Enfilade

Call for Papers | The Architecture of the Cassinese Congregation

Posted in Calls for Papers by Editor on July 26, 2024

From ArtHist.net:

The Architecture of the Cassinese Congregation, 15th–18th Centuries
Padua and Vicenza, 30 January — 1 February 2025

Organized by Gianmario Guidarelli with Ilaria Papa, Paola Placentino, and Riccardo Tonin

Proposals due by 31 August 2024

The University of Padua (ICEA Department), in collaboration with the Centro Internazionale di Studi di Architettura Andrea Palladio/Palladio Museum and the Abbey of Santa Giustina in Padua, is organising a three-day conference addressing the architecture of the Cassinese Benedictine Congregation, to be held in Padua and Vicenza from 30 January until 1 February 2025.

The conference is part of the PRIN 2022 research project CoenoBIuM. Art and Architecture of the Cassinese Benedictine Congregation (XV–XVIII centuries): Digital and Spatial Analysis Strategies through BIM Models, which studies the architectural and artistic practice of the Cassinese Benedictine Congregation from its foundation until the end of the 18th century from a comparative perspective and with the use of the innovative and experimental Building Information Modeling (BIM) methodology. The project is coordinated by P.I. Gianmario Guidarelli (University of Padua), is structured in three Research Units belonging respectively to the Universities of Padua, Bologna (Associated Investigator: Sonia Cavicchioli) and Brescia (Associated Investigator: Paolo Borin), and gathers a team of professors and young researchers.

The reform of monastic life instituted by Ludovico Barbo and formalized in 1419 revolutionized Benedictine monasteries by reorienting monks’ lives towards contemplation and personal prayer. This new model of monastic life entailed the transformation of cenobitic spaces of the cenobia and the introduction of new theological and iconographic themes in painting and sculpture in the congregation’s churches and monasteries. This broad topic of study was inaugurated by the studies of James Ackerman (1977), Mary-Ann Winkelmes (1996), Bruno Adorni (1998), Guido Beltramini (1995, 2007, 2013), Andrea Guerra (2006), and Tracy Cooper (2005), and then further developed in the 2017 conference Network of Cassinese Arts (organised by Alessandro Nova and Giancarla Periti, KHI Florence). The CoenoBIuM project aims to verify this hypothesis using the BIM methodology, which facilitates the management of large amounts of data of different nature (archival, bibliographic, iconographic, material, geometric-spatial) within a framework of interdisciplinary collaboration. The project will gradually extend to the study of the entire network of monasteries of the Congregation, thanks to the sharing of data (open access) and results (thematic seminars, conferences and publications).

Focusing on the building practices and architecture of the Cassinese Congregation, the conference welcomes studies on individual monasteries as well as on the following general thematic issues:
• shared building regulations
• shared building practices: site management and economy
• circulation of architects, workers, materials
• relationship with local building traditions
• relationship with the urban and territorial context
• circulation and use of architectural drawings
• relationship with treatises
• antiquarian culture: spatial models and architectural language
• spatial models of other contemporary congregations: Olivetans, Laterans…
• spatial models of reference: Cistercians, Dominicans, Canons Regular, etc.
• relations with other reformed Benedictine congregations in Europe (France, Germany, etc.)
• the Cassinese congregation as a model for the architecture of the new Counter-Reformation congregations
• architecture and monastic life: liturgy and spirituality in relation to spaces

Paper proposals, consisting of a short abstract (250 words max.) and a short CV, should be sent as an email attachment to coenobium@dicea.unipd.it by 31 August 2024. Accepted proposals will be announced by 15 September 2024. The proceedings of the conference will be published. Additional information is available here.

Call for Papers | Land and Power in Scotland

Posted in Calls for Papers by Editor on July 25, 2024

From the Call for Papers:

Land and Power in Scotland: History, Law, and the Environment
Paris-Panthéon-Assas University, 26–27 June 202

Proposals due by 30 January 2025

Breathes there the man, with soul so dead,
Who never to himself hath said,
This is my own, my native land!

Immediately after these famous lines, their author, Sir Walter Scott, went on to describe his ‘native land’ as ‘O Caledonia! stern and wild/… Land of brown heath and shaggy wood/ Land of the mountain and the flood’. Although part of a wider romantic nationalist tradition of professing love for one’s native land through love of its landscape, Scott’s words reflect the special place of the land in Scotland’s identity. Scottish landscape defines Scottishness both within and beyond its borders. Indeed, it is no coincidence that Donald Dewar chose to quote Scott’s words at the opening of the new Scottish Parliament on 1st July 1999.

There are few nations where views of the land are both so fundamental and so fraught. Historically, Scotland combined a high proportion of harsh and often marginally productive land with the need to maintain an effective warrior class to resist English expansionism. The solution was a heavily militarised aristocracy endowed with vast territorial estates and innumerable retainers, over which it exercised almost princely power. While by no means unique when it originated in the Norman period, the resulting pattern of concentrated landownership has persisted to this day, even as social, economic and legal relationships have undergone dramatic change. Most notably, the 18th- and 19th-century Clearances upended the mutual obligations that underpinned the old feudal order, as the great landowners sought to transform their estates for intensive agricultural exploitation. The Clearances’ enduring legacy of social conflict, environmental degradation, and vast material inequality has given land a uniquely complex and controverted role in Scotland’s contemporary cultural, political and legal life.

Scotland now has one of the most concentrated patterns of land ownership in the world with an estimated 432 families owning half of all private land. Reflecting this situation, land reform has, since devolution, become a key issue in Scottish politics. Successive legislative initiatives have focused mainly on ending feudal tenure and simplifying titles to land, as well as creating a celebrated ‘right to roam’ and establishing a ‘community right to buy’ from existing landowners. Further legislation, the Land Reform (Scotland) Bill, was introduced to Parliament on 14th March 2024 to, inter alia, increase the influence of local communities when large landholdings of over 1,000 hectares which represent more than 50% of Scotland’s land are being sold.

The aim of this international and pluri-disciplinary two-day conference is to explore the current concern for land reform in its social, cultural, legal and environmental contexts. The intention is to gather specialists from a range of disciplines including history, geography, law, literature, political science, economics, sociology, and the arts, as well as environmental and climate change specialists, to explore the interactions between land and power in Scotland along three main axes:

History — historical and symbolic roots of land and identity/power in Scotland, and their past and contemporary implications, the (mis)use of history to claim or retain rights, the history of Scottish landscapes in art and science, the history of environmentalism in Scotland, etc.

Law — land law and policy reform in Scotland, its origins and current concerns, such as the ‘right to roam’ and the Scottish Outdoor Access Code, land reform, community ownership, transmission and inheritance, the notion of ‘environmental justice’, etc.

The Environment — eco-activism and sustainable development, for example rewilding, reforesting and repeopling, renewable energy, eco-tourism and rural development, the environment as a source of wealth and power, green nationalism, nature and Scottish identity, etc.

The conference will be held in English and French, and a selection of papers will be published in an academic publication after the conference. Please send your proposals (300 words), a title, and a short biography (in French or English) to the scientific committee by 30 January 2025:
• Clarisse Godard Desmarest, Professor at Picardie Jules Verne University,
clarisse.godarddesmarest@u-picardie.fr
• Juliette Ringeisen-Biardeaud, Associate Professor at Paris-Panthéon-Assas University
juliette.ringeisen-biardeaud@u-paris2.fr
• Aurélien Wasilewski, Associate Professor at Paris-Panthéon-Assas University,
aurelien.wasilewski@u-paris2.fr

New Book | Between Design and Making

Posted in books by Editor on July 24, 2024

From UCL Press, where it’s also available as a free PDF:

Andrew Tierney and Melanie Hayes, eds., Between Design and Making: Architecture and Craftsmanship, 1630–1760 (London: University College London Press, 2024), 339 pages, ISBN: 978-1800086951 (hardback), £55 / ISBN: 978-1800086944 (paperback), £35.

The seventeenth and eighteenth centuries represent a high point in the intersection between design and workmanship. Skilled artisans, creative and technically competent agents within their own field, worked across a wide spectrum of practice that encompassed design, supervision, and execution, and architects relied heavily on the experience they brought to the building site. Despite this, the bridge between design and tacit artisanal knowledge has been an underarticulated factor in the architectural achievement of the early modern era.

Building on the shift towards a collaborative and qualitative analysis of architectural production, Between Design and Making re-evaluates the social and professional fabric that binds design to making and reflects on the asymmetry that has emerged between architecture and craft. Combining analysis of buildings, archival material, and eighteenth-century writings, the authors draw out the professional, pedagogical, and social links between architectural practice and workmanship. They argue for a process-oriented understanding of architectural production, exploring the obscure centre ground of the creative process: the scribbled, sketched, hatched, and annotated beginnings of design on the page; the discussions, arguments, and revisions in the forging of details; and the grappling with stone, wood, and plaster on the building site that pushed projects from conception to completion.

Andrew Tierney and Melanie Hayes are post-doctoral research fellows of the European Research Council Advanced Grant project, STONE-WORK, and former research fellows of the Irish Research Council Advanced Laureate Project CRAFTVALUE at Trinity College Dublin.

c o n t e n t s

Foreword — Christine Casey

Introduction: Between Design and Making: Architecture and Craftsmanship, 1630–1760 — Andrew Tierney and Melanie Hayes

Part 1 | Practice
1  Architect and Mason-Architect: Inigo Jones, Nicholas Stone, and the Development of the Open-Well Suspended Stone Staircase in the 1630s — Gordon Higgott and Adam White
2  The Townesend Family and the Building of Eighteenth-Century Oxford — Geoffrey Tyack
3  Codes, Conventions, Circulations: Drawings as an Instrument of Collaboration in the Work of Nicolas Pineau — Bénédicte Gady
4  Architects and Artificers: Building Management at Trinity College Dublin in the 1730s and 1740s — Melanie Hayes
5  Artisans and Architecture in Eighteenth-Century Saxony — Nele Lüttmann
6  Between Concept and Construction: Conservation Insights into the Building of Damer House — Mairtín D’Alton and Flora O’Mahony

Part 2 | Representation
7  Architects and Craftsmen: A Theme with Variations — Alistair Rowan
8  Classical Profiles: The ‘Alphabet of Architecture’? — Edward McParland
9  Allegorising the Space between Architecture and Craft: Mural Painting 1630–1730 — Lydia Hamlett
10  Material, Curiosity, and Performance: The Reception of Workmanship in Early Modern Britain and Ireland — Andrew Tierney

Cleveland Museum of Art Acquires Delftware Flower Pyramid

Posted in Art Market, museums by Editor on July 23, 2024

From the press release (9 July 2024). . .

The Cleveland Museum of Art (CMA) announces the acquisition of six new pieces including a Dutch tin-glazed earthenware vase produced by the Greek A Factory; a pen and ink drawing by Maarten van Heemskerck; and drawings by Maarten van Heemskerck, Fernand Léger, Gustave Moreau, Joseph Stella, and Sophie Taeuber-Arp.

Flower Pyramid, ca. 1690, Adrianus Kocx (Dutch, active 1686–1701), De Grieksche A (The Greek A) Factory (Dutch, active 1658–1811), tin-glazed earthenware, painted in blue, 95 cm (The Cleveland Museum of Art, Severance and Greta Millikin Purchase Fund 2024.27).

A trademark of Dutch material culture, blue-and-white pottery had its heyday during the reign of William III and Mary II. Mary contributed to the international spread of the fashion for Delft ceramics. She commissioned pieces from the Greek A Factory—the most prestigious of 34 workshops and potteries active in Delft at the end of the 17th century. Among the most complex and luxurious forms made in Delft were flower pyramids, consisting of stacked tiers with spouts in which flowers were placed.

This piece represents a beautiful hexagonal type of pyramid and is marked by Adrianus Kocx, the owner of the Greek A Factory. It was likely produced for the English market—a desirable product for English aristocrats supporting the Dutch Stadtholder, later William III of England, and his wife Mary. It was acquired at TEFAF Maastricht from Aronson Delftware Antiquairs, Amsterdam.

Other acquisitions

• Maarten van Heemskerck, Jonah Cast Out by the Whale onto the Shore of Nineveh, 1566, pen and brown ink over indications in black chalk, within brown ink framing lines; indented for transfer, 20 × 25 cm.
• Gustave Moreau, The Good Samaritan, ca. 1865–70, watercolor, gouache, and graphite on paper, 21 × 29 cm.
• Sophie Taeuber-Arp, Free Horizontal-Vertical Rhythms, 1919, gouache on paper, 30 × 22 cm.
• Fernand Léger, Still Life with Bottle, 1923, graphite on tan wove paper, 25 × 32 cm.
• Joseph Stella, Man Reading a Newspaper, 1918, charcoal and newspaper collage on modern laid paper, 39 × 40 cm.

The full press release is available here»

 

Exhibition | Imagination in the Age of Reason

Posted in exhibitions by Editor on July 23, 2024

Jean-Étienne Liotard, Portrait of François Tronchin, 1757, pastel on parchment; unframed: 38 × 46 cm
(The Cleveland Museum of Art, 1978.54)

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Opening this fall at The Cleveland Museum of Art:

Imagination in the Age of Reason
The Cleveland Museum of Art, 28 September 2024 — 2 March 2025

Although the Enlightenment period in Europe (about 1685–1815) has long been celebrated as ‘the age of reason’, it was also a time of imagination when artists across Europe incorporated elements of fantasy and folly into their work in creative new ways. Imagination in the Age of Reason, pulled from the CMA’s rich holdings of 18th-century European prints and drawings, explores the complex relationship between imagination and the Enlightenment’s ideals of truth and knowledge. During this unprecedented time, artists used their imaginations in multifaceted ways to depict, understand, and critique the world around them.

The Enlightenment adopted a revolutionary emphasis on individual liberty, direct observation, and rational thought. Enlightenment society valued learning and innovation, encouraging an unprecedented flowering of knowledge with major advances in fields as diverse as art, philosophy, politics, and science. Important thinkers of the time questioned long-held beliefs, instead using scientific reasoning to uncover new, objective principles on which to base a modern society, free from superstition, passion, and prejudice.

Filippo Morghen, Pumpkins Used as Dwellings To Be Secure against Wild Beasts, 1766–67, etching, image and plate: 28 × 39 cm (The Cleveland Museum of Art, 2023.19.8).

During this same period, a number of artists reveled in the power of the imagination to expose hidden truths, conjure strange worlds, or concoct illusions. François Boucher and Francisco de Goya, among others, drew on their imaginations to devise novel compositions, envision far-off places and people, attract new buyers for their art, and comment on society and its values. They also blurred the boundaries of fact and fantasy, incorporating real and invented elements into their compositions, often without distinguishing between the two. Imagination was a dynamic tool through which Enlightenment-era artists marketed their work, revealed or obscured truth, entertained or educated viewers, and supported or criticized systems of power.

The exhibition presents an exceptional opportunity to see exciting recent acquisitions on view for the first time as well as rarely shown collection highlights, including prints and drawings by Canaletto and Goya and a pastel portrait by Swiss artist Jean-Étienne Liotard.

 

Exhibition | Bologna during the Enlightnement

Posted in books, catalogues, exhibitions by Editor on July 22, 2024

Now on view the Fesch Museum:

Bologne au siècle des Lumières: Art et science, entre réalité et théâtre
Palais Fesch, Musée des Beaux-Arts, Ajaccio, Corsica, 29 June — 30 September 2024

Attributed to Giacomo Boni, The Triumph of David, oil on canvas (Ajaccio, Palais Fesch, Musée des Beaux-Arts, 852.1.967).

Cette nouvelle exposition sur la peinture, la sculpture et les objets de curiosité, faite en collaboration avec la Pinacoteca Nazionale, les Musei Civici et la fondation de la Cassa di Risparmio de Bologne (CARISBO), s’inscrit dans le prolongement des précédentes expositions du musée d’Ajaccio portant sur l’art italien des XVIIe et XVIIIe siècles. Si le XVIIe siècle bolonais, celui des Carracci, de Reni et de Guercino, est bien connu en France, l’exposition permettra au public de découvrir une période moins familière de ce centre artistique.

Le XVIIIe siècle bolonais s’ouvre avec la fondation de l’Istituto delle Scienze et de l’Accademia Clementina, nés de la volonté du général Luigi Ferdinando Marsili, avec le soutien d’intellectuels inspirés des Lumières et l’approbation du Sénat. Les deux institutions bénéficient de la protection du pape Clément XI, le souverain qui a fait rentrer la ville dans le giron des États de l’Église.

Tandis que l’Istituto delle Scienze, réglé sur les dernières avancées scientifiques européennes, se propose de rendre son prestige à la cité, siège de la plus ancienne université, l’Accademia Clementina vise à retrouver les fastes du siècle d’or de la peinture célébré par la Felsina pittrice de Carlo Cesare Malvasia (1678) et lié aux noms des Carracci, de Reni et de Guercino. Le siècle naissant voit s’achever les carrières de peintres tels que le néo-carracesque Domenico Maria Viani, Benedetto Gennari, neveu de Guercino, rentré à Bologne après un long séjour en Angleterre, Giovanni Gioseffo dal Sole, dernier interprète des finesses de Guido Reni, et Carlo Cignani, prince à vie de l’Accademia Clementina, représentant d’un classicisme teinté de souvenirs corrégiens.

Dans la première moitié du XVIIIe siècle, l’opposition entre les deux champions de la peinture, Donato Creti et Giuseppe Maria Crespi, est radicale et irréductible. Les recherches du premier aboutissent à un classicisme élégant et raffiné, lumineux et incorruptible, alors que le second affiche au contraire un naturalisme agressif et prosaïque aux accents ironiques, d’un caractère presque populaire. Dans le même temps, la culture littéraire de l’Arcadia inspire, avec Marcantonio Franceschini, peintre européen cher aux princes de Liechtenstein, un purisme qui évolue vers un barocchetto atténué, habile et léger, apprécié des milieux aristocratiques et de l’autorité religieuse. Si les solennels tableaux d’autels répondent aux exigences du décorum et de la commande officielle, les grandes peintures destinées aux palais visent à célébrer, avec des allégories et l’évocation des gloires antiques, les familles sénatoriales, soutiens de l’autorité pontificale dans le gouvernement de la ville.

La ville pullule de petites comme de grandes collections. Ce sont non seulement les palais de l’aristocratie, mais aussi les habitations de la bourgeoisie ou des artisans qui se couvrent de peintures, disposées sous les fresques où se déploie la virtuosité perspective des peintres de quadratura.

Trompe-l’œil, dilatations spatiales et illusions théâtrales allant jusqu’à l’invraisemblable rendent les scénographes bolonais célèbres dans les théâtres européens, grâce aux succès de la famille Bibiena, dans le sillage des expériences passées d’Angelo Michele Colonna et d’Agostino Mitelli, appelés, au-delà des cours italiennes, jusqu’en Espagne et en France. Autour de l’Accademia Filarmonica, fréquentée entre autres par des personnalités telles que le chanteur Carlo Broschi, dit Farinelli, le compositeur Johan Christian Bach, le musicologue Charles Burney—à laquelle se sont joints des chanteurs, des compositeurs et des instrumentistes, sous l’œil attentif du célèbre père Giambattista Martini, qui fut le maître du Mozart lorsque celui-ci avait quatorze ans—se développe une intense activité mêlant architecture, peinture, musique et poésie, tandis qu’est inauguré en 1763 le Teatro Comunale avec le Triomphe de Clelia de Christoph Willibald Gluck, sur des textes de Métastase.

Une peinture légère opère la mutation de la solide tradition du XVIIe siècle vers le rocaille. Ses interprètes sont Francesco Monti, Giuseppe Marchesi dit Sanson, Vittorio Maria Bigari, Giuseppe Varotti et Nicola Bertuzzi, rejoints, en parfaite harmonie, par les sculpteurs et modeleurs Giovan Battista Bolognini, Francesco Jannsens, Angelo Piò et son fils Domenico, qui, à partir de l’exemple de Giuseppe Maria Mazza, donnent aux figures de stuc et de terre cuite un élégant mouvement tout en courbes et une grâce pleine de séduction.

Le succès de l’Accademia Clementina, dû au zèle de son secrétaire Gianpietro Zanotti, amène le remplacement progressif de la formation traditionnelle au sein des ateliers par des enseignements codifiés, l’institution officielle de prix dans les différentes branches artistiques et l’ouverture de l’Accademia del nudo. Dans ce contexte vont émerger les deux principales personnalités de la seconde moitié du siècle, les frères Ubaldo et Gaetano Gandolfi, chez qui la tradition s’est régénérée au contact fructueux de la culture picturale vénitienne, freinant l’avancée du néoclassicisme.

En 1796, à l’arrivée des troupes napoléoniennes, Gaetano Gandolfi pourra assister à l’effondrement de l’Ancien Régime, et aux bouleversements socio-politiques qui vont en découler : le renversement du pouvoir pontifical, la suppression des ordres religieux et des confréries laïques avec la confiscation de leurs biens. En remplacement de l’Accademia Clementina, la création de l’Accademia di Belle Arti, accompagnée de la naissance de la moderne Pinacoteca, inaugure cette nouvelle ère.

Bologne au siècle des Lumières: Art et science, entre réalité et théâtre (Milan: Silvana Editoriale, 2024), 368 pages, ISBN: ‎978-8836658527, €33.

Exhibition | What is Enlightenment?

Posted in exhibitions by Editor on July 21, 2024

Anatomical Eye Model, eighteenth century
(Berlin: Deutsches Historisches Museum)

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As renovation work continues at Berlin’s Zeughaus into 2025, the Deutsches Historisches Museum continues to mount exhibitions in the Pei Building. Opening this fall at the DHM:

What is Enlightenment?: Questions for the Eighteenth Century
Was ist Aufklärung? Fragen an das 18. Jahrhundert
Deutsches Historisches Museum, Berlin, 18 October 2024 — 6 April 2025

Curated by Liliane Weissberg

“What is Enlightenment?” asked pastor Johann Friedrich Zöllner in 1783, writing for the Berliner Monatsschrift. The editors of the monthly magazine picked up on this question and put it to their readers, thus igniting a debate that would shape the course of philosophy.

The exhibition What is Enlightenment? Questions for the Eighteenth Century likewise explores this term from many sides. It concentrates on the most important debates of that era, taking its contradictions and ambivalence into account by revealing conflicts over concepts and demands, rather than presenting the Enlightenment as a homogeneous, progressive undertaking. In doing so, it also aims to make clear that the ideas of equality and tolerance prevalent then do not correspond to those held today and, moreover, were often not implemented in practice. The Enlightenment is often referred to in current debates about the social issues of today and about democracy as a form of government. The exhibition is meant to provide a historical context for these conversations.

Examining the so-called ‘long eighteenth century’ from an international perspective, the range of topics includes, among other things: the search for knowledge and a new kind of science, debates about religion, the equality and liberty of mankind, the demand for civil rights, mercantilism, and cosmopolitanism. The collections of the DHM will provide many of the objects on display alongside loans from other museums and archives in Germany, as well as France, Great Britain, Austria, and the United States. The exhibition will take an inclusive and accessible approach. Multimedia and interactive elements will expand upon the exhibition themes and actively involve the visitors. There will also be a children’s tour, showing that questions about the Enlightenment can also be relevant to them. A broad-based accompanying programme is currently being planned.

The exhibition is curated by Professor Liliane Weissberg.

New Book | The End of Enlightenment

Posted in books by Editor on July 20, 2024

Curiously, this trade book has not (yet?) been properly published in the United States. The American version of the Penguin Random House website doesn’t list it, and it’s available through Barnes & Noble only as an ebook and audiobook (at Amazon, hardback copies are available from third-party vendors). In Britain, the book was widely reviewed in popular outlets by critics who didn’t typically engage the larger historiographical debates about the Enlightenment as a conceptual category. Among the more helpful is Linda Colley’s review for the Financial Times (13 December 2023). CH

From the UK Penguin site:

Richard Whatmore, The End of Enlightenment: Empire, Commerce, Crisis (London: Allen Lane, 2023), 496 pages, ISBN: ‎978-0241523421, £30.

book cover

The Enlightenment is popularly seen as the Age of Reason, a key moment in human history when ideals such as freedom, progress, natural rights, and constitutional government prevailed. In this radical re-evaluation, historian Richard Whatmore shows why, for many at its centre, the Enlightenment was a profound failure.

By the early eighteenth century, hope was widespread that Enlightenment could be coupled with toleration, the progress of commerce, and the end of the fanatic wars of religion that were destroying Europe. At its heart was the battle to establish and maintain liberty in free states—and the hope that absolute monarchies such as France and free states like Britain might even subsist together, equally respectful of civil liberties. Yet all of this collapsed when states pursued wealth and empire by means of war. Xenophobia was rife, and liberty itself turned fanatic. The End of Enlightenment traces the changing perspectives of economists, philosophers, politicians, and polemicists around the world, including figures as diverse as David Hume, Adam Smith, Edmund Burke, and Mary Wollstonecraft. They had strived to replace superstition with reason but witnessed instead terror and revolution, corruption, gross commercial excess, and the continued growth of violent colonialism. Returning us to these tumultuous events and ideas, and digging deep into the thought of the men and women who defined their age, Whatmore offers a lucid exploration of disillusion and intellectual transformation, a brilliant meditation on our continued assumptions about the past, and a glimpse of the different ways our world might be structured—especially as the problems addressed at the end of Enlightenment are still with us today.

Richard Whatmore is Professor of Modern History at the University of St Andrews and co-director of the Institute of Intellectual History. He is the author of several acclaimed contributions to intellectual history and eighteenth-century scholarship, including The History of Political Thought (2022), Terrorists, Anarchists and Republicans (2019), and Against War and Empire (2012).

Call for Papers | The Useful Enlightenment

Posted in Calls for Papers by Editor on July 20, 2024

From the Call for Papers:

The Useful Enlightenment: Theories, Practices, and Representations of Usefulness
Martin-Luther-Universität, Halle-Wittenberg, 26–27 June 2025

Organised by Jean-Alexandre Perras

Proposals due by 31 December 2024

Clément-Pierre Marillier, Jean-François de Troy, Allégorie de l’enseignement des Arts (Château de Pau).

“What’s the use?” is often the very first question asked of a scientific endeavour. Indeed, the notion of utility has come to dominate our understanding of knowledge in the humanities as well as in the practical and fundamental sciences. It also furnishes the criterion by which we regularly assess the relevance of scientific research, where utility is often linked to potential applications and their economic benefits. This close relationship between knowledge, utility, technological improvement, and economic advantage dates back to the Enlightenment. This period saw not only the flowering of reason and human rights but also the beginning of the industrial exploitation of natural resources and the development of the logistical and economic infrastructures necessary to profit from the forced labour of displaced populations. As this conflict suggests, the question of utility has never had a simple answer, insofar as it requires us to consider for whom something is useful and to what ends.

This conference invites researchers from a wide range of historical disciplines (including the history of philosophy, literature, institutions, economics, and the sciences) to explore the many aspects encompassed by the notions of utility, usefulness, and usage over the course of the long eighteenth century. The aim is to reconsider how the circulation of various conceptions of utility shaped the relationship between knowledge, technology, politics, and the economy and how this relationship gave rise, in turn, to the concept of ‘useful knowledge’, whose links with the historiographical idea of the ‘industrial revolution’ and the accompanying rise of capitalism have been strongly emphasised through the notion of the ‘knowledge economy’ (Mokyr 2002). This follows research over the last twenty years that has challenged these intrinsic relationships, whether by applying a gender perspective (Serrano 2022; Maerker, Serrano, and Werrett 2023), by framing approaches in the global context of the circulation, exchange, or appropriation of knowledge and commodities (Schäfer and Valeriani 2021; Berg and Hudson 2023), or by focusing on the long-term transmission of practices and knowledge (Nigro 2023).

In the wake of this research, the conference will question the special relationship that developed during the eighteenth century between utility and value, be that economic, scientific, artistic, moral, or literary. Contributions will thus shed new light on the emergence of utility as a criterion for evaluating knowledge, goods, and cultural production. Particular attention will also be paid to the relationship between utility and improvement, how this was translated into the implementation of social, agricultural, or industrial reform, and the conditions of such practical application.

During the eighteenth century, the increasing valorisation of ‘useful’ knowledge, that is to say, practical, experimental and innovative knowledge, challenged the former hierarchy between the ‘liberal’ and the applied, ‘mechanical’ arts. This shift caused significant disruption in how the sciences were viewed in relation to nature and society. It also had a significant impact on both nature and society themselves, creating new means of exploiting human and natural resources according to such new criteria as not only utility but also productivity, efficiency, and progress. These changes gave rise to the debates that animated the political and intellectual reforms of the Enlightenment in the areas of slavery, luxury, and the control of wheat prices—to name but a few examples.

If, in the course of the century, utility did indeed become a central value in the construction of modern Western societies, it is essential to question the causes of this valorisation and relativise its supposed universality, particularly from extra-European points of view or by considering dissident voices, victims, and those excluded, who have questioned or suffered from the growth model centred on the politics and economy of useful knowledge.

Contributions may focus on issues such as the following:
• The relationship in eighteenth-century thought between the notions of interest, profit, or efficiency and those of utility, usefulness, and use.
• The different criteria used to assess utility in various fields of economics, literature, science, technology, or morality and the expertise or institutions needed to carry out such assessments.
• How the usefulness of certain types of knowledge, technologies, or reform projects was evaluated, for whom they were deemed useful, and how this evaluation was carried out.
• The role of learned societies such as academies and economic, patriotic, agricultural, or improvement societies in defining, disseminating, and implementing useful knowledge.
• The importance of non-Western knowledge in the development of a global economy in the eighteenth century.
• How the notion of utility can be used to reshape and reconceptualise the Enlightenment, particularly in terms of the relationship between centre and periphery.
• Voices against the valorisation of utility: scientists, gens de lettres, religious figures; those victimised or left behind by the implementation of public interest projects; those excluded from the determination of utility (colonisation, alternative conceptions of usefulness, criticisms of utility).
• The relationship between innovation, useful arts, science, and technology.
• The evolution of the notion of utile dulci in art and literary theory; the usefulness of rhetoric; fiction and representation; ‘useful’ passions; exemplarity and morality of the arts and literature.
• Growth, progress, sustainability, and usefulness: the agricultural Enlightenment; exploitation of resources and land; agrarian profitability and the acclimatisation of (useful) exotic plants in Europe and the colonies.
• Women and useful knowledge; women and the sciences; the usefulness of women’s labour; social reform projects aimed at women.
• Scientific research deemed futile: squaring the circle, metaphysics, alchemy, etc.
• Pedagogy and usefulness: educational programmes and reforms, popular schools and education and the ‘popular Enlightenment’.
• The utility of the Enlightenment in contemporary political, historiographical, or scientific debates.

Proposals, including an abstract and a short biography and list of publications, should be sent by 31 December 2024 to jean-alexandre.perras@izea.uni-halle.de.

Organised by Jean-Alexandre Perras, Humboldt Research Fellow, with the support of the Alexander von Humboldt Stiftung, the IZEA (Martin-Luther-Universität, Halle-Wittenberg), the Voltaire Foundation (University of Oxford) and the Pôle Europe des Lumières (Sorbonne Université)

i n d i c a t i v e  b i b l i o g r a p h y

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Conference | Memory and Meaning in Southern Silver

Posted in conferences (to attend) by Editor on July 19, 2024

From MESDA:

Memory and Meaning in Southern Silver
Online and in-person, Museum of Early Southern Decorative Arts, Winston-Salem, NC, 20–21 September 2024

Poster for the conferenceSilver and memory are deeply linked as individuals often commission pieces to mark significant moments in their lives and then pass those objects along to future generations. Please plan to join us on September 20th and 21st as we delve into the lives of southern silver makers and patrons who used silver to create memory and meaning in the early American South.

Featured speakers include Ben Miller of Shrubsole and the Magazine Antique’s Curious Objects podcast, author and scholar Catherine Hollan, and Colonial Williamsburg’s Erik Goldstein. In addition to an opening keynote and a day of dynamic lectures, attendees will also have an opportunity to examine MESDA’s silver collection up close during an open house in the MESDA study rooms.

Virtual registration is available for a suggested donation. In-person registration ($325, or $315 for Frank L. Horton Society Members) includes the keynote lecture and reception, one pastry breakfast, one coffee break, one lunch, all lectures proposed on the agenda, and an admission ticket to Old Salem Museums & Gardens. Attendees will also receive exclusive access to the recordings of the lectures for a limited period of time after the program concludes.

f r i d a y ,  2 0  s e p t e m b e r

5.00  Opening Reception and Keynote by Ben Miller

s a t u r d a y ,  2 1  s e p t e m b e r

9.15  Welcome

9.30  Catherine Hollan — Why Reassess Southern Silver Scholarship

10.15  Alexandra MacDonald — ‘To Brighten Every Painful Hour’: The Follet Family Sampler

10.35  Coffee Break

11.00  Erik Goldstein — Williamsburg’s ‘Madison’ Horse Racing Trophy

11.30  Cynthia Jenkins — Historic Beaufort’s ‘Hamar Cup’

12.00  Lunch

1.00  Charlotte Crabtree — Put the Lime in the Coconut: Silver and Coconut Drinking Vessels in the South

1.45  Emily Whitted — Wealth from the Water: Murky Metal in the Shadow of the Santee River, 1785–2003

2.10  Emily Campbell — Thomas Campbell, Winchester, Virginia Silversmith

3.00  Collection Open House in the MESDA Galleries

4.00  Closing Reception