New Book | Between Design and Making
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
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

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
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?

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
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.

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
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)
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Conference | Memory and Meaning in Southern Silver
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
Silver 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
Call for Papers | Visualizing Antiquity: Fake News? Fantasy Antiquities
From ArtHist.net (which includes the CFP in German). . .
Visualizing Antiquity: On the Episteme of Early Modern Drawings and Prints —
Part IV: Fake News? Fantasy Antiquities
Bildwerdung der Antike: Zur Episteme von Zeichnungen und Druckgrafiken der Frühen Neuzeit — IV: Fake-News? Fantasie-Antiken
München, Zentralinstitut für Kunstgeschichte, 14 February 2025
Organized by Ulrich Pfisterer, Cristina Ruggero, and Timo Strauch
Proposals due by 15 September 2024
The academy project Antiquitatum Thesaurus: Antiquities in European Visual Sources from the Seventeenth and Eighteenth Centuries, hosted at the Berlin-Brandenburg Academy of Sciences and Humanities (thesaurus.bbaw.de/en), and the Zentralinstitut für Kunstgeschichte Munich (zikg.eu) are organizing a series of colloquia in 2023–2025 on the topic Visualizing Antiquity: On the Episteme of Drawings and Prints in the Early Modern Period. The significance of drawings and prints for ideas, research, and the circulation of knowledge about ancient artifacts, architecture, and images in Europe and neighboring areas from the late Middle Ages to the advent of photography in the mid-19th century will be examined.
The three previous colloquia were dedicated to the topics of the ‘unrepresentable’ properties of the depicted objects and the documentation of various states and contexts of ancient objects from their discovery to their presentation in collection catalogues. The fourth and final event will examine the problem of invented or imitated antiquities.
In fact, all types of objects from the arts and crafts of antiquity—aegyptiaca, coins and gems, statuettes and statues, objects of everyday culture from jewellery to weapons and much more —were reproduced as real artefacts and/or in graphic illustrations on all kinds of different occasions over the centuries following antiquity. The father of modern ‘forgeries’ is undoubtedly Giovanni Battista Piranesi (1720–1778), who knew how to create new objects (‘capricci’) from numerous ancient spolia, which were highly sought after, in particular by northern European collectors. But this is not about him.
In addition to the physical ‘fakes’ on the marketplace of the antiquities trade, their pictorial representations or even antiquities ‘invented’ solely on paper often played a decisive role in the dissemination of a partially distorted, tendentious or ‘false’ idea of past cultures and their materiality.
Starting from the counterfeit imitations of the early modern period, our colloquium is interested in a very broad spectrum of ‘fantastic’ antiquities or ‘forgeries’ of antiquities and their motivations. The following aspects are of particular interest, but other suggestions are also welcome:
• ‘Forgeries’ of ancient art in drawings and prints
• Historical backgrounds, intentions, and contexts of the illustrations
• Techniques and methods of ‘forgeries’ in drawing and printmaking
• The influence of ‘fakes’ on the reception of ancient art
• The role of printmaking in the dissemination of ‘fake’ antiquities
• The use of images of ‘forgeries’ in certain lines of argumentation
• The influence of images on the collective imagination of antiquity
• Debates about ‘forgeries’, their quality, and value
Solicited for the fourth colloquium are papers in English, French, German, or Italian, 20 minutes in length, ideally combining case study and larger perspective. Publication in extended form is planned. Proposals (max. 400 words) can be submitted until 15 September 2024, together with a short CV (max. 150 words) to thesaurus(at)bbaw.de keyword ‘Episteme IV’.
Hotel and travel expenses (economy-class flight or train; 2 nights’ accommodation) will be reimbursed according to the Federal Law on Travel Expenses (BRKG).
Call for Applications | Getty Residential Scholars: Repair
From ArtHist.net:
Getty Residential Scholars: Repair
Getty Research Institute, Los Angeles, 2025–26
Applications due by 1 October 2024
The Getty Research Institute is pleased to announce that the 2025–2026 application for residential grants and fellowships for pre-docs, post-docs, and scholars is open as of 1 July 2024. Applications are due by 1 October 2024 at 5pm PT.
For 2025–2026, Getty invites scholars and arts professionals to apply for a residential fellowship on the topic of repair, a theme that bridges time periods, world geographies, and professional practices. Situated between the forces of creation and destruction, the act of repair can be deeply transformative, with the potential to heal, alter, and renew the material environment. Scholars are asked to think critically about repair, questioning interpretive assessments about the ideal state of any object or site, in addition to querying what constitutes damage or whether to repair the ruined or the broken. Beyond such physical interventions, art and sites of commemoration are often mobilized to heal a fractured social fabric. Indeed, art itself may be offered as reparation to address past wrongs or to recuperate loss. The issue of repair has deep bearing for the arts, conceived in the broadest sense, and especially for institutions that aim to preserve and share global cultural heritage.
Under the umbrella of the annual theme, dedicated grants are available via the African American Art History Initiative (AAAHI).
Please find the full call for applications and theme text on the Scholars Program webpage.
Applicants need to complete and submit the online Getty Scholar Grant application form with the following:
1 Project Proposal (not to exceed five pages, typed and double-spaced): Each application must include a description of the applicant’s proposed plan for study and research (not to exceed five pages, typed and double-spaced). The proposal should indicate:
• how the project addresses the annual theme
• if applicable, how it would benefit from the resources at the Getty, including its library and collections.
• Applicants for AAAHI grants should additionally describe how their projects will generate new knowledge in the field of African American art history.
2 Curriculum Vitae
3 Optional Writing Sample
Applicants will be notified of their application outcome approximately six months after the deadline.
Contact
Email: researchgrants@getty.edu
Attn: Getty Scholar Grants



















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