2017
Discussants include Abby Coykendall, Jason Farr, Caroline Gonda, Paul Kelleher, Ellen Malenas Ledoux, Susan Lanser, and Timothy Young. Friday, 27 October 2017, 2:30–4:45pm. Registration is required. For questions and further information, please contact Cynthia Roman cynthia.roman@yale.edu.
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Justin Brooks, Global Encounters in the Archives: Britain’s Empire in the Age of Horace Walpole
The Lewis Walpole Library, Farmington, CT, 1 November 2017
Justin Brooks, Doctoral Candidate in History, Yale University, will speak on the the Lewis Walpole Library’s exhibition Global Encounters in the Archives: Britain’s Empire in the Age of Horace Walpole. The exhibition, which looks at aspects of the global British Empire in the long eighteenth century, takes full advantage of the diverse range of archival resources held by the Library and which Mr. Brooks co-curated, including manuscripts, printed texts, graphic images, and objects. Interrelated themes include political economy, diplomacy, indigeneity, and slavery. The talk, exhibition, and other related programs celebrate the broad pre-disciplinary collecting activities of Horace Walpole (1717–1797) and W.S. Lewis (1895–1979) and will explore how current multi-disciplinary methodologies invite creative research in the Library’s archival collections. Mr. Brooks’s talk is offered as part of a year’s worth of events celebrating the 300th anniversary of Horace Walpole’s birth. This Lewis Walpole Library lecture is held in partnership with the Farmington Libraries. Wednesday, 1 November 2017, 7:00pm. Space is limited, and registration is required.
Symposium | The Greenwich and Foundling Hospitals
From The Foundling Museum:
Art, Charity, and the Navy: The Greenwich and Foundling Hospitals
Greenwich and London, 30 October 2017
In this one-day symposium explore similarities in the origins, artistic involvement, and philanthropic purpose of the Foundling Hospital and the Greenwich Royal Hospital for Seamen.
The Foundling Hospital and the Greenwich Royal Hospital are eighteenth-century institutions with many similarities, both charitable hospitals with strong ties to maritime Britain. The Foundling Hospital was the first children’s charity in Britain, established by Royal Charter in 1739 by Captain Thomas Coram, a shipwright in the American colonies. The Royal Hospital for Seamen, Greenwich, was established by Royal Charter in 1694 and from 1712 also incorporated a naval school.
Along with presentations and discussion with expert speakers, the day includes:
• A tour of the Chapel at the Old Royal Naval College, formerly the place of worship for the inhabitants of the Royal Hospital for Seamen
• The opportunity to see the Foundling Museum’s historic Court Room and Picture Gallery, displaying works of art by Hogarth, Gainsborough, Highmore, Ramsay, and many others
• A visit to the exhibition Basic Instincts
• Lunch, tea and coffee, and early evening drinks reception
Speakers include Will Palin (Director of Conservation, Old Royal Naval College), Christine Riding (Head of Arts and Curator of the Queen’s House), Caro Howell (Director of the Foundling Museum), and Jacqueline Riding (Honorary Research Fellow at Birkbeck, University of London, and Curator of the exhibition Basic Instincts).
Morning, Queen’s House, Royal Museums Greenwich and the Old Royal Naval College; afternoon, Foundling Museum. Participants will make their own way between the two sites. Tickets £50, £40 concessions and Foundling Friends.
The programme is available here»
Images: Left, Samuel Wale, Greenwich Hospital, ca. 1748 (London: The Foundling Museum) and right, Richard Wilson, The Foundling Hospital, ca. 1746–50 (London: The Foundling Museum).
Call for Papers | Feminist Art History Conference
Feminist Art History Conference
American University, Washington, D.C., 28–30 September 2018
Proposals due by 1 December 2017
This conference builds on the legacy of feminist art-historical scholarship and pedagogy initiated by Norma Broude and Mary D. Garrard at American University. With the goal of fostering a broad dialogue on feminist art-historical practice, the event will feature papers spanning a range of chronological, geographic, and intersectional topics.
Papers may address such topics as: artists, movements, and works of art and architecture; cultural institutions and critical discourses; practices of collecting, patronage, and display; the gendering of objects, spaces, and media; the reception of images; and issues of power, agency, gender, and sexuality within visual cultures. Submissions on under-represented art-historical fields, national traditions, and issues of race and ethnicity are encouraged. We welcome submissions from established and emerging scholars of art history as well as advanced graduate students.
To be considered for participation, please provide a single document in Microsoft Word. It should consist of a one-page, single-spaced proposal of unpublished work up to 500 words for a 20-minute presentation, followed by a curriculum vitae of no more than two pages. Please name the document “[last name]-proposal” and submit with the subject line “[last name]-proposal” to feminist.ahconference@gmail.com.
Invitations to participate will be sent by 1 February 2018.
Keynote Speaker
Amelia Jones, Robert A. Day Professor in Art and Design and Vice-Dean of Critical Studies at the Roski School of Art and Design, University of Southern California
Organizing Committee
Joanne Allen, Juliet Bellow, Norma Broude, Kim Butler Wingfield, Nika Elder, Mary D. Garrard, Helen Langa, Andrea Pearson, and Ying-chen Peng
Sponsored by the Art History Program and the Department of Art, College of Arts and Sciences, American University
Lecture Series | L’art de l’Ancien Régime
From H-ArtHist:
Lecture Series: L’art de l’Ancien Régime
Deutsches Forum für Kunstgeschichte / Centre allemand d’histoire de l‘art, Hôtel Lully, Paris, 11 October — 4 December 2017
Le Centre allemand d’histoire de l’art organise des conférences publiques dans le cadre de son sujet annuel 2017/18 L’art de l’Ancien Régime – centres, acteurs, objets (Die Kunst des Ancien Régime – Zentren, Akteure, Objekte). Nous avons le plaisir d’accueillir au premier semestre:
11 October 2017, 18.00
Sophie Raux (Université Lumière Lyon 2), Explorer virtuellement un haut lieu du commerce d’art, à Paris, sous la Régence: Gersaint, Watteau et le Pont Notre-Dame
24 October 2017, 18.00
Hannah Williams (Queen Mary University of London), Inside a Parish Church: Art and Religion in 18th-Century Paris
7 November 2017, 18.00
Ulrike Gehring (Universität Trier), Land in Sicht. Verfahren der Landkartierung bei küstennaher Fahrt um 1600
4 December 2017, 18.00
Olivier Bonfait (Université de Bourgogne), Un enjeu national pour la peinture française aux XVIIe et XVIIIe siècles : le grand format
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