Seminar Series | Eighteenth-Century Studies at Queen Mary University
From the QM Centre for Eighteenth-Century Studies:
Eighteenth-Century Studies Seminar Series, 2012-2013
Queen Mary University of London
All are welcome to attend this year’s Eighteenth-Century Studies Seminars at Queen Mary University of London. Sessions meet on Wednesdays from 5:00 to 7:00 pm in the Seminar Room, Lock-Keepers Cottage Graduate Centre, Queen Mary University of London, Mile End, London. For updates and more information, see our website.
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10 October 2012
Charles Saumarez-Smith (Royal Academy) with Mark Hallett (Paul Mellon Centre for Studies in British Art)
‘The Company of Artists’: On the Origins of the Royal Academy of Arts
21 November 2012
Charles Walton (Yale)
The Fall from Eden: The Free-Trade Origins of the French Revolution
30 January 2013
Malcolm Baker (U California Riverside)
Celebrating the Illustrious: Roubiliac, Newton, Handel and Pope
13 February 2013
John Barrell (Queen Mary)
‘I know where that is’: The Place of Edward Pugh
27 February 2013
Naomi Tadmor (Lancaster)
The Nuclear Hardship Hypothesis: An Eighteenth-Century Case Study
13 March 2013
Tony LaVopa (North Carolina)
David Hume in Paris: Reading a Friendship
27 March 2013
Susan Manning (Edinburgh)
Becoming a Character
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Convenors: Markman Ellis, English (m.ellis@qmul.ac.uk); Colin Jones, History (c.d.h.jones@qmul.ac.uk); Miles Ogborn, Geography (m.j.ogborn@qmul.ac.uk); Barbara Taylor (English and History); and Amanda Vickery, History (a.vickery@qmul.ac.uk).
Travel instructions: Central Line or District Line to Mile End. Exit tube station, turn left down Mile End Road, cross Burdett Road, go under the Mile End Green Bridge (a large yellow bridge), over the canal, and the college is on the left. Enter East Gate, and the Lock-Keepers Cottage is the second building on the right.
Showcasing Versaille’s Image Bank
As Hélène Bremer notes, the CRCV Image Bank will be of interest to many Enfilade readers, and perhaps some of you will even make it to Thursday’s event showcasing the collection. From the Centre de recherche du château de Versailles:
Patrimoine écrit et numérique avec Raphaël Masson, Isabelle Pluvieux, et Elisabeth Maisonnier
L’Atelier numérique, Versailles, 11 October 2012
Singe. Aquarelle extraite du Livre des oiseaux de la Ménagerie de Versailles, 1710 (MS F 930, folio 7). © Bib. Municipale de Versailles
Depuis 2005, le Centre de recherche du château de Versailles et la Bibliothèque municipale se sont engagés dans un partenariat visant à numériser les ressources concernant le château et la vie à la cour aux XVII et XVIIIe siècles ; au cours de deux campagnes successives de numérisation, ce sont près de 16 300 pages ou images qui ont été numérisées provenant des collections de la Bibliothèque (manuscrits, estampes et imprimés), complétant ainsi les 26 000 images issues des collections iconographiques ou des archives du château de Versailles.
Cette immense base de données permet de découvrir des images différentes et singulières du château de Versailles, de ses jardins, des fêtes, des personnages qui s’y côtoyaient… Quelques thèmes y sont plus particulièrement développés : la vie à la cour, les fêtes, le costume… On y trouve aussi bien des estampes, des dessins, des manuscrits que des plans, des documents d’archives ou des périodiques. On peut ainsi y découvrir les plus belles images du Carrousel de Louis XIV, l’un des plus magnifiques livres de fêtes jamais réalisé, que feuilleter l’un des Almanachs de Versailles, ces petits vade-mecum annuels où l’éditeur Blaizot résumait tout ce qu’il fallait savoir de la vie à Versailles, à la cour ou à la ville, à la fin de l’Ancien Régime. La banque d’images mise en œuvre par le CRCV est ainsi un outil précieux pour l’historien, l’éditeur, l’amateur ou le simple curieux.
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Soirée — Patrimoine écrit et numérique
Présentation des fonds numérisés de la Bibliothèque municipale de Versailles présents dans la banque d’images du Centre de recherche du château de Versailles avec :
• Raphaël MASSON, conservateur du patrimoine et adjoint au directeur du Centre de recherche du château de Versailles,
• Élisabeth MAISONNIER, conservateur en charge du pôle patrimoine de la Bibliothèque municipale de Versailles,
• Isabelle PLUVIEUX, responsable des sites web et des bases de données du Centre de recherche du château de Versailles.
Jeudi 11 octobre 2012 à 19 heures
Atelier numérique, 8, rue Saint Simon – 78 000 Versailles
Tél. : 01 39 24 19 85 – clotilde.despres@versailles.fr
Entrée libre dans la limite des places disponibles
Exhibition | Napoléon and the Art of Propaganda
From the UIMA:
Napoléon and the Art of Propaganda: Art from the Collection of Pierre-Jean Chalençon
University of Iowa Museum of Art, Iowa City, 13 September 2012 — 29 January 2013
Curated by Heidi Kraus and Sean O’Harrow, with Dorothy Johnson
The masses… must be guided without their knowing it.
— Napoléon I to Joseph Fouché, his minister of police
Hippolyte (Paul) Delaroche, Portrait of Emperor Napoleon the First in his Office,
(Collection of Pierre-Jean Chalençon)
From approximately 1800-1815, Napoléon Bonaparte used official propaganda to control artistic autonomy and manipulate public perceptions of his regime both in France and throughout Europe. As a result, government-sponsored art created during the Consulate and Empire is frequently dismissed by art historians as lacking in experimentation, complexity, and beauty. In this extraordinary traveling exhibition, Napoléon and the Art of Propaganda, the aesthetic value and social history of so-called ‘propagandistic art’ created during the First Empire is critically re-examined through the use of visual display, close analysis, and scholarly research. Despite strict censorship laws and a dictatorial arts administration, this exhibition demonstrates that many artists working in the service of Napoléon were deeply inspired by and passionately engaged with their prescribed ‘official’ subjects. Less of a literal presentation, this aesthetic cornucopia shows off the stunning visual aspects of this luxurious Age of Empire.
Napoléon and the Art of Propaganda is a visual chronology of more than 120 drawings, prints, paintings, works of sculpture, manuscripts, medals, and objets d’art from the remarkable private Parisian collection of Pierre-Jean Chalençon. This exhibition considers the full range of official art created under Napoléon I and emphasizes the aesthetic qualities of the period. Some of the most important artists, architects, and sculptors are included, such as Jacques-Louis David, Andrea Appiani, Anne-Louis Girodet, François Gérard, Charles Percier, and Pierre-François-Léonard Fontaine. The selected works display the visual power of the Napoléonic propaganda ‘machine’ and its scope of influence both politically and artistically; illustrate how Napoléon, his ministers, and artists fabricated and produced an imperial iconography; and provide the viewer with an understanding through the use of images of the legend or myth of Napoléon that persisted after his death in exile.
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An exciting array of city-wide programs has been planned to complement the exhibition: lectures (by Bernard Chevallier, Christopher Johns, and Susan Taylor Leduc), concerts, films (Sokurov’s Hubert Robert: A Fortunate Life and Patrice Jean’s Napoléon, David Le sacre de I’image), and readings. The full schedule is available here»
Call for Papers | Restoration Knowledge
Restoration Knowledge: Reception Models for Museology and Art History
Sapienza — University of Rome, April 2013
Proposals due by 30 October 2012
It seems to be essential, at this moment, to confirm that which not long ago may have been considered paradoxical, that is to say the need to interpret the history of restoration, of conservation, of safeguard, as a process closely related to art history, art criticism and the history of museum institutions. Furthermore, in order to cope with various different shifts, one feels the necessity to go back to the beginning and analyse the subject from different angles, alternating philological analysis with different historiographical sources and traditions in order to be able to interpret art works in the context of their true historical stratification so that theoretical, practical and scientific considerations can also gain meaning in the light of the operative, cultural and institutional positions referred to.
The conference, foreseen for April 2013, has the purpose of presenting research revealing the dynamic, reciprocally influential relationship between historic-artistic forms of thought, museum history and safeguard of the patrimony and history of restoration, being a pause for reflection after about fifteen years of studies carried out in the context of Projects of Important National Interest (PRIN), nationally coordinated by the Sapienza University of Rome, in collaboration with the Historical Archive and Data Bank of Italian Restorers (Giovanni Secco Suardo Association) for the project named Culture of restoration and restorers: reception models for museology and ancient and modern art history.
Contributions on the following subjects are required:
1. Works and References Considerations focusing on conservation matters of single works or decorative complexes proving to be particularly significant as examples of how restoration choices are intimately connected to changes of reception, critical acclaim and increased knowledge of that work. Furthermore it could be useful to consider art criticism history texts as reference for restoration history and visa versa.
2. Roles and Biographies Contributions dedicated to connoisseurs, art historians, scholars, scientific experts, restorers who have had to deal with the problem of restoration from a theoretical and practical point of view, in relation, or not, to a specific institutional situation.
3. Museums Contributions in order to understand if some museums have had a precise role in the guidelines of the restoration and conservation policy and, this being the case, how much these guidelines have met with the planning and installation criteria applied.
Those interested are invited to send, by the 30th October 2012, a brief abstract of the contribution they wish to propose (maximum 2.000 characters, spaces included), sending it to convegnorestauro2013@gmail.com. Abstracts and papers will be accepted in both English and Italian. By the 30 November 2012, after a selection carried out by the scientific committee, possible acceptance of the proposal will be communicated by e-mail.
Conference Curators
Maria Beatrice Failla (Turin University)
Susanne Adina Meyer (Macerata University)
Chiara Piva (Ca’ Foscari University Venice)
Scientific Committee: Giuseppe Basile, Olivier Bonfait, Giorgio Bonsanti, Gisella Capponi, Silvia Cecchini, Marco Ciatti, Gianluigi Colalucci, Paola D’Alconzo, Helen Glanville, Michela di Macco, Massimo Ferretti, Carlo Giantomassi, Donata Levi, Mario Micheli, Marina Righetti, Lidia Rissotto, Pilar Roig Picazo, Orietta Rossi Pinelli, Ursula Schaedler-Saub, Lanfranco Secco Suardo, Bruno Toscano, Nathalie Volle
At Auction | One of Only Three Original Fahrenheit Thermometers
Christie’s press release for an upcoming sale:
Travel, Science, and Natural History Sale [6911]
Christie’s, South Kensington, London, 9 October 2012
Mercury thermometer, invented by Daniel Gabriel Fahrenheit
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Christie’s is proud to announce that an original mercury thermometer, invented by Daniel Gabriel Fahrenheit in 1714 and the only remaining example in private hands, is to be offered at auction in October 2012. One of only three thermometers ever created by the famous physicist, the others are owned by Museum Boerhaave, in Leiden, the Netherlands, and until recently, these were thought to be the only examples in existence. When offered at auction within Christie’s sale of Travel, Science, and Natural History including the Polar Sale to commemorate the Scott Centenary, 1912-2012 on 9 October 2012 [Sale 6911, Lot 69], the thermometer is expected to fetch between £70,000 and £100,000.
James Hyslop, Scientific Specialist, Christie’s commented, “It is very exciting to be able to offer at auction such an incredibly important scientific instrument, and one which collectors would never have believed would come to market. Inscribed on the back by Fahrenheit himself, this is an exceptional piece which has no precedent, and which I expect to cause a real buzz with connoisseurs and institutions on every continent around the globe.”
Daniel Gabriel Fahrenheit (24 May 1686 – 16 September 1736)
A household name during his lifetime and even more so in the centuries since, Daniel Gabriel Fahrenheit was a physicist, engineer, and glass blower, best known for the temperature scale bearing his name which is still used today in many countries, as well as for his improvements on the mercury thermometer (1714). Born in the Polish-Lithuanian Commonwealth, he spent most of his life in the Dutch Republic. At the age of fifteen, following the death of his parents through mushroom poisoning, Fahrenheit began training as a chemist, and his personal interest in natural science led to his studies and experimentation in the field.
Things: Material Culture at Cambridge, Michaelmas Term 2012
Programming from CRASSH at the University of Cambridge:
Things: Material Cultures of the Long Eighteen Century
Centre for Research in the Arts, Social Sciences and Humanities (CRASSH), Cambridge, ongoing series
The seminar meets alternate Tuesdays 12.30-2.30pm in the Seminar Room, Alison Richard Building, West Road. A light lunch will be provided.
The early-modern period was the age of ‘stuff.’ Public production, collection, display and consumption of objects grew in influence, popularity, and scale. The form, function, and use of objects, ranging from scientific and musical instruments to weaponry and furnishings were influenced by distinct and changing features of the period. Early-modern knowledge was not divided into strict disciplines, in fact practice across what we now see as academic boundaries was essential to material creation. This seminar series uses an approach based on objects to encourage us to consider the unity of ideas of this period, to emphasise the lived human experience of technology and art, and the global dimension of material culture. We will build on our success discussing the long eighteenth century in 2012-13 to look at the interdisciplinary thinking through which early modern material culture was conceived, adding an attention to the question of what a ‘thing’ is, to gain new perspectives on the period through its artefacts.
Each seminar will feature two talks each considering the same type of object from different perspectives
Tuesday, 9 October 2012 – Thinking Things
Jonathan Lamb (Vanderbilt University) and Elizabeth Eger (King’s College London)
Tuesday, 23 October 2012 – Worshipping Things
Mary Laven (University of Cambridge) and Maia Jessop (University of Cambridge)
Tuesday, 6 November 2012 – Stilling Things
Hanneke Grootenboer (Oxford) and Joserra Marcaida Lopez (Cambridge)
Tuesday, 20 November 2012 – Curing Things
Simon Chaplin (Wellcome Library) and Christelle Rabier (London School of Economics)
Visit the external blog or subscribe to the group mailing list.
Exhibition | Pride and Prejudice: Female Artists in France and Sweden
Press release from Sweden’s Nationalmuseum in Stockholm:
Pride and Prejudice: Female Artists in France and Sweden 1750–1860
Nationalmuseum, Stockholm, 27 September 2012 — 20 January 2013
Constance Marie Charpentier, Melancholy, 1810
(Amiens: Musée de Picardie)
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Pride and Prejudice – Female Artists in France and Sweden 1750–1860 explores conditions for female artists in France and Sweden during a period of revolutionary social change. The exhibition presents works by some of the French and Swedish women who managed to establish themselves as artists and create a name for themselves at this time. Works by amateurs are also on display, since women of higher standing were expected to master skills such as drawing and embroidery.
The exhibition includes six works by Marie Suzanne Giroust. She was married to artist Alexander Roslin and is The Lady with the Veil in his well-known painting of that name. During her lifetime, she was also a recognised figure, but she later came to be omitted from art history, a fate that she shares with many other female artists. Today only 19 of her works can be identified with any certainty. Giroust was one of the few women to be inducted into France’s Royal Academy of Painting and Sculpture in the late 18th century. Its members had the exclusive opportunity to showcase works at the Salon in Paris, the most important exhibition in France at the time. Within the Royal Academy, there was staunch opposition to female artists. In the mid-18th century, a ceiling was introduced that permitted no more than four members of this gender at any one time.
Adélaïde Labille-Guiard, Portrait of a Woman, 1787 (Musée des beaux-arts de Quimper)
During this period, family ties or social relations to male artists were crucial in determining women’s opportunities for training and inclusion in the art establishment. Giroust was accepted into the Royal Academy for her high artistic quality, but her husband’s prominence was no doubt also a significant factor. The same was true for other female members: Anne Vallayer-Coster, Elisabeth Louise Vigée-Lebrun and Adélaïde Labille-Guiard were all under Royal patronage and Marie Thérèse Reboul was married to the director of the French Academy in Rome. In Sweden too, female artists were unable to access the training offered by the Royal Swedish Academy of Fine Arts. Ulrica Fredrica Pasch became the first female member of the Royal Academy in 1773. She was apprenticed to her father, portraitist Lorens Pasch the Elder, and her brother Lorens Pasch the Younger was a professor and director of the Royal Academy. Once again, family ties and relations to established artists were a precondition for admission.
After the French Revolution, the Salon was opened up to all artists. Art was broadened out, enabling women to exhibit on the same terms as men. At the same time, the revolution caused the well-heeled customers to disappear, which affected incomes and the chances of finding good patrons. Women were also still excluded from all public art-related education. Their only chance was to enrol at private art schools such as the studios of Jacques-Louis David and Jean-Baptiste Regnauld. Some of the most eminent female artists had their own students, but these were all women. Soon these exclusively female studios in Paris also began to attract Swedish students.
During the first half of the 19th century, more and more women were able to step out of the shadows and see their career follow an increasingly professional course. In certain areas, such as French miniature painting, women led the field. Portraits were a path to both fame and fortune and, coupled with genre painting, came to form an important area for women artists. Leading figures during the first half of the 17th century include Cécile Hortense Haudebourt-Lescot and Marguerite Gérard in France, and Maria Röhl, Sophie Adlersparre and Amalia Lindegren in Sweden. Women gained the formal right to become fully-fledged students at the Royal Swedish Academy of Fine Arts in 1864, which is why the exhibition has taken this particular decade as its cut-off point.
Pride and Prejudice is a joint venture with Washington’s National Museum of Women in the Arts, where several of the French works have featured in the exhibition Royalists to Romantics. In Stockholm, they will be complemented with key loans from France plus works from Nationalmuseum and other collections. For many of the works, this will be their first appearance before a Swedish audience. The exhibition comprises around 250 objects, from works in oils and pastels to drawings, miniatures and embroidered artworks. The artists on show include Marie Suzanne Giroust, Anne Vallayer-Coster, Elisabeth Louise Vigée-Lebrun, Adélaïde Labille-Guiard, Marie Thérèse Reboul, Cécile Hortense Haudebourt-Lescot, Marguerite Gérard, Ulrica Fredrica Pasch, Maria Röhl, Sophie Adlersparre and Amalia Lindegren.
The exhibition is accompanied by a fully illustrated catalogue containing articles written by various Swedish and international specialists. Magnus Olausson, Eva-Lena Bengtsson, Barbro Werkmäster, Eva-Lena Bergström, Eva-Lena Karlsson and Solfrid Söderlind are among the Swedish authors.
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Theme Day
Sunday, 14 October, 1–3 pm
(Program will be announced later in September)
Lecture
Thursday, 17 January, 6 pm
Royalists and Revolutionaries: Women Artists and the French Revolution, lecture by Laura Auricchio, Associate Professor of Art History, Parsons The New School for Design. In English.
Conference | Attingham Looks to the Future of the Country House
Looking Ahead: The Future of the Country House
The Attingham Trust 60th Anniversary Conference
The Royal Geographical Society, London, 12-13 October 2012
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The Attingham Trust celebrates its sixtieth anniversary with a conference considering the current state of historic houses and house museums across three continents, in the United Kingdom, the Republic of Ireland, the United States and Australia. With the generous support of the Paul Mellon Centre for Studies in British Art speakers from each of those countries discuss successful current developments as well as the varying problems that each country faces – including the rapid decline of the traditional house museum in the USA, the attempts to preserve houses in the Republic of Ireland, and the developing role of the historic house in Australian conservation. The British country house is studied from the point of view of private and public owners including impressive case studies and depressing cuts in funding, and illuminated from an academic, curatorial and dramatic perspective, from Nikolaus Pevsner to Downton Abbey.
This conference is open to all (alumni and non-‐alumni) and promises to be a very stimulating event and we hope to see as many of you there as possible. The cost of the conference is £55 per day, to include all refreshments. The programme, a booking form and our Paypal link (if you wish to pay this way) can be found on the Conference page of our website. Alternative payment methods are detailed on the booking form. NB: Every booking and payment must be accompanied by a fully-‐ completed and returned booking form.
There will be a special rate of £30 per day for students (under-‐graduate and post-‐graduate) studying History of Art, Architecture, Heritage Studies or a related subject. Places are limited. Please apply stating your place of study and subject.
There will be an alumni event on the Friday evening at the House of Lords. A ticket for this event is included with attendance on at least one day of the conference. If you are an alumnus and unable to come to the conference but want to come to the evening event, you are extremely welcome but please note that you will need to purchase a ticket for £55. Places at this event are limited so please apply for a ticket from Rebecca Parker sooner rather than later. For all further enquiries please contact Rebecca Parker at rebecca.parker@attinghamtrust.org or +44 20 7253 9057.
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F R I D A Y , 1 2 O C T O B E R 2 0 1 2
9.00 Registration and coffee
9.45 Welcome
John Lewis, Chairman, The Attingham Trust and Annabel Westman, Director, The Attingham Trust
10.00 Confessions of a Country House Snooper: Tim Knox interviews John Harris
Tim Knox, Director, The Sir John Soane’s Museum John Harris, Architectural Historian
Session – Changing Perceptions of the Country House in Britain
Chair: Martin Postle, Assistant Director, Paul Mellon Centre for Studies in British Art
10.50 Studying the Country House: Views from the Academy
Giles Waterfield, The Attingham Trust
11.25 The Country House in The Buildings of England, 1951-‐2011
Charles O’Brien, Series Editor, Pevsner Architectural Guides
12.00 Country House Collections: What Do They Mean Today?
Christopher Ridgway, Curator, Castle Howard
12.45 LUNCH
Session – New Visions for Old Houses: The Private Perspective
Chair: Edward Harley, President of the Historic Houses Association
14.00 Introduction
Edward Harley, President of the Historic Houses Association
14.15 The Buccleuch Estates
The Duke of Buccleuch and Queensberry, KBE DL
14.50 Burghley House in the Twenty-‐First Century
Miranda Rock, Burghley House
15.45 Perspectives on the Historic House
Julian Fellowes, Writer and broadcaster
17.00 Close
Alumni Drinks at the House of Lords
S A T U R D A Y , 1 3 O C T O B E R 2 0 1 2
9.00 Registration and coffee
Session – Houses in Trust: The Country House in Public/Charitable Ownership
Chair: Giles Waterfield, The Attingham Trust
9.30 The Crisis of the Country House in Local Government Care
Jeremy Musson, Architectural Historian
10.05 The National Trust and Its Country Houses
Lisa White, Chairman of the National Trust Arts Panel
10.40 Presenting the Historic House
Anna Keay, Director, The Landmark Trust
Session – The Irish Country House
Chair: John Redmill, Irish Georgian Society
11.45 “Tombstones of a departed ascendancy”: The Irish Country House since Independence
Terence Dooley, Director of CSHIHE, National University of Ireland, Maynooth
12.20 The Work of the Irish Heritage Trust
Kevin Baird, Director, Irish Heritage Trust
13.00 LUNCH
Session – Time to Rethink? The House Museum in the United States
Chair: Peter Trippi, Editor, Fine Art Connoisseur
14.15 Falling Down: The Current State of the Historic House in America
Sean Sawyer, Executive Director, The Royal Oak Foundation
14.40 Newport: A Case Study in Preserving Great Houses, Great Landscapes and a Great City
John Tschirch, Director of Museum Affairs, Newport Preservation Society
15.15 The American House Museum in Historical Perspective
Craig Hanson, Associate Professor, Calvin College, Michigan
Session – The Australian Country House: Past and Future
Chair: His Excellency Mr John Dauth, High Commissioner for Australia
16.00 The Country House in Australia: Setting the Scene
Gini Lee, Professor, University of Melbourne
16.30 The Country House in Contemporary Australia
Mark Taylor, Professor, University of Newcastle, Australia
Conference | The Trade in Luxury & Luxury in Trade
From the conference programme:
Le Commerce du Luxe – Le Luxe du Commerce: Production, Exposition et Circulation
Musée Gadagne, Lyon, 21-23 November 2012
Le colloque international pluridisciplinaire Le commerce du luxe – Le luxe du commerce, organisé par le LARHRA (UMR 5190 Laboratoire de Recherche Historique Rhône-Alpes), se tiendra aux musées Gadagne, 1 place du petit Collège, à Lyon, les mercredi 21, jeudi 22 et vendredi 23 novembre 2012. Tant par le sujet, la date que le lieu choisis, le colloque prendra place, à part entière, dans les manifestations de l’Automne de la soie 2012. Nous voulons exprimer ainsi, de manière visible, l’engagement des historiens de l’Université de Lyon dans la valorisation de l’héritage des industries de la soie, industrie de luxe s’il en est, une des richesses emblématiques de la métropole rhodanienne.
Ces industries ont en effet fortement participé à la structuration de l’espace régional par les flux de capitaux, de matières et d’hommes qu’elles ont générés autour de la métropole lyonnaise dans une vaste zone couvrant totalement ou partiellement les départements de l’actuelle région Rhône-Alpes et même au-delà. Elles ont contribué à l’adaptation progressive des populations aux exigences de l’industrie, à l’accumulation de savoir-faire et au développement de l’esprit d’entreprise. Enfin, le commerce des soieries et celui des soies, dont les horizons ont très tôt dépassé les limites nationales, ont été des facteurs majeurs de l’ouverture de Lyon et de la région Rhône-Alpes aux horizons internationaux.
ARGUMENTAIRE
Comment se produisent, s’exposent, se diffusent et se consomment les produits du luxe ? Le but du colloque est de revenir sur la question de la spécialisation progressive d’un commerce voué aux objets précieux qui concourent à l’embellissement de la personne ou du cadre de vie. Il entend être une manifestation largement ouverte d’un point de vue chronologique, spatial et disciplinaire, faisant appel à des spécialistes d’horizons différents.
Cette approche interdisciplinaire du marché du luxe sur la longue durée, de la fin du Moyen Age à nos jours, permettra de confronter les expériences et de mettre en relief les permanences et les mutations. Le luxe a souvent été cantonné aux productions des beaux-arts ; il s’agira ici de montrer la richesse et la diversité de ce qui était (et reste) compris sous cette appellation et d’observer comment se sont progressivement mis en place des marchés spécialisés. Ce colloque développera trois approches spécifiques: la circulation spatiale du luxe (marchands et marchandises), l’économie du luxe (concevoir, produire, vendre), les circulations sociales du luxe (luxe et demi-luxe).
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M E R C R E D I , 2 1 N O V E M B R E 2 0 1 2
I — MARCHANDS ET MARCHANDISES. LA CIRCULATION SPATIALE DU LUXE
9:00 Accueil
9:30 Discours introductifs
10:00 Ingrid HOUSSAYE MICHIENZI, (FRAMESPA-UMR 5136, Toulouse Le Mirail) –De L’Afrique Subsaharienne aux Marchés Européens: Les Compagnies Marchandes Florentines et le Commerce des Plumes d’Autruche (Fin XIVe — Début XVe Siècle)
10:30 Wilfried ZEISLER (Université Paris IV) — De New York à Saint-Pétersbourg: Le Commerce International du Luxe à La Belle-Époque
11:00 Pause
11:30 Lavinia MADDALUNO (Université de Cambridge) — Scenarios of Trade: Eighteenth-Century British Watches, Clocks, Telescopes, and the Two ‘Easts’
12:00 Fabienne MOREAU (Veuve Clicquot, Groupe LVMH) — Le Commerce du Champagne au XIXe Siècle: Sur la Piste des Bouteilles de Champagne Veuve Clicquot Découvertes dans une Épave de la Mer Baltique en 2010
12:30 Discussion
13:00 Déjeuner
14:30 Diego DAVIDE (Université de Naples Suor Orsolo Benincasa) — Production, Circulation, and Consumption of Gold and Silver in the XVIIIth Century in the Kingdom of Naples
15:00 Anne MONTENACH (Aix-Marseille Université) — Vendre le Luxe en Province: Circuits Officiels et Réseaux Parallèles dans le Dauphiné du XVIIIe Siècle
15:30 Pause
15:45 Federica VERATELLI (Université Paris-Est Créteil Val de Marne) — Les Marchés du Luxe et Leurs Réseaux à la Renaissance: Le Cas des Hommes d’Affaires Italiens dans les Flandres, 1477-1530
16:15 Nadia MATRINGE (European University Institute) — Le Commerce du Luxe à Lyon au Milieu du XVIe Siècle: Un Monopole Italien?
16:45 Discussion
J E U D I , 2 2 N O V E M B R E 2 0 1 2
II — L’ÉCONOMIE DU LUXE : CONCEVOIR, PRODUIRE, VENDRE
8:30 Accueil
9:00 Eugénie BRIOT (Université Paris-Est Marne-la-Vallée) — La Parfumerie Parisienne du XIXe Siècle: Fabrique d’Une Industrie Delux
9:30 Florence CHARPIGNY (CNRS-LARHRA, Lyon) — Luxe en Images, Images du Luxe: Les Soieries F. Ducharne dans l’Officiel de la Couture et de la Mode, 1921-1972
10:00 Ekaterina BULGAKOVA (Université d’État de Moscou Lomonossov) — Le Commerce de Luxe Français à Moscou et Saint-Pétersbourg du XIXe Siècle: Topographie, Exposition, Perception
10:30 Pause
10:45 Stéphane LEMBRÉ (Université d’Artois-IUFM Nord-Pas de Calais) — Former les Ouvriers du Luxe: La Société d’Encouragement à L’Art et à l’Industrie au Service du Savoir-Faire, 1889-1973
11:15 Anne PERRIN-KHELISSA (Université catholique de l’Ouest, Angers) — De l’Agrément au Goût: Justifier les Manufactures d’État sous la Révolution — Sèvres, Gobelins, Savonnerie
11:45 Discussion
12:30 Déjeuner
14:30 Sophie RAUX (Université Lille 3) — François Verbeelen: Un Entrepreneur Exceptionnel du Loteries d’Oeuvres d’Art et d’Objets de Luxe dans les Flandres à Fin du XVIe Siècle et au Début du XVIIe Siècle
15:00 Barbara FURLOTTI (The Warburg Institute, Londres) — Mapping the Market for Antiquities in Early Modern Italy: Networks and Practices
15:30 Maud VILLERET (Université de Nantes) — Les Confiseurs au XVIIIe Siècle: Les Stratégies de Vente d’Un Luxe Sucré
16:00 Pause
16:15 Anne WEGENER-SLEESWIJK (Université Paris I) — Corruption, Vice et Vin: La Lutte pour un Marché de Luxe Traditionnel aux Provinces-Unies, XVIIIe Siècle
16:45 Philippe MEYZIE (Université Bordeaux 3) — Produits des Terroirs et Marché du Luxe Alimentaire XVIIIe-Début XIXe Siècle
17:15 Discussion
V E N D R E D I , 2 3 N O V E M B R E 2 0 1 2
III — LUXE ET DEMI-LUXE. LES CIRCULATIONS SOCIALES DU LUXE
8:30 Accueil
9:00 Manuel CHARPY (CNRS-IRHIS, Lille 3) — La Rareté Partagée: Commerces et Consommations des Antiquités et des Curiosités au XIXe Siècle — Paris, Londres, et New York
9:00 Sabine PASDELOU (Université Paris-Ouest Nanterre la Défense) — Le Japonisme Popularisé des Manufactures de Céramique: La Diffusion du Demi-Luxe en France entre 1880 et 1950
10:00 Marcia POINTON (Université de Manchester) — The Diamond Engagement Ring and the Relativity of Luxury
10:30 Pause
10:45 Audrey GLÉONEC (Université Paris-Ouest Nanterre la Défense) — La Démocratisation du Mueble de Style au XIXe Siècle
11:15 Camille MESTDAGH (Université Paris IV) — Curiosités et Luxe dans l’Ameublement du XIXe Siècle: Le Commerce et l’Oeuvre des Beurdeley
11:45 Discussion
12:30 Déjeuner
14:30 Katie SCOTT (The Courtauld Institute of Art, Londres) and Hannah WILLIAMS (St John’s College, Oxford) — Everyday Lives and Luxury Objects: François Boucher’s Shells and Charles-Antoine Coypel’s Watch
15:00 Jon STOBART (Université de Northampton) — The Luxury of Learning: Books, Knowledge, and Display in the English Country House, 1730-1800
15:30 Pause
15:45 Amanda PHILLIPS (Institute of Iranian Studies, University of St Andrews in Scotland) — The Sincerest Form of Flattery: Ottoman Furnishing Velvets and Their Imitators, 1600-1800
16:15 George LAZAR (Institut d’Histoire N. Iorga, Bucarest) — Les Marchands de Luxe, Le Luxe des Marchands dans l’Europe Orientale, XVIIe-XVIIIe Siècles
16:45 Discussion
Forthcoming Book | The First Modern Museums of Art
Due out this November from The Getty:
Carole Paul, ed., The First Modern Museums of Art: The Birth of an Institution in 18th- and Early-19th-Century Europe (Los Angeles: J. Paul Getty Museum, 2012), 368 pages, ISBN 9781606061206, $50.
In the eighteenth and early nineteenth centuries, the first modern, public museums of art—civic, state, or national—appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest and still major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums’ collections and the role of the institutions in educating the public.
The introductory chapters by art historian Carole Paul, the volume’s editor, lay out the relationship among the various museums and discuss their evolution from private noble and royal collections to public institutions. In concert, the accounts of the individual museums give a comprehensive overview, providing a basis for understanding how the collective emergence of public art museums is indicative of the cultural, social, and political shifts that mark the transformation from the early-modern to the modern world. The fourteen distinguished contributors to the book include Robert G. W. Anderson, Adrian von Buttlar, Jeffrey Collins, Paula Findlen, Thomas W. Gaehtgens, Andrew McClellan, Magnus Olausson, Bénédicte Savoy, Andrew Schulz, Solfrid Söderlind, Brandon Taylor, Tristan Weddigen, and Michael Yonan.
Carole Paul is a scholar of seventeenth- and eighteenth-century art in Italy, whose recent work concerns the history of museums and collections in the early-modern period. Her publications include Making a Prince’s Museum: Drawings for the Late-Eighteenth-Century Redecoration of the Villa Borghese (Getty Publications, 2000).
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