New Book | From Pompeii: The Afterlife of a Roman Town
From Harvard UP:
Ingrid D. Rowland, From Pompeii: The Afterlife of a Roman Town (Cambridge, MA: Belknap Press, 2014), 352 pages, ISBN 978-0674047938, $29 / £22 / €26.
When Vesuvius erupted in 79 CE, the force of the explosion blew the top right off the mountain, burying nearby Pompeii in a shower of volcanic ash. Ironically, the calamity that proved so lethal for Pompeii’s inhabitants preserved the city for centuries, leaving behind a snapshot of Roman daily life that has captured the imagination of generations.
The experience of Pompeii always reflects a particular time and sensibility, says Ingrid Rowland. From Pompeii: The Afterlife of a Roman Town explores the fascinating variety of these different experiences, as described by the artists, writers, actors, and others who have toured the excavated site. The city’s houses, temples, gardens—and traces of Vesuvius’s human victims—have elicited responses ranging from awe to embarrassment, with shifting cultural tastes playing an important role. The erotic frescoes that appalled eighteenth-century viewers inspired Renoir to change the way he painted. For Freud, visiting Pompeii was as therapeutic as a session of psychoanalysis. Crown Prince Hirohito, arriving in the Bay of Naples by battleship, found Pompeii interesting, but Vesuvius, to his eyes, was just an ugly version of Mount Fuji. Rowland treats readers to the distinctive, often quirky responses of visitors ranging from Wolfgang Amadeus Mozart, Charles Dickens, and Mark Twain to Roberto Rossellini and Ingrid Bergman. Interwoven throughout a narrative lush with detail and insight is the thread of Rowland’s own impressions of Pompeii, where she has returned many times since first visiting in 1962.
Ingrid D. Rowland is Professor at the University of Notre Dame School of Architecture in Rome.
Introduction: Naples, 1962
1. Pompeii, May 2013
2. The Blood of San Gennaro and the Eruption of Vesuvius
3. Before Pompeii: Kircher and Holste
4. Mr. Freeman Goes to Herculaneum
5. The Rediscovery of Pompeii
6. Wolfgang Amadeus Mozart
7. Further Excavations
8. Karl Bryullov
9. Railway Tourism
10. Charles Dickens and Mark Twain
11. Giuseppe Fiorelli, the “Pope” of Pompeii
12. Bartolo Longo
13. The Social Role of Tourist Cameos
14. Pierre-Auguste Renoir
15. The Legacy of August Mau
16. Crown Prince Hirohito of Japan
17. Don Amedeo Maiuri
18. Roberto Rossellini and Ingrid Bergman
19. Autobus Gran Turismo
Coda: Atomic Pizza
Notes
Bibliography
Acknowledgments
Index
Exhibition | Handel and Charles Clay’s Musical Clocks
From the Handel House:
Handel and Charles Clay’s Musical Clocks
Handel House Museum, London, 20 November 2013 — 23 February 2014
In the 1730s Handel provided music for a series of clocks created by watch and clockmaker Charles Clay. These beautiful machines, which incorporated automata, paintings, sculptures, furniture and gold and silver work by some of the finest artisans in London, also included chimes and pump organs that played extended musical excerpts from popular operas and sonatas.
This exhibition provides the opportunity to view a Clay clock from the Birmingham Museum and Art Gallery in an intimate Georgian setting which recalls the context in which such new inventions were originally viewed in the clockmaker’s own home. It will be joined by a gilt bronze relief from another Clay clock on loan from the V&A, and a manuscript of Handel’s clock tunes from the British Library. In addition, a recording of the music from a Clay clock in a private collection demonstrates the earliest ‘recordings’ of Handel’s music made during his lifetime.
For more information about the Kensington Palace clock, view a video here. For details of the Windsor clock, click here.
The exhibition is kindly supported by the A.C.H.Crisford Charitable Foundation.
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Additional information and images are available from the Handel House; also see a posting at the Antiquarian Horological Society’s blog The Story of Time.
Spring 2014 at the Bard Graduate Center
Details for upcoming events are available at the BGC Calendar:
As part of the Bard Graduate Center’s commitment to making our innovative programming more widely available and so shaping the global discourse about the cultural history of the material world, we will be live-streaming our seminar series and symposia on the BGC’s channel. We look forward to seeing you on West 86th Street in New York City for these events; however, for those of you who can’t attend in person, we look forward to your watching us live online.
February 11, 6:00–7:30
Conservation Conversations
Francesca Brewer, “Material Matters: Early Scientific Inquiry in Archaeology and Art”
Laurent Olivier, “Henri Hubert Between Durkheim and Mauss: The Visual Reconstruction of Archaeological Time”
February 12, 6:00–7:30
William Stenhouse, “Conserving Relics of the Classical Past: Civic Bodies and the Preservation of Antiquities in the Renaissance”
February 19, 6:00–7:30
Lara Penin, “Design Futures: Service Design for Social Innovation”
February 25, 6:00–7:30
Birgitt Borkopp-Restle, “How To Do Things with Textiles: Marie Antoinette at the Courts of Vienna and Versailles”
March 5, 10:00–5:45
Symposium | “The Material Text in Pre-Modern and Early Modern Europe”
March 25, 6:00–7:30
Alexander Marr, “Early Modern Instrument Aesthetics”
April 1, 6:00–7:30
Max Tillmann, “Les derniers goûts de France: Elector Max Emanuel and French Decorative Arts about 1715″
April 3, 9:00–5:30
Symposium | “Material Reformations: Towards a Material Culture of Protestantism”
April 9, 6:00–7:30
Glenn Wharton, “The Painted King: Art, Activism, and Authenticity in Hawai’i”
April 11, 9:00–5:00
“Objects and Power: An Interdisciplinary Approach to Medieval Islamic Material Culture”
April 14, 1:30–5:00
Symposium | “Woven Worlds: The Social Lives of Andean Textiles”
April 23, 6:00–7:30
Nathan Schlanger, “Material Culture: The Concept and its Use in Historical Perspective”
April 24, 6:00–7:30
Conservation Conversations | Judith Olszowy-Schlanger & Michelle Chesner, “Case Study in Collaboration: Conserving Thousands of Lost Medieval Hebrew Manuscripts”
April 25, 9:00–5:00
Symposium | “Mapping New York”
April 29, 6:00–7:30
Ines Rotermund-Reynard, “Beads and Buttons from Briare: A Global Industrial Success Story from 19th-Century France”
May 9, 9:00–6:00
Symposium | Day 1: “History and Material Culture: World Perspectives
May 10, 9:00–6:00
Symposium | Day 2: “History and Material Culture: World Perspectives”
May 15, 6:00–7:30
Symposium Keynote: “Majolica: A World View”
May 16, 9:00–6:00
Symposium | “Majolica: A World View”
CAA 2014, Chicago
Photo by Daniel Schwen, 18 April 2009
(Wikimedia Commons)
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The 2014 College Art Association conference takes place at the Hilton, Chicago (720 S. Michigan Ave), February 12–15. HECAA will be represented by two panels on Saturday, chaired by Kristel Smentek and Kevin Chua. Other sessions that may be of interest for dixhuitièmistes are also listed. A full schedule of panels is available here»
H E C A A S E S S I O N S
Historians of Eighteenth-Century Art and Architecture
New Scholars Open Session: The Eighteenth Century, Global and Local
Saturday, 15 February, 12:30–2:00, Hilton Chicago, 2nd Floor, International South
Chair: Kristel Smentek, Massachusetts Institute of Technology
- The Threads that Bind: Luxury, Slavery, and the Circulation of South Asian Textiles between France and India, Liza L. Oliver, Northwestern University
- Objects of Terror: The Image and Spectacle of Punishment in Hogarth’s London, Meredith J. Gamer, Yale University
- Facing Age and Aging Faces: Marie-Thérèse Geoffrin and Her Pendule, Jessica Fripp, Parsons The New School for Design
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Historians of Eighteenth-Century Art and Architecture
After the Secular: Art and Religion in the Eighteenth Century
Saturday, 15 February, 2:30–5:00, Hilton Chicago, 3rd Floor, Williford A&B
Chair: Kevin M. Chua, Texas Tech University
- The Dôme des Invalides: Sublimity, Religious Rhetoric, and Aesthetic Experience in Early Eighteenth-Century France, Aaron Wile, Harvard University
- Theism and Secularization in James Barry’s Society of Arts Murals, Daniel R. Guernsey, Florida International University
- The Saving Heart-Knowledge, and the Soaring Airy Head-Knowledge: Quaker Aesthetics as an Agent of Cure in Lunatic Asylum Design, Ann-Marie Akehurst, University of York
- The Mother of Light in New Spain, Bernard J. Cesarone, University of Illinois at Urbana-Champaign
- Miracles in the Age of Reason, Hannah Williams, University of Oxford
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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 1 8 T H C E N T U R Y
Historians of British Art
Queer Gothic
Wednesday, 12 February, 9:30–12:00, Hilton Chicago, Lobby Level, Continental A
Chairs: Ayla Lepine, University of Nottingham; Matthew Mark Reeve, Queen’s University
- The Perverse Visibility of William Beckford, Dominic Janes, Birkbeck, University of London
- Neither Sorrow Nor Crying: Twentieth-Century Gothic Bodies and Heavenly Visions, Ayla Lepine, University of Nottingham
- Soi-disant Gothicisms: The Rejection of Gothic Hybridity in the Nineteenth Century, Sarah E. Thompson, Rochester Institute of Technology
- Medieval Monstrosity: Francis Bacon’s Flesh, Jongwoo Jeremy Kim, University of Louisville
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American Council for Southern Asian Art
Artistic Practices in the Long Eighteenth Century
Wednesday, 12 February, 12:30–2:00, Hilton Chicago, Lobby Level, Continental B
Chair: Yuthika Sharma, Goethe-Universität
- Copying Contexts: Picturing Places and Histories in Udaipur Court Painting and Picart’s Atlas Historique, Dipti Khera, New York University
- Forging New Identities: The Role of the Artist in Eighteenth-Century Northern India, Malini Roy, The British Library, London
- The Divine Surface: Thanjavur Painting, Seventeeth-Nineteenth Centuries, Caroline Duke, University of California, Berkeley
- Maratha Art and Moor’s Hindu Pantheon (1810), Holly Shaffer, Yale University
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The Erotic Gaze in Early Modern Europe
Thursday, 13 February, 9:30–12:00, Hilton Chicago, Lobby Level, Continental B
Chairs: Joe A. Thomas, Kennesaw State University; Elizabeth Pilliod, Rutgers University-Camden, The State University of New Jersey
- Devotion, Desire, and Difference: Images of Christ and of Susanna,Patricia L. Simons, University of Michigan
- Alchemy: The Erotic Science, M. E. Warlick, University of Denver
- Pleasure on Paper: Agostino Carracci’s Lascivie Prints and the Gaze that Met Them, Natalie Lussey, University of Edinburgh
- Disgust and Desire: Responses to Rembrandt’s Nudes, Stephanie S. Dickey, Queen’s University
- Doggie Style: Rococo Representations of Interspecies Sensuality and the Pursuit of Volupté, Jennifer D. Milam, University of Sydney
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Historians of British Art
British Country Houses: Architecture, Collections, and Gardens
Thursday, 13 February, 12:30–2:00, Hilton Chicago, 3rd Floor, Williford A&B
Chair: Craig Ashley Hanson, Calvin College
- ‘Both Instructive and Pleasant’: The Country House Garden in Vitruvius Britannicus, William Coleman, University of California, Berkeley
- From Stowe to Mount Edgcumbe: Touring Collections in Gardens, Jocelyn Anderson, Courtauld Institute of Art
- William Kent’s Decorative Scheme in Stowe’s North Hall (ca. 1728), Laurel Peterson, Yale University
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Historians of British Art
Business Meeting / Young Scholars Session
Thursday, February 13, 5:30–7:00, Hilton Chicago, 3rd Floor, Marquette Room
Moderated by Colette Crossman and then chaired by Jongwoo Jeremy Kim
- Modern Banditti: Colonial Masculine Artistic Identity and Topographical Photography in India, Nathaniel M. Stein, Brown University
- ‘Science is Measurement’: The Uneasy Evolutionism of Henry Stacy Marks, Caitlin Silberman, University of Wisconsin-Madison
- Placing Trust: Collaborators, Competitors, and the Business of Print Publishing in the 1770s, Amy Torbert, University of Delaware
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Publications Committee
The Art Bulletin’s Digital Future?
Thursday, 13 February, 5:30–7:00, Hilton Chicago, 2nd Floor, Grand Ballroom
Chair: David J. Getsy, School of the Art Institute of Chicago
- Thelma K. Thomas, Institute of Fine Arts, New York University
- Alexi Taylor, Scalar and New York University
- Tara McPherson, Scalar and University of Southern California
- Katherine Behar, Baruch College, City University of New York
- Kirk T. Ambrose, University of Colorado at Boulder
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National Endowment for the Arts
Friday, 14 February 2014, 7:30–9:00am, Hilton Chicago, Lobby Level, Continental A
Chair: Wendy Clark, Acting Director of Museums, Visual Arts, and Indemnity
Early risers’ (and Valentine’s Day) session to learn about funding of exhibitions, public art, conservation, artist residencies, commissions, and collection care available to non-profit organizations, universities, and units of local and state governments.
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The Early Modern Child in Art and History
Friday, 14 February, 9:30–12:00, Hilton Chicago, 3rd Floor, Astoria Room
Chair: Matthew Knox Averett, Creighton University
- The (Holy) Innocents: Visualizing the Foundling in Fifteenth-Century Florence, Diana Bullen Presciutti, College of Wooster
- Princely Portraits of Adolescence in the Court of Philip II in the Mid-Sixteenth Century, Lisa W. Tom, Brown University
- Little Idols and the Infant Jesus: The Sacred Rituals of a Royal Spanish Nun, Tanya J. Tiffany, University of Wisconsin-Milwaukee
- Dressing the Part: Picturing and Promoting the Early Modern Child, Parme P. Giuntini, Otis College of Art and Design
- New Parents of the New Child in Eighteenth-Century French Art, Suzanne Conway, Chestnut Hill College
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Digital Publishing in Art History: The Online Scholarly Catalogue Initiative
Friday, 14 February, 9:30–12:00, Hilton Chicago, Lobby Level, Continental C
Chair: Anne Collins Goodyear, Bowdoin College Museum of Art
- Overview of the Online Scholarly Catalogue Initiative, Anne L. Helmreich, Getty Foundation
- Dutch Paintings of the Seventeenth Century, Judith Metro and Jennifer Henel, National Gallery of Art
- Monet and Renoir at the Art Institute: Paintings and Drawings, Gloria L. Groom, The Art Institute of Chicago
- The Robert Rauschenberg Research Project, Sarah Roberts, San Francisco Museum of Modern Art
Discussant: Paul B. Jaskot, DePaul University
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Aspects of Vitruvius’s Reception: New Research in Architectural Practice and Theory in the Early Modern World
Friday, 14 February 2014, 2:30–5:00, Hilton Chicago, 3rd Floor, Astoria Room
Chairs: Victor Luis Deupi, New York Institute of Technology; Richard John, University of Miami
- Translating Vitruvius in the Quattrocento: Ancient Theory or Contemporary Practice?, Angeliki Pollali, DEREE-The American College of Greece
- Sundials and Water Organs: The Vitruvian Tradition in Italian Gardens, Natsumi Nonaka, University of Texas at Austin
- Vitruvius and Pious Learning, Susan Klaiber, Winterthur, Switzerland
- Vitruvius in Early Modern England: The Case of the Royal Society, 1660–1695, Matthew Walker, University of Oxford
- James Gibbs’s Rules for Drawing (1732) and Vitruvius’s Method for the Ionic Order, Richard John, University of Miami
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The Art of Display: Context and Meaning, 1700–1850
Friday, 14 February, 2:30–5:00, Hilton Chicago, 8th Floor, Lake Huron
Chair: Christina R. Ferando, Harvard University
- A Roman Venus in the Tsar’s Baroque Garden: Orthodox Blasphemy, Soviet Scandal, Margaret Samu, Yeshiva University Stern College
- Duobaoge: Artful Displays in Eighteenth-Century Qing China, Eleanor Hyun, University of Chicago
- Unconventional Displays and Unacquainted Spectators: The Impact of John Martin’s Eccentric Exhibitionary Tactics, Chris Coltrin, Shepherd University
- The Empire at Home: Displaying the Locker Collection at Greenwich Hospital, 1830–1843, Catherine Roach, Viriginia Commonwealth University
- Corot in Situ: The Studio as Exhibition Space, Heather A. McPherson, University of Alabama at Birmingham
Conference | Culture Clash? Contemporary Arts in Historic Contexts
From the Royal Museums Greenwich:
Culture Clash? Contemporary Arts in Historic Contexts
Royal Museums Greenwich, London, 14 February 2014
Yinka Shonibare MBE, Cheeky Little Astronomer (2013) in Flamsteed House. Commissioned by National Maritime Museum, Greenwich, London.
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In recent years it has become increasingly popular for museums and historic buildings to invite living artists to respond to their buildings or collections by curating, creating or performing on site. What has been the impact of this popular collaborative trend for artists, museums and their audiences? To coincide with the latest in a series of contemporary interventions, Yinka Shonibare MBE at Greenwich, Royal Museums Greenwich is organising a one-day conference to explore the role of contemporary art outside the white cube. Conference fee: £50 (concessionary rate £40). Booking form is available here or call 020 8312 6716.
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P R O G R A M M E
Yinka Shonibare MBE, Nelson’s Jacket, 2011.
9.00 Registration and refreshments
9.50 Melanie Vandenbrouck (Royal Museums Greenwich), Welcome and introduction
10.00 Session 1: Approaches and challenges
• Helen Hillyard (National Gallery), New Visions of the Sea: Assessing the legacy of contemporary art at the National Maritime Museum, 1999–2009
• Julien Parsons and Martin Thomas (Royal Albert Memorial Museum, Exeter), The challenges faced by local authority-managed museums and settings
• Antoinette Maget Dominicé (University of Lucerne), Contemporary arts, historic contexts and the law
11.30 Coffee and tea
12.00 Session 2: Interpreting and animating sites and collections
• Bergit Arends (independent curator), Talking Back: Artists working with natural history collections from Australia, China and India
• Nick Cass (University of Leeds), The Haunting of a Shrine: Contemporary art at the Brontë Parsonage Museum
13.00 Lunch, with an opportunity to visit Flamsteed House at the Royal Observatory to see the Cheeky Little Astronomer by Yinka Shonibare MBE
14.30 Curator-led tour of Yinka Shonibare MBE at Greenwich in the Queen’s House
15.30 Coffee and tea
16.00 Session 3: Collaboration, dialogue and (mis)understanding
• Melissa Hamnett (V&A), Disturbing the comfortable
• Helen Shaw (University of York), How do we see each other? Dialogue and exchange in Native American curatorial methodologies
• Jonathan Carson (Carson & Miller) and Rosie Miller (University of Salford), Playing with the past
17.30 Drinks reception
Exhibition | Arlene Shechet: Meissen Recast
From the exhibition press release (20 November 2013). . .
Arlene Shechet: Meissen Recast
RISD Museum, Providence, Rhode Island, 17 January — 6 July 2014
Organized by Judith Tannenbaum
Arlene Shechet, Asian Vase, 2013.
In the first U.S. exhibition of her one-of-a-kind Meissen sculptures, Arlene Shechet presents works she produced during a recent artist residency at the world-renowned German porcelain manufacturer. Arlene Shechet: Meissen Recast is a two-part exhibition on view at the RISD Museum from January 17 to July 6, 2014. It is the utilitarian factory casts behind fine porcelain production, rather than the ornate ceramic confections, that inform Shechet’s ‘Meissen’ series. Her range of sculpture brings to the fore the seams, plate impressions, indentations, inventory numbers, and other evidence of the industrial process that an 18th-century Meissen craftsman would have sought to erase. Almost every sculpture on view in the Museum’s Upper Farago Gallery is derived from one or more of 47 historic Meissen mold patterns, reconceived in unanticipated combinations of forms and scale. Shechet’s complete reinstallation of the Museum’s historic Meissen collection of figurines and tableware in the Porcelain Gallery completes the two-part show, connecting the past and present, fine arts, and decorative arts.
“The Museum is excited to present this compelling new work by RISD alumna Arlene Shechet,” says John W. Smith, director of the RISD Museum. “Meissen Recast extends the Museum’s long and groundbreaking tradition of encouraging artists to use the collection, dating from Andy Warhol’s Raid the Icebox (1970) to Spencer Finch’s Painting Air exhibition (2012). By moving some of RISD’s Meissen figures, including the famous Monkey Band, from their normal location in the Porcelain Gallery to the contemporary Upper Farago Gallery and, conversely, inserting her own porcelain sculptures into the cases of the more traditional, wood-paneled room, she heightens our awareness and appreciation for the refined historical pieces and her own more organic, intuitive approach.” (more…)
New Book | French Bronze Sculpture: Materials and Techniques
Published by Archetype and available from ACC Distribution:
David Bourgarit, Jane Bassett, Francesca Bewer, Geneviève Bresc-Bautier, Philippe Malgouyres, and Guilhem Scherf, eds., French Bronze Sculpture: Materials and Techniques, 16th–18th Century (London: Archetype Publications, 2014), 256 pages, ISBN: 978-1909492042, £65 / $140.
The papers in this volume examine the origins and cross-fertilization of ideas and technology related to the making of bronzes in France between the Renaissance and the 18th century from the perspectives chronology, geography and typology. The production of specific sculptors and founders, or of specific works of art are considered in terms of the technology, the documentation of both the processes and the persons involved e.g. sculptors, founders, merchants, etc. and how these may have impacted the stylistic and technical outcome.
Also presented are state-of-the-art research methods and their application to multi-disciplinary studies—including historical and archeological investigations, analytical studies of materials (e.g. metal, core and patina), as well as experimental reconstructions of metallurgical processes.
C O N T E N T S
Part 1: From Primaticcio to Houdon
I.1 Francesco Bordoni: spécificités techniques chez un sculpteur-fondeur du 17e siècle D. Bourgarit , G. Bresc, F. Bewer
I.2 Barthélemy Prieur fondeur, son atelier, ses méthodes de travail R. Seelig, F. Bewer, D. Bourgarit
I.3 De Dame Tholose au Mercure volant: fondre en Languedoc aux 16e et 17e siècles P. Julien, A. de Beauregard
I.4 Casts after the antique by Hubert Le Sueur J. Griswold, C. Hess, J. Bassett, G. Bresc, M. Bouchard, R. Harris
I.5 Keller et les autres: les fondeurs des jardins de Versailles ou les cent-un bronzes de Louis XIV A. Maral, A. Amarger, D. Bourgarit
I.6 Keller and his alloy: copper, some zinc and a little bit of tin J.-M. Welter
I.7 Jean-Antoine Houdon: sculptor and founder J. Bassett, G. Scherf
Part 2: Small castings and multiples
II.1 The Dresden bronze of the Bath of Apollo: a model, not a copy F. Moureyre, U. Peltz
II.2 Les bronzes décoratifs à Paris autour de 1700: A propos des groupes de François Lespingola Ph. Malgouyres
II.3 Bronzes Dorés: A technical approach to examination and authentication A. Heginbotham
II.4 A Prussian manufactory of gilt bronzes à la française: Johann Melchior Kambly (1718–84) and the adoption of Parisian savoir-faire T. Locker
II.5 Les mortiers, objets méconnus des bronziers français B. Bergbauer
Part 3: Casting techniques: transmission and evolution
III.1 Casting Sculpture and Cannons in Bronze: Jehan Barbet’s Angel of 1475 in The Frick Collection J. Day, D. Allen
III.2 The cut-back core process in late 17th- and 18th-century French bronzes J. Bassett, F. Bewer
III.3 Témoins archéologiques d’un atelier de bronzier travaillant à Saint-Denis à la fin du 16e siècle O. Meyer, N. Thomas, M. Wyss
III.4 The Foundry at the Hippodrome: a French foundry for monumental sculpture in Stockholm around 1700 L. Hinners
III.5 Boffrand’s and Mariette’s descriptions of the casting of Louis XIV and Louis XV on Horseback A.-L. Desmas
III.6 Cire perdue moule carapace: à travers les recherches et les réalisations de la fonderie de Coubertin J. Dubos
Conference | Hanover and England: German and British Garden Culture
From the symposium programme:
Hanover and England: A Garden and Personal Union?
German and British Garden Culture between 1714 and Today
Leibniz Universität Hannover, 26–27 February 2014
Registration due by 14 February 2014
When George I, Elector of Hanover, was enthroned in England in 1714 he established a personal union that existed until 1837 leaving many cultural and political marks. Its 300th anniversary will be celebrated in the conference Hanover and England: a garden and personal union? German and British garden culture between 1714 and today. The symposium will not only focus on questions of garden history but also consider furthermore the contemporary background on which ideas on art, agriculture, commerce, technology, literature and politics were
exchanged.
In view of the encyclopaedic interest of the late 18th century, it is self-evident to invite several academic disciplines to describe and to discuss the cultural transfer between Great Britain and Hanover. The transfer of horticultural and artistic ideas very often flourished in the 19th century at different places. This gives reason to focus the conference on two key parts: the Hanoverian-British exchange between 1714 and 1837 (the period of the actual personal union) and the Anglo-German relations that open perspectives even into the present age.
In cooperation with the Technische Universität Dresden and funded by Niedersächsisches Ministerium für Wissenschaft und Kultur. The symposium will be conducted in English. Registration information is available online.
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W E D N E S D A Y , 2 6 F E B R U A R Y 2 0 1 4
Hanover and England: The Period of the Personal Union, 1714–1837
Welcome and Introduction
10.00 Klaus Hulek (Vice-President for Research, Leibniz Universität Hannover)
Simon McDonald (British Ambassador to Germany)
Stefan Schostok (Lord Mayor of Hannover)
Annette Schwandner (Ministry of Science and Culture, Lower Saxony)
10.30 Marcus Köhler (Hochschule Neubrandenburg, TU Dresden) and Joachim Wolschke-Bulmahn (Leibniz Universität Hannover)
I. Historical Introduction
11.00 Arndt Reitemeier (Universität Göttingen, Institut für Historische Landesforschung), “The personal union”
II. Arts, Architecture and Environment
11.30 Wolf Burchard (Royal Collection), “Art in Britain during the reign of George I and George II”
12.00 David Jacques (Stoke-on-Trent), “The Early Georgians and the controversy of garden styles”
III. Agricultural Economy and Landscape Design
12.30 Hansjörg Küster (Leibniz Universität Hannover), “Reform in the time of the personal union”
13.00 Discussion
13.15 Lunch break
IV. Botany
14.15 Sophie von Schwerin (Hochschule für Technik Rapperswil), “For pleasure and science: On the connection between the Royal Botanic Gardens, Kew and the Berggarten in Herrenhausen”
14.45 Clarissa Campbell Orr (Anglia Ruskin University), “Mary Delany and Queen Charlotte: The botanizing court”
15.15 John R. Edmondson (Hon. Research Associate, Royal Botanic Gardens, Kew), “Foreign herbs surpriz’d in English ground: The life and work of Georg D. Ehret (1708–1770)”
V. Water Art / Technology
15.45 Bernd Adam (Hannover), “The Great Fountain and English innovations in Hanover”
16.15 Discussion
16.30 Coffee Break
VI. Iconography and Garden Art
17.00 Michael Niedermeier (Berlin-Brandenburgische Akademie der Wissenschaften), “The German Kinship: Politics and Dynasty in the early ‘English’ garden”
17.30 Carsten Neumann (Ernst-Moritz-Arndt-Universität Greifswald), “The house Bothmer in Klütz: An English-Dutch manor in Mecklenburg”
18.00 Discussion
18.15 Break
19.00 Evening Lecture, in cooperation with the German Association for Garden Art and Landscape Culture (Deutsche Gesellschaft für Gartenkunst und Landschaftskultur, DGGL)
James Hitchmough (University of Sheffield), “Landscape Architecture in early C21st Britain: Issues and challenges”
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T H U R S D A Y , 2 7 F E B R U A R Y 2 0 1 4
Germany and England: Reflexion and Reception from 1837 until Today
I. Herrenhausen, Kensington and Hampton Court: History and Maintenance
9.00 Guided tour through the Herrenhausen Gardens by Ronald Clark and staff members
11.15 Coffee Break
II. Garden Preservation
11.45 Todd Longstaffe-Gowan (tlg-Landscape London), “The unaffected Englishness of Queen Caroline’s gardens at Kensington Palace”
12.15 Jonathan Finch (University of York), “Hunting and the Georgian Landscape: Exercising privilege”
III. Reception of Gardens
12.45 Gert Gröning (Universität der Künste Berlin), “Bio-aesthetic planning: A conjecture about an imperialistic garden cultural relation between the German Empire and independant India via the English Empire”
13.15 Discussion
13.30 Lunch Break
IV. Literature and Garden Travel
14.30 Sigrid Thielking (Leibniz Universität Hannover), “On the construct ‘English Gardens’: Perception and myth within garden literature”
15.00 Joachim Wolschke-Bulmahn (Leibniz Universität Hannover), “Travels and knowledge: German apprenticeship in English gardens and the example of Hans Jancke”
V. Agricultural Economy und Landscape Design
15.30 Hubertus Fischer (Leibniz Universität Hannover), “House Söder as ornamental farm”
16.00 Discussion
VI. Closing Remarks
Joachim Wolschke-Bulmahn (Leibniz Universität Hannover)
Marcus Köhler (Hochschule Neubrandenburg, TU Dresden)
Summer Institute | Digital Mapping and Art History
Summer Institute on Digital Mapping and Art History
Middlebury College, Middlebury, Vermont, 3–15 August 2014
Applications due by 3 March 2014
Middlebury College is pleased to invite applications for Fellows to participate in the first Summer Institute on Digital Mapping and Art History (August 3–15, 2014), generously sponsored by the Samuel H. Kress Foundation. Co-directed by Paul B. Jaskot (DePaul University) and Anne Kelly Knowles (Middlebury College), the Summer Institute will emphasize how digital mapping of art historical evidence can open up new veins of research in art history as a whole. All art historians of any rank (including graduate students, curators, or independent scholars) with a scholarly problem related to spatial evidence or questions are encouraged to apply.
Whether talking about the spreading influence of Rembrandt’s workshop, Haussmann’s Plan of Paris, the Roman Forum, the caves of Dunhuang, the views of Edo, the market for Impressionist painting, the looting of assets by Napoleon, the movement of craftsmen over the medieval pilgrimage road, or the current proliferation of art expos globally, art history is peppered with spaces, both real and imagined. As such, spatial questions are central to many art historical problems, and visualizing spatial questions of different physical and temporal scales is an intellectual and technical problem amenable to the digital environment. Building the capacity to think spatially in geographic
terms will carry an art historian a long way towards developing sophisticated questions and answers by exploiting the digital environment.
At the end of the two-week period, Fellows will have a grounding in the intellectual and historiographic issues central to digital humanities, basic understanding of the conceptual nature of data and the use of a database, an exposure to important examples of digital art history in the field, and a more in-depth study of one particular digital approach (GIS and the visualization of space). Graduating Fellows will have the vocabulary and intellectual foundation to participate in on-going digital humanities debates or other specialized digital humanities workshops while also gaining important practical and conceptual knowledge in mapping that they can begin to apply to as scholars and teachers.
Given this focus, our Institute will be ideal for those art historians who already have identified a spatial problem in their work. Note, though, that no prior knowledge or experience in digital humanities will be necessary or assumed for the application process. Naturally, general awareness of the scholarly potential of the digital environment or mapping will be a plus. All geographies, time periods, and subareas of art history will be considered. For more information on the application process, is available here (PDF file). All materials must be sent electronically by March 3, 2014.
For questions, please contact the co-directors:
Paul B. Jaskot, pjaskot@depaul.edu; Anne Kelly Knowles, aknowles@middlebury.edu
Summer Institute | Beyond the Digitized Slide Library
Beyond the Digitized Slide Library
University of California, Los Angeles, 28 July — 6 August 2014
Applications due by 1 March 2014
Beyond the Digitized Slide Library is an eight-day summer institute to be held at the University of California, Los Angeles, July 28–August 6, 2014. Participants will learn about debates and key concepts in the digital humanities and gain hands-on experience with tools and techniques for art historical research (including data visualization, network graphs, and digital mapping). More fundamentally, the Institute will be an opportunity for participants to imagine what digital art history can be: What constitutes art historical ‘data’? How shall we name and classify this data? Which aspects of art historical knowledge are amenable to digitization, and which aspects resist it?
With major support for the program provided by the Getty Foundation, participants will receive travel and lodging in Los Angeles for the duration of the Institute. Sessions will be taught by UCLA’s team of leading digital humanities technologists, who will be joined by faculty members Johanna Drucker (Bernard and Martin Breslauer Professor of Bibliography, Information Studies), Steven Nelson (Associate Professor of African and African American Art History), Todd Presner (Chair, Digital Humanities Program, and Professor of Germanic Languages and Comparative Literature), and Miriam Posner (Digital Humanities Program Coordinator and Institute Director). Participants will be selected on the basis of their ability to formulate compelling research questions about the conjunction of digital humanities and art history, as well as their potential to disperse the material they glean to colleagues at their home institutions and to the field at large.
Applicants must possess an advanced degree in art history or a related field. The application is open to faculty members, curators, independent scholars, and other professionals who conduct art historical research. We define ‘art history’ broadly to include the study of art objects and monuments of all times and places. Current graduate students are not eligible to apply. If you have questions about eligibility, please contact Institute Director Miriam Posner at mposner@humnet.ucla.edu. Please apply online. Applications are due by 11:59 p.m. PST on March 1, 2014.
Francesca Albrezzi, a Ph.D. candidate in UCLA’s World Arts and Cultures department, will serve as Head, Logistics and Communications.
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