New HGCEA Emerging Scholar Publication Prize
HGCEA Emerging Scholar Publication Prize
Nominations due by 14 December 2012
The Historians of German and Central European Art (HGCEA), an affiliated society of CAA, announces a new Emerging Scholar Publication Prize. The Prize will be awarded annually to a distinguished essay published the previous year by an emerging scholar. Submissions may be on any topic in the history of German or Central European art, architecture, design or visual culture. This year, essays published in 2011 and 2012 will be considered; submissions will be accepted from current PhD students and from those who earned a PhD in or after 2007. The recipient of the Prize, which will be announced at CAA and comes with an award of $500, must be a current member of HGCEA. Nominations and self-nominations are welcome; the deadline for submissions (the publication and a CV) by electronic attachment to the HGCEA president, Marsha Morton at mortonmarsha10@gmail.com, is December 14, 2012.
Exhibition | Nude Men in Vienna
With the advertising for this exhibition having been covered sensationally by the international press, the focus on contemporary work has obscured the late eighteenth-century offerings. Press release from the Leopold Museum:
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Nude Men from 1800 to the Present / Nackte Männer
Leopold Museum, Vienna, 19 October 2012 — 28 January 2013
Curated by Elisabeth Leopold and Tobias Natter
Ilse Haider, Mr. Big, installed at the Leopold Museum
The endless flood of images intrinsic to today’s lifestyle has given unprecedented public prominence to the depiction of male nudes. At the same time seemingly firmly established categories such as masculinity, body, and nakedness are apparently being redefined on a broad social basis, resulting in a new interpretation of male gender roles. These developments have prompted the Leopold Museum to embark on a topical as well as historical journey through the visual arts in search of the male nude, a quest leading predominantly from the longing for antiquity prevalent in art around 1800 to contemporary art. The exhibition Naked Men: Power & Powerlessness through the Ages also represents the fulfillment of the museum’s long-cherished ambition to present a counterpart to the highly successful 2006 exhibition Body – Face – Soul curated by Elisabeth Leopold, which explored the female image in art from the 16th century to the present. Thus, the current presentation constitutes a continuation of this theme, except that its focus is now on the opposite sex.
The exhibition Naked Men: Power & Powerlessness through the Ages is based on works by Egon Schiele, Richard Gerstl and Anton Kolig – three artists who are more comprehensively represented in the Leopold Museum than in any other institution and in whose oeuvre the depiction of the male nude features prominently. Schiele’s male nudes can be seen as unconditional explorations of the self, as expressions of inner emotions and as body images situated between vulnerability and provocation. Gerstl followed the tradition of Christian iconography with the first of his two life-sized self-portraits, while he elevated the fragmentation of form to a principal in the second with his wild brushstrokes. Kolig was captivated by the depiction of naked young men all his life and dedicated his drawings almost exclusively to this motif.
Based on eminent examples from its own collection and complemented by loaned works from all over Europe, the Leopold Museum’s exhibition will set out in two main directions, examining the depiction of the male nude in contemporary art, while also exploring the Old Masters’ approach to the subject from the Renaissance all the way back to antiquity. The exhibition unites examples of many different genres, including painting, sculpture, graphic arts, photography and new media, with special emphases on the following themes:
The Measure of All Things: The Male Body and Art Academies
Ever since the Renaissance, the naked male body was considered to be an important object of study and an indispensable part of the academies’ curriculum, which was one of the reasons that women were denied access to art academies for so long. The presentation affords insights into the life drawing rooms of European art academies from the Baroque period onwards and illustrates to what an extent all eyes were focused on the naked man, though he himself was the only one to remain naked.
Longing for Antiquity and the Male Ideal
For centuries, the depiction of the male nude was only legitimized by ancient art. These restrictions prompted the emergence of various artistic strategies that reinterpreted ancient ideals under the guise of antiquity. This is illustrated in the exhibition with examples from the period around 1800 up until the present.
The Naked Self
While Klimt still believed that nakedness and truth coincided in the Nuda Veritas, Schiele began to make his own body the object of his paintings. Expressionism brought with it a radical examination of the self, which saw the artists exposing themselves both physically and existentially and exploring the use of their own nudity as a sphere of political influence.
In the Sights of Women
The battle of female desire and male denial is not often addressed in the visual arts, but it has its historical sources both in the biblical story of Joseph and the Wife of Potiphar and in the ancient mythological traditions of Narcissus and Adonis. The emancipation of women as artists has brought with it a new basis for the depiction of such conflicts. Nowadays, female artists also have access to male nude models and are free to interpret and depict this motif at their will, currently often with a view to deconstructing gender and gender asymmetries.
Bathers — On the Beach
In the second half of the 19th century depictions of naked people in nature abounded. These renderings had their origin in a reassessment of man’s position in nature. Based on early depictions such as Dürer’s The Men’s Bath, the exhibition features many eminent examples of such encounters and get-togethers of naked men, from Cézanne to Mapplethorpe.
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In the United States, the English edition of the catalogue will be distributed by The University of Chicago Press:
Catalogue: Elisabeth Leopold and Tobias Natter, eds., Nude Men from 1800 to the Present (Vienna: Hirmer, 2013) ISBN: 9783777458519, $50.
Rodin’s Thinker. Da Vinci’s Vitruvian Man. Pigalle’s controversial portrayal of the philosopher Voltaire. From its earliest days, art history is rife with representations of nude men. But while there is no shortage of studies of art celebrating the female form, the male nude has suffered from relative neglect. This book seeks to correct this imbalance with a collection of paintings, sculptures, and photographs that challenge conceptions of the body and masculinity, many of which continue to have considerable cultural resonance today.
Beginning with a look at art completed in life-drawing classes popular across European academies, the book moves on to representations of masculinity throughout the French Revolution, including works by Johann Heinrich Füssli and Antonio Canova; provocative Sturm und Drang paintings by Edvard Munch and contemporaries; and late impressionist works. The unsettling self-portraits of Austrian artists Egon Schiele and Richard Gerstl exemplify an extreme candor that characterized the early twentieth century. Other twentieth-century artists whose work is included in this book are Jean Cocteau, David Hockney, Andy Warhol, Nan Goldin, and Louise Bourgeois.
With nearly four hundred full-color illustrations, the book also includes insightful essays examining topics like male identity, depictions of desire in modern art, and the use of nude men in advertising.
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Note (added 2 February 2013) — The sensational coverage is likely to continue. As reported by the AFP, viewers are invited to step out of their own clothes for a special viewing on February 18, “Our museum will be a clothes-free zone for one evening. . . Nudists, naturists are welcome!”
Call for Papers | Material Culture Studies in Three Dimensions
From The Center for Material Culture Studies at the University of Delaware:
Embodied Objects: Material Culture Studies in Three Dimensions
Winterthur Museum, Garden & Library, 20 April 2013
Proposals due by 30 November 2012
The Center for Material Culture Studies at the University of Delaware invites submissions for papers to be given at the Eleventh Annual Material Culture Symposium for Emerging Scholars.
The objects we create, manipulate, and consume mediate our experience with the world. We seek a broad range of papers that highlight the intersection between objects and humans, things and people. We’re interested in how three-dimensional objects act as extensions of ourselves, provide repositories for memory, help stabilize identity, interrupt our sense of scale and space, give permanence to relationships, and mirror human forms. Papers may also address how objects mediate human sensory experience and create aesthetic meaning. We encourage papers that reflect upon and promote an interdisciplinary discussion on the state of material culture studies today.
Disciplines represented at past symposia include American studies, anthropology, archaeology, consumer studies, English, gender studies, history, museum studies, and the histories of art, architecture, design, and technology. We welcome proposals from graduate students, postdoctoral scholars, and those just beginning their teaching or professional careers.
Format
The symposium will consist of nine presentations divided into three panels. Each presentation is strictly limited to eighteen minutes, and each panel is followed by comments from established scholars in the field. There will be two morning sessions and one afternoon session, with breaks for discussion following each session and during lunch. Participants will also have the opportunity to tour Winterthur’s unparalleled collection of early American decorative arts and to engage in a roundtable discussion on Friday, April 19. Travel grants of up to $300 will be available for presenters.
Submissions
The proposal should be no more than 300 words and should clearly indicate the focus of your object-based research, the critical approach you take toward that research, and the significance of your research beyond the academy. While the audience for the symposium consists mainly of university and college faculty and graduate students, we encourage broader participation. In evaluating proposals, we will give preference to those papers that keep a more diverse audience in mind.
Send your proposal, with a current c.v. of no more than two pages, to emerging.scholars@gmail.com. Proposals must be received by 5 p.m. on November 30, 2012. Speakers will be notified of the vetting committee’s decision in January 2013. Confirmed speakers will be asked to provide symposium organizers with digital images for use in publicity and are required to submit a final draft of their papers by March 11, 2013.
Conference Co-Chairs: Liz Jones and Amy Torbert
Postdoctoral Fellowship | Interacting with Print Research Group
From The Interacting with Print Research Group:
Postdoctoral Fellowship: Interacting with Print Research Group
McGill University and the University of Montreal, 2013-14
Applications due by 19 November 2012
The Interacting with Print Research Group at McGill University and the University of Montreal is seeking a postdoctoral fellow with interests in developing digital humanities methodologies for studying the print culture of eighteenth- and nineteenth-century Europe. Candidates may specialize in history, art history, literature or a related discipline, and should have their doctorate in hand by the start date. The ideal candidate has experience in both information design and computer programming; expertise in data visualization, text mining, and designing digital tools is especially desirable. A working knowledge of French is an asset.
Interacting with Print researches how print media interact with other media within a larger communicative ecology. One of our primary concerns is how digital interfaces will reorient an extant print-cultural heritage. The postdoctoral fellow will be an integral member of the team, developing his or her own research and working with team members to develop their projects.
Review of applications will begin on 19 November 2012 and continue until the position is filled. For further information, contact interactingwithprint@mcgill.ca. To apply, send cover letter, CV, and names of three referees to Prof Tom Mole at interactingwithprint@mcgill.ca
Rijks Studio Offers 125,000 Images Free of Copyright
After years of hearing that museums couldn’t provide high resolution reproductions of works in their collections because people might make t-shirts with them, we now learn that the Rijkmuseum is inviting us to do precisely that . . . and more. -CH
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As a prelude to its reopening 13 April 2013, one of the world’s leading museums, the Rijksmuseum in Amsterdam, will launch Rijks Studio, a ground-breaking new online presentation of 125,000 works in its collection. Rijks Studio invites members of the public to create their own masterpieces by downloading images of artworks or details of artworks in the collection and using them in a creative way. The ultra high-resolution images of works, both famous and less well-known, can be freely downloaded, zoomed in on, shared, added to personal ‘studios’, or manipulated copyright-free. Users can have prints made of entire works of art or details from them. Other suggestions for the use of images include creating material to upholster furniture or wallpaper, or to decorate a car or an iPad cover for example.
To celebrate this digital milestone, the Rijksmuseum is asking leading international artists, designers and architects to become pioneers of Rijks Studio by selecting one work from the collection and using it creatively to create a new artwork. These will be released in the run up to the reopening of the museum. The first work to be unveiled, by Droog Design, is a tattoo inspired by a flower painting in the collection called Still-Life with Flowers by Jan Davidszn. de Heem and Rachel Ruysch from the 17th century.
Taco Dibbits, Director of Collections, said: “The Rijksmuseum is a museum for and of everyone, and with the launch of Rijks Studio we are excited to share the extensive collection with art lovers around the world using the latest digital technology. We created Rijks Studio based on the belief that the collection of the Rijksmuseum belongs to us all. The collection inspires, we want to unleash the artist in everyone.”
Conference | Art and Its Afterlives
Conference program from The Courtauld:
Fourth Early Modern Symposium: Art and Its Afterlives
The Courtauld Institute of Art, London, 17 November 2012
Organised by Laura Sanders and Francesca Whitlum-Cooper
Karen Knorr, The Green Bedroom of Louis XVI. © Eric Franck Fine Art
Art and Its Afterlives aims to address the ways in which the work of art continues to resonate after its creation. While much art history takes as its focus the initial facture of the work of art, this one-day symposium explores what happens to early modern art after the moment of its making. How did early modern works continue to be created in their display, preservation, and reception from the moment of their creation on? Papers will examine how art is shaped by its afterlives – whether these collect, curate, cut up, cut out, copy or correct it – and the ways in which art both persists and changes through time as a material object, a field of generative meaning, and a subject of debate and interpretation.
The question of afterlife is an pertinent topic for art history in general, where the work of art is uniquely tied to a particular assemblage of materials which inevitably change with time, rendering fraught questions of preservation, the presence or possibility of copies, the idea of original state, and how a work of art is staged for a viewer. Less material but no less concrete, the interactions between the work and the viewer, and between the work and the its assumed referent are not stable but open to change. The question of afterlife is particularly relevant for the early modern period, when emergent art markets and cultures of collection allowed not only the circulation of artworks, but also their appropriation and adaptation. Taking as its point of departure Bourdieu’s encouragement to investigate ‘not only the material production of the work but also the production of the value of the work’, this symposium privileges the afterlives of art and the alternative histories they present. Art and Its Afterlives is the fourth symposium of The Courtauld’s Early Modern Department.
Book online or send a cheque made payable to ‘Courtauld Institute of Art’ to: Research Forum Events Co-ordinator, Research Forum, The Courtauld Institute of Art, Somerset House, Strand, London WC2R 0RN, stating the event title: Art and Its Afterlives. For further information, email ResearchForumEvents@courtauld.ac.uk
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P R O G R A M M E
9.00 Registration
9.30 Introduction – Laura Sanders and Francesca Whitlum-Cooper (The Courtauld Institute of Art)
9.40 Session 1: Finding the Original
• Stephanie Knöll (Heinrich-Heine-Universität Düsseldorf): Holbein’s Images of Death and the Construction of Authorship and Authenticity in Nineteenth Century Art Historical Discussions
• Antonia Putzger (Technische Universität, Berlin): What (or Who) Makes an Original? Maximilian I of Bavaria as Collector and Creator of German Renaissance Art
• Gabriella Szalay (Columbia University, New York): Wipe It With a Damp Cloth! Restoring Early Netherlandish Paintings
11.00 Coffee/Tea
11.30 Session 2: Contexts of Reception
• Christina Ferando (Columbia University, New York): From Altarpiece to Masterpiece: Titian’s ‘Long Unnoticed’ Assumption of the Virgin
• Giulia Weston (The Courtauld Institute of Art): Salvator Rosa’s British Afterlives
• Edward Houle (McGill University, Montreal): The Petits Appartements at Versailles and the Vicissitudes of Heritage
• Owen Hopkins (Royal Academy of Arts): Hawksmoor in the Twentieth Century
13.10 Lunch
14.10 Session 3: Appropriation and Re-making
• Jason Nguyen (Harvard University, Boston): Translation, Illustration, and Transmutation: Authorship and Authority in Claude Perrault’s Les dix livres d’architecture de Vitruve (1673)
• Amy Concannon (Tate Britain, London): Cut, Paste, and Copy: Hubert Robert, François Boucher and the Culture of Appropriation Amongst French Artists in the Eighteenth Century
• Heike Zech (Victoria and Albert Museum, London): From Sacred to Profane? The Afterlife of a Seventeenth Century Augsburg Masterpiece
• Sian Bowen (Northumbria University, Newcastle): Capturing the Ephemeral: Materiality and Transience Through Drawing Practice
15.50 Coffee/Tea
16.20 Session 4: Display and Preservation
• Anna Bortolozzi (National Museum, Stockholm): Notes from the Underground: The Afterlife of Old St. Peter’s in the Vatican Grottos and Other Stories
• Noémie Etienne (Barnard College, New York): From the Wall to the Museum: Material and Symbolic Transformations of Paintings in Paris in the Eighteenth Century
• Ronit Milano (Ben-Gurion University, Israel): On Trojan Dogs and Long-Lasting Artistic Quarrels: The Case of Jeff Koons in Versailles
17.45 Reception
Call for Papers | Death: The Cultural Meaning of the End of Life
From LUCAS:
Death: The Cultural Meaning of the End of Life (LUCAS Graduate Conference)
Leiden University Centre for the Arts in Society, 24–25 January 2013
Proposals due by 15 November 2012
Keynote Speakers: Joanna Woodall (Courtauld Institute of Art) and Rosi Braidotti (University of Utrecht)
Death is a defining factor in the explorations of our subjectivity, art, history, politics, and many other aspects of our social interactions and perceptions of the world. In the modern age, conceptions of death have continued to shift and evolve, yet our perceptions are still fueled by an instinctive fear of the end of life.
In recent decades, we have rebelled against the threat of death by inventing new technologies and medicines that have drastically increased our life expectancy—diseases and disabilities are gradually disappearing. Some believe that one day we will completely conquer the aging process, and ultimately death. Life can now be seen as a new form of commodity, a material object that we can trade, sell, or buy.
Despite our attempts to shut-out death or overcome its inevitability, the end of life has remained a visible and unavoidable aspect of our society. From antiquity to the present day, perceptions of death have been represented through various different mediums: visual culture, art, literature, music, historical writing, cinema, religious symbols, national anniversaries, and public expressions of mourning.
This conference aims to explore how death has been represented and conceptualized, from classical antiquity to the modern age, and the extent to which our perceptions and understandings of death have changed (or remained the same) over time. The wide scope of this theme reflects the historical range of LUCAS’s (previously called LUICD) three research programs (Classics and Classical Civilization, Medieval and Early Modern Studies and Modern and Contemporary Studies), as well as the intercontinental and interdisciplinary focus of many of the institute’s research projects. (more…)
Conference | Global Commodities Conference
The early registration deadline has been extended until Monday, 5 November. From Warwick:
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Global Commodities: The Material Culture of Early Modern Connections, 1400-1800
Global History and Culture Centre, University of Warwick, 12-14 December 2012
Tilly Kettle (1734-1786), “Portrait of Two English Boys in Asian Clothing,” 1780s (Peabody Essex Museum)
Material culture created and was created by connections with ‘others’ in the era before the global exchange of people, political ideas and economic processes intensified through industrialization. The exchange of goods and the culture of commodities played central roles in forging enduring and transformative global connections.
This conference seeks to explore how our understanding of early modern global connections changes if we consider the role material culture played in shaping such connections. In what ways did material objects participate in the development of the multiple processes often referred to as ‘globalisation’? How did objects contribute to the construction of such notions as hybridism and cosmopolitanism? What was their role in trade and migration, gifts and diplomacy, encounters and conflict? What kind of geographies did they create in the early modern world? What was their cultural value vis-à-vis their economic value? In short, we seek to explore the ways in which commodities and connections intersected in the early modern world.
This conference wishes to bring together scholars with expertise across a range of disciplines and geographic areas that came into direct contact in the early modern period, by which we mean the world between ca. 1400 and 1800. Of course many areas of the humanities and social sciences have expanded their enquiries in disciplinary and spatial terms, but truly global and interdisciplinary approaches still have to rely heavily on dialogue and collaboration between scholars. We hope that this conference will present an opportunity to bring together scholars from very different geographical and disciplinary backgrounds, who all share an interest in exploring commodities in global contexts.
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W E D N E S D A Y , 1 2 D E C E M B E R 2 0 1 2
13.00 Registration
14.00 Welcome by Anne Gerritsen and Giorgio Riello (University of Warwick)
14.15 Plenary Lecture 1
Dana Leibsohn (Smith College), “Trans-Atlantic, Trans-Pacific: Oceanic Exchange and the Visual Cultures of Colonial Latin America.”
15.15 Coffee Break
15.45 Session 1 | Mixed Media
Chair: Glenn Adamson (V&A Museum)
• Christine Guth (Royal College of Art / V&A Museum), “Towards a Global History of Shagreen”
• Tim Stanley (V&A Museum), “Gloss Goes Global”
• Anna Wu (V&A Museum), “Chinese Painted Wallpaper: The Life-cycle of a Global Aesthetic”
15.45 Session 2 | Consuming Conflicts and Resistance in Iberian Empires
Chair: Bartolomé Yun-Casalilla (European University Institute, Italy and Universidad Pablo de Olavide, Spain)
• Bethany Aram (Universidad Pablo de Olavide), “The Fortunes of Caribbean Hides and Ginger, c. 1559-1650”
• Igor Pérez Tostado (Universidad Pablo de Olavide), “Attraction and Resistance: The Borderline Effects of New Atlantic Products on the Island of Hispaniola”
• Rebecca Earle (University of Warwick), “Indigenous Reactions to Old-world Foods from Rejection to Adoption”
17.30 Reception
T H U R S D A Y , 1 3 D E C E M B E R 2 0 1 2
9.00 Session 3 | Migration and Material Culture: Confronting East India Company Service
Chair: David Garrioch (Monash University, Australia)
• Helen Clifford (University of Warwick and University College London), “Objects, Movement and Concepts of Home in Eighteenth-Century England”
• Kate Smith (University College London), “Arranging Home and Understanding India in East India Company Households”
• Stephanie Barczewski (Clemson University), “Commodities, Collecting and Cosmopolitanism: Three Discourses of Empire in British Country Houses, 1750-1800”
• Ellen Filor (University College London), “Books as Global Objects: Reading Communities in India and Scotland”
9:00 Session 4 | Gifts, Luxuries and the Diplomacy of Material Exchange
Chair: Marta Ajmar (V&A Museum)
• Antonia Gatward Cevizli (Sotheby’s Institute of Art), “Portraits, Turbans and Cuirasses: Material Exchange between Mantua and the Ottomans in the 1490s”
• Corinne Thepaut-Cabasset (V&A Museum), “En Route: The Travels of Royal Gifts and Luxury Goods in the Seventeenth and Eighteenth Centuries”
• Claudia Swan (Northwestern University), “Birds of Paradise for the Sultan: The Exchange of Rarities in the Early Modern World”
• Michael Talbot (School of Oriental and African Studies, London), “The Culture of Diplomatic Gift-Exchange in Eighteenth-Century British-Ottoman Relations”
• Nuno Senos (CHAM, Universidade Nova de Lisboa), “The Empire in the Duke’s Palace. Portugal, c. 1563”
11.00 Coffee Break
11.30 Plenary Lecture 2
Michael North (University of Greifswald), “European and Chinese Art Objects in the Indian Ocean: Cross Cultural Connections”
12.30 Lunch
14.00 Session 5 | Immaterial Commodities: Exchanging Knowledge in English Networks Overseas, 1590-1650
• Edmond Smith (Magdalene College, University of Cambridge), “A Global Exchange: Trading Experience in the East India Company”
• John Gallagher (Emmanuel College, University of Cambridge), “Languages of Exchange: The Role of Communication in Establishing International Trade”
• Richard Blakemore (Selwyn College, University of Cambridge), “Ships and Seafaring: Understanding the Infrastructure of Maritime Trade”
14:00 Session 6 | Precious Commodities: Jade, Diamonds and Coral
• Yulian Wu (Stanford University), “Seeking Black Jade from China’s New Territory: Technology, Musical Instrument, and the Construction of Qing Empire in Eighteenth-Century China”
• Karin Hofmeester (International Institute of Social History, Amsterdam), “Diamonds and Global Connections in the Early Modern Period”
• Pippa Lacey (University of East Anglia), “The Coral Network: The Trade of Red Coral to the Qing Imperial Court in the Eighteenth Century”
15.30 Coffee Break
16.00 Session 7 | Bad Habits: Tobacco, Coffee and Sugar
Chair: Ghulam Nadri (Georgia State University and LSE)
• Matt Romaniello (University of Hawai‘i at Mānoa), “Influencing Habits of Consumption: Tobacco in the Russian Empire”
• Louise Carson (University of Nottingham), “Outlandish Confections’: Exoticism, Sugar and Power at the Court of Henry VIII”
• Christine Fertig and Ulrich Pfister (Universität Münster), “Coffee, Mind and Body: Stories of Globalization and Consumption: Hamburg in the Eighteenth Century”
• Urmi Engineer (Colby College, Waterville, ME), “Sugar Revisited: Sweetness and the Environment in the Early Modern World”
16.00 Session 8 | Rarities World Wide: Early Modern Objects between the Global and the Local
• Mariana Françozo (Leiden University), “The Case of Brazilian featherwork in Northern European Court Festivals”
• Anna Grasskamp (Leiden University), “Foreign Objects as In-Betweens: The Case of Coral in Ming Dynasty China and Renaissance Europe”
• Ching-fei Shih (National Taiwan University), “The African Ivory in the Qing Court and Canton”
• Ulrike Körber (University of Evora, Portugal), “A Special Production for the Portuguese, Involving Different Manufacturing Centres, and Even Asian Lacquer Coatings”
F R I D A Y , 1 4 D E C E M B E R 2 0 1 2
9.00 Session 9 | Material Encounters between Local and Global
Chair: Luca Molà (European University Institute, Italy)
• Paula Bessa (University of Minho, CITCEM/Portugal), “Eastern Algarve Parish Churches and the Empire”
• Kévin Le Doudic (University of South-Brittany / European University of Brittany), “Encounter Around the Object: French and Indian Consumers in the Eighteenth-Century Pondicherry”
• Nadia Fernandez-de-Pinedo (Universidad Autónoma de Madrid), “Dress, Eat and Show Off in the City: Consumption in Madrid, c. 1750”
9.00 Session 10 | Material and Artistic Exchange
Chair: Adam Clulow (Monash University, Australia)
• Natasha Eaton (University College London), “Art, Colour and the Mana of the Commodity in Britain and India”
• Christina Hellmich (de Young Museum, San Francisco), “ ‘… a Royal Robe…’ and its Journey from the Hands of a Unangan Seamstress to a Hawaiian King and a New England Sea Captain in the early Nineteenth Century
• Sabitha Thekke Prakkottuthody (University College London), “Globalizing the Souvenir: The Album as Commodity in Colonial India”
10.30 Coffee Break
11.00 Session 11 | Objects and Colonial Encounters in the Early Modern World
Chair: Christina Anderson (Oxford University)
• Susan Broomhall (University of Western Australia), “Beads, Mirrors and Tobacco Boxes for Giants, Gold and Water: The Dutch East India Company’s Aspirational Encounters with Indigenous Peoples in Australia”
• Jacqueline Van Gent (The University of Western Australia), “Cultural Geographies, Elite Consumption and the Swedish East India Company”
• Mårten Snickare (Stockholm University), “Displaying the Others: Non-European Objects at Skokloster Castle”
11.00 Session 12 | Tradesman’s Objects: Goods, Sailors and Traders
Chair: Karina Corrigan (Peabody Essex Museum)
• Eugénie Margoline-Plot (University of South-Britanny / European University of Brittany), “Appropriating a Part of Asia in Brittany: The Sailor of the French East India Company, a Middleman between Bretons and Asian Commodities in the Eighteenth Century”
• Caroline Mawer (Independent Scholar, London), “An Armenian Merchant and the Vasa Tapestries”
• Marieke Hendriksen (Leiden University), “Treasure Troves: Eighteenth-Century Ship’s Surgeons’ Medicine Chests”
12.15 Lunch
13.15 Session 13 | Global Objects from Enlightenment to Revolutions
• Ashli White (University of Miami), “The Material Culture of Counterrevolution in the Late Eighteenth-Century Atlantic”
• Kee Il Choi Jr (New York), “Father Amiot’s Cup, Henri-Léonard Bertin and Fashioning ‘Antiquity’ at Sèvres”
• Richard Flamein and Philippe Romanski (Université de Rouen), “‘Voltaire en son meuble’: Material Economics in the Age of Enlightenment”
13.15 Session 14 | Textiles, Trade and the Material Culture of Appearances
Chair: Evelyn Welch (Queen Mary College)
• Colette Establet (IREMAM, Aix en Provence), “Indian textile consumption in the Ottoman Empire at the End of the Seventeenth Century ”
• Suraiya Faroqhi (Bilgi University, Istanbul), “All over the Ottoman Central Provinces: The Acem Tüccarı in the Early Eighteenth Century”
• Kirsten Toftegaard (Designmuseum, Copenhagen), “Lost in Translation – A Chinese Interpretation of a European Motif”
14.45 Coffee Break
15.15 Plenary Lecture 3
Pamela Smith (Columbia University), “Itineraries of Matter and Knowledge in the Early Modern World”
16.15 Final Discussion
Chairs: Anne Gerritsen and Giorgio Riello
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If you have any further questions, please contact: Anne Gerritsen and Giorgio Riello at: ghcc.conferences@warwick.ac.uk
Organising Bodies and Sponsors
The Arts and Humanities Research Council
The AHRC ‘Global Commodities’ International Network
The Warwick Global History and Culture Centre
The ERC ‘Europe’s Asian Centuries’ Project
Adam Matthews Publishing
The Economic History Society
The University of Warwick
The Victoria & Albert Museum
Bilgi University, Istanbul
Peabody Essex Museum
New Title | Art & Visual Culture 1600–1850: Academy to Avant-Garde
From The Open University:
Emma Barker, ed., Art & Visual Culture 1600–1850: Academy to Avant-Garde (London: Tate Publishing, 2012), 384 pages, ISBN: 9781849760966, $32.
Part 1: City and Country
Part 2: New Worlds of Art
This investigates the art and visual culture of the period from roughly 1600 to 1850. This was the period in which a distinctly modern art world began to appear, with its own institutions and associated ideas about art and artists. The book assesses the significance and value of the labels traditionally used to define the art of this period, notably Baroque, Neo-classical and Romantic. In addition, it explores the ways in which art and visual culture were shaped by the ruling elites of different European countries, as well as considering the impact of socio-economic change and growing engagement with the world beyond Europe.
The first part addresses the period from around 1600 to about 1760. Rather than attempting a broad survey of artistic developments, this part of the book highlights the way in which the relationship between the country and the city helped to shape different cultures of visual representation in different national contexts. Material covered includes: the embodiment of religious power in the restructuring of Rome by Bernini; seventeenth-century Dutch painting and the thorny problem of realism; the development of urban London; and the new culture of British landscape parks.
The second part is concerned with the period from around 1760 to 1850. It explores some of the ways in which art and other visual forms responded to changing societies and contributed to the emergence of a recognisably modern world. It covers: the emergence of public exhibitions in Britain and France and the codification of genres and types of art; the representation of the body in Canova’s sculpture; the meeting of western travellers with Pacific islanders, as reflected in images; and the emergence of the Romantic ‘genius’.
Exhibition | Loutherbourg: Torments and Chimeras
From the Musée des Beaux-Arts in Strasbourg:
Philippe-Jacques de Loutherbourg: Torments and Chimeras
Musée des Beaux-Arts, Strasbourg, 17 November 2012 — 18 February 2013
Curated by Dominique Jacquot and Olivier Lefeuvre
This exhibition in his native city marks the bicentenary of the death of the “Anglo-French” painter Philippe-Jacques de Loutherbourg. It will be the first retrospective of this artist in France and the only one since the exhibition which took place in London in 1973.
With more than a hundred works, both paintings and works on paper, from public and private collections in France, Britain and the United States, it aims to show all the facets of his art. In Paris, the artist was successful at a very early age, from 1763, and was acclaimed by Diderot, who regarded him as a prodigy. In 1771 he settled in London and adapted perfectly to the English environment. He became a member of the Royal Academy, had his portrait painted by Gainsborough and was acknowledged by his peers and the public alike as one of the most important painters of his time.
His private life was hectic. After working in Paris with the painter Casanova (the brother of the famous adventurer), he quickly fell out with him and, after a brief, stormy marriage, dropped everything to go and settle in London. There he gave up painting for a while, dispensing medical care by the “magical” laying on of hands, echoing the experiments of the famous Cagliostro, with whom he shared a brief friendship, and of Mesmer.
In London, Loutherbourg was in touch with the world of the theatre, the source of a fascinating aspect of his work. While he is known mainly for his pastorals and his landscapes, in which he at times depicts the perilous or sublime aspects of Nature, he was also a strikingly original historical painter, drawing his subjects from the Bible or from modern history, and his most memorable qualities are thus his versatility and great technical facility.
The approach of the exhibition is chronological, while keeping to certain thematic threads :
. Pastorals
. Shipwrecks
. Historical Painting (the Bible and Battles)
. English Landscapes
. Nature’s Perils
The artist’s graphic output is another of the revelations of this exhibition, which includes the considerable collection from the Strasbourg Prints and Drawings Cabinet.
An Alsatian by birth but with the talent of a European, Loutherbourg had the makings of a character from fiction. He embodied the Enlightenment while at the same time wholly prefiguring Romanticism.
Exhibition curators : Dominique Jacquot, Head Curator of the Strasbourg Fine Arts Museum, Olivier Lefeuvre, art historian.
Enfilade 
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