2014 Terra Foundation Awards, Fellowships, and Grants
2014 Terra Foundation Academic Awards, Fellowships, and Grants
A wide range of Terra Foundation academic awards, fellowships, and grants help scholars realize their academic and professional goals and support the worldwide study and presentation of the art of the United States.
The deadline for all academic award, fellowship, and grant applications is January 15, 2014 unless otherwise indicated.
Doctoral and Postdoctoral Research Travel Grants to the United States
International Essay Prize for American Art, Smithsonian American Art Museum
Smithsonian American Art Museum Fellowships in Washington, D.C.
Terra Summer Residency Fellowships in Giverny, France
Conference | Working Wood in the 18th Century: Dining in Style
In January at Colonial Williamsburg. . .
Working Wood in the 18th Century: Dining in Style
Colonial Williamsburg, 19–22 and 23–26 January 2014
William Buckland (designer) and William Bernard Sears (carver), sideboard made for the Tayloe family of Mount Airy plantation (MESDA collection at Old Salem in Winston Salem, North Carolina). Photo from the Williamsburg blog Anthony Hay’s, Cabinetmaker; click on the image for more information.
◊ ◊ ◊ ◊ ◊
Colonial Williamsburg, The Museum of Early Southern Decorative Arts (MESDA), and Fine Woodworking
present the 16th annual Working Wood in the 18th Century conference at Williamsburg, January 19–22 and 23–26, 2014. Projects and presentations will explore the design and construction of dining room furniture, based on original pieces selected from the collections of the Museum of Early Southern Decorative Arts at Old Salem Museums and Gardens in Winston-Salem, North Carolina.
The pieces to be built cover a range of complexities. Colonial Williamsburg’s Hay Shop staff will reproduce one of the icons of Virginia and southern high-style furniture, the elaborate sideboard table made by William Buckland and William Bernard Sears for the Tayloe family of Mount Airy plantation. The Hay Shop also will make a turned, gate-leg, walnut table, based on the earliest southern gate-leg table known. Steve Latta will demonstrate constructing and decorating a veneered and inlaid, Winchester, Virginia, sideboard. Brian Coe of Old Salem will produce a corner cupboard from the Davidson County, North Carolina, Swisegood school of cabinetmakers. Colonial Williamsburg joiner Ted Boscana will complement Brian’s presentation with a joiner-made, paneled cupboard from the Virginia Eastern Shore. And, Robert Leath, MESDA’s chief curator (first session), and Daniel Ackermann, MESDA’s associate curator (second session), will start things off with an introduction to dining rooms and their furnishings. Partnering with MESDA gives us a chance to focus on southern regional styles and construction, a theme of the new “Masterworks” gallery being installed in the DeWitt Wallace Decorative Arts Museum. Yet, the overall form and decoration of these pieces, whether Baroque in inspiration—drawn directly from Chippendale—or inspired by neo-classical taste, offer approaches and detailing applicable to many examples of Anglo-American furniture made throughout the 18th and into the early 19th centuries.
As last year, Session One runs Sunday through Wednesday and Session Two Thursday through Sunday.
Speakers Include
Daniel Ackermann, associate curator, the Museum of Early Southern Decorative Arts, Old Salem, Winston-
Salem, North Carolina
Ted Boscana, supervisor, journeyman joiner and carpenter, Colonial Williamsburg
Brian Coe, director of exhibition buildings and furniture maker, Old Salem, Winston-Salem, North Carolina
Steve Latta, educator and craftsman, Thaddeus Stevens College, Lancaster, Pennsylvania, and contributing
editor, Fine Woodworking magazine
Robert Leath, chief curator and vice president of collections and research for the Museum of Early Southern
Decorative Arts, Old Salem, Winston-Salem, North Carolina
Kaare Loftheim, journeyman cabinetmaker, Colonial Williamsburg
Bill Pavlak, apprentice cabinetmaker, Colonial Williamsburg
Brian Weldy, apprentice cabinetmaker, Colonial Williamsburg
As always, the conference will be informal. Participants’ comments and questions are welcomed. During morning and afternoon breaks, speakers display their work, tools, and materials; demonstrate techniques; and chat with participants. To include more participants while keeping the conferences small enough for everyone to be involved, two identical programs are offered.
More information is available here»
Symposium | Painters and Paintings in the Early American South
From Colonial Willamsburg:
Painters and Paintings in the Early American South
Colonial Williamsburg, 3–5 November 2013
Robert Feke, Portrait of William Nelson, 1749–51
(Colonial Williamsburg)
The groundbreaking exhibition Painters and Paintings in the Early American South opened March 23, 2013 at the Art Museums of Colonial Williamsburg. The exhibition is the first of its kind to explore in-depth the scope of early art in this region and the myriad connections between art and artists of the early South, New England, the Middle Atlantic, and Europe. It features more than 80 works created in or for the South between 1735 and 1800, 40 of which are on loan from well-known and respected museums and private collections. Painters and Paintings in the Early American South is made possible by generous support from The Grainger Foundation of Lake Forest, Illinois. In conjunction with the exhibition, the Colonial Williamsburg Foundation will sponsor a symposium November 3–5, 2013, featuring lectures on the painters who created the objects and the people they depicted. Speakers will include Graham Hood, Carlisle H. Humelsine Chief Curator Emeritus, Colonial Williamsburg; Ellen G. Miles, curator emerita, Department of Painting and Sculpture, Smithsonian National Portrait Gallery; Angela Mack, executive director and chief curator, Gibbes Museum of Art, Charleston, South Carolina; and Maurie D. McInnis, vice provost for academic affairs and professor of art history, University of Virginia. The conference begins with a keynote lecture and reception Sunday evening followed by two days of lectures, Monday and Tuesday. We are offering a discounted student rate of $250 to qualifying full-time students. For more information on the event and/or to register, please visit the symposium website.
◊ ◊ ◊ ◊ ◊
S U N D A Y , 3 N O V E M B E R 2 0 1 3
5:00 Keynote address, Introduction to the Theme, by Graham Hood, Carlisle H. Humelsine Chief Curator Emeritus, Colonial Williamsburg
6:00 Reception
M O N D A Y , 4 N O V E M B E R 2 0 1 3
9:00 Welcome and opening remarks, Ronald L. Hurst, vice president, collections, conservation, and museums, and Carlisle H. Humelsine Chief Curator, Colonial Williamsburg
The Social and Cultural Importance of Painting in the South, Maurie D. McInnis, vice provost for academic affairs and professor of art history, University of Virginia, Charlottesville
Charlestonians Abroad: Painters and Paintings in the Carolina Low Country, Angela Mack, executive director and chief curator, Gibbes Museum of Art, Charleston, South Carolina.
10:45 Coffee break
11:15 Back in the Day: The Mystery Behind the Watercolor of Drayton Hall, Matthew Webster, director, historic architectural resources, Colonial Williamsburg
John Drayton’s Watercolors, Margaret Pritchard, senior curator, and curator of prints, maps, and wallpaper, Colonial Williamsburg
Jeremiah Theus: A Swiss Artist in Colonial Charleston, Laura Pass Barry, Juli Grainger curator of paintings, drawings, and sculpture, Colonial Williamsburg
12:00 Lunch break
1:30 Degrees of Separation: English Portraiture and the American South, Ellen G. Miles, curator emerita, Department of Painting and Sculpture, Smithsonian National Portrait Gallery, Washington, D.C.
2:15 Wollaston and Hesselius: Their Art and Influence in the Early South, Carolyn J. Weekley, Juli Grainger Curator Emerita, Colonial Williamsburg
3:00 Robert Feke, William Dering, and Other Case Studies in the Conservation of Early Southern Art, Shelley Svoboda, paintings conservator, Colonial Williamsburg
4:00 Gallery tours with curators and conservators in exhibition.
T U E S D A Y , 5 N O V E M B E R 2 0 1 3
8:30 Thomas Coram: Charleston’s Earliest Landscape Artist, Sara Arnold, curator of collections, Gibbes Museum of Art, Charleston, South Carolina
Charles Willson Peale in Maryland and Virginia, Carol Soltis, project associate curator, Peale Collection Catalog, Philadelphia Museum of Art
Southern Synergy: The Philadelphia – Charleston Connection, Elle Shushan, Elle Shushan Fine Portrait Miniatures, Philadelphia
10:15 Coffee break
10:45 Early Virginia Paintings at the Virginia Historical Society, William M. S. Rasmussen, lead curator and Lora M. Robins Curator, Virginia Historical Society, Richmond
John Durand: His Origins Revealed, Carolyn J. Weekley
Frederick Kemmelmeyer: From Hessian Soldier to American Artist, Arthur Nicholas Powers, fellow, Winterthur Program in American Material Culture, Winterthur, Delaware
12:00 Lunch break
1:30 Early Portraiture in the South and the West Indies, Katelyn Crawford, doctoral candidate, University of Virginia, Charlottesville
José Francisco Xavier de Salazar y Mendoza and the Visual Culture of Spanish Colonial New Orleans, Cybèle Gontar, doctoral candidate in American art, Graduate Center, City University of New York
3:00 Coffee break
3:30 Art Collecting in Virginia and Maryland, 1790–1830: Expectations and Aspirations, Lance Humphries, independent scholar, Baltimore, Maryland
Southern Culture: Where Scholarship is Heading, Robert Leath, chief curator and vice president, Museum of Early Southern Decorative Arts, Winston-Salem, North Carolina
New Book | Breast Cancer in the Eighteenth Century
In the U.S., October is National Breast Cancer Awareness Month, and Friday, October 18th, is National Mammography Day. From the publisher:
Marjo Kaartinen, Breast Cancer in the Eighteenth Century (London: Pickering & Chatto, 2013), 256 pages, ISBN: 978-1848933644, £60 / $99.
Early modern physicians and surgeons tried desperately to understand breast cancer, testing new medicines and radically improving operating techniques. In this study, the first of its kind, Marjo Kaartinen explores the emotional responses of patients and their families to the disease in the long eighteenth century.
Using a wide range of primary sources, she examines the ways in which knowledge about breast cancer was shared through networks of advice that patients formed with fellow sufferers. By focusing on the women who struggled with the disease as well as the doctors that treated them, much is revealed about early modern attitudes to cancer and how patients experienced – and were considered to experience – the cancerous body.
C O N T E N T S
Preface
‘One of the Most Grievous and Rebellious Diseases’: Defining, Diagnosing and the Causes of Cancer
2 ‘But Sad Resources’: Treating Cancer in the Eighteenth Century
3 Women’s Agency and Role in Choice of Treatment
4 ‘So Frightful to the Very Imagination’: Pain, Emotions and Cancer in the Breast
Epilogue
2013–14 Fellows at the YCBA and the Beinecke Library
A selection of 2014 Visiting Scholars at the Yale Center for British Art in New Haven:
January 6 – January 31
Robert Wellington is an independent researcher and a casual academic in the Department of Art History and Film at the University of Sydney. He will pursue research for a project entitled “A War of Visual Histories: British Appropriations of French Triumphal Imagery at Marlborough House.” This project will provide the first in-depth account of Louis Laguerre’s cycle of paintings at Marlborough House, London, depicting the victories of the Duke of Marlborough against the French in the War of Spanish Succession (1701–1714). Wellington’s research will involve an examination of prints and other material in the Center’s collections relating to Laguerre’s cycle.
February 3 – February 28
Henrietta McBurney Ryan is the Keeper of Fine and Decorative Art at Eton College. Her book project, Illuminating Natural History: The Art and Science of Mark Catesby, will present Catesby’s work as pioneering in a number of ways, including how it represents one of the last great pre-Linnaean enterprises. Among other things, this project will make extensive use of the Center’s unique collection of seventeenth- and eighteenth-century drawing manuals and related treatises in order to further a discussion of Catesby’s techniques as an artist and his place in the history of natural history illustrators.
April 7 – May 2
Alexis Cohen is a PhD candidate in the Department of Art and Archaeology at Princeton University. She will conduct research for a dissertation entitled “Lines of Utility: Outlines, Architecture, and Design in Britain, c. 1800.” Cohen’s project studies the proliferation of the outline drawing in British architectural and design publications and explores how neoclassical design discourses were shaped by notions of utility advanced in publications that privileged the outline drawing as a graphic idiom. Materials to be consulted include the Center’s rich collection of eighteenth- and nineteenth-century architectural drawings by Robert Adam, C. R. Cockerell, A. W. N. Pugin, George Richardson, and James Wyatt, among others.
May 5 – June 27
Katelyn Crawford is a PhD candidate in the History of Art and Architecture, McIntire Department of Art at the University of Virginia. She will pursue research for her dissertation, “Transient Painters, Traveling Canvases: Portraiture and Mobility in the British Atlantic, 1750–1780.” Crawford’s project examines paintings by portraitists working within the eighteenth-century British Atlantic world in order to demonstrate the impact of mobility on artistic practice and portraiture on identity construction. Materials to be consulted at the Center include paintings, drawings, and prints by marine artists and portraitists whose practices further illuminate the connections between these genres and the culture of artistic mobility in the British Atlantic. The Center’s Rare Books and Manuscripts collection will also be explored for mention of itinerant portraitists in Britain and the Atlantic, and discussions of travel, mobility, and portrait production.
◊ ◊ ◊ ◊ ◊
A selection 2013–2014 Visiting Fellows at the Beinecke Library:
Thierry Rigogne (Fordham University), French Cafes in the Eyes of British Travelers, 1660–1800
Kathleen Lubey (St. John’s University), Marginal Conversations: Form and Feminism in Eighteenth-Century Textual Culture
Kevin Bourque (Southwestern University), Seriality, Singularity and Celebrity: Pictures in Motion from 1680 to 1810
Katherine Hunt (Birkbeck College, University of London), Shuffled Knowledge: Didactic Playing Cards in Early Modern Britain
Rupert Goulding (The National Trust, United Kingdom), William Blathwayt’s Acquisition of Goods and Materials from the Colonies for Use in Building and Furnishing Dyrham Park during the Late Seventeenth Century
Diana Barnes (University of Western Australia), The Politics of Emotion and Stoicism in the Writings of William Temple
Margaret Dalivalle, Osborn MS fb122 “Cooper Drawings”: A Technical Examination and Identification of the Models for an Important Group of Seventeenth-Century English Traced Drawings Deriving from the Studio of Richard Gibson, Miniaturist
New Book | Ornamenting the Cold Roast
Distributed by Columbia University Press:
Dorothee Wagner von Hoff, Ornamenting the Cold Roast: The Domestic Architecture and Interior Design of Upper-Class Boston Homes, 1760–1880 (Bielefeld: Transcript-Verlag, 2013), 340 pages, ISBN: 978-3837622768, $62.
This book presents the meticulous case studies of three individual houses from different eras, which serve to depict the social, political, and cultural effects that domestic architecture and interior design had on the upper class, the city of Boston, and a national American identity. It takes the reader on a journey to 18th- and 19th-century Boston and provides insight into the lives of these prominent men and women as seen through the perspective of their homes. It is a novel examination of the cultural significance of domestic architecture and interior design; and, because of its story-telling character and extensive attention to detail, it is fascinating for curious readers and cultural historians alike.
Dorothee Wagner von Hoff received her PhD at the University of Munich. Her research interests include Colonial and Victorian Architecture and interior design, as well as urban studies and American literature.
Exhibition | Bordeaux-Dublin Letters, 1757: Voice of an Irish Community
From NYU’s Center for Irish and Irish-American Studies:
The Bordeaux-Dublin Letters, 1757: The Voice of an Irish Community Abroad
The Elmer Holmes Bobst Library, New York University, 25 October 2013 — 1 April 2014
More than two hundred and fifty years ago—in the midst of the world’s first global war—an Irish wine ship returning home from the French port of Bordeaux was captured at sea by a British warship. In January 2011, the mailbag from that ship, the Two Sisters of Dublin, was discovered by a New York University professor. These letters, most of them only recently opened for the first time, are the basis of a major exhibition in the Mamdouha S. Bobst Gallery at New York University’s Bobst Library — The Bordeaux-Dublin Letters, 1757: The Voice of an Irish Community Abroad.
Drawing on world-class collections of art and never-before-seen historical documents, the exhibition takes you back to a time when thriving communities of Irishmen played a prominent role on the European continent. The Bordeaux-Dublin Letters reconstructs the early years of the Seven Years’ War, tells the story of the fateful voyage of the Two Sisters of Dublin, and underscores the significance of the Irish presence in Europe and America. The heart of the exhibit is the extraordinary collection of letters discovered in 2011. Through them, the voice of an Irish community abroad comes alive, and we enter into a private and intimate world inhabited by ordinary men and women separated from their homeland by war.
New Book | Making of a Cultural Landscape: The English Lake District
From Ashgate:
John K. Walton and Jason Wood, eds., The Making of a Cultural Landscape: The English Lake District as Tourist Destination, 1750–2010 (Aldershot: Ashgate, 2013), 292 pages, 978-1409423683, £70 / $135.
For centuries, the English Lake District has been renowned as an important cultural, sacred and literary landscape. It is therefore surprising that there has so far been no in-depth critical examination of the Lake District from a tourism and heritage perspective. Bringing together leading writers from a wide range of disciplines, this book explores the tourism history and heritage of the Lake District and its construction as a cultural landscape from the mid eighteenth century to the present day.
It critically analyses the relationships between history, heritage, landscape, culture and policy that underlie the activities of the National Park, Cumbria Tourism and the proposals to recognise the Lake District as a UNESCO World Heritage Site. It examines all aspects of the Lake District’s history and identity, brings the story up to date and looks at current issues in conservation, policy and tourism marketing. In doing so, it not only provides a unique and valuable analysis of this region, but offers insights into the history of cultural and heritage tourism in Britain and beyond.
Professor John K. Walton is IKERBASQUE Research Professor at the Department of Contemporary History, University of the
Basque Country, Leoia, Bilbao, Spain. Jason Wood, is Director
of Heritage Consultancy Services, Lancaster, UK.
◊ ◊ ◊ ◊ ◊
C O N T E N T S
List of Figures and Tables, vii
List of Contributors, xi
Foreword, xiii
Preface and Acknowledgements, xv
Part I: Lake District History and Identity
1 Susan Denyer, The Lake District Landscape: Cultural or Natural?, 3
2 John K. Walton, Setting the Scene, 31
3 Angus J. L. Winchester, The Landscape Encountered by the First Tourists, 49
4 John K. Walton, Landscape and Society: The Industrial Revolution and Beyond, 69
5 Melanie Hall, American Tourists in Wordsworthshire: From ‘National Property’ to ‘National Park’, 87
Part II: Lake District Tourism Themes
6 Keith Hanley, The Imaginative Visitor: Wordsworth and the Romantic Construction of Literary Tourism, 113
7 Adam Menuge, ‘Inhabited by Strangers’: Tourism and the Lake District Villa, 133
8 Jonathan Westaway, The Origins and Development of Mountaineering and Rock Climbing Tourism in the Lake District, c. 1800–1914, 155
Part III: Lake District Tourism Case Studies
9 Mike Huggins and Keith Gregson, Sport, Tourism and Place Identity in the Lake District, 1800–1950, 181
10 Sarah Rutherford, Claife Station and the Picturesque in the Lakes, 201
11 Jason Wood, Furness Abbey: A Century and a Half in the Tourists’ Gaze, 1772–1923, 219
12 David Cooper, The Post-Industrial Picturesque? Placing and Promoting Marginalised Millom, 241
Select Bibliography
Index
Call for Papers | Questioning the Masterpiece?
Questioning the Masterpiece?
Sainsbury Centre for Visual Arts, University of East Anglia, Norwich, 20–22 February 2014
Proposals due by 25 November 2013
On the occasion of a major exhibition, Masterpiece: Art and East Anglia, held to celebrate the 50th anniversary of the University of East Anglia, this conference will interrogate notions of artistic value by focusing on the very concept of the ‘masterpiece’. The exhibition is itself ambitious and wide-ranging, takes a broad view of what constitutes a masterpiece, albeit in terms of a single region. For the conference we wish to tackle the concept in terms of its implications for considering works of art from different parts of the world.
The term ‘Masterpiece’ has moved between being a valuable term for marking out artworks which display exceptional skill and virtuosity, to one which signals an overwhelming aesthetic response in the viewer. The production of a masterpiece may be a primary goal for an artist who may decide upon his or her own criteria for judgement. To others it is a social construct used to further the interests of cultural elites. In the definition of a ‘masterpiece’, what is the relative importance of the character of the work itself – including the techniques and materials used – and the political, economic and social factors shaping its production and display?
In the past, especially within the Western art canon, the term, having had its origins in craft practice, has tended to refer only to a limited category of artworks – mostly sculpture and painting. We would like to raise questions about the universality of its application. For instance, what are the implications of an artefact having been disregarded in its own time and place, being reassessed and elevated to masterpiece status by a subsequent critic or culture? Is this likely to amount to culturally imperialistic value judgement or de-contextualisation? Or is it redressing a systemic bias, usefully widening and democratising a concept, to include what might previously have been overlooked? How important is consensus in the definition of a masterpiece and to what extent is its existence determined by the economics of the market, its reputation enhanced by competition among collectors and museums? Is the masterpiece a sign of luxury, or can it be applied to the most humble artefact? Does the concept lose all analytic utility when confronted with the conceptual art of the twentieth century?
Papers are welcome from a range of disciplinary backgrounds – including art history, archaeology, anthropology and art practice – which critically engage with the idea of the ‘masterpiece’ and will normally be 30 minutes long within a 40 minute slot, allowing for discussion. We regret that we cannot offer a speaker fee, however conference attendance fees will be waived (Normal fees: £100 / £75 concessions; UEA students free). There may be some assistance with expenses available. Please enquire if you need help.
Please submit a title and an abstract of 200 words and brief cv. by 25 November, to worldart@uea.ac.uk with the subject heading Masterpieces conference. For any further enquiries in the meantime contact reddish.jenny@gmail.com, conference assistant.
Colloquium | Sculpture: Exchanges in Northern Europe
Penser la Sculpture: Échanges artistiques et culturels dans le Nord de l’Europe, XVIe–XVIIIe
Paris, 2–4 December 2013
Colloque international organisé par Frédérique Brinkerink (Rijksmuseum/ Galerie Perrin/ GHAMU) & Gaylord Brouhot (Université Paris 1 Sorbonne/ HICSA/ CHAR). Sous la direction de Colette Nativel avec la collaboration de Luisa Capodieci (Université Paris 1 Sorbonne/ HICSA/ GRANIT) Avec la participation d’Alexander Dencher (Université Paris 1 Sorbonne/ HICSA/ GRANIT) Avec le soutien de la Fondation Custodia
Depuis quelques années, une réflexion de fond a été engagée sur la nature et les modalités des échanges entre les artistes du Nord de l’Europe aux XVIe, XVIIe et XVIIIe siècles. Cette question de l’interaction artistique relève d’un enjeu majeur puisqu’elle entend notamment faire la lumière sur les liens qui se sont tissés entre la France et les Pays-Bas et qui ont participé à entrelacer leurs identités culturelles. Au sein d’une telle approche, l’art de la sculpture, trop rarement étudié pour cette période, hors du champ italien, permet de porter un regard original sur une création qui dépasse les frontières territoriales et l’évolution chronologique des styles.
Nombreuses sont les œuvres inventées et sculptées dans le Nord et entre le Nord et le Sud à révéler une vision transnationale de l’art qui touche les sources d’inspiration, les méthodes de travail, les stratégies de carrière du sculpteur. Il s’agira de préciser l’impact de ces échanges artistiques et culturels sur une transversalité des disciplines qui s’initie dans l’Europe des Temps Modernes, en particulier sur la façon dont les artistes sculpteurs mettent en dialogue littérature, peinture, architecture et sculpture.
Des spécialistes de ces divers champs de recherche enrichiront la réflexion autour de plusieurs thématiques : du réseau d’influences entre les différentes disciplines aux modes de création dans le contexte politico-culturel du Nord de l’Europe, de l’invention de l’oeuvre d’art à sa réception, sans oublier le statut de l’artiste et ses stratégies de carrière.
Le bicentenaire de la mort du sculpteur français Joseph Chinard (1756–1813) est un moment propice pour discuter ces questions : suite à une découverte récente, se pose la question du lien entre l’oeuvre de jeunesse de Chinard et une des œuvres majeures du sculpteur anversois Artus Quellinus le vieux (1609–1668).
Cette rencontre franco-néerlandaise sera aussi l’occasion d’honorer la mémoire de deux grandes historiennes d’art : Madeleine Rocher-Jauneau, conservatrice émérite du Musée des Beaux-arts de Lyon, et Marijke Spies, professeur émérite à la Free University d’Amsterdam.
◊ ◊ ◊ ◊ ◊
2 D E C E M B R E 2 0 1 3
Auditorium de la Galerie Colbert
13.30 Ouverture, Colette Nativel, directrice du GRANIT Groupe de Recherches sur l’Art du Nord. Images-Textes (Université Paris 1 Sorbonne/ HICSA)
14.00 Session 1 | Au-delà du métier : la transversalité des disciplines
Modérateur : Christian Michel (Université de Lausanne)
• Oliver Kik (Katholieke Universiteit Leuven), Defining Boundaries of Sculptural Design in the Sixteenth-century Low Countries
• Bertrand Bergbauer (Musée national de la Renaissance – Château d’Ecouen) & Pauline Lurçon (Institut national du Patrimoine), La circulation en France des plaquettes de bronze des Pays-Bas du XVe au XVIIe siècle
• Eelco Nagelsmit (Université de Leyden), Parading a Palladium: Jacques Francart’s Reliquary Altar of the Blessed Sacrament of Miracles in Brussels and the Siege of Valenciennes in 1656
16.30 Session 2 | Aux frontières de la création : études de cas
Modérateur : Daniel Rabreau (Université Paris 1 Sorbonne)
• Christophe Henry (Université Paris 1 Sorbonne/ GHAMU), Plaisirs de l’homologie : la copie par Bourchardon du Faune Barberini
• Sabine Cartuyvels (GHAMU), Souvenirs romains, sources égyptiennes : des projets de fontaines d’Edme Bouchardon dans « La Théorie et la Pratique du Jardinage »
3 D E C E M B R E 2 0 1 3
Fondation Custodia
9.30 Ouverture, Ger Luijten, directeur de la Fondation Custodia
10.00 Session 3 | Transmission et diffusion des modèles
Modérateur : Gaylord Brouhot (Université Paris 1 Sorbonne/ CHAR)
• Cécile Tainturier (Fondation Custodia), Leçons de dessin ? Moulages de sculpture représentés dans les scènes d’atelier hollandaises du XVIIe siècle
• Guilhem Scherf (Musée du Louvre), Sources d’inspiration et nouveaux thèmes chez Jean-Baptiste Stouf (1742–1826)
• Muriel Barbier (Musée national de la Renaissance – Château d’Ecouen), De la gravure au meuble : l’interprétation des modèles par les artisans de la Renaissance
• Frédérique Brinkerink (Rijksmuseum / Galerie Perrin), Une œuvre de Quellinus dans les collections de Joseph Chinard ? Modèles et inspirations
14.30 Session 4 | Spécialités et thèmes de prédilection
Modérateur : Ger Luijten (Fondation Custodia)
• Aleksandra Lipinska (Technische Universität Berlin), Landscape with King Numa Pompilius and Nymph Egeria: The Development of the Genre of all Antica Relief in the Netherlands and France in the Sixteenth Century
• Étienne Jollet (Université Paris 1 Sorbonne), Les bustes en hermès dans l’œuvre de Chinard
• Tomas Macsotay (UAB, Barcelona), Character, enargeia and the Return of Flemishness in the Salons of 1699 and 1704
17.00 Hans Buijs (Fondation Custodia), Lettres autour de la sculpture dans le fonds Custodia
18.00 Visite libre de l’exposition Hieronimus Cock : La gravure à la Renaissance
4 D E C E M B R E 2 0 1 3
Auditorium de la Galerie Colbert
9.30 Session 5 | Au-delà des frontières : réseaux politiques et artistiques
Modérateur : Luisa Capodieci (Université Paris 1 Sorbonne/ GRANIT)
• Alain Jacobs (Bibliothèque Royale de Belgique), La statue royale ou princière élevée dans les Pays-Bas méridionaux
• Frits Scholten (Rijksmuseum), Etienne-Maurice Falconet (1716–1791) in Holland
• Leon Lock (Université de Leuven), Quelques réflexions sur les relations de travail entre sculpteurs des anciens Pays-Bas et de France aux XVIIe et XVIIIe siècles
• Stéphanie Levert (Université Paris IV / RKD), La présence des sculpteurs des Pays-Bas en France : méthodologie et recherches
14.00 Session 6 | Déterminations du goût
Modérateur : Philippe Bordes (Université Lyon 2)
• Alexander Dencher (Université Paris 1 Sorbonne / GRANIT), Inventer pour le Roi-Stadhouder : la sculpture dans l’oeuvre de Daniel Marot
• Charles Avery (Victoria & Albert Museum), Collecting Gerard van Opstal’s Sculpture and Ivories
• Aline Magnien (Musée Rodin), Le temps des œuvres : l’exemple de Rodin
Enfilade 
leave a comment