Conference | Charakterköpfe: Portrait Busts in the Enlightenment
From the conference program:
Bildnisbuesten der Aufklaerung
Germanisches Nationalmuseum, Nuremberg, 11—13 September 2013
Registration due by 30 August 2013
Begleitend zur Sonderausstellung „Charakterköpfe. Die Bildnisbüste in der Epoche der Aufklärung“ (6.6.–6.10.2013) behandelt eine internationale Fachtagung das plastische Porträt am Ende des 18. Jahrhunderts, ein Zeitalter großer geistiger und politischer Spannungen und Umbrüche. Vorgestellt und diskutiert werden unter anderem Fragen zur Funktion von Porträtbüsten im privaten und öffentlichen Raum, die seit der zweiten Hälfte des 18. Jahrhunderts leidenschaftlich geführte
Debatte zur Physiognomik und Charakteristik sowie die florierende Wachsplastik. Einzelstudien beleuchten die Gleichzeitigkeit gegensätzlicher Stile, die sich in den Bildnissen von Regenten, Bürgern, Künstlern und Gelehrten zwischen Ideal und Individualität bewegen wie in kaum einer anderen Epoche. Bislang war das plastische Porträt als repräsentatives Medium ausschließlich dem fürstlichen Stand vorbehalten, in den Jahren nach 1780 gelangt es auch in bürgerlichen Kreisen zu großer Popularität. Die Tagung richtet den Blick außerdem auf die neuen Materialien und Techniken, die diese Verbreitung bis hin zur Anlage umfangreicher Bildnisgalerien förderten.
Bitte melden Sie sich verbindlich bis 30. August an. Es werden keine Tagungsgebühren erhoben. Information und Anmeldung: Dr. Frank Matthias Kammel, charakterkoepfe@gnm.de.
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14:00 G. Ulrich Großmann (Generaldirektor des Germanischen Nationalmuseums): Begrüßung
14:15 Frank Matthias Kammel (Nürnberg): Blickwechsel. Warum man sich mit Bildnisbüsten beschäftigen sollte
14:45 Ulrich Söding (München): Die Heiligenbüste im 18. Jahrhundert. Funktionale und typengeschichtliche Aspekte
15:30 Andrea M. Kluxen (Nürnberg): Gibt es eine aufgeklärte Herrscherbüste? Absolutistische Inszenierung und aufgeklärter Legitimationswechsel
Kaffeepause
16:45 Karin Tebbe (Heidelberg): Das Haupt des Kurfürsten und andere Köpfe aus der Kurpfalz
17:30 Claudia Maué (Nürnberg): Die Porträtbüsten des Kurfürsten Maximilian III. Joseph von Roman Anton Boos
Pause
19:00 Roland Kanz (Bonn): Öffentlicher Abendvortrag:Physiognomik versus Charakteristik. Rollenmodellierungen in Porträtbüsten um 1800
1 2 S E P T E M B E R 2 0 1 3
9:00 Axel Christoph Gampp (Zürich): Ein Wiener Charakterkopf: Franz Christoph von Scheyb (1704–1777)
9:45 Mariana Scheu (Salzburg): Die Hervorhebung des Individuums – Johann Baptist Hagenauers Porträtbüsten in St. Peter in Salzburg
Kaffeepause
11:00 Peter Husty (Salzburg): Porträt des Porträtisten. Ein Blick ins Antlitz des Künstlers und Kunstmäzens Franz Laktanz Graf Firmian (1709–1786)
11:45 Anna Seidel (Hamburg): Bildnisbüsten von Bartolomeo Cavaceppi. Herzog Carl I. von Braunschweig-Lüneburg und König Friedrich II . von Preußen
Mittagspause
14:00 Beatrize Söding (München): Grabmal und plastisches Porträt. Die Denkmäler des 18. Jahrhunderts in der Wiener Schottenkirche
14:45 Ingeborg Schemper (Wien): Gelehrte Köpfe in Wien. Zu den Anfängen ehrenhalber aufgestellter Bildnisbüsten im 18. Jahrhundert und ihrem Kontext
Kaffeepause
16:00 Frank Matthias Kammel (Nürnberg): Der Garten als Denkmalort. Bildnisbüsten in Parks
16:45 Bernd Ernsting (Köln): Wie den Jungen der Tod gebildet. Karl Friedrich Wichmanns Zimmerdenkmal für Henriette Jordan im Kontext privater Memorialkultur um 1800
17:30 Yasmin Doosry (Nürnberg): Papierne Büsten. Die Bildnisbüste im Spiegel von Zeichnung und Druckgraphik
1 3 S E P T E M B E R 2 0 1 3
9:00 Anna Pawlik (Nürnberg): Christian Benjamin Rauschner. Zur Materialvielfalt von bossierten Wachsbildnissen im späten 18. Jahrhundert
9:45 Elisabeth Taube (Nürnberg): Alles nur Wachs? Eine kunsttechnische Studie zu den Wachsbildnissen des 18. Jahrhunderts im Germanischen Nationalmuseum
Kaffeepause
11:00 Doris Lehmann (Bonn): Die Guillotine als Porträtmaschine? Madame Tussauds Wachsköpfe und ihre Vermarktung
11:45 Petra Rau (Frankfurt am Main): Über den Handel mit prominenten Köpfen. Die Kunstmanufakturen in Leipzig, Weimar und Gotha/Altenburg
Mittagspause
13:15 Stefan Schnöll (Wien): Porträtbüsten der Kaiserlichen Porzellanmanufaktur Wien
14:00 Jürgen Klebs (Berlin): Die plastischen Bildnisse Goethes aus seiner Lebenszeit
14:45 Hans Ottomeyer (Berlin): Genies und Heroen. Europäische Galerien und andere Geschichtsforen
15:30 Schlusswort
New Title | Edward Pugh of Ruthin, 1763–1813: ‘A Native Artist’
Distributed for the University of Wales by the University of Chicago Press:
John Barrell, Edward Pugh of Ruthin, 1763–1813: ‘A Native Artist’ (Cardiff: University of Wales Press, 2013), 245 pages, ISBN: 978-0708325667, £65 / $100.
Born in Ruthin, Denbighshire, Edward Pugh (1763–1813) was a Welsh-speaking artist and writer who worked as a miniaturist in London, exhibiting frequently at the Royal Academy. But Pugh’s passion was the landscape, and he painted remarkable views of North Wales that not only captivate but also reveal the development of the Welsh economy and Welsh national consciousness. Pugh also wrote and illustrated a fascinating, informative, and humorous account of a tour of North Wales around 1800–one of the only travel books written at that time by someone who could actually converse with the inhabitants.
Edward Pugh of Ruthin 1763–1813 is the first book to consider the work of this nearly forgotten Welsh artist and writer in detail, linking the history of art in Wales with the social history of the country. John Barrell shows how Pugh’s pictures and writings portray rural life and social change in Wales during his lifetime, from the effects of the war with France on industry and poverty, to the need to develop and modernize the Welsh economy, to the power of the landowners. Almost all of the pictures and accounts we have today of late eighteenth and early nineteenth century North Wales were made by English artists and writers, and none of these, as Barrell demonstrates, can tell us about life in North Wales with the same depth and authenticity as does Pugh.
John Barrell is professor in the Centre for Eighteenth Century Studies, University of York. He is the author of numerous books, including The Spirit of Despotism: Invasions of Privacy in the 1790s.
Call for Papers | James Logan and the Networks of the Atlantic
James Logan and the Networks of Atlantic Culture and Politics, 1699–1751
Philadelphia, 18–20 September 2014
Proposals due by 30 September 2013
The home of James Logan, Stenton was built between 1723 and 1730 in the (then) countryside near Philadelphia.
The McNeil Center for Early American Studies, The Library Company of Philadelphia, The Historical Society of Pennsylvania, and Stenton Museum invite proposals for an international interdisciplinary conference in Philadelphia reconsidering early Pennsylvania culture in an Atlantic World context. James Logan (1674–1751), Provincial Secretary to the Penn family, and his vast political, trade and knowledge networks provide a lens for examination of the Atlantic World in the first half of the eighteenth century. This conference is an effort to consider Logan’s milieu in the widest possible way. James Logan studied the sexuality of plants, mentored Benjamin Franklin and John Bartram, served as Mayor of Philadelphia and Chief Justice of Pennsylvania, shaped his province’s relationships with Native Americans, traded furs, owned slaves, was a gentleman-merchant, book collector, and scholar. His nearly 3,000-volume library remains intact at the Library Company of Philadelphia. The Historical Society of Pennsylvania archives include numerous papers collections related to his activities, and The National Society of The Colonial Dames in America in the Commonwealth of Pennsylvania preserves his house, Stenton.
Committed participants include Anthony Grafton of Princeton University, Bernard Herman of the University of North Carolina, Chapel Hill, and Gary B. Nash of the University of California, Los Angeles. Among possible themes for paper proposals are intellectual history, knowledge networks, natural and moral philosophy; books, poetry and literature, collecting, and botany; religion, in particular Quakerism; material culture, archeology, architecture, houses, foodways, landscapes, land acquisition and urban development; economics, industry, commerce; gender, servitude, enslavement and social structure; and politics, imperialism, and European-Native American interactions.
This conference aims to engage an interdisciplinary dialog. Proposals are encouraged from literary scholars, historians, archeologists, material culture studies, and other disciplines. The organizers will consider both individual papers and panel submissions. Papers for many of the panels will be pre-circulated. PowerPoint presentations, especially those relating to visual and material culture, may also be pre-circulated. Non-traditional panels and presentations (such as tours, workshops, brief papers or demonstrations) will be considered.
Please submit 250-word proposals and a one-page c.v. via e-mail no later than 30 September 2013; proposals should be headed with the title of the paper and the presenter’s name, affiliation, and contact information. Submissions and queries may be directed to mceas@ccat.sas.upenn.edu.
New Title | Ireland and the Picturesque
Due in August from Yale UP:
Finola O’Kane, Ireland and the Picturesque: Design, Landscape Painting, and Tourism, 1700–1840 (London: Paul Mellon Centre for Studies in British Art, 2013), 240 pages, ISBN: 978-0300185386, $85.
That Ireland is picturesque is a well-worn cliché, but little is understood of how this perception was created, painted, and manipulated during the long 18th century. This book positions Ireland at the core of the picturesque’s development and argues for a far greater degree of Irish influence on the course of European landscape theory and design. Positioned off-axis from the greater force-field, and off-shore from mainland Europe and America, where better to cultivate the oblique perspective? This book charts the creation of picturesque Ireland, while exploring in detail the role and reach of landscape painting in the planning, publishing, landscaping and design of Ireland’s historic landscapes, towns, and tourist routes. Thus it is also a history of the physical shaping of Ireland as a tourist destination, one of the earliest, most calculated, and most successful in the world.
Finola O’Kane is lecturer in the School of Architecture, Landscape and Civil Engineering, University College Dublin.
Exhibition | Prized and Played: The Jon Crumiller Chess Collection
From the World Chess Hall of Fame:
Prized and Played: Highlights from the Jon Crumiller Collection
World Chess Hall of Fame, St Louis, 3 May 2013 — 15 September 2013
Prized and Played showcases over 80 beautiful, antique chess sets from across the centuries and around the world, as well as many interesting artifacts related to the history of chess.
East India ‘John’ Company Chess Set, ca. 1800–1850,
Berhampore, India, ivory. King is 5 1/2 inches high.
(Jon Crumiller Collection). Photo © Bruce M. White, 2013
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Prized
Intended to be shown as objets d’art rather than used in play, ornamental chess sets are testaments to the artistic skill of their creators, as well as the refinement of the wealthy patrons who commissioned them. Freed from the confines of practicality, artists created chess sets of great beauty and originality. Master carvers flaunted their expertise in manipulating luxury materials such as ivory, gold, silver, pearls and precious stones in these ornamental chess sets. Many feature elaborate gilded decoration, delicate carving, and tall forms that made them less than ideal for playing, but perfect as demonstrations of wealth, or as a generous gift for a friend.
Dieppe Europeans vs. Africans Ivory Chess Set, ca. 1800, Dieppe, France, Ivory. King is 3 1/4 inches (Jon Crumiller Collection)
Photo © Bruce M. White, 2013
Ornamental sets were also symbols of the erudition and sophistication of their owners. Several of the ornamental sets in this show have themes drawn from history, mythology, or religion. The Good Versus Evil set contains bishops holding copies of Dante Alighieri’s The Inferno, while another set pits Venus and Bacchus, two figures from Roman mythology, against each other. Other artists turned to contemporary military conflicts for inspiration. The army of the British East India Company combats Indian military forces in John Company sets, while other sets celebrated the exploits of Emperor Napoleon. Ornamental sets could also show that a person was well-traveled. A set from Dieppe, France, where master carvers produced lovely ivory products could indicate the owners had traveled to the popular resort town. Swiss Charlemagne sets, produced in Brieze, Switzerland, were also marketed to tourists in catalogues. These sets were so prized by their owners that, despite their delicate nature and rich materials, they have survived centuries later as examples of the excellent craftsmanship of their makers. They continue to be valued, not only for their aesthetic qualities, but also for the fascinating stories they tell.
Played
François-André Danican Philidor, L’Analyze des échecs (London: 1749)
Photo © Bruce M. White, 2013
In Prized and Played, superb examples of antique playing sets from across Europe and Asia illuminate the fascinating history of stylistic evolution of chess pieces. Though some of the sets in this half of the exhibition feature elaborate decoration, they were all intended for use in play. Their widely varied appearances testify to the imagination and stylistic preferences of the artisans who created them, as well as the artistic tastes of the players who used them over the centuries. They were made of durable materials like wood, ivory, bone, and metal so that players could regularly use them for play over many years. While the style of the simple, brightly colored, and dome-topped Islamic sets in the show stands in contrast to that of the European sets, diverse styles of playing sets were often manufactured within the same country. Some examples include the Directoire, Régence, and Lyon style sets produced in France, or the Barleycorn and Northern Upright style sets manufactured in England.
The nineteenth century brought the rise of modern organized chess tournaments and clubs, which highlighted the need for standardized chess pieces. The regional styles that had proliferated in previous centuries led to confusion and contention when the great players of numerous nations gathered to compete. Prominent chess manufacturers in early-to-mid-nineteenth century England began to stabilize the designs of playing sets into recognizable precursors of the sets we use today. John Calvert set up shop in 1791 at 189 Fleet Street, London, and mass-produced several designs that grew in popularity. These designs, as well as fancier playing sets imported and sold by James Leuchars and other retailers in the initial years of the nineteenth century, influenced subsequent well-known London chess manufacturers such as George Merrifield, Thomas Lund and his son William, and Charles Hastilow.
Finally, the iconic Staunton chess set, designed by architect Nathaniel Cooke and endorsed by the famous English player Howard Staunton, emerged during this period. The sets were first manufactured and sold in 1849 by John Jaques and Son, Ltd, of London, and later became the standard for tournament play. (more…)
Exhibition | Paintings by Hubert Robert from the Musée de Valence
Now on view at the Petit Palais:
Tableaux d’Hubert Robert du Musée de Valence
Le Petit Palais, Paris, May — October 2013
Hubert Robert, Paysage de cascade avec les bergers d’Arcadie
© Musée de Valence, photo Eric Caillet
En avant-première de la réouverture en décembre prochain du musée de Valence (Drôme), quatre des plus beaux tableaux d’Hubert Robert (1733–1808) sont présentés au Petit Palais, aux côtés des dix tableaux de l’artiste des collections permanentes.
Peintre par excellence des ruines de la Rome antique, Hubert Robert séjourna onze ans dans la ville des papes, à partir de 1754. Il en cultiva le souvenir jusqu’à la fin de sa carrière bien qu’il ait été également un chroniqueur inlassable du Paris du XVIIIe siècle. Hubert Robert a enchanté ses contemporains par sa verve, sa poésie et son inventivité – qualités qui ne pouvaient qu’enthousiasmer un critique comme Diderot. Le succès de ses paysages lui valut même la commande de plusieurs jardins qu’il peupla de « fabriques » et de grottes à la manière des tableaux qui avaient fait sa célébrité.
Connu pour sa collection incomparable de dessins d’Hubert Robert offerte par l’amateur Julien-Victor Veyrenc en 1836, le musée de Valence s’est attaché depuis plus d’une vingtaine d’années à étoffer ce fonds par l’acquisition de toiles significatives de l’artiste. L’ensemble formera un des centres de gravité du musée de Valence dont la rénovation, confiée à l’atelier d’architecture Jean-Paul Philippon, est en voie d’achèvement. Le prêt exceptionnel de quelques-uns de ses fleurons à Paris est l’occasion de les faire dialoguer avec les toiles conservées au Petit Palais. Ainsi la vue de la basilique Saint-Pierre du musée de Valence, cadrée de façon audacieuse à travers une baie, rejoint la toile vivement esquissée du Petit Palais montrant un Sculpteur sur un échafaudage dans la nef de Saint-Pierre. Le vaste Paysage de cascade avec les Bergers d’Arcadie, de Valence, est présenté dans la rotonde avec deux grandes toiles tirées des réserves du Petit Palais provenant du décor de l’hôtel Beaumarchais exécutés l’année suivante. A cette occasion, l’ensemble des salles du XVIIIe siècle du musée ont d’ailleurs été réaccrochées et des oeuvres d’autres artistes remises en valeur.
En attendant de parcourir les nouveaux espaces de l’ancien évêché de Valence, ce prêt de quelques mois est aussi une invitation à redécouvrir les galeries du XVIIIe siècle du Petit Palais – musée des Beaux-Arts de la Ville de Paris qui, rappelons-le, sont ouvertes gratuitement au public.
Le Petit Palais est heureux de soutenir la rénovation et l’extension du Musée de Valence. Pour plus d’information, téléchargez le communiqué de presse.
Call for Papers | The Early Modern Villa: The Senses vs. Materiality
From the Call for papers:
The Early Modern Villa: The Senses and Perceptions versus Materiality, 1450–1800
Wilanów Palace, Warsaw, 15–17 October 2014
Proposals due by 30 October 2013
Convenors: Barbara Arciszewska (Warsaw University) and Paweł Jaskanis (Wilanów Palace Museum)
Enhanced interest in sensual perception was one of the mainstays of early modern culture. The development of new visual conventions (most notably the linear perspective) and ‘ocularcentric’ character of early modern science has long focused scholarly attention on the contemporary obsession with sight and with optical illusion. Yet sight, although privileged as a nucleus of artistic theory and analytical instrument in natural philosophy, was but one of the senses which were to be attracted, and then gratified by the display of early modern art and architecture. The complex discourse of sensual perception and gratification embraced all senses, although their role depended on the comparative value assigned to the senses themselves, on their abilities to provoke desire, provide delight, and grant access to knowledge. The diversity of sensual stimuli was perhaps most evident in the villa estate – its architecture and landscape design. The role of the senses and sensual perception in the planning, design, as well as functioning and reception of the villa (c. 1450-1800), will be the focus of this conference, set against the essential materiality of architecture and nature, understood as the framework of reference for the sensual experience rooted in pre-modern concepts of the corporeal sensorium. (more…)
Exhibition | Quilts 1700–1945
From the QAG press release (14 June 2013) . . .
Quilts 1700–1945
Queensland Art Gallery, Brisbane, 15 June — 22 September 2013
Curated by Sue Prichard
Coverlet with sundial, cotton, 1797
(London: Victoria and Albert Museum)
An exhibition of historic British quilts from London’s Victoria and Albert Museum (V&A) is now on view at the Queensland Art Gallery, presenting enthralling social histories and personal stories of more than 200 years of quiltmaking and patchwork. The exhibition includes more than 35 hand-crafted textiles created to provide comfort and commemorate historical events and family occasions between 1690 and 1945, plus a host of associated material such as pin cushions, needlework tools and sewing baskets.
The works come primarily from the esteemed collection of the V&A, the world’s leading decorative arts and design museum. Select pieces have travelled from British regional museums and private collections, and there is the special addition of the much-admired Rajah quilt of 1841, sewn by convict women during transportation to Van Diemen’s Land, on loan from the National Gallery of Australia.
Divided into four thematic sections, the exhibition explores the domestic landscape of the wealthy bedrooms of 18th-century Britain; the private thoughts and political debates that emerged as patchwork spread to aspirational middle class homes in the early 19th century; the movement of quilts to the public sphere for exhibition and display in Victorian England; and the survival of quiltmaking in economically deprived areas in the face of the emergence of mass production in the early 20th century.
“The exhibition has been curated for QAG by Sue Prichard, Curator of Contemporary Textiles at the V&A, based on the popular exhibition Quilts 1700–2010: Hidden Histories, Untold Stories, presented in 2010 at the V&A,” explained Director Chris Saines.
The exhibition is accompanied by the 196-page publication Quilts 1700–1945, a co-edition from QAGOMA and the V&A.
Judge Rules Benjamin West Altarpiece Can Go to Boston
From The Art Newspaper (11 July 2013) . . .
Anglican Court Says Benjamin West Altarpiece Can Go to Boston
City of London church to sell the masterpiece to fund repairs
By Martin Bailey
Thomas Malton (1748-1804), St Stephen Walbrook, London, watercolour over pencil, heightened with scratching out, 26 x 18 inches (646 x 447 mm)
Lowell Libson LTD (London).
West’s Devout Men Taking Away the Body of St Stephen is visible at the altar.
A Church of England court has ruled that Benjamin West’s altarpiece, Devout Men Taking Away the Body of St Stephen, 1776, which was made for one of the most important churches in the City of London can be sold for display in the US. The $2.85m painting is being bought by an anonymous foundation, which is due to lend it to the Museum of Fine Arts, Boston (The Art Newspaper, April 2013, pp6–7 and June 2013, p3). West was born in America, but worked in England.
In his judgment, delivered on 10 July, Judge Nigel Seed, chancellor of the consistory court of the Diocese of London, ruled that St Stephen Walbrook should be allowed to sell the masterpiece. The painting had been removed from the church in around 1987, in what he described as “perceived illegal actions”, and has since been kept in storage. . .
The full article is available here»
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As a starting place in the scholarly literature:
Jerry D. Meyer, “Benjamin West’s St Stephen Altar-Piece: A Study
in Late Eighteenth-Century Protestant Church Patronage and English
History Painting,” The Burlington Magazine 118 (September 1976): 634-41.
Conference | Materializing the Spirit: Art and Women Religious
From the conference programme:
Materializing the Spirit: Spaces, Objects, and Art in the Cultures of Women Religious
Histories of Women Religious of Britain and Ireland (HWRBI) 2013 Conference
Institute of Historical Research, Senate House, London, 5–7 September 2013
This conference explores architecture, art, and design produced by and for women religious in Britain and Ireland from the Middle Ages to the present. Keynote speakers are Mary Schoeser on textiles and interiors, and Julian Luxford on medieval convents. Presenters include Emily Gee (English Heritage), Tim Knox (Fitzwilliam Museum), and Helen Hills (York). The conference also includes a thematic tour of the V&A’s collections. Additional information is available at the HWRBI website.
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T H U R S D A Y , 5 S E P T E M B E R 2 0 1 3
2.00 – 3.30 Women Religious and the Arts at the V&A
Tessa Murdoch (Acting Keeper of Metalwork, Sculpture, Ceramics and Glass, V&A) will lead a tour of the museum’s collections. Places are limited. Further information on registration.
F R I D A Y , 6 S E P T E M B E R 2 0 1 3
9.00 Registration and Refreshments
9.30 Welcome and Introduction
9.45 Session I: Place and Purpose, chaired by Caroline Bowden (QMUL)
• Roderick O’Donnell FSA, ‘The Pugins’ Houses of men and women contrasted’
• Michael O’Boyle (Bluett & O’Donoghue Architects), ‘The nature and character of convent buildings in Ireland in the eighteenth and nineteenth centuries’
• Sue Acheson RSCJ, ‘Space for the Heart: Representing Devotion in the Chapel of the Sacred Heart, Roehampton’
11.15 Break
11.30 Session II: Patrons and Subjects, chaired by Dominic Janes (Birkbeck)
• Tim Knox (Fitzwilliam Museum), ‘A Soldier and a Nun: Two “Ancestral Portraits” of English Sitters by Pietro-Tommaso Labruzzi’
• Patricia Harris CJ, ‘The Mystery of the “Painted Life” of Mary Ward’
• Anselm Nye (QMUL), ‘Artistic and Comic: The cartoon as historical memory amongst the English Dominican Sisters’
1.00 Lunch
2.00 Session III: Material and Immaterial, chaired by Carmen Mangion (Birkbeck)
• Susan O’Brien (Cambridge), ‘A Spirituality Represented: Images of the Holy Child in the Society of the Holy Child Jesus, England since 1846’
• Helen Hills (York), ‘Making Religion Matter?’
3.00 Break
3.15 Teaching and Publishing Session
“…Nuns are a remote reality, detached from the world”: The Challenges of Teaching and Researching Female Religious Life, (Session sponsored by History Lab Plus, IHR & Higher Eduction Academy)
5.00 Break
5.15 Keynote I | Mary Schoeser (President, The Textile Society), ‘Fair and beautiful to behold’
6.15 Reception and H-WRBI Annual Meeting
8.00 Conference Dinner
S A T U R D A Y , 7 S E P T E M B E R 2 0 1 3
9.00 Registration and Refreshments
9.30 Session IV: Space and Context, chaired by Lynne Walker (IHR)
• Ellie Pridgeon (Leicester), ‘Space and Location: The Cloister Paintings at Lacock Abbey’
• Deirdre Raftery (UCD), ‘ “Cover the Earth with Houses”: The form and function of the convents of the Society of
the Sacred Heart in nineteenth-century Ireland, North and South’
• Brenda King (The Textile Society), ‘Stitch and Stone’
11.00 Break
11.30 Session V: Symbolism and Devotion, chaired by Jane Hamlett (RHUL)
• Kate Jordan (UCL), ‘Artists Hidden from Human View: Mysticism and Art in the Victorian Convent’
• Ayla Lepine (Yale), ‘”The Story of a Life”: Nuns at the Epicentre of Modern Visual Culture’
12.30 Lunch
1.30 Session VI: Heritage and Preservation, chaired by Emily Gee (English Heritage)
• Abbot Geoffrey Scott (Catholic Archives Society), ‘The Archives and Collections of English Nuns Deposited at Douai Abbey’
• Frederick O’Dwyer (Conservation architect), ‘Historic Irish Convents, Redundancy and Reuse’
• Sophie Andreae (Vice Chair, Bishop’s Conference Patrimony Committee), ‘Important Artefacts: Some Recent Case Studies’
• Emily Gee (English Heritage, Head of Designation), ‘Reflections on the Heritage Landscape’
3.30 Break
4.00 Keynote II | Julian Luxford, (St Andrews), ‘Nuns, Art and Patronage in Later Medieval England’
5.00 Closing remarks
5.15 Reception
To register online, visit the HWRBI Eventbrite page.
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