Exhibition | The Exotic at Home: China in Portuguese Ceramics
From Lisbon’s National Azulejo Museum:
The Exotic is Never at Home? China in Portuguese Faience and Azulejo, 17th–18th Centuries
O Exótico nunca está em casa? A China na faiança e no azulejo portugueses (séculos XVII–XVIII)
Museu Nacional do Azulejo, Lisbon, 17 December 2013 — 29 June 2014
Curated by Alexandra Curvelo
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Since 1513, the Portuguese established a direct and regular contact between China and Europe. Taking on the role of suppliers and commercial brokers, Lusitanian adventurers and merchants progressively penetrated that immense kingdom, which was, perchance, the most exotic of the horizons dreamed and created in Europe since the Middle Ages. Exotic is a term of Latin origin, delivered from ancient Greek, meaning ‘outside’, an essential condition to arise one’s condition to marvel as it only exists after it is discovered. To this purpose the exotic object must always be transferred to a new context, in which it is reinterpreted, assuming another importance and meaning. But is the exotic always away from home, or are there moments in which it is ‘at the door’, if not even ‘in house’? These are the questions this exhibition aims to answer, by presenting the influence of China in Portuguese faience and azulejo in the 17th and 18th centuries.
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Dana Thomas writes about Lisbon in the March 2014 issue of Architectural Digest. . .
Be sure to pay a visit to the Museu Nacional do Azulejo (National Tile Museum), set in the opulent Madre de Deus Convent. Artist Joana Vasconcelos, who represented Portugal at last year’s Venice Biennale, calls it “one of Lisbon’s best-kept secrets.” The gem of the museum’s collection is a 75-foot-long mural from 1738 that’s made up of 1,300 tiles illustrating Lisbon before the earthquake of 1755, a cataclysm that destroyed much of the city and killed as many as 60,000 residents. Another impressive display of azulejos can be found at the São Vicente de Fora Monastery, which is decorated with tile panels depicting French poet Jean de La Fontaine’s fables. The hilltop monastery, in the historic residential neighborhood of Alfama, offers some of the finest views of the city. . .
The full article is available here»
Workshop | Italy in China: Beijing’s Old Summer Palace, Yuanmingyuan
From the Bibliotheca Hertziana in Rome:
Italy in China: The Western Buildings in the Old Summer Palace Yuanmingyuan in Beijing
Bibliotheca Hertziana, Max Planck Institute for Art History, Rome, 25 March 2014
The Beijing Tsinghua Institute for Digitization THID (Tsinghua University Beijing) and the Bibliotheca Hertziana, Max Planck Institute for Art History, Rome are conducting collaborative research devoted to the now ruinous Western Buildings that are part of the Old Summer Palace Yuanmingyuan in Beijing, and which were planned and erected around 1750 by Italian/French Jesuits and Chinese architects and craftsmen. The aim of the project is to comprehensively investigate and understand the Western Buildings and to analytically visualise them in virtual 3D-models. The project examines the Sino-Western experience in the planning and construction processes with the mutual exchange of techniques and methods, concepts and models, and explores the interaction between Chinese and Western conceptions of architecture, gardens, fountains, construction and hydraulic technologies. The workshop aims to present this collaboration project to a wider audience and to give a report on the current state of the work in progress.
P R O G R A M M E
2:30 Welcome and Introduction: Sybille EBERT-SCHIFFERER (Rome), YIN Lina (Beijing), Elisabeth KIEVEN (Rome), and Hermann SCHLIMME (Rome)
3:00 YIN Lina (Beijing), The Yuanmingyuan: Current state of research and analysis of textual and visual sources
3:45 SHANG Jin (Beijing), The Western buildings: Research questions and the role of virtual 3D-models
4:30 Break
5:00 GAO Ming (Beijing) and PIAO Wenzi (Beijing), New findings based on the building survey and re-examination of historic photographs
5:45 Hermann SCHLIMME (Rome), Sino-Western knowledge transfer concerning plays of water and hydraulic technology: Benoist – Bélidor – Morland
6:30 Closing remarks
Scientific Concept: Yin Lina, Alexandra Harrer, Hermann Schlimme
Secretary: Ornella Rodengo, rodengo@biblhertz.it, 0039-06-69993-222
ASECS 2014, Williamsburg
2014 American Society for Eighteenth-Century Studies Conference
Williamsburg, 19–22 March 2014
Governor’s Palace in Williamsburg, Virginia. The original structure was built between
1710 and 1722, with further additions made in the 1750s. Fire destroyed the
main house in 1781. The present building was constructed in the early 1930s.
Photo by Larry Pieniazek, 2006, from Wikimedia Commons.
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The 2014 ASECS conference takes place in Colonial Williamsburg, Virginia, March 19–22, at the Williamsburg Lodge. HECAA will be represented by two panels, on Friday, chaired by Denise Amy Baxter and Amy Freund and Jessica Fripp. Our annual luncheon and business meeting is also scheduled for Friday, between the two sessions. A selection of additional panels is included below (of the 221 sessions scheduled, many others will, of course, interest HECAA members). For the full program, see the ASECS website.
H E C A A S E S S I O N S
The Anne Schroder New Scholars’ Session (HECAA)
Friday, 21 March, 11:30–1:00, Colony Room A
Chair: Denise Amy BAXTER, University of North Texas
1. Diane WOODIN, University of North Carolina at Chapel Hill, “Noble Wit and Celestial Wonder in Early Modern France: The Strategic Scholarship of the Duchesse du Maine”
2. Blair DAVIS, University of California, Santa Barbara, “Roman Villas and French Garden Theory”
3. Alison HAFERA, University of North Carolina at Chapel Hill, “Quiet Spaces of Repose: The Garden as Site of Mourning in Eighteenth-Century France”
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Selfhood and Visual Representation in the Eighteenth Century (HECAA)
Friday, 21 March, 4:15–5:45, Allegheny Room A
Chairs: Amy FREUND, Texas Christian University AND Jessica FRIPP, Parsons The New School for Design
1. Emma BARKER, The Open University, “Blindness and Selfhood in Eighteenth-Century French Art”
2. Melina MOE, Yale University, “The Singular Macaroni or Macaroni Singularity”
3. Julia SIENKEWICZ, Duquesne University, “At Sea without a Guiding Star: Uncertain Selfhood in the Atlantic Watercolors of Benjamin Henry Latrobe”
O T H E R S E S S I O N S R E L A T E D T O T H E V I S U A L A R T S
W E D N E S D A Y , 1 9 M A R C H 2 0 1 4
Open House, Swem Library at the College of William and Mary
Wednesday, 19 March, 4:00–6:00
The Swem Library is noted for its strong special collections. Come to the Special Collections Research Center and browse selected rare books, manuscripts, and archives pulled specifically for the enjoyment of ASECS. Some of the treasures on display will be a unique first edition of Isaac Newton’s Principia, a first edition of the Book of Mormon, a list of slaves owned by the College of William and Mary, as well as letters from some of our founding fathers, George Washington, Thomas Jefferson, and James Monroe. All attendees and their guests are welcome and no registration is required.
T H U R S D A Y , 2 0 M A R C H 2 0 1 4
Textiles in the Long Eighteenth Century
Thursday, 20 March, 8:00–9:30, Allegheny Room B
Chair: Heidi A. STROBEL, University of Evansville
1. Courtney BEGGS, Bridgewater State University, “Reading Ribbons: Textile Tokens, The Foundling Hospital, and Stories of Maternity”
2. Emily WEST, McMaster University, “‘Hands without head would do little’: Mechanizing the Spinster”
3. Mei Mei RADO, Bard Graduate Center, “‘Western Tapestries’ Made in the Eighteenth-Century Chinese Court”
4. Ji Eun YOU, University of North Carolina, Chapel Hill, “Printed Fabrics and Textile on Prints: Interior Decoration during the French Revolution”
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Mind and Brain: Representing Cognition in Eighteenth-Century Culture
Thursday, 20 March, 8:00–9:30, Virginia Room C
Chair: Hannah Doherty HUDSON, University of Texas, San Antonio
1. Audrey HUNGERPILLER, University of South Carolina, “Clarissa’s Suffering: Theorizing Sympathy and Physical Pain in the Eighteenth Century”
2. Lucas HARDY, Youngstown State University, “‘Beatific Visions of God’: Jonathan Edwards’s Postures of Mind”
3. Stan BOOTH, University of Winchester, “Subtle Gestures: The Portrayal of the Ill and Less Able in Hogarth’s Work”
Respondent: Natalie PHILLIPS, Michigan State University
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Embodying the Past: The Rewards and Risks of Re-enactment
Thursday, 20 March, 9:45–11:15, Allegheny Room B
Chair: Mimi HELLMAN, Skidmore College
1. Sarah DAY-O’CONNELL, Knox College, “Singing as Translation: A ‘New Fidelity’ Approach to Performance and Meaning in Joseph Haydn’s Canzonettas”
2. Amber LUDWIG, Honolulu Museum of Art, “Re-Acting to the Past: Are Role-Playing Games Changing the Course of History?”
3. Matthew KEAGLE, Bard Graduate Center for the Decorative Arts, Design History, and Material Culture, “Coming Out of the (Costume) Closet: Re-Enactment, the Academy, and Me”
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Hogarth’s Legacy
Thursday, 20 March, 11:30–1:00, Allegheny Room C
Chair: Frédéric OGÉE, Université Paris Diderot
1. Isabelle BAUDINO, Ecole Normale Supérieure Lyon, “William Hogarth, Appropriation and the Construction of British Artistic Identity”
2. Frank FELSENSTEIN, Ball State University, “Hogarth’s Legacy: Does Rowlandson Fit?”
3. David A. BREWER, The Ohio State University, “Hogarth, Fictionality, and Reference”
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National Endowment for the Humanities Grants Projects (Roundtable)
Thursday, 20 March, 11:30–1:00, Colony Room A
Chair: Barbara ASHBROOK, National Endowment for the Humanities
1. Stephen KARIAN, University of Missouri
2. Chloe WIGSTON SMITH, University of Georgia
3. Devoney LOOSER, Arizona State University
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Ear, Nose, and Throat: The Other Senses of the Long British Eighteenth Century, I
Thursday, 20 March, 11:30–1:00, Colony Room C
Chair: Rivka SWENSON, Virginia Commonwealth University
1. Kathryn Strong HANSEN, The Citadel, “‘Smell a rat’: Scent and Authenticity in Burney’s Cecilia”
2. Jacqueline GRAINGER, University of Sydney, “Perfume in Print; or, the Legend of the French perfume Industry”
3. Christine GRIFFITHS, Bard Graduate Center, “‘A most pleasant Odiferous scent’: Aromatics in Early Eighteenth-Century Britain”
4. Emily C. FRIEDMAN, Auburn University, “One Scent Three Ways: Imagining the Eighteenth Century as the Age of Sulfur”
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Six Metaphors for the Mind (Roundtable)
Thursday, 20 March, 11:30–1:00, Piedmont Room C
Chair: Brad PASANEK, University of Virginia
1. Darryl P. DOMINGO, University of Memphis, “Archer’s Bow”
2. Joseph DRURY, Villanova University, “Musical Instrument”
3. Scott ENDERLE, Skidmore College, “Mazes”
4. Jess KEISER, Rice University, “Soldiers”
5. Kathleen LUBEY, St. John’s University, “Acorns”
6. Julie PARK, Vassar College, “Camera Obscura”
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Eighteenth-Century Brewing
Thursday, 20 March, 2:30–4:00, Virginia Room C
Chair: Frank CLARK, Supervisor, Historic Foodways, Colonial Williamsburg Foundation
(Fee for Tasting)
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Material Culture in the Atlantic World
Thursday, 20 March, 2:30–4:00, Allegheny Room A
Chair: Chloe WIGSTON SMITH, University of Georgia
1. Christian J. KOOT, Towson University, “From Manuscript to Print: The Transformation of an Early Modern Atlantic Map”
2. Kalissa HENDRICKSON, Arizona State University, “Imperial Commodities in Civic Pageantry”
3. Elizabeth A. WILLIAMS, Rhode Island School of Design Museum, “Fluid Contents: Navigating Material Culture in the Atlantic World”
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Materials, Artistic Process, and Meaning in the Eighteenth Century
Thursday, 20 March, 4:15–5:45, Allegheny Room C
Chairs: Sarah BETZER, University of Virginia AND Douglas FORDHAM, University of Virginia
1. Jason LAFOUNTAIN, School of the Art Institute of Chicago, “The Art-Experienced Wound and Nailhole Painting of the Moravian Brethren: Irrationality and Medium Specificity in the 1740s”
2. Francesca WHITLUM-COOPER, Courtauld Institute of Art, “La vie errante de Jean-Baptiste Perronneau (1715–1783): Pastel, Peregrinations and Instability in Eighteenth-Century Europe”
3. Melissa HYDE, University of Florida, “Pastel Trouble: The Matter of Rosalba Carriera and Quentin de La Tour”
4. Amelia RAUSER, Franklin and Marshall College, “Muslin, Marble, Ivory”
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Global Cities, I
Thursday, 20 March, 4:15–5:45, Liberty Room
Chair: Robert MARKLEY, University of Illinois
1. Andrew SCHULZ, Pennsylvania State University, “The Royal Botantical Garden and the ‘Recreation’ of Empire in Enlightenment Madrid”
2. Susan SPENCER, University of Central Oklahoma, “Scheming Capitalists and Suicidal Puppets: A Literature for Osaka in the Era of Edo”
3. Inhye HA, University of Illinois, “Autonomy and Gentility in Olaudah Equiano’s Eighteenth-Century American Waterfront Communities”
4. Nina Budabin MCQUOWN, Western University, Ontario, “Urban Farming: ‘Town Manures’ in Eighteenth-Century Soil and City”
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Eighteenth-Century Re-enactments
Thursday, 20 March, 4:15–5:45, Tidewater Room D
Chair: Sarah KAREEM, University of California, Los Angeles
1. Emily Hodgson ANDERSON, University of Southern California, “Ghosting Oroonoko”
2. Stuart SHERMAN, Fordham University, “Do Do Do What You’ve Done Done Done Before: Theatrical Reenactments and the Live Documentary”
3. Jessica LEIMAN, Carleton College, “‘The Enthusiasm of an Ingenuous Mind’: Reenacting La Nouvelle Héloïse”s
4. Chloe WIGSTON SMITH, University of Georgia, “Reenacting the Empire of Material Culture: Yinka Shonibare, Dutch Wax Prints, and Thomas Gainsborough”
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ASECS Members’ Reception
Thursday, 20 March, 6:00–7:00, Colony Room D&E
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F R I D A Y , 2 1 M A R C H 2 0 1 4
Cultures of the Machine
Friday, 21 March, 8:00–9:30, Colony Room A
Chair: Joseph DRURY, Villanova University
1. Amy FREUND, Texas Christian University, “‘The most beautiful of all inventions’: The Hunting Gun in Eighteenth-Century France”
2. Crystal B. LAKE, Wright State University, “Romantic Fictions and Dull Truths: Machines of War in the Long Eighteenth Century”
3. Christopher F. LOAR, Western Washington University, “Erasmus Darwin’s Machinery of Life”
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New Approaches to Eighteenth-Century Gardens
Friday, 21 March, 9:45–11:15, Allegheny Room C
Chairs: Jeffrey L. COLLINS, Bard Graduate Center AND Meredith MARTIN, New York University
1. Nicolle JORDAN, University of Southern Mississippi, “‘Her Fountains which so high their streames extend’: Garden Design and Gender Identity in the Poetry of Anne Finch”
2. Emily MANN, Courtauld Insitute of Art, “Designs on the Land: English Gardens on the Coast of West Africa”
3. Sally GRANT, Independent Scholar, “Caricature in the Garden: Encounters with the Dwarves at Villa Valmarana”
4. Julie Anne PLAX, University of Arizona, “The Hunting Park at Compiègne: Aesthetics, Economics, Environment, and Entertainment”
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Dissent, Protest, and Resistance in the Old and New World
Friday, 21 March, 9:45–11:15, Allegheny Room B
Chair: Gloria EIVE, Saint Mary’s College of California
1. Frieda KOENINGER, Sam Houston State University, “Don Santos Díez González, Civil Censor: Balancing Aesthetics, Politics, and Religion in 1790s Madrid”
2. Maria Soledad BARBÓN, University of Massachusetts, Amherst, “The Politics of Praise: Academic Culture and Viceregal Power in Late Colonial Peru”
3. María de las Nieves PUJALTE, Texas State University, San Marcos, “Poder y resistencia en las fronteras españolas en 1748 y en 1826—Testimonios en las obras de los viajeros Jorge Juan Cantacilia y Antonio de Ulloa”
4. Ramón Bárcena COLINA, Universidad de Oviedo y Universidad Complutense de Madrid, “Imperialism, Censorship, and Control in post-Napoleonic Spain and the European Empire: Francisco Goya y Lucientes’s Dissent”
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Graduate Student Mentoring Coffee
Opportunity for graduate students to meet with their assigned mentors
Friday, 21 March, 9:45–11:15, Heritage Room
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The Anne Schroder New Scholars’ Session (HECAA)
Friday, 21 March, 11:30–1:00, Colony Room A
Chair: Denise Amy BAXTER, University of North Texas
1. Diane WOODIN, University of North Carolina at Chapel Hill, “Noble Wit and Celestial Wonder in Early Modern France: The Strategic Scholarship of the Duchesse du Maine”
2. Blair DAVIS, University of California, Santa Barbara, “Roman Villas and French Garden Theory”
3. Alison HAFERA, University of North Carolina at Chapel Hill, “Quiet Spaces of Repose: The Garden as Site of Mourning in Eighteenth-Century France”
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Regimes of Visuality: Technologies of Vision (Science Studies Caucus)
Friday, 21 March, 11:30–1:00, Colony Room C
Chair: Jess KEISER, Rice University
1. Al COPPOLA, John Jay College, City University of New York, “Seeing Science”
2. Kevin CHUA, Texas Tech University, “Children’s Scientific Literature and the Cybernetic Example”
3. Susan LIBBY, Rollins College, “Rationalizing Colonialism, Mapping Slavery in the Encyclopedie Illustrations of New World Plantation Labor”
4. Alexander WRAGGE-MORLEY, Caltech and Huntington Library, “Writing as Visual Technology in Natural History and Natural Philosophy”
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HECAA Luncheon and Business Meeting
Friday, 21 March, 1:00–2:30, Virginia A
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Presidential Address, Awards Presentation, and ASECS Business Meeting
Friday, 21 March, 2:30–4:00, Virginia Room E&F
Joseph ROACH Yale University, “Invisible Cities and the Archeology of Dreams”
Presiding: Misty ANDERSON University of Tennessee, Knoxville
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Selfhood and Visual Representation in the Eighteenth Century (HECAA)
Friday, 21 March, 4:15–5:45, Allegheny Room A
Chairs: Amy FREUND, Texas Christian University AND Jessica FRIPP, Parsons The New School for Design
1. Emma BARKER, The Open University, “Blindness and Selfhood in Eighteenth-Century French Art”
2. Melina MOE, Yale University, “The Singular Macaroni or Macaroni Singularity”
3. Julia SIENKEWICZ, Duquesne University, “At Sea without a Guiding Star: Uncertain Selfhood in the Atlantic Watercolors of Benjamin Henry Latrobe”
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Exhibition Lecture, Threads of Feeling
Friday, 21 March, 5:00, Hennage Auditorium, Art Museums of Colonial Williamsburg
John STYLES, University of Hertfordshire, “Threads of Feeling: Foundlings, Philanthropy, and Textiles in Eighteenth-Century London”
When mothers left babies at London’s Foundling Hospital in the mid- eighteenth century, the Hospital often retained a small object as a means of identification, usually a piece of fabric. These swatches of fabric now form Britain’s largest collection of everyday textiles from the eighteenth century. They include the whole range of fabrics worn by ordinary women, along with ribbons, embroidery, and even baby clothes. Each scrap of fabric reflects the lives of an infant child and its absent parent. Collectively, they comprise a poignant, elegiac materialization of separation and loss. The lecture explains why the Foundling Hospital amassed these textiles and reflects on the capacity of such objects to perform emotional work. The exhibition Threads of Feeling, curated by John Styles, is at the DeWitt Wallace Decorative Arts Museum, in the Art Museums of Colonial Williamsburg. Limited numbers, pre-registration required. Register at the ASECS Registration Desk by 4:00.
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Women’s Caucus Masquerade Ball
Friday, 21 March, 9:00–12:00, Colony Room
Admission fee includes dessert and coffee; cash bar will be available
S A T U R D A Y , 2 2 M A R C H 2 0 1 4
Napoléon and the Art of Propaganda
Saturday, 22 March, 8:00–9:30, Allegheny Room A
Chair: Heidi KRAUS, Hope College
1. Wayne HANLEY, West Chester University, “General Bonaparte and His Artists: Appiani, Gros, and David”
2. Carole F. MARTIN, Texas State University, “Crossing the Alps: The Advent of the Napoleonic Era”
3. Heather MCPHERSON, University of Alabama at Birmingham, “The Napoleon Effect”
4. Susanne ANDERSON-RIEDEL, University of New Mexico, “Alexandre Tardieu’s Interpretation of Raphael’s Modernity for Napoleonic Art”
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Reproducing the Past in the Eighteenth Century
Saturday, 22 March, 8:00–9:30, Piedmont Room A
Chair: Alicia KERFOOT, The College at Brockport, State University of New York
1. Amy MALLORY-KANI, University at Albany, State University of New York, “‘These Perilous Times’: (Re)Inventing the (Early) Modern Woman in Mary Hays’s Female Biography”
2. Niall ATKINSON AND Susanna CAVIGLIA, University of Chicago, “The Eternal Modernity of Rome: The Poetics of the Past in French Eighteenth-Century Painting”
3. Susan EGENOLF, Texas A&M University, “The Arts of Etruria Reborn in Industrial England: Wedgwood’s Classical Aesthetic”
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Historical Reenactment, Living History, and Public History: Theorizing Generative Intersections between Tourists, Communities and Scholars” (Society of Early Americanists)
Saturday, 22 March, 9:45–11:15, Allegheny Room A
Chair: Joy A. J. HOWARD, Saint Joseph’s University
1. Michael TWITTY, Independent Food Historian and Interpreter, “‘No More Whistling Walk For Me,’ Historian and Food Interpreter”
2. Sara HARWOOD, Georgia State University, “Escaping the ‘Tourist Trap’: Recent Endeavors of the Witch House in Salem, Massachusetts”
3. Russell Taylor STOERMER, Colonial Williamsburg Foundation and the College of William and Mary, “Researching History for Living History Programs”
4. Tyler PUTNAM, University of Delaware, “Historic Trades Skills, Historical Scholarship, and Living History Interpretation”
5. Susan KERN, The College of William and Mary, “Students as Tourists, Critics, and Neighbors: Teaching Public History at William and Mary”
6. Janet S. ZEHR, Salem College, “Embodied and Disembodied Voices: Modes of Interpretation of Black and White Experience at Old Salem, North Carolina”
7. Wayne RANDOLPH, Colonial Williamsburg Foundation, “Where the Rubber Hits the Road: Bridging Academia to ‘The Masses’”
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Rousseau and the Visual
Saturday, 22 March, 9:45–11:15, Colony Room A
Chair: Melissa HYDE, University of Florida
1. John GREENE, University of Louisville, “Optical Allusions: Text and Image in Rousseau”
2. Brigitte WELTMAN-ARON, University of Florida, “Justice Disfigured: Rousseau’s Manuscript of Les Rêveries du promeneur solitaire”
3. Lauren CANNADY, Centre allemand d’histoire de l’art, Paris, “Between Reveries and Seduction: Rousseau in the Garden”
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Celebrating ‘Our King’ in an Age of Enlightenment: Commemorating Monarchs in Music, Print and Every Day Life in the British Atlantic World
Saturday, 22 March, 9:45–11:15, Tidewater Room B
Chair: Amanda E. HERBERT, Christopher Newport University
1. Anne WOHLCKE, California State University, Pomona, “The King at the Head of the Army: Commemorating King George II as a hero of the Austrian War of Succession”
2. Stephanie KOSCAK, University of California, Los Angeles, “Playing with Pictures of the King: Print Consumers, Royal Authority, and Aesthetic Vacuity”
3. Birte PFLEGER, California State University, Los Angeles, “Celebrating George II and Frederick the Great: Creating an Anglo-German Middle Ground in Colonial Pennsylvania”
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Gallery Talk, Threads of Feeling
Saturday, 22 March, 10:00, DeWitt Wallace Decorative Arts Museum
John STYLES, University of Hertfordshire, will discuss the ideas that shaped his exhibition Threads of Feeling in the gallery where it is displayed. Limited numbers, pre-register at ASECS registration desk.
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Beyond Goya: Culture High and Low in Spain and the New World during the Reign of Carlos IV 1789–1808 (Ibero-American Society for Eighteenth-Century Studies)
Saturday, 22 March, 2:00–3:30, Colony Room A
Chair: Janis A. TOMLINSON, University of Delaware
1. Liana EWALD, San Diego University, “Culture, Gender, National Society: Women in the Cartas Marruecase
2. Kelly DONAHUE-WALLACE, University of North Texas, “Jerónimo Antonio Gil, Laocoön’s Son, and the Spanish Enlightenment
3. Catherine JAFFE, Texas State University, “From Cape and Dagger to Didactic Novel: Molding Taste during the Reign of Carlos IV, or Count Belflor Lives to Fight Another Day”
4. Susan DEANS-SMITH, University of Texas at Austin, “Consuming Culture in Late Colonial Mexico City”
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Let’s Get Engaged!: Teaching Tradition in a Non-Traditional Classroom (Women’s Caucus)
Saturday, 22 March, 2:00–3:30, Colony Room C
Chairs: Heather KING, University of Redlands AND Srividhya SWAMINATHAN, Long Island University
1. Heidi A. STROBEL, University of Evansville, “Transforming Exclusion into Inclusion”
2. Laura LINKER, High Point University, “Engaging Bodies: Teaching the Restoration”
3. Kathleen ALVES, City University of New York, “Teaching Swift, Sex, and Race in the Two-Year College”
4. Glen COLBURN, Morehead State University, “Civilization and its Discontents in Early Eighteenth-Century Britain”
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Rhyme or Reason? The Aesthetics of Prayer (German Society for Eighteenth-Century Studies / Deutsche Gesellschaft für die Erforschung des 18. Jahrhunderts, DGEJ)
Saturday, 22 March, 2:00–3:30, Liberty Room
Chairs: Laura M. STEVENS, University of Tulsa AND Sabine VOLK-BIRKE, Martin-Luther-University, Halle
1. James A. WINN, Boston University, “Intimations of Jubilation: Christopher Smart’s Early Religious Poems”
2. Karissa E. BUSHMAN, Augustana College, “From Devotion to Mindless Adoration: Depictions of Prayer and Worship in Goya’s Works”
3. Michael ROTENBERG-SCHWARTZ, New Jersey City University, “Representing Prayer in English Travel Narratives”
4. Malinda SNOW, Georgia State University, “Isaac Watts’s Book of Common Prayer”
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Pop! Goes the Eighteenth Century
Saturday, 22 March, 2:00–3:30, Piedmont Room A
Chair: Guy SPIELMANN, Georgetown University
1. Dorothée POLANZ, University of Virginia, “Merchandizing Queen: Marie Antoinette, 1793–2013”
2. Kimberly CHRISMAN-CAMPBELL, Independent Scholar, “Lost at Sea: Ship Hats in Contemporary Fashion”
3. Alaina PINCUS, University of Illinois, “Austen’s Caché and the Twenty-First-Century Popular Romance”
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Gallery Talk, Threads of Feeling
Saturday, 22 March, 2:00, DeWitt Wallace Decorative Arts Museum
John STYLES, University of Hertfordshire, will discuss the ideas that shaped his exhibition Threads of Feeling in the gallery where it is displayed. Limited numbers, pre-register at ASECS registration desk.
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Migration, Society and the ‘Exceptional’ Gulf Coast
Saturday, 22 March, 3:45–5:15, Allegheny Room A
Chair: Susan GAUNT STEARNS, Northwestern University
1. Gordon SAYRE, University of Oregon, “The Mississippi Bubble and the Settling of Louisiana: Perspectives from the Memoir of Lieutenant Dumont”
2. Frances KOLB, Vanderbilt University, “Migration in Spanish Louisiana during the Years of Partition, 1763–1783”
3. Judith BONNER, The Historic New Orleans Collection, “From Sketches to Portraits: The Rise of Painting along the Gulf of Mexico in the Eighteenth-Century”
4. Kristin CONDOTTA, Tulane University, “A Taste of Home: Irish Foodways in Early New Orleans”
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Artistic Matters of Life and Death in Anatomical Study: Live Models, Cadavers and Ecorche Figures
Saturday, 22 March, 3:45–5:15, Allegheny Room B
Chair: Andrew GRACIANO, University of South Carolina
1. Josh HAINY, University of Iowa, “John Flaxman’s Anatomical Drawings: The Body as Theoretical Model”
2. Meredith GAMER, Yale University, “Tyburn’s Docile Bodies: Criminal Anatomies in Eighteenth-Century London”
3. Corinna WAGNER, University of Exeter, “Artists, Anatomists, and the Transparent Body: Categorical Impulse and Human Identity”
Respondent: Rebecca MESSBARGER, Washington University in St. Louis
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Antiquarianism (in Theory)
Saturday, 22 March, 3:45–5:15, Piedmont Room C
Chairs: Crystal B. LAKE, Wright State University AND Ruth MACK, State University of New York, Buffalo
1. Craig HANSON, Calvin College, “From Ancient Paintings to Illustrious Persons: Antiquarian Patronage and Illustration in the 1740s”
2. Joshua SWIDZINSKI, Columbia University, “Thomas Gray’s Unfinished History of English Poetry: Metrical Antiquarianism and the Problem of Literary History”
3. Jeff STRABONE, Connecticut College, “The Case of Robert of Gloucester’s Chronicle: Towards a Theory of Mediation in the Eighteenth Century”
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Eighteenth-Century Book Illustration, the Engraved Author Portrait, and the Formation of the Literary Canon
Saturday, 22 March, 3:45–5:15, Tidewater Room C
Chair: Kwinten VAN DE WALLE, Ghent University
1. Peter WAGNER, Universität Koblenz-Landau, “Swift’s Parody of Author Portraits”
2. Gerald EGAN, California State University, “Alexander Pope’s Master Hand”
3. Enid VALLE, Kalamazoo College, “Before and after the Inquisition: Author’s Portrait and Text Illustrations of Pablo de Olavide’s El Evangelio en Triunfo”
4. Geoffrey SILL, Rutgers University, “Versions of Defoe: Portraits of the Artist from His Works”
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Williamsburg Walking Tour, 1774
Saturday, 22 March, 3:45–5:15, departing from lobby of Colonial Williamsburg Conference Center
Led by William WARNER, University of California, Santa Barbara
This tour will highlight the events in Williamsburg Virginia between May 25th and June 1st, 1774, in the wake of news of the Boston Port Bill, which closed down Boston harbor as punishment for the destruction of the Tea in Boston Harbor the previous winter. The tour will begin at the Colonial Williamsburg Conference Center. You don’t need Williamsburg tickets because we will be walking by the outsides of key sites and buildings (not taking tours within them). We will use a time-line of key events, a map (provided by the tour guide, Professor Warner), as well as handouts from which participants will be able to read (perhaps even aloud!). The goal is to bring together place and political speech/writing so that we can consider how they work together to mediate the American Crisis during one week of 1774 in Williamsburg.
The First Georgians and Eighteenth-Century Britain on BBC
Yes, I realize the ‘300th observations’ just keep coming from the UK, but here’s more, this time from the BBC. –CH
The BBC has unveiled full details of Eighteenth-Century Britain: Majesty, Music and Mischief, a major new season exploring the extraordinary transformation that took place across the arts throughout the 18th century. The season will include programming on BBC Two, BBC Four and BBC Radio 3 in April 2014.
Details are available here»
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Among the offerings is the new television series by Lucy Worsley, chief curator of Historic Royal Palaces. The first episode is scheduled to be screened at the Oxford Literary Festival, on Monday, 24 March, at 4pm (with the ASECS conference in Williamsburg just a week away, Worsley should be particularly interesting to readers interested in the possibilities of historical re-enactment).
The First Georgians: The German Kings Who Made Britain (w/t)
BBC Four, Spring 2014
2014 marks the 300th anniversary of the Hanoverian succession to the British throne. To mark the occasion, the BBC and Royal Collection Trust are embarking on a unique partnership—encompassing a three-part series presented by Dr Lucy Worsley for BBC Four, and an exhibition at The Queen’s Gallery, Buckingham Palace.
The First Georgians: The German Kings Who Made Britain (w/t), will present the revealing and surprising story of Britain in the reigns of George I and George II (1714–60)—the age of the ‘German Georges’. In 1714, Britain imported a new German royal family from Hanover, headed by Georg Ludwig (aka George I)—an uncharismatic, middle-aged man with a limited grasp of English. Lucy Worsley will reveal how this unlikely new dynasty secured the throne—and how they kept it.
An intimate and close-up portrait of these German kings of Britain, the series will follow George I, his son George II, and their feuding family as they slowly established themselves in their adopted kingdom, despite ongoing threats from invading Jacobites and a lukewarm initial response from the British public.
Lucy will show how what was happening at court intersected with enormous changes that were reshaping Britain. The years 1714–60 felt like a ‘peculiar experiment in the future’: modern cabinet government began under the Hanoverian kings, satire spoke the truth to power, and ‘liberty’ was the watchword of the age.
Lucy will travel to Hanover to discover that the politics and dynastic squabbles, which defined the reigns of George I and George II, frequently had a continental backstory. And she will unravel the central paradox of the German Georges: it was their weaknesses—the infighting between king and Prince of Wales, and their frequent absences in Hanover—that, in a very real way, helped to secure the dynasty and shape our modern British political system.
The First Georgians: The German Kings Who Made Britain (w/t) is being produced in partnership with Royal Collection Trust, to coincide with the exhibition The First Georgians: Art & Monarchy 1714–1760 at The Queen’s Gallery, Buckingham Palace from 11 April to 12 October 2014. Curated by Desmond Shawe-Taylor, Surveyor of The Queen’s Pictures, the exhibition is the first to explore the reigns of George 1 and George II, shedding light on the role of this new dynasty in the transformation of political, intellectual and cultural life. Through over 300 works from the Royal Collection collected or commissioned by the Georgian royal family, it tells the story of Britain’s emergence as the world’s most liberal, commercial and cosmopolitan society, embracing freedom of expression and the unfettered exchange of ideas.
Lucy will discover the personal side of the early Georgians through the spectacular paintings, drawings and furniture on display in the exhibition. With Royal Collection Trust curators, she will see how objects in the Collection reveal Britain at the very moment it was becoming the modern country we know today.
Conference | Enlightened Monarchs: Art at Court
From the conference programme:
Enlightened Monarchs: Art at Court in the Eighteenth Century
The Wallace Collection, London, 7 May 2014
To commemorate the 300th anniversary of George I’s accession to the British throne in 1714, Royal Collection Trust, the Wallace Collection and the Society for Court Studies are organising a study day dedicated to the often overlooked art patronage of the first two Georges and their families. In addition to investigating official commissions and personal taste, it will explore differences and similarities between the arts at court in Britain, Prussia, France and Spain in the Age of Enlightenment. The day will conclude with a private view of The First Georgians: Art & Monarchy 1714–1760 and a glass of wine at The Queen’s Gallery, Buckingham Palace. Tickets: £35. Includes refreshments and exhibition entry at The Queen’s Gallery, excludes lunch.
P R O G R A M M E
10:00 Registration, tea and coffee
10:20 Welcome by Christoph Vogtherr, Director of the Wallace Collection
10:25 Morning Session | Britain and Hanover
Chaired with an introduction by Desmond Shawe-Taylor, Surveyor of The Queen’s Pictures
10:35 Where is Hanover? The artistic and dynastic roots of the first Georgian monarchs, Wolf Burchard, Royal Collection Trust
11:05 The setting for a new dynasty: Furnishing St James’s Palace for George I and his Court, 1714–1715, Rufus Bird, Deputy Surveyor of The Queen’s Works of Art
11:30 William Kent’s royal clients: A challenge to exhibition curation, Julius Bryant, Keeper Word and Image Department, Victoria & Albert Museum
12:10 Discussion
12:25 Break for lunch
1:10 Afternoon Session | London, Berlin, Paris and Madrid
Chaired by Clarissa Campbell Orr, President of the Society for Court Studies
1.15 Becoming British: Queen Caroline and Collecting, Joanna Marschner, Historic Royal Palaces
1.55 Sophie Charlotte of Prussia and Frederick the Great as collectors, Christoph Vogtherr, Wallace Collection
2.35 Coffee
2.55 Louis XV and the control of art in France, Helen Jacobson, Wallace Collection
3.35 The king’s own taste of the politics of reform? Bourbon royal patronage in Madrid, Curt Noel, New York University London
4.15 Discussion
4.30 Travel to The Queen’s Gallery, Buckingham Palace
5:00 Private view of The First Georgians: Art & Monarchy 1714–1760
Exhibition | By George! Handel’s Music for Royal Occasions
Press release for The Foundling exhibition:
By George! Handel’s Music for Royal Occasions
The Foundling Museum, London, 7 February — 18 May 2014
Robert Sayer, A Perspective view of the building for the fireworks in the Green Park taken from the reservoir, ca. 1749 (London: The Foundling Museum, Gerald Coke Handel Collection)
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No composer has been more closely associated with the British monarchy than German-born George Frideric Handel (1685–1759). His anthem Zadok the Priest has been performed at every coronation since that of King George II on 11 October 1727, while his Water Music was performed in 2012 on the River Thames for the Diamond Jubilee of Queen Elizabeth II.
In the 300th anniversary year of the coronation of George I, the first Hanoverian king, this fascinating new exhibition explores Handel and his music for royal occasions, drawing on the Gerald Coke Handel Collection at the Foundling Museum and significant loans from major institutions including the British Library, Lambeth Palace, and the National Portrait Gallery.
Handel enjoyed the patronage of three British monarchs during his lifetime: Queen Anne, George I, and George II. Employed by George I in Hanover, Handel had the advantage of knowing the new king before he ascended the British throne in 1714. Although he was not appointed Master of the King’s Musick, Handel was favoured by George I and his family, while the appointed Master was left to compose music for smaller, less significant occasions. Handel tutored the royal princesses and composed music for almost all important royal events. He went on to compose the coronation anthems for George II, as well as the Music for the Royal Fireworks and the famous Water Music.
Philip Mercier, The Music Party (Frederick Lewis, Prince of Wales, and his sisters: Anne, Princess Royal and Princess of Orange; Princess Caroline Elizabeth; and Princess Amelia Sophia Eleanora), 1733 (London: The National Portrait Gallery)
Exhibits include paintings of the royal family and the 1727 Order of Service for the Coronation of George II, annotated by the Archbishop of Canterbury. Musical instruments of the period will be displayed alongside autograph manuscripts including Zadok the Priest, the Ode for the Birthday of Queen Anne, and Lessons for Princess Louisa, which Handel composed to teach the royal princesses to play the harpsichord. Rarely-seen documents from the archives of Westminster Abbey give an insight into the organisation of major royal events.
The Librarian of the Gerald Coke Handel Collection, Katharine Hogg, said: “Handel combined his musical genius with an ability to place himself at the heart of the British establishment, while retaining his independence as an entrepreneur and philanthropist. His identity as part of the British musical tradition and his legacy of quintessentially British music reflects his ability to adapt his musical skills to meet the expectations of his patrons and audiences.”
Handel was a governor of the Foundling Hospital. He donated the organ to its Chapel, composed an anthem for the Hospital, and conducted annual fundraising concerts of Messiah. Today’s charity concerts and fundraising auctions can trace their roots back to the Foundling Hospital and the remarkable creative philanthropy of Handel.
The Foundling Museum’s Director, Caro Howell said: “By exploring Handel’s royal relationships here, in the context of a home for the most vulnerable children, we’re revealing two sides of a remarkable artist. The musician who personally tutored the royal princesses also oversaw the music at the Foundling Hospital’s chapel where illegitimate and abandoned children were christened. The composer who directed the music at lavish and unique royal events, including the Royal Fireworks, exploited the same appetite for scale by conducting fundraising concerts at the Hospital.”
By George! is accompanied by a series of public events, including a concert by the Academy of Ancient Music [on Tuesday, March 18], performances of Handel’s music for nursery children, and eighteenth-century dancing and costume workshops. By George! opens a year of celebration at the Foundling Museum.
The Foundling Museum celebrates its 10th anniversary in June 2014. This milestone year coincides with three significant anniversaries in the story we tell: the 275th anniversary of the establishment of the Foundling Hospital, the UK’s first children’s charity; the 250th anniversary of the death of William Hogarth, whose donation of paintings to the Hospital created England’s first public art gallery; and the 300th anniversary of the coronation of George I, the first Hanoverian king. We will be marking this year of celebration and commemoration with a series of major exhibitions, events and the re-opening our Introductory Gallery after a major refurbishment.
Additional images are available as a PDF file here»
Conference | Prices Beyond Borders: The Art Market at European Courts
Next month at Herzog August Bibliothek:
Preis(e) ohne Grenzen. Kunstmarkt an europäischen Höfen der Vormoderne
Herzog August Bibliothek, Wolfenbüttel, 2–4 April 2014
M I T T W O C H , 2 A P R I L 2 0 1 4
19.00 Edgar Lein (Graz), Öffentlicher Abendvortrag: Vom Preis und Wert der Kunst: Benvenuto Cellinis Skulpturen für Franz I. von Frankreich und Cosimo I. de Medici
D O N N E R S T A G , 3 A P R I L 2 0 1 4
9.00 Michael Wenzel (Wolfenbüttel), Einführung
Künstler und Produzenten
9.15 Nils Büttner (Stuttgart) „His demands ar like ye lawes of Medes an Persians wch may not be altered”: Rubens’ Preise
10.15 Gabriele Marcussen-Gwiazda (Rüsselsheim), Rudolfs Böhmische Krone: Zu internationalen Edelstein-Konsortien und Schmuckkartellen am Beginn des 17. Jahrhunderts
11.15 Kaffeepause
Agenten und Vermittler
11.30 Sarvenaz Ayooghi (Aachen), Die rudolfinischen Kunstagenten: Akteure auf dem europäischen Kunstmarkt um 1600
12.30 Christina M. Anderson (Oxford), Brokering at Court: The Gonzaga Sale of 1627/28
13.30 Mittagspause
15.00 Natalia Gozzano (Rom), The Maestro di casa and the role played in the art market by the professionals of the Roman Court
16.00 Heiner Krellig (Venedig/Berlin), Francesco Algarotti als Kunstagent im Dienste der Höfe in Berlin, Dresden und Kassel (1741–1764)
17.00 Kaffeepause
Fürstliche Akteure
17.15 Carmen Decu Teodorescu (Paris/Genf), Borso d’Este’s Roman de la Rose cortine: The Most Expensive Item of a 15th-Century Italian Collection
F R E I T A G , 4 A P R I L 2 0 1 4
9.00 Susanne König-Lein (Graz) „des Anschaffens und Ausgebens in Graz kein Ende“: Die Erwerbungen der Maria von Bayern, Erzherzogin von Innerösterreich, für die Grazer Kunstkammer (1571–1608)
10.00 Axel Christoph Gampp (Basel), Der Kunstmarkt und Fürst Karl Eusebius von Liechtenstein
11.00 Kaffeepause
Mechanismen der Preisbildung bei Hofe
11.15 Michael North (Greifswald), Preisgestaltung und Wertkriterien auf dem internationalen Kunstmarkt im 18. Jahrhundert (wird gegebenenfalls verlesen)
12.15 Tina Kosak (Ljubljana), Pricing Paintings in Late 17th- and Early 18th-Century Inner Austria
13.15 Mittagspause
14.45 Martina Frank (Venedig), Zur Entwicklung des Kunstmarkts in Venedig im 17. Jahrhundert
15.45 Schlussdiskussion
Anmeldung, Information: forschung@hab.de
New Book | A Companion to British Art: 1600 to the Present
From Wiley:
Dana Arnold and David Peters Corbett, eds., A Companion to British Art: 1600 to the Present (Hoboken, NJ: Wiley-Blackwell, 2013), 588 pages, ISBN: 978-1405136297, $195.
This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history.
• A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British arts
• Combines original research with a survey of existing scholarship and the state of the field
• Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500
• Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study
• Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art’s relationship to Modernity, nationhood and nationality, and the institutions of the British art world
Dana Arnold is Professor of Architectural History and Theory at Middlesex University, UK. She has published several books on British architecture and visual culture and is author of the best selling Art History: A Very Short Introduction (2004). She is series editor of New Interventions in Art History, Wiley-Blackwell Companions to Art History, and Blackwell Anthologies in Art History.
David Peters Corbett is Professor of History of Art at the University of East Anglia. He has published a number of books, and has received prizes from the Historians of British Art, College Art Association USA, and a Guardian book of the year award. He is the editor of the journal Art History.
C O N T E N T S
Table of Contents
List of Illustrations viii
Acknowledgements xiii
Notes on Contributors xiv
Editors’ Introduction 1
Part 2 | General
1 The ‘Englishness’ of English Art Theory 13
Mark A. Cheetham
2 Modernity and the British 38
Andrew Ballantyne
3 English Art and Principled Aesthetics 60
Janet Wolff
Part 3 | Institutions
4 “Those Wilder Sorts of Painting”: the Painted Interior in the Age of Antonio Verrio 79
Richard Johns
5 Nineteenth-Century Art Institutions and Academies 105
Colin Trodd
6 Crossing the Boundary: British Art across Victorianism and Modernism 131
David Peters Corbett
7 British Pop Art and the High/Low Divide 156
Simon Faulkner
8 When Attitudes Became Formless: Art and Antagonism in the 1960s 180
Jo Applin
Part 4 | Nationhood
9 Art and Nation in Eighteenth-Century Britain 201
Cynthia Roman
10 International Exhibitions: Linking Culture, Commerce, and Nation 220
Julie F. Codell
11 Itinerant Surrealism: British Surrealism either side of the Second World War 241
Ben Highmore
12 55° North 3° West: a Panorama from Scotland 265
Tom Normand
13 Retrieving, Remapping, and Rewriting Histories of British Art: Lubaina Humid’s “Revenge” 289
Dorothy Rowe
Part 5 | Landscape
14 Defining, Shaping, and Picturing Landscape in the Nineteenth Century 317
Anne Helmreich
15 Theories of the Picturesque 351
Michael Charlesworth
16 Landscape into Art: Painting and Place-Making in England, c.1760–1830 373
Tom Williamson
17 Landscape Painting, c.1770–1840 397
Sam Smiles
18 Landscape and National Identity: the Phoenix Park Dublin 422
Dana Arnold
Part 6 | Men and Women
19 The Elizabethan Miniature 451
Dympna Callaghan
20 “The Crown and Glory of a Woman”: Female Chastity in Eighteenth-Century British Art 473
Kate Retford
21 Serial Portraiture and the Death of Man in Late-Eighteenth-Century Britain 502
Whitney Davis
22 Virtue, Vice, Gossip, and Sex: Narratives of Gender in Victorian and Edwardian Painting 532
Pamela M. Fletcher
Conference | The Global Lowlands
From Brown:
The Global Lowlands in the Early Modern Period, 1300–1800
Dutch and Flemish History and Culture in a Worldwide Perspective
Brown University, 4–5 April 2014
During the early modern period the Lowlands became an entrepôt for global exchanges. They connected outwards to every part of the globe through trade, colonization, expanded knowledge, material culture, and consumption. Antwerp during the sixteenth century, and Amsterdam during the seventeenth century were the first modern cities to dominate world trade and commerce. The Lowlands attracted merchants, immigrants, and visitors while importing and redistributing a vast new array of goods and information, not only effecting the culture, art, and sciences of the Lowlands but touching the lives of many other people, from New Amsterdam and Brazil to Africa, the Indian Ocean, Southeast Asia, Japan, and elsewhere. This conference focuses on the Lowlands as an example of how globalization is affecting Renaissance and Early Modern Studies.
Sponsored by Brown University, the Pembroke Center, the History Department, the program in Renaissance and Early Modern Studies, department of the History of Art & Architecture and the John Carter Brown Library. Pre-registration required: click here.
F R I D A Y , 4 A P R I L 2 0 1 4
5:00 Session 1 | Introduction and Chair: Evelyn Lincoln, Brown University
• Karel Davids, Vrije Universiteit, Amsterdam, “Instrument Makers, Cartographers, and Navigators: The Dutch and Transnational Networks in the Eighteenth-Century Atlantic”
• Mariët Westermann, The Andrew W. Mellon Foundation, “Retrading the Golden Age: Dutch Art and Its Histories”
6:30 Reception
S A T U R D A Y , 5 A P R I L 2 0 1 4
9:00 Session 2 | Chair: Wim Klooster, Clark University
• Claudia Swan, Northwestern University, “Lost in Translation: Exoticism in Early Modern Holland”
• Dániel Margócsy, Hunter College, “Commercial Visions: Global Trade and Scientific Debate, c. 1700”
10:30 Coffee
11:00 Session 3 | Chair: Jeffrey Muller, Brown University
• Mark Meuwese, University of Winnipeg , “Intention to Exterminate: Massacres in the Making of the Dutch Empire, 1600–1750”
• Julie Hochstrasser, University of Iowa, “Whose Baroque? Drawing and Human Experience among the Khoikhoi”
12:30 Lunch
2:00 Session 4 | Chair: Anne McCants, MIT
• Benjamin Schmidt, University of Washington, “Oriental Despots on Ornamental Desks: On Dutch Geography, the ‘Decorative’ Arts, and the Production of the Exotic World”
• Anne Goldgar, King’s College, London, “The Dutch and Natural History in the Seventeenth-Century Arctic”
• Lissa Roberts, University of Twente, “Deshima as a Center of Accumulation and Management”
4:00 General Discussion | Chair: Harold J. Cook, Brown University
Lecture | Rica Jones on Allan Ramsay’s Technique
From the UK’s Institute of Conservation (ICON). . .
Rica Jones on Ramsay’s Technique in Context and Perspective
Grand Robing Room, Freemason’s Hall, London, 16 April 2014
Allan Ramsay took London’s art world by storm when he set up his painting practice in Covent Garden in the late 1730s, and his work remained fashionable for the next two decades. One aspect of his portraiture was much commented on—he painted the faces in shades of red before applying the more naturalistic flesh tones. This paper was first written for the catalogue of the exhibition Allan Ramsay: Portraits of the Enlightenment at The Hunterian Museum and Art Gallery, Glasgow (October 2013 to January 2014). The author will illustrate this feature of Ramsay’s work, examine its significance to Ramsay, and place it in the context of the times.
Rica Jones trained as an art historian before studying the conservation of paintings. Until 2012 she worked as a conservator at the Tate Gallery and published extensively on techniques of painting in Britain from the 16th through the 18th centuries. She continues to work in both fields in the private sector.
Wednesday, 16 April 2014 in the Grand Robing Room at Freemason’s Hall, 60 Great Queen Street London WC2B 5AZ. Close to both Covent Garden and Holborn Tube Stations. Doors open at 6pm. Talk 6.30–8pm. Tickets: ICON members: £10, non-members: £15. Students £5 (student card required to be shown on the door). Free wine and cheese including in price of ticket.
Please register by sending your name and stating if you are an ICON member. Your name must be on the security list no later than Monday, 14 April 2014. RSVP Clare Finn +44 20 7937 1895 or finnclare@aol.com.
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