Conference | Workshops and Manufactures in France, 1789–1815
From the conference programme:
« Les progrès de l’industrie perfectionnée »
Ateliers et manufactures de la Révolution française au Premier Empire, 1789–1815)
Workshops and Manufactures in the Years between the
French Revolution and the Napoleonic Empire, 1789–1815
Institut national d’histoire de l’art and Centre allemand d’histoire de l’art, Paris, 13–14 June 2014
Entre la réunion des États généraux et la fin du Premier Empire, vingt-cinq ans s’écoulent pendant lesquels bouleversements politiques, économiques, sociaux et culturels créent un contexte d’instabilité pour le secteur du luxe et du demi-luxe français. Les ateliers et les manufactures sont confrontés à des conditions matérielles et organisationnelles difficiles. Le manque de matières premières, la détérioration des finances et la diminution du personnel en raison du départ des jeunes hommes aux armées ont un impact négatif sur la production artisanale. L’incertitude générale que représente cette période d’instabilité politique et de conflits armés n’empêchent pourtant pas l’émergence de modes. De nouveaux marchés s’ouvrent et offrent de riches opportunités aux artistes et artisans pour diversifier et élargir leurs créations.
La période révolutionnaire a souvent été considérée comme un temps de rupture, en particulier dans le domaine du luxe dont elle remet en cause les fondements. Il s’agira ici, au contraire, de l’envisager dans sa continuité, à la jonction des XVIIIe et XIXe siècles. La reprise de la production des objets de luxe s’observant dès le Directoire et s’épanouissant avec l’Empire, les mutations de la société et du travail posent la question du développement de nouveaux paradigmes. À quels évènements et à quels changements les manufactures d’État, les ateliers de renom ainsi que les producteurs régionaux doivent-ils faire face entre l’Ancien Régime et la Restauration des Bourbons ? De quelle manière les artistes et les artisans réussissent-ils – ou échouent-ils – à s’adapter ? Mais aussi comment, de ces situations complexes, émergent les facteurs mêmes d’une évolution possible d’un secteur en processus d’industrialisation ?
Le présent colloque entend faire le point sur cette période charnière de l’histoire des arts décoratifs en France, l’objectif étant de mieux comprendre comment, au sein d’une actualité foisonnante, porteuse de transformations, ont fonctionné des ateliers et des manufactures établis à Paris et sur l’ensemble du territoire français. Pluridisciplinaire, croisant en particulier l’histoire de l’art, l’histoire sociale, l’histoire économique, l’histoire culturelle et l’histoire des techniques, le colloque cherchera autant à affiner la périodisation de son sujet d’étude qu’à fournir les clefs de lecture d’une analyse plurielle des objets, en complément d’une approche stylistique déjà éprouvée.
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V E N D R E D I , 1 3 J U I N 2 0 1 4
9.00 Accueil par Philippe SÉNÉCHAL (INHA, Paris)
Organiser les ateliers et les manufactures
Présidence de séance Odile NOUVEL (musée des Arts décoratifs, Paris)
9.10 David CELETTI (université de Padoue) « Filer le luxe. Manufactures, ateliers et travail domestiques à l’aube de l’industrialisation »
9.30 Stéphane PIQUES (université Toulouse – Jean Jaurès, FRAMESPA, UMR 5136) « L’organisation de la production dans l’industrie céramique sous la Révolution : l’exemple du territoire industriel de Martres-Tolosane (Haute-Garonne) »
9.50 Élodie VOILLOT (université Paris Ouest Nanterre La Défense, INHA, Paris) « Des canons aux statuettes. L’industrie du bronze au tournant du XIXe siècle »
10.10 Pause
10.50 Camilla MURGIA (université d’Oxford) « The Elusive Link : Fine Arts and Industry Exhibitions under the Consulate and the Empire »
11.10 Christiane DEMEULENAERE-DOUYÈRE (Centre Alexandre Koyré, UMR 8560, CNRS-EHESS-MNHN, Paris) « Le luxe sous l’Empire. Entre pénurie de matières premières et recherche de substituts »
11.30 Discussion
12.30 Pause
Créer de nouveaux objets et de nouveaux styles
Présidence de séance Patrick VERLEY (université de Genève)
14.00 Piedade DA SILVEIRA, Michelle SAPORI (Paris) « Louis-Hyppolite Leroy et son atelier de modes de 1793 à 1815 »
14.20 Marie-Agnès DEQUIDT (université Paris-Est Créteil) « Horlogerie et Révolution : continuer à tourner dans un monde en bouleversement, 1789–1815 »
14.40 Bernard JACQUÉ (musée du papier peint de Rixheim) « Des décors de luxe en papier peint pendant la Révolution française »
15.00 Pause
15.40 Justin BEAUGRAND-FORTUNEL (École Pratique des Hautes Études, Paris) « Le mobilier de campagne de Napoléon Ier. L’artisanat au service de l’Empereur »
16.00 Discussion
S A M E D I , 1 4 J U I N 2 0 1 4
9.15 Accueil par Thomas KIRCHNER (Centre allemand d’histoire de l’art, Paris)
9.30 Un double bilan historiographique en histoire de l’art et en histoire
Philippe BORDES (université Lumière Lyon 2, LARHRA, UMR 5190) et Anne PERRIN KHELISSA (université Toulouse – Jean Jaurès, FRAMESPA, UMR 5136) ¬- Jean-François BELHOSTE (École Pratique des Hautes Études, Paris) et Natacha COQUERY (université Lumière Lyon 2, LARHRA, UMR 5190)
Diffuser et promouvoir la production à l’international
Présidence de séance Anne DION-TENENBAUM (musée du Louvre, Paris)
10.00 Valeria MIRRA (Archives du Moderne de Mendrisio, université de la Suisse italienne) « Labor omnia vincit. La Manufacture Piranesi de vases et ornements en terre cuite de Mortefontaine »
10.20 Ludmila BUDRINA (musée des Beaux-Arts d’Ekaterinburg) « Lapidaires parisiens aux services de Nicolas Demidoff : la collection des objets en bronze doré et malachite avec des mosaïques en reliefs des pierres dures réalisés par Thomire (d’après les documents inédits et les collections européennes) »
10.40 Pause
11.20 Hans OTTOMEYER (Munich)« Innovation by Design as Strategy for Luxury Goods »
11.40 Iris MOON (Sterling and Francine Clark Art Institute in Williamstown) « The Immutable Décor : Revolutionary Aesthetics and Material Transformations in Interior Decoration at the cabinet de platine, ca. 1800 »
12.00 Discussion (more…)
Met Initiative Provides Free Access to 400,000 Digital Images
Lock, 18th century, French, gilt bronze, 7 x 8 inches (New York: Metropolitian Museum of Art, Gift of J. Pierpont Morgan, 1906, #07.225.510.1). For more information, click here»
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Press release (16 May 2014) from The Met:
Thomas P. Campbell, Director and CEO of The Metropolitan Museum of Art, announced today that more than 400,000 high-resolution digital images of public domain works in the Museum’s world-renowned collection may be downloaded directly from the Museum’s website for non-commercial use—including in scholarly publications in any media—without permission from the Museum and without a fee. The number of available images will increase as new digital files are added on a regular basis.
In making the announcement, Mr. Campbell said: “Through this new, open-access policy, we join a growing number of museums that provide free access to images of art in the public domain. I am delighted that digital technology can open the doors to this trove of images from our encyclopedic collection.”
The Metropolitan Museum’s initiative—called Open Access for Scholarly Content (OASC)—provides access to images of art in its collection that the Museum believes to be in the public domain and free of other known restrictions; these images are now available for scholarly use in any media. Works that are covered by the new policy are identified on the Museum’s website with the acronym OASC. (Certain works are not available through the initiative for one or more of the following reasons: the work is still under copyright, or the copyright status is unclear; privacy or publicity issues; the work is owned by a person or an institution other than the Metropolitan Museum; restrictions by the artist, donor, or lender; or lack of a digital image of suitable quality.)
OASC was developed as a resource for students, educators, researchers, curators, academic publishers, non-commercial documentary filmmakers, and others involved in scholarly or cultural work. Prior to the establishment of OASC, the Metropolitan Museum provided images upon request, for a fee, and authorization was subject to terms and conditions. Additional information and instructions on OASC can be found here.
Exhibition | The New Georgians
Now on at Orleans House Gallery in Twickenham, just outside of London:
The New Georgians
Orleans House Gallery, Twickenham, 3 May — 27 July 2014
Valena Tzvetanska (Valena Lova) Mademoiselle Cuckó
The New Georgians celebrates the tercentenary of the Hanoverian accession. This exhibition, part of the Richmond upon Thames Georgian Festival, commemorates this historical event through a display exploring the life and local links of Queen Caroline of Ansbach (1683–1737), wife of King George II. Caroline lavishly dined in the Octagon Room on a visit here in 1729. Her husband’s mistress, Henrietta Howard, lived at the nearby Marble Hill House.
The focus of the exhibition is contemporary artwork from across the UK submitted via open submission. Artists explore the impact and relevance of 18th-century history, society, ideas, culture, and styles in the 21st century. Alongside reverent homages and playful pastiches are genres and media revolutionised and popularised in the 18th century, including botanical art, landscapes, portraits, prints and ceramics. Costume, accessories, and the representation and roles of women are also popular themes—fitting as the exhibition honours Queen Caroline, who possessed great intellect, culture, personal charm, and political influence. In her husband’s absences, she acted as Regent or Protector of the Realm.
Also on display are works created for the exhibition by the gallery’s artist in residence Michael Coldman. His constructions made from found, recycled and second hand objects are transformed into three dimensional scenes examining Georgian life and Queen Caroline and her Court. These often humorous works are complemented by a choice selection of 18th-century caricatures by British artists Hogarth, Smith, and Gillray from the Richmond Borough Art Collection.
The Richmond upon Thames Georgian Festival brochure is available as a PDF file here»
Conference | Enlightenment Senses?
From the conference website:
Enlightenment Senses? Eighteenth-Century Sensorium(s), Theory and Experience
Centre for Enlightenment Studies at King’s, King’s College London, 13 June 2014
Registration due by 7 June 2014
Organized by William Tullett, Alice Marples, and Marlee Newman
The conference brings together those concerned with the social and cultural history of the senses in the period from 1650 to 1790 as well as those working on literary or intellectual histories of the senses in an attempt to encourage a more active dialogue between these areas. It aims to link ‘sensory histories’, concerned with embodied sensory experience and representation, with ‘histories of the senses’ in which the intellectual and medical understandings of the senses are foregrounded.
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P R O G R A M M E
8:30 Registration
9:15 Panel 1: Describing Sensory Experience
Chair: William Tullett (KCL)
• Helen Slaney (St Hilda’s, Oxford), ‘A Sense of History: Haptic Perceptions of Ancient Sites in Eighteenth-century Italy’
• Felicity Roberts (King’s College London & British Museum), ‘The Science of Describing in Early Eighteenth-century England’
• Alice Marples (King’s College London & British Library), ’An Enlightened Approach to Sensory Information: Collecting and Circulating Knowledge’
10:30 Panel 2: Race and the Senses
Chair: Alice Marples (KCL)
• William Tullett (King’s College London), ‘Race and Smell in the Eighteenth-century British Atlantic’
• George Newberry (University of Sheffield), ‘Skin Colour, Insensitivity and the Roots of Enlightenment Racial Anatomy’
11:30 Coffee
12:00 Panel 3: Music and the Senses
Chair: Felicity Roberts (KCL)
• James Kenneway (Newcastle University), ‘Medical Conceptions of Hearing and Enlightenment Music’
• Miranda Stanyon (Christ’s, Cambridge), ‘Enlightening Rauschen: Sublime Hearing from Locke to Klopstock’
• Danielle Grover (University of Surrey), “Music Untouched by Unseen Hands Breathed Around’: Music as a Sensory Experience in Fiction’
13:15 Lunch
14:00 Panel 4: Inner Senses and Emotions
Chair: Marlee Newman (KCL)
• Yuriy Khalturin (Moscow), “Inner senses’ in the Russian Mysticism of the Eighteenth Century’
• Tobias Gabel (Justus-Liebig-Universität Giessen), ‘Ears Intent: Hearing, Listening and Insight in Milton’
• Richard Firth Godbehere (Queen Mary UL), ‘Aesthetics, Taste, and the Birth of Disgust’
15:15 Panel 5: Pain, Illness and the Senses
Chair: Sophie Mann (KCL)
• Rachel Brownstein (City University of New York), ‘Pointed Details: Feeling Gillray’s Pain’
• Marlee Newman (King’s College London), ‘’Fortresses of Solitude: The Material Experience of the Plague at Home’
• Lisa Toland (Indiana Wesleyan University), ‘Sensibility and the Diseased Body: The Senses in Moments of Crisis in Eighteenth-century Family Life’
16:30 Coffee
16:45 Roundtable: Enlightenment and the Senses
Chair: William Tullett (KCL)
• Mark Jenner (University of York)
• Clare Brant (King’s College London)
• Thomas Irvine (University of Southampton)
• Elizabeth Eger (King’s College London)
18:15 Wine reception
Exhibition | Catching Sight: The World of the British Sporting Print
From the VMFA:
Catching Sight: The World of the British Sporting Print
Virginia Museum of Fine Arts, Richmond, 31 August 2013 — 13 July 2014
This exhibition sheds new light on a common, but often overlooked aspect of British art: the British sporting print. Highly sought after during the 18th and 19th centuries, these prints endure as symbols of English culture. Featuring more than 100 prints, Catching Sight demonstrates the aesthetic sophistication and accomplishments of the genre. The exhibition takes an innovative approach, examining these works of art from an art historical perspective rather than simply as documents of the history of sport and rural culture. Catching Sight demonstrates the qualities of directness, vividness, and even wit for which the genre was prized by both the larger public and artists such as Degas and Géricault, who borrowed extensively from its artistic vocabulary.
Mitchell Merling, with Malcolm Cormack and Corey Piper, Catching Sight: The World of the British Sporting Print (Richmond: Virginia Museum of Fine
Arts, 2013), 112 pages, ISBN: 978-1934351031, $36.
The exhibition is accompanied by an illustrated catalogue by Mitchell Merling, Paul Mellon Curator, with contributions from Malcolm Cormack, Paul Mellon Curator Emeritus, and Corey Piper, former Curatorial Associate for the Mellon Collection.
Catalogue cover: Isaac Cruikshank, London Sportsmen Shooting Flying [from a set of four], ca. 1800, hand-colored etching (VMFA: Paul Mellon Collection, 85.1282.2)
Call for Papers | Images of the Other: Istanbul—Vienna—Venice
Images IV: Images of the Other: Istanbul—Vienna—Venice
Austrian Cultural Forum, Istanbul, 2–4 September 2014
Proposals due by 20 June 2014
After the conferences Images I: Films as Spaces of Cultural Encounters (2011), Images II: Images of the Poor (2012), and Images III: Images of the City (2013), the Images Project is planning to focus on ‘Images of the Other’ as documented in images and representations of Istanbul, Vienna, and Venice in its 2014 conference.
Since the Middle Ages all three cities have been (culturally) mythologized as points of cultural intersection in works of literature, arts and film—be it as the spaces where East meets West, where lines blur between the conscious and the subconscious, between life and death, between the visible/ the seen and the invisible/ the unseen, or as spaces identified with the evil, as the Moloch luring—all these mythologizations being part both of the self-perception documented in the native cultural production and of the perception from the (cultural) ‘outside’. Regarding this fact the Images project has decided to discuss the (historically) changing representation and perception of the three cities in its 2014 conference Images IV: Images of the Other: Istanbul—Vienna—Venice, with the representations being seen as documentations of cultural approaches and also of cultural concepts. Hence, the historically grown mythologizations of the three cities create a sheer unlimited number of potential cases of both cultural encounters and conflicts, including most of the socially relevant fields in the academic discourse on the topic, like politics, communication, culture, and migration.
In order to discuss issues like the above mentioned Images IV: Images of the Other: Istanbul—Vienna—Venice invites scholars, architects, photographers, writers, artists, and filmmakers to propose papers in the following fields of research and interest:
• The Making of a Myth (theoretical approaches with special reference to Istanbul, Vienna, and Venice)
• The psychology of feeling Istanbulite, Viennese and Venetian
• The psychology of attraction (theoretical approaches with special reference to Istanbul, Vienna, and Venice)
• Istanbul’s, Vienna’s, Venice’s cityscape as a (mythologized) statement
• The impact of the media (news, internet, daily soaps) on the perception of Istanbul, Vienna, and Venice
• Images of Istanbul, Vienna, and Venice in feature films (present and past)
• Images of Istanbul, Vienna, and Venice in the Arts (present and past)
• Images of Istanbul, Vienna, and Venice as seen by photographers (present and past)
• Images of Istanbul, Vienna, and Venice in literature (present and past)
The conference Images IV: Images of the Other: Istanbul—Vienna—Venice is planned as an interdisciplinary international conference. It will bring together senior scholars with PhD students, postdoctoral academics, and members of the artistic community without following the classical keynote speaker pattern but rather inviting all speakers either to present their research findings in 20-minute (paper) presentations plus 10 minutes for discussion or in 120–150 minute panels (4–5 panelists). There will be no parallel sessions. All sessions will be plenary sessions. The conference language is English. Selected articles of each session/ field of research will be published as a volume of conference proceedings. Münster, Berlin, Vienna and New York based LIT Verlag has already declared strong interest in publishing the conference proceedings. The publication will provide limited space for black-and-white illustrations. Please, send paper proposals to images-1@gmx.at and cc them to veronika.bernard@uibk.ac.at and otuzun@hotmail.com and gonul.ucele@bahcesehir.edu.tr
Deadline for paper submission for publication in conference proceedings: 1 month after conference
Planned date of publication of conference proceedings: July 2015
Images Project Director
Veronika Bernard (University of Innsbruck)
Conference Organizing Committee
Veronika Bernard (University of Innsbruck, Innsbruck)
Hatice Övgü Tüzün (Bahçeşehir University, Istanbul)
Gönül Ücele (Bahçeşehir University, Istanbul)
New Book | The Concept of the ‘Master’ in Art Education
From Ashgate:
Matthew Potter, ed., The Concept of the ‘Master’ in Art Education in Britain and Ireland, 1770 to the Present (Aldershot: Ashgate, 2013), 312 pages, ISBN: 978-1409435556, £70.
A novel investigation into art pedagogy and constructions of national identities in Britain and Ireland, this collection explores the student-master relationship in case studies ranging chronologically from 1770 to 2013, and geographically over the national art schools of England, Ireland, Scotland and Wales. Essays explore the manner in which the Old Masters were deployed in education; fuelled the individual creativity of art teachers and students; were used as a rhetorical tool for promoting cultural projects in the core and periphery of the British Isles; and united as well as divided opinions in response to changing expectations in discourse on art and education.
Case studies examined in this book include the sophisticated tradition of ‘academic’ inquiry of establishment figures, like Joshua Reynolds and Frederic Leighton, as well as examples of radical reform undertaken by key individuals in the history of art education, such as Edward Poynter and William Coldstream. The role of ‘Modern Masters’ (like William Orpen, Augustus John, Gwen John and Jeff Wall) is also discussed along with the need for students and teachers to master the realm of art theory in their studio-based learning environments, and the ultimate
pedagogical repercussions of postmodern assaults on the
academic bastions of the Old Masters.
Matthew C. Potter is a Senior Lecturer in Art and Design History at Northumbria University, UK. His research interests include national identity in British art and the history of art education.
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C O N T E N T S
Learning from the masters: An introduction, Matthew C. Potter
1. Naturalising tradition: Why learning from the masters?, Iris Wien
2. A free market in mastery: Re-imagining Rembrandt and Raphael from Hogarth to Millais, Paul Barlow
3. The John Frederick Lewis Collection at the Royal Scottish Academy: Watercolour copies of old masters as teaching aids, Joanna Soden
4. British art students and German masters: W.B. Spence and the reform of German art academies, Saskia Pütz
5. Standing in Reynolds’ shadow: The academic discourses of Frederic Leighton and the legacy of the first President of the Royal Academy, Matthew C. Potter
6. Opening doors: The entry of women artists into British art schools, 1871–1930, Alice Strickland
7. Struggling with the Welsh masters, 1880–1914, Matthew C. Potter
8. Emulation and legacy: The master-pupil relationship between William Orpen and Seán Keating, Éimear O’Connor
9. Prototype and perception: Art history and observation at the Slade in the 1950s, Emma Chambers
10. The pedagogy of capital: Art history and art school knowledge, Malcolm Quinn
11. Study the masters? On the ambivalent status of art history within the contemporary art school, Katerina Reed-Tsocha
12. ‘Without a master’: Learning art through an open curriculum, Joanne Lee
Bibliography
Index
Conference Report | ‘The Educated Eye?’ Connoisseurship Now
Writing for Apollo Magazine’s blog, Katy Barrett provides a recap of the one-day conference on connoisseurship held at The Paul Mellon Centre earlier this month (still available as a recorded webinar). From The Muse Room:
Katy Barrett, ” ‘The Educated Eye? Connoisseurship Now’ at the Paul Mellon Centrer,” The Muse Room: The Apollo Blog (6 May 2014).
The Connoisseur, 1830, unknown artist (Yale Center for British Art, gift of Max and Barbara Wilk)
What do we mean by ‘connoisseurship’ these days? The term has had negative connotations since at least the 17th century—as long, essentially, as academics, collectors and dealers have prided themselves on possessing this quality. Yet, it also denotes a fêted attribute that any self-respecting art lover would wish to have.
A lively and thought-provoking conference and webinar at The Paul Mellon Centre on Friday 2 May, The Educated Eye: Connoisseurship Now considered this thorny question. Speakers with varied and eclectic backgrounds brought perspectives from the realms of art museums, print collections, art funding, academia, dealerships, auction houses, and conservation. . . .
I was particularly struck by a comment by Stephen Deuchar about academic connoisseurship hiding under the mantle of material culture these days. . . .
Both from our speakers and their subject, personality emerged for me as key to the day. The mantle of authority both as a ‘connoisseur’ and as a commentator on such a person’s validity rests in the marriage of knowledge and persuasive communication, in the mixing of the subjective and the objective, not so different really from an appealing gallery educator or exhibition text. Repeatedly, discussion came back to the need for collaboration to keep these elements in balance. . . .
The full report is available here»
Call for Papers | HECAA Session at UAAC, 2014
Thanks again to Christina Smylitopoulos, HECAA is scheduled to be represented at this year’s UAAC Conference! Details and a full list of panels are available here»
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Universities Art Association of Canada / l’association d’art des universités du Canada
OCAD University, Toronto, 20–26 October 2014
Proposals due by 18 June 2014
HECAA Open Session (Historians of Eighteenth-Century Art and Architecture)
The objective of this society is to stimulate, foster, and disseminate knowledge of all aspects of visual culture in the long eighteenth century. This HECAA open session welcomes papers that examine any aspect of art and visual culture from the 1680s to the 1830s. Special consideration will be given to proposals that demonstrate innovation in theoretical and/or methodological approaches. Please email proposals for 20-minute papers to Dr. Christina Smylitopoulos (University of Guelph), csmylito@uoguelph.ca.
Conference | Collecting Prints & Drawings
From the conference flyer:
Collecting Prints & Drawings
Kloster Irsee, 13–16 June 2014
Registration due by 6 June 2014
Organized by Andrea M. Gáldy, Sylvia Heudecker, and Angela M. Opel
Excursions to Staatliche Graphische Sammlung München on 13 June and to Burg Trausnitz, Landshut on 16 June
Cabinets of prints and drawings belong to the earliest art collections of Early Modern Europe. Some of them achieved astounding longevity such as the Florentine Gabinetto Disegni e Stampe at the Uffizi. The fame which they acquired then demanded an ordered and scientific display. Keepers were employed to ensure that fellow enthusiasts as well as visiting courtiers, diplomats and also artists might have access to the print room. Documenting an encyclopaedic approach to knowledge, prints and drawings often depicted parts of the collection in the form of a paper museum. They spread its fame, and with it the renown of its owner, across Europe and into new worlds of collecting.
Themes of this conference include the importance of such collections for the self-representation of a prince or connoisseur; the reliability of the presentation of a gallery’s picture hang in prints and drawings; differences in the approach to collecting, presentation and preservation of prints and drawings in diverse parts of the world; as well as the afterlife of such collections to the present day.
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F R I D A Y , 1 3 J U N E 2 0 1 4
2.00 Speakers and delegates meet at the Staatliche Graphische Sammlung München (SGSM), Katharina-von-Bora-Str. 10, Munich (nearest tube station Königsplatz U2)
Welcome address by Michael Semff (Director SGSM)
Angela M. Opel (Hochschule Augsburg, Hochschule München), Dürer, Raphael, Rembrandt: The Reconstruction of the Display Collection of Drawings of the Electoral Cabinet of Drawings and Prints Mannheim (1758–1793)
Visit to the collections with presentation of some drawings from the Mannheim display collection in the Print Room
5.00 Travel to Kloster Irsee
6.30 Dinner
8.00 Michael Stoll (Hochschule Augsburg), Postcards from Treasure Island: Collecting Explanatory Information Graphics
S A T U R D A Y , 1 4 J U N E 2 0 1 4
9.00 Registration and Welcome
9.30 Order, Preservation, and Reconstruction
• Dimitri Ozerkov (The State Hermitage Museum, St. Petersburg), The Print Collection of Cathrine II (1762–1796) in the Hermitage
• Joyce Zelen (Rijksprentenkabinet, Rijksmuseum, Amsterdam), The Zobel Album: The Reconstructed Print Album of Johann Georg Zobel von Giebelstadt, ca. 1568
• Borbála Gulyás (The Hungarian Academy of Sciences, Budapest), ‘Achtet casten, darinnen allerlei bücher’: Prints and Manuscripts in the Kunstkammer of Ferdinand II of Tyrol
11.00 Coffee and Tea
11.30 Art Historical Approaches to Canon Building
• Valérie Kobi (Université de Neuchâtel), From Collection to Art History: The Recueil of Prints as a Model for the Theorisation of Art History
• Laura Aldovini (Università Cattolica del Sacro Cuore, Milano), Luigi Malaspina Di Sannazaro and the ‘Accessories’ to a Print Collection
• Corina Meyer (Technische Universität Berlin), ‘Unschätzbare Dinge. Eins immer besser gedacht und ausgeführt als das andre’: J. F. Städel’s Print Collection, ca. 1500 in Frankfurt a.M./ Germany
1.00 Lunch
2:30 Documentation and Academic Education
• Ralf Bormann (Niedersächsisches Landesmuseum Hannover), Wallmoden’s Drawings Collection at Hannover-Herrenhausen: Towards the Reconstruction of a Baroque Aemulatio of the Uffizi
• Anne Harbers (University of Sydney), The Macleay Family of Colonial New South Wales, 1767–1891: Public Figures Private Collectors—Drawings from the Collection
• Camilla Murgia (Independent Scholar), ‘But the Question is: Who is the Connoisseur?’ Pierre-Marie Gault de Saint Germain’s Collection of Drawing, 1752–1842
16.00 Coffee and Tea
16.30 Keynote/Public Lecture by Kate Heard (Royal Library, The Royal Collections, Windsor Castle), ‘That is Treason, Jonny’: The British Royal Family as Collectors of Satirical Prints, 1762–1901
19.00 Conference dinner
S U N D A Y , 1 5 J U N E 2 0 1 4
9.00 Artists as Collectors
• Alisa Carlson (University of Texas at Austin), Collecting Himself: Hans Holbein the Elder’s Portrait Drawings
• Donato Esposito (Metropolitan Museum of Art), Sir Joshua Reynolds (1723–1792) as a Collector of Prints and Drawings
• Wendy Wassyng Roworth (University of Rhode Island), A Painter’s Print Collection: Angelica Kauffman in Eighteenth-Century Rome
10.30 Coffee and Tea
11.30 Princely Collections
• Miriam Hall Kirch (University of North Alabama), In My Most Gracious Lord’s Study and Beyond: Ottheinrich’s Print Collection
• Eva Michel, (Albertina, Vienna), Collecting in the Age of Enlightenment: The Collection of Duke Albert of Saxe-Teschen
• Cathrine Phillips (Independent Scholar), Catherine the Great and the Cabinet of Drawings of the Hermitage Museum
12.30 Lunch
2.00 Image and (Re-)presentation
• Maria López-Fanjul y Diez del Corral (Staatliche Museen zu Berlin), Drawings Collections and Self-fashioning in Seventeenth-century Spain
• Sebastian Fitzner (Ludwig-Maximilians-Universität München), Collecting Architectural Drawings and Prints: Self-Representation of Princes in the Northern Renaissance
• Sabine Peinelt-Schmidt (Universität Dresden), The Collection of a Dealer: Carl Christian Heinrich Rost (1742–1798) and His Collection of Prints and Drawings
3.30 Coffee and Tea
4.00 Display and Displays
• Ivo Raband (Universität Bern), A Forgotten Original or an Original Copy? On MS. Douce 387 in the Bodleian Library: Collecting Early Modern Festival Books
• Beatrice Hidalgo (Madrid), The Cabinet Room, Artworks on Display: Interior Decoration Influence on Madrid’s Drawing and Print Collectors Choices during the Second Half of the Eighteenth Century
• Ronit Sorek (The Israel Museum Jerusalem), Everything in Order: The Prints and Drawings Collection at the Israel Museum, Jerusalem
6.30 Dinner
M O N D A Y , 1 6 J U N E 2 0 1 4
9.00 am Transport to Burg Trausnitz, Landshut
Visit of the castle Burg Trausnitz and the Kunstkammer:
Guided tours (ca. 45 minutes) of the castle 1.00 and 1.30
Guided tour of the Kunstkammer (ca. 60 minutes)
Travel to Munich airport/train station (more…)
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