Call for Panels | CAA in Chicago, 2026
From CAA:
114th Annual Conference of the College Art Association
Hilton Chicago, 18–21 February 2026
Panel Proposals due by 25 April 2025
The CAA Annual Conference is the largest convening of art historians, artists, designers, curators, and visual arts professionals. Each year we offer sessions submitted by our members, committees, and affiliated societies that deliver a wide range of program content. The 114th Annual Conference will take place at the Hilton Chicago, 18–21 February 2026. The conference will be held in person with a selection of hybrid sessions and events. CAA leadership, in collaboration with the Annual Conference Committee, is reviewing participant and attendee feedback from the 113th Annual Conference to determine any format adjustments needed for the 2026 program. Please check back regularly for updates and see this page for important information.
t i m e l i n e
March 15: Call for Proposals period begins; submission forms open
April 25: Deadline for CAA114 session, workshop, and presentation submissions
Mid-July: Submitters notified of acceptance or rejection
July: Affiliated Society Business Meeting & Reunion or Reception request forms open
Late July: Call for Participation (CFP) opens
Late August: Deadline for CFP submissions
Mid September: Deadline for chairs of sessions soliciting contributors to make decisions and add to session entry
Early October: Registration opens and conference schedule is announced
December 5: Access accommodation requests for in-person and/or remote participants due to CAA.
February 18–21: Annual Conference
New Book | Jewish Country Houses
From Brandeis UP:
Juliet Carey and Abigail Green, eds., with photography by Hélène Binet, Jewish Country Houses (Waltham, MA: Brandeis University Press, 2024), 300 pages, ISBN: 978-1684582204, $60. Part of the Tauber Institute Series for the Study of European Jewry.
Country houses are powerful symbols of national identity, evoking the glamorous world of the landowning aristocracy. Jewish country houses—properties that were owned, built, or renewed by Jews—tell a more complex story of prejudice and integration, difference and connection. Many had spectacular art collections and gardens. Some were stages for lavish entertaining, while others inspired the European avant-garde. A few are now museums of international importance, many more are hidden treasures, and all were beloved homes that bear witness to the remarkable achievements of newly emancipated Jews across Europe—and to a dream of belonging that mostly came to a brutal end with the Holocaust. Lavishly illustrated with historical images and a new body of work by the celebrated photographer Hélène Binet, this book is the first to tell their story, from the playful historicism of the National Trust’s Waddesdon Manor in Buckinghamshire to the modernist masterpiece that is the Villa Tugendhat in the Czech city of Brno—and across the pond to the United States, where American Jews infused the European country house tradition with their own distinctive concerns and experiences. This book emerges from a four-year research project funded by the UK Arts and Humanities Research Council that aims to establish Jewish country houses as a focus for research, a site of European memory, and a significant aspect of European Jewish heritage and material culture.
Juliet Carey is senior curator at Waddesdon Manor. Abigail Green is an Oxford historian and author of the award-winning Moses Montefiore: Jewish Liberator, Imperial Hero.
◊ ◊ ◊ ◊ ◊
A conversation with the authors will take place at Yale on Monday:
Juliet Carey and Abigail Green | Jewish Country Houses
Yale University, New Haven, 24 March 2025, 4pm
Juliet Carey and Abigail Green will discuss their new book, Jewish Country Houses, which explores these remarkable houses, their architecture and collections, and the lives of the extraordinary men and women who created and transformed them. Moderated by Laurel O. Peterson, Assistant Curator of Prints and Drawings, Yale Center for British Art; the event is cosponsored by the Yale Center for British Art and Yale Jewish Studies Program.
Symposium | Turner Today
J.M.W. Turner, Inverary Pier, Loch Fyne: Morning, detail, ca. 1845, oil on canvas
(New Haven: Yale Center for British Art, Paul Mellon Collection)
◊ ◊ ◊ ◊ ◊
Upcoming at YCBA:
Turner Today
Online and in-person, Yale Center for British Art, New Haven, 9 May 2025
The dramatic landscapes of J. M. W. Turner continue to enthrall audiences across the globe, more than two centuries after the artist’s birth. Organized in conjunction with the Yale Center for British Art’s exhibition J. M. W. Turner: Romance and Reality, this symposium invites scholars and curators from Canada, the United States, and the United Kingdom to explore the multiple ways that Turner’s oeuvre speaks to our present moment, from its relationship to contemporary visual art to its role in framing conversations about climate change and resource extraction. What exciting and new possibilities exist for interpreting and sharing Turner’s work in 2025?
The symposium is free and open to the public. It will be held in the Lecture Hall at the Yale Center for British Art and will be livestreamed. Registration is recommended but not required for this event.
s c h e d u l e
10.15 Welcome and opening remarks by Martina Droth (Paul Mellon Director, YCBA)
10.30 Panel One | Transatlantic Turner: Reputation and Reception
Moderator: Tim Barringer (Paul Mellon Professor of the History of Art, Yale University)
Turner established a significant reputation in North America in his lifetime and still draws considerable attention from American museums. This panel brings together curators from the Frick Collection, J. Paul Getty Museum, and Metropolitan Museum of Art to explore Turner’s transatlantic appeal in the past and present. How has Turner been introduced to, and understood by, American audiences? What factors cemented Turner’s reputation in the United States and how does his storied reputation affect the way we present and represent his work today?
• Julian Brooks (Senior Curator and Head of the Department of Drawings, J. Paul Getty Museum)
• Alison Hokanson (Curator, Metropolitan Museum of Art)
• Aimee Ng (John Updike Curator, Frick Collection)
11.30 Break
11.45 Panel Two | Turner’s Atmospheric Topography
Chair: Lucinda Lax (Curator of Paintings and Sculpture, YCBA)
How are Turner’s paintings being reinterpreted amid current ecological crises? This panel situates Turner’s interest in particular locations, and the specifics of place, within the broader sociopolitical and environmental context of industrialization and natural resource extraction. Curators based in the United States and United Kingdom will discuss how exhibitions of Turner’s work can address contemporary environmental issues and consider how museums can put contemporary works with environmental themes in dialogue with Turner’s paintings.
• John Chu (Senior Curator of Pictures and Sculpture / Senior Curator for Midlands, National Trust)
• Lizzie Jacklin (Keeper of Art, Tyne and Wear Archives and Museums)
• Jennifer Tonkovich (Eugene and Clare Thaw Curator of Drawings and Prints, Morgan Library and Museum)
12.45 Lunch
2.00 Panel Three | Turner, Tradition, and Modern Painting
Chair: Martin Myrone (Head of Research Support and Pathways, Paul Mellon Centre for Studies in British Art, and Convenor, British Art Network)
This panel considers a paradox: Turner is often portrayed as a harbinger of late nineteenth- and early twentieth-century Impressionism and abstraction, yet he made constant and overt reference in his art to major artists of the past. How is Turner being embraced and interpreted as an artist who both self-consciously worked within a longstanding tradition and broke radically with traditional painting practices? How are curators engaging with Turner’s elusive relationship to modernity and tradition? What is Turner’s relevance to contemporary artistic practice?
• Amy Concannon (Manton Senior Curator of Historic British Art, Tate)
• Anni Pullagura (Margaret and Terry Stent Associate Curator of American Art, High Museum of Art)
• Nicholas Bell (President and CEO, Glenbow)
3.00 Closing Remarks and Reflections on J. M. W. Turner: Romance and Reality
• Lucinda Lax (Curator of Paintings and Sculpture, YCBA)
• Tim Barringer (Paul Mellon Professor of the History of Art, Yale University)
Symposium | Art, Museum, Nation
Canaletto, Westminster Bridge, with the Lord Mayor’s Procession on the Thames, 1747, oil on canvas
(New Haven: Yale Center for British Art, Paul Mellon Collection).
◊ ◊ ◊ ◊ ◊
From YCBA:
Art, Museum, Nation
Online and in-person, Yale Center for British Art, New Haven, 25 April 2025
What does it mean to display art through the lens of national identity and history? To mark its reopening, the Yale Center for British Art convenes Art, Museum, Nation, a symposium to critically interrogate the concept of nationhood in contemporary practices of art exhibition, interpretation, and acquisition. In roundtable discussions, leading art historians, curators, and directors from the Art Gallery of Ontario, Metropolitan Museum of Art, and National Gallery, London, among others, will explore how art museums can revise, think beyond, and reinvigorate national frameworks. Among many questions, the symposium will ask: How have expressions of national identity influenced the civic and public role of art museums in both explicit and implicit ways? How might art museums contend with the fluidity of borders and foreground ideas of migration and diaspora? What can art museums do to better acknowledge the traces of colonialism and empire embedded in national collections?
The symposium is free and open to the public. It will be held in the Lecture Hall at the Yale Center for British Art and will be livestreamed. Registration is recommended but not required for this event.
The Yale Center for British Art is pleased to offer a travel stipend for curators and museum professionals who wish to attend this symposium in person and are traveling from within the Boston–New York rail corridor or an equivalent driving distance (approximately 125 miles). If you are facing particular financial barriers to participating and wish to take advantage of this funding, please email your name, position, and travel details to ycba.research@yale.edu before Monday, April 21. Funding is limited and applications will be reviewed on a rolling basis, so apply early!
s c h e d u l e
9.30 Welcome — Rachel Chatalbash (Deputy Director for Academic Affairs, Education, and Research, YCBA)
9.35 Introduction: Reopening the Yale Center for British Art — Martina Droth (Paul Mellon Director, YCBA)
9.45 Keynote Conversation | Art, Museum, Nation: Building Collections Today
Moderator: Lucinda Lax (Curator of Paintings and Sculpture, YCBA)
How can museums serve the needs of both local and international constituents? What does it mean to present a global collection in a national context? Conversely, what should the mission of a national museum be in a globalized world? YCBA curator Lucinda Lax leads a discussion on building and stewarding heritage art collections in the twenty-first century.
• Andrea Bayer (Deputy Director for Collections and Administration at the Metropolitan Museum of Art)
• Christine Riding (Director of Collections and Research at the National Gallery, London)
10.45 Break
11.00 Session 1 | Art, Museum, Nation in Exhibitions and Display
Moderator: Tim Barringer (Paul Mellon Professor of the History of Art, Yale University)
Curators based in Canada, the United Kingdom, and the United States reflect on the potential of exhibitions to advance inclusive and critical definitions of national artistic canons. How are curators using museum display to alter or challenge established ideas of Canadian, British, and American art?
• Patricia Allerston (Deputy Director and Chief Curator, National Galleries of Scotland)
• Horace Ballard (Theodore E. Stebbins, Jr., Curator of American Art, Harvard Art Museums)
• Julie Crooks, Curator (Arts of Global Africa and the Diaspora, Art Gallery of Ontario)
12.00 Lunch Break
1.30 Session 2 | Art, Museum, Nation in the History of Art and Museums
Moderator: Sria Chatterjee (Head of Research Initiatives, Paul Mellon Centre for Studies in British Art)
This conversation looks to the past, addressing how Enlightenment-era ideas of progress and race shaped the construction of public museums in North America and Europe. Discussants will consider the impact of imperialism and scientific racism on modern museum practice and ask what institutions can do to acknowledge and combat these forces.
• Nana Adusei-Poku (Assistant Professor of History of Art and African American Studies, Yale University)
• Andrew McClellan (Professor of History of Art and Architecture, Tufts University)
• Marina Tyquiengco (Ellyn McColgan Associate Curator of Native American Art, Museum of Fine Arts, Boston)
2.30 Break
2.45 Session 3 | Art, Museum, Nation: New Futures
Moderator: Anni Pullagura (Margaret and Terry Stent Associate Curator of American Art, High Museum of Art)
Building on the previous session, the symposium’s closing discussion looks to the future of ‘the nation’ in the art museum. How can the lenses of national identity and history be mobilized toward new and productive ends? What other interpretive frameworks can museums use to complement and complicate ideas of nationality and nationhood?
• Mark Mitchell (Holcombe T. Green Curator of American Paintings and Sculpture, Yale University Art Gallery)
• Stephanie Sparling Williams (Andrew W. Mellon Curator of American Art, Brooklyn Museum)
• Linsey Young (Independent Curator and PhD Candidate, Royal College of Art)
3.45 Closing Remarks — Kishwar Rizvi (Robert Lehman Professor in the History of Art, Islamic Art and Architecture, Yale University)
4.00 Reception
Exhibition | The Declaration’s Journey
Looking to this fall, from the March 11 press release for the exhibition:
The Declaration’s Journey
Museum of the American Revolution, Philadelphia, 18 October 2025 — 3 January 2027
The Museum of the American Revolution today announces new details of its loan acquisitions for The Declaration’s Journey—a special exhibition commemorating the 250th anniversary of the adoption of the Declaration of Independence—related to female activists and suffragists in the 18th and 19th centuries who both touted the Declaration’s progressive ideals and pushed the United States to apply the its promise of equality to women.
On the night of July 4,1776, the first copies of the Declaration of Independence were published at John Dunlap’s printing office, near Second and Market Streets in Philadelphia. The news of independence spread quickly and widely both in the United States and abroad. Though women were not mentioned in the declaration issued by the Continental Congress, they contributed to its proliferation and success. Beginning with Dunlap, printers created broadsides of the Declaration, and they published the text in their newspapers. In July 1776, Mary Katharine Goddard of Baltimore was the only woman running a newspaper under her own name in the newly declared United States. She first published the Declaration in her newspaper, the Maryland Journal, and later also printed broadside copies of the Declaration, the first version to bear the names of the men who signed the revolutionary document. The Declaration’s Journey will feature a rare surviving broadside of the Declaration of Independence printed by Goddard in January 1777, on loan from Brian and Barbara Hendelson.
Throughout the 19th and early 20th centuries, activists fought for women’s rights and cited the words of the Declaration of Independence to advocate for education, temperance, abolition, and especially suffrage. In Seneca Falls, New York, in 1848, 100 men and women signed a Declaration of Sentiments that looked very similar to the Declaration of Independence, with a key difference—it affirmed that “all men and women are created equal.” At the time, women in the United States had few legal, social, and political rights compared to men. Women were not allowed to vote. Only a few state laws allowed them to own property if they got married. They had limited rights in the court system and could not serve in government positions.
Elizabeth Cady Stanton, a skilled writer and orator for the suffrage movement, wrote the Declaration of Sentiments, borrowing its title from the American Anti-Slavery Society while retaining the structure and much of the language from the United States’ Declaration. Of the 68 women who signed the Declaration of Sentiments, only one, Rhoda Palmer, lived long enough to legally vote after nationwide women’s suffrage was achieved in 1918.
The Declaration’s Journey will feature Elizabeth Cady Stanton’s desk used in her house in Tenafly, New Jersey, where she lived from 1868 until 1887. Alongside coauthors Matilda Joslyn Gage, Ida Husted Harper, and Susan B. Anthony, Stanton likely used this desk during the writing process for their History of Woman Suffrage book, which they began working on following the suffragists’ appearance at the Centennial International Exhibition in Philadelphia in 1876. At that appearance, a small group of suffragists including Stanton famously interrupted the proceedings of the Fourth of July celebration at Independence Hall to present their Declaration of Rights of the Women of the United States to Vice President Thomas Ferry. History of Woman Suffrage was later published in 1881.
Coline Jenkins, the great-great-granddaughter of Stanton, will lend the desk to the Museum for the full run of The Declaration’s Journey. Just as Stanton and her fellow activists took advantage of the attention surrounding the Centennial celebration to travel to Philadelphia and champion their cause, Jenkins said she is thrilled to have her ancestor represented through the Museum’s special exhibition celebrating the Semiquincentennial.
“The Declaration’s Journey will be the focus of the nation in 2026,” Jenkins said. “It means a lot to me and to my family to contribute this artifact at such a key time to such a key institution. It was never my family’s interest to have it stored away from the American people. Now, by its inclusion in this special exhibition, the desk can be a tool for Americans to understand where they came from and how to move forward.”
Displayed near Stanton’s desk in The Declaration’s Journey will be the earliest known printing of the Declaration of Sentiments, on loan from the Historical Society of Pennsylvania. The exhibition will also include a ballot box made from blueberry crates that was used in 1868 in a protest organized by Vineland, New Jersey, resident Portia Gage. One hundred and seventy-two local white and Black women cast illegal votes in the ballot box, which will be on loan from the Vineland Historical and Antiquarian Society.
“American women have helped to shape the legacy of the Declaration of Independence over the past 250 years,” said Matthew Skic, Senior Curator at the Museum of the American Revolution. “Stories of revolutionary women such as Mary Katherine Goddard, Elizabeth Cady Stanton, and Portia Gage remind us of the long-standing and continuing struggle to strengthen the American nation’s commitment to equality stated back in 1776.”
Structure of the exhibition:
First Travels, 1776–1783
The exhibition begins with the story of Jonas Phillips, a Jewish merchant in Philadelphia who sent a letter, written in Judeo-German to keep its contents secret, and a Dunlap broadside of the Declaration of Independence to Amsterdam in July 1776. That copy never arrived, as the ship carrying it was captured by a British warship. The letter and Dunlap broadside will be on view along with Phillips’ notes referencing the Declaration’s promise of freedom of conscience—an early example of the emerging meanings credited to the Declaration. Other objects and documents in this introductory section convey how a July 1776 reading of the Declaration led the Mi’kmac and Maliseet communities of New Brunswick and Maine to enter into the first treaty to recognize the U.S. as an independent nation; how the French celebrated the Declaration and helped to announce the U.S. as a nation of the world, available for diplomacy and alliance; and how a small minority, all abolitionists, pioneered the use of the Declaration as an egalitarian document.
A Worldwide Journey, 1780–1830
The story moves abroad to examine how international interpretations of the Declaration of Independence pressured Americans to clarify their own understanding of the founding document, especially its language about equality. The Marquis de Lafayette borrowed language of the Declaration in his “Declaration of the Rights of Man and Citizen” (1789) but clarified language about equality. The Haitian Declaration of 1804, as well as the declarations adopted in Mexico and Chile, pushed and pressured Americans into conversation and conflict over the tensions within their own Declaration’s promise.
A Divided Declaration, 1831–1898
The narrative returns to the United States, exploring the Declaration’s appropriation by abolitionists, suffragists, and Confederate secessionists. Items may include Frederick Douglass’s typescript oration from 1852, best known for the line “What to the American Slave, is your Fourth of July?” and a printing of the Seneca Falls Convention’s Declaration of Sentiments, which launched the modern women’s suffrage movement with the addition of the phrase “and women” to the Declaration’s statement that “all men” are created equal.
Examples of Native American Declarations of Sovereignty and Independence, including Mashpee and Cherokee, show ways that the Declaration’s language was re-fashioned in the 1800s by people described in the original document as “savage.”
The Declaration’s Journey, 1898–Present
In this final section, visitors will see more and more people claim the legacy of the Declaration. At the end of WWI, Czechoslovakia, Korea and six other nations adopted their versions of a declaration of independence and by the mid-1900s, the Declaration was increasingly understood as a fundamental statement of human rights and equality. Martin Luther King Jr.’s 1963 “I Have a Dream,” speech is perhaps the best-known example of this understanding of the Declaration as a far-reaching promise. Visitors will leave the exhibition with an understanding of our Declaration as part of an ongoing revolution, a continuing effort to secure fair government and individual rights for people in the United States and around the world.
The Museum is poised to play a leadership role in the upcoming 250th anniversary of the nation’s founding in 2026. As we continue to transform the nation’s relationship with its Revolutionary past by increasing awareness of the many ordinary, diverse, and little-known people who created the American nation. Through this special exhibit, digital initiatives, and educational programs, we aim to facilitate widespread conversation about the meaning of the American Declaration of Independence and its ongoing legacy.
Journal18, Fall 2024 — Craft
The latest issue of J18 (I’m sorry to be slow with this one! –CH) . . .
Journal18, Issue #18 (Fall 2024) — Craft
Issue edited by Jennifer Chuong and Sarah Grandin
When, where, and why does craft matter? Craft, by definition, is any activity involving manual skill. But in the modern western world, the term typically implies specific kinds of activities that produce specific kinds of objects: things like baskets, lace, and lacquerware. In a culture that has historically privileged rationality and innovation, craft’s commitment to tradition, reliance on haptic knowledge, and association with marginalized subjects have rendered it the minor counterpart to more ‘serious’ forms of material production. As a subsidiary to art and industry, craft has often occupied a circumscribed role in accounts of modern art and modernity’s origins in the eighteenth century. Recently, however, craft—as a more capacious category of material production—has become a crucial term in efforts to expand and diversify the study of eighteenth-century art.
This special issue builds on recent investigations while considering how craft’s ancillary role within the Anglo-European tradition has limited its capacity to transform the field. Drawing inspiration from the absence of an art/craft divide in many cultures, we are interested in exploring craft’s potential to radically reframe, reconceptualize, and globalize the history of art.
a r t i c l e s
Elizabeth Eager — Labor, Leisure, and Lost Time in Eighteenth-Century Women’s Embroidery
Yve Chavez — Eighteenth-Century Loom and Basket Weaving at the California Missions
Hampton Smith — Insurgent Tooling and the Collective Making of Slave Revolts
Natalie E. Wright and Glenn Adamson — Encyclopædia Materia: Material Intelligence and Common Knowledge
Julie Bellemare, N. Astrid R. van Giffen, and Robert Schaut — Hot Tempered: Recreating a Lost Glass Recipe
Caroline Wigginton — Reading with Indigenous Form: Lucy Tantaquidgeon Tecomwas’s Moccasins (ca. 1767)
Ellen Siebel-Achenbach — Bookbinding in Eighteenth-Century Nuremberg: Reconstructing an Edge Plough from the Hausbücher der Nürnberger Zwölfbrüderstiftungen
All articles are available for free here, along with recent notes & queries:
r e c e n t n o t e s a n d q u e r i e s
Lytle Shaw — A Pirate Primer? Review of Stan Douglas: The Enemy of All Mankind
Sofya Dmitrieva — The Art Collection of the French Royal Academy of Painting and Sculpture: Notes on the Database
Jennifer Laffick — Lethière in Williamstown and Paris: A Transatlantic Exhibition Review
Kristina Kleutghen — Beijing to Dresden via St. Petersburg: An Early Qing Enameled Snuff Bottle in the Collection of Augustus II the Strong
Geoff Quilley — Lubaina Himid’s Naming the Money at the Entangled Pasts, 1768-now Exhibition, Royal Academy, London
Print Quarterly, March 2025
Thomas Daniell, The Old Court House and Writers’ Building, 1786, hand-coloured etching, 403 × 524 mm
(Philadelphia Museum of Art; image Thomas Primeau).
◊ ◊ ◊ ◊ ◊
The long eighteenth century in the latest issue of Print Quarterly:
Print Quarterly 42.1 (March 2025)
a r t i c l e s
• Jalen Chang, “‘Bengalee Work’ before Aquatint: Thomas Daniell’s Views of Calcutta”, pp. 20–30.
This article reevaluates eleven hand-coloured etchings by Thomas Daniell (1749–1840) held by the Philadelphia Museum of Art, previously presumed to be published states of his 1786–88 print series Views of Calcutta, often cited as the earliest aquatints made outside of Europe. Devoid of the rudimentary aquatinting and hand-coloured skies which characterize other extant examples, the relatively bare objects document a distinct stage of Daniell’s artistic process and are unprecedented in their survival. The article suggests that these prints were trial proofs never intended for publication or sale, meant instead to serve as colour tests for Daniell and his team of Indian copyists. Furthermore, the article considers early imperial printmaking and its ideological functions in British India.
Charlotte Bonaparte, Self-Portrait, ca. 1824–26, oil on canvas, 885 × 730 mm (Princeton University Art Museum).
• Thomas Busciglio-Ritter, “From Brussels to Point Breeze: Charlotte Bonaparte’s Lithographic Landscapes, 1821–25”, pp. 31–43.
This article discusses a series of twelve lithographs by Charlotte Bonaparte (1802–1839), niece to Napoleon I, of North American views known as the Vues pittoresques de l’Amérique dessinées par la Comtesse Charlotte de Survillier (printed 1824), which she completed and disseminated on her return to Europe. The series, published in Brussels, became the first lithographic scenic views of the United States to circulate among western European audiences. The article situates Bonaparte’s landscape views within the context of transatlantic print culture of the early nineteenth century, touching on the role of women as producers of landscape images and the introduction of lithography as a new medium for American audiences.
n o t e s a n d r e v i e w s
• Bernard Aikema, Review of the exhibition catalogue Connecting Worlds: Artists and Travel, ed. by Anita Viola Sganzerla and Stephanie Buck (Paul Holberton Publishing, 2023), pp. 64–66.
• Catherine Jenkins, Review of the exhibition catalogue Trésors en noir et blanc. Estampes du Petit Palais, de Dürer à Toulouse-Lautrec, by Anne-Charlotte Cathelineau, Joëlle Raineau-Lehuédé, and Clara Roca (Paris Musées, 2023), pp. 74–76.
• Ellis Tinios, Review of Hokusai’s Fuji, ed. by Kyoko Wada (Thames and Hudson, 2023), pp. 76–77.
• Victoria Sancho Lobis, Review of Aaron Hyman, Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021), pp. 99–105.
Exhibition | Lines of Connection: Drawing and Printmaking
Hendrick Goltzius, Study of a Right Hand, 1588
(Haarlem: Teylers Museum, N058)
◊ ◊ ◊ ◊ ◊
Recently opened at the AIC:
Lines of Connection: Drawing and Printmaking
Art Institute of Chicago, 15 March — 1 June 2025
Getty Center, Los Angeles, 1 July — 14 September 2025
Curated by Jamie Gabbarelli and Edina Adam
The first exhibition ever to focus on the multiple connections between drawing and printmaking, this presentation brings together around 90 works on paper by some of the greatest artists in the Western tradition to uncover the inner workings of their creative process and offer new ways to think about the links between the two mediums.
Joseph Wright of Derby, Self-Portrait in a Fur Cap, 1765–68, monochrome pastel (grisaille) on blue-gray laid paper, 42.5 × 29.5 cm (Art Institute of Chicago, Clarence Buckingham Collection, 1990.141).
Featuring fascinating drawings and exceptional prints from the late 15th century though the mid-19th century by artists such as Albrecht Dürer, Parmigianino, Rembrandt, Peter Paul Rubens, Maria Sibylla Merian, Francisco Goya, and William Blake, the exhibition explores the creative exchange between the two practices by showcasing preparatory drawings for prints, printed imitations of drawings, and drawn copies of prints. A selection of hybrid works also questions traditional definitions, strict boundaries, and outdated hierarchical distinctions between media.
Among the many remarkable loans enriching the exhibition are two astonishing drawings of a right hand by Hendrick Goltzius, which will be shown alongside each other for the first time in over a generation. Additionally an impressive drawing by Rembrandt of Leonardo da Vinci’s Last Supper makes its Chicago debut. With a wealth of exceptionally beautiful works, Lines of Connection offers fresh perspectives on two intertwined mediums and lifts the curtain on the rarely foregrounded subjects of artistic training, workshop practices, and the afterlife and collecting of works on paper.
Lines of Connection: Drawing and Printmaking is co-organized by the Art Institute of Chicago and the J. Paul Getty Museum. The exhibition is curated by Jamie Gabbarelli, Prince Trust Associate Curator, Prints and Drawings, Art Institute of Chicago, and Edina Adam, assistant curator of drawings, The J. Paul Getty Museum.
Jamie Gabbarelli and Edina Adam, Lines of Connection: Drawing and Printmaking, 1400–1850 (Los Angeles: Getty Publications, 2025), 230 pages, ISBN 978-1606069653, $40.
Study Day | The Evolving Life of Country House Display
Bartolomé Esteban Murillo, The Prodigal Son Feasting, 1660s. The painting is one of a series of six, all of which are on display at Russborough from March 1 until May 31.
◊ ◊ ◊ ◊ ◊
From ArtHist.net and Russborough:
The Evolving Life of Country House Display
Russborough House & Park, County Wicklow, 10 April 2025
To celebrate the unique history of Russborough, on the occasion of the ‘return home’ of the Prodigal Son series by Bartolomé Esteban Murillo (1617–1682), this study day explores the interplay among houses, collections, and collectors, in a cross-disciplinary attempt to celebrate the richness and diversity of Irish and British country houses.
The historic houses ICOM’s sub-committee (DEMHIST) has identified three main elements that characterise historic houses that are open to the public, and that were formerly owned by collectors—as in the case of Russborough. These are: the container (the house), the content (the collection), and the creator (the collector). All three elements are profoundly intertwined; however, over time, their relationship can evolve, interrupt, or re-bond, thus altering and creating new narratives of collecting, display, and afterlife, often at the intersection of the private and the public.
This is certainly the case for Russborough, where two families and their collections in particular, the Milltowns and the Beits, and two important donations to the National Gallery of Ireland at both ends of the 20th century, have impacted the present history of Russborough and shaped the nature of Ireland’s national collections. The legacy of these donations is commemorated through the naming of the Milltown and Beit wings at the National Gallery of Ireland, and that of the Alfred Beit Foundation at Russborough.
While Russborough offers a significant case study, country houses across Ireland and Britain equally illustrate the evolving nature of historic interiors and display. The architectural design of these properties, their decorative schemes, and the methodologies used to interpret their contents have developed significantly over time, with ongoing research shedding new light on these complex histories. Drawing on Anne Higonnet’s concept of the ‘collection museum’, one may view the relationship between houses, their collections, and their former owners as one that transcends the physical displacement of objects. Despite relocation, such collections often continue to evoke the memory of their original settings and custodians, commemorated through names, foundations, or reimagined displays.
This study day will examine continuities and changes in historic display practices and architectural design, with insights drawn from country houses across Ireland and Britain. Speakers will consider the methodologies and sources that inform such research. The day will also offer participants the opportunity to reflect on Russborough itself, the Beits’ collecting activities, and their connection to Murillo’s Prodigal Son series, which participants will have the opportunity to view in its historic setting. Tickets are €60 and include lunch and refreshments.
The Return of the Prodigal Son exhibition, presented in partnership with the National Gallery of Ireland, runs until May 31st.
p r o g r a m m e
9.45 Registration with tea and coffee
10.15 Welcome and Introduction
10:30 John Goodall (Country Life) — Keynote Speech
11.20 Session 1 | The Architecture of Display
Chair: Mary Heffernan (Office of Public Works)
• Alec Cobbe (Alec Cobbe Design) — Inside Matters
• Frances Bailey (National Trust NI) — Bringing Mount Stewart Back to Life
• James Rothwell (FSA, National Trust) — Restoring Baroque Pomp and Circumstance: The Beauty Room at Petworth, Sussex
12.30 Lunch and Free Flow Tours of the Murillo Display
13.30 Session 2 | Sources for Studying Collecting and Display
Chair: Audrey Whitty (National Library of Ireland)
• David Sheehan (Castletown Foundation) — Castletown: ‘The Epitome of the Kingdom and All the Rarities She Can Afford’
• Adrian Tinniswood (University of Buckingham) — A Madness to Gaze at Trifles
• Seán O’Reilly (Institute of Historic Building Conservation) — Sociological and Psychological, Artistic and Architectural Aspects of Country House Display and Prospective Impacts for Management
14.40 Break and Free Flow Tours of the Murillo Display
15.00 Session 3 | Russborough, the Beits, and Murillo’s Return of the Prodigal Son
Chair: Fionnuala Croke (Chester Beatty)
• Aidan O’Boyle (Office of Public Works) — The Reconstruction of an 18th-Century Picture-hang at Russborough
• John Hilary (University of Nottingham) — The Beit Collection: Murillo’s Prodigal Son Series in Context
• Leah Benson and Muirne Lydon (National Gallery of Ireland) — From Russborough to the National Gallery: The Beit Gift and the Conservation of Murillo’s Prodigal Son Series
16.20 Drinks Reception
Funding | Research Related to Castletown House, County Kildare
From the application form:
Kevin B. Nowlan Castletown Bursary
Applications due by 9 May 2025
The Castletown Foundation is pleased to announce a call for applicants for the Kevin B. Nowlan Castletown Research Bursary, established to honour the memory of our esteemed former chairman. This scholarship aims to further research that focuses on or relates to Castletown: this extends to houses, collections, objects, and landscapes of allied family properties across Ireland and Great Britain that will have a direct bearing on the mediation and interpretation of Castletown house. Applications are invited from post-graduate students, early career professionals, and established scholars. The award of up to €5,000 may be used for research-related expenses only. The selection committee will be composed of members of the Castletown Foundation and one external specialist. The scholarship need not be awarded in any one year, and the decision of the assessors is final.
Your proposal (max. 1,000 words) should outline how existing knowledge will be extended by your work; it should also include a timeline for the research and an indicative budget. That document together with this application form must be submitted by email to Dr Alison FitzGerald (alison.fitzgerald@mu.ie) and Dr Patrick Walsh (WALSHP9@tcd.ie) by Friday, 9 May 2025 at 5pm, with the subject line ‘Kevin B. Nowlan Castletown Bursary’. A confidential reference supporting the application must arrive separately, before the closing date.
Enfilade 
leave a comment