Publication : « Le langage des mains dans l’art : Histoire, significations et usages des chirogrammes picturaux aux XVIIe et XVIIIe siècles ».

DIMOVA Temenuzhka, Le langage des mains dans l’art :
Histoire, significations et usages des chirogrammes picturaux aux XVIIe et XVIIIe siècles, Turnhout, Brepols, 2019, 343 p.

Présentation de l’éditeur :

Le langage iconographique des mains est un système de signes gestuels conventionnels, employés par les peintres comme un puissant outil de narration et de conceptualisation. En un sens, c’est la langue des tableaux. Pour l’étudier il est nécessaire de procéder au croisement d’un grand nombre de sources et de traditions iconographiques. En partant des principes de la chirologie, discipline dédiée à l’étude des mains, cet ouvrage propose un inventaire des principaux chirogrammes iconographiques, avec une analyse de leurs occurrences et de leurs connotations. Ces signes n’opèrent pas de manière fragmentaire, mais sont généralement inclus dans des accords gestuels qui participent à la phraséologie visuelle de l’œuvre. En découvrant la structure de certaines compositions gestuelles on peut aussi comprendre les rapports qu’elles entretiennent avec les systèmes gestuels vivants.

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Appel à communication pour le RSA : Collecting and Display of Small, Portable Objects (15th–17th century) (Dublin, 7–10 avril 2021)

Willem van Haecht, Apelles Painting Campaspe, c. 1630, oil on panel, Mauritshuis, The Hague, détail.

Type : appel à communication.
Date limite de l’appel : 30 juillet 2020.
Date de l’événement : 7-10 avril 2021.
Lieu :  Dublin.

Renaissance Society of America Conference 

Collecting and Display of Small, Portable Objects (15th–17th century)

The taste for small objects, such as gems, jewels, coins, small antiquities, statuettes and miniature works of art is evident in leading collections from the fifteenth through the seventeenth centuries. The materiality of small precious objects and their portability raise questions about the dynamics and the reasons behind the taste for small things, addressing concepts of intimacy, privacy and public access in relation to the display of these objects, as well as questions about their significance in periods of uncertainty. Long-standing scholarship on collections has focused on their legacies, while less attention has been paid to the status of these objects and to the way in which objects may have been valued for their diminutive size, movability, or even disposability. The topic for these sessions raises new questions about the appeal of collecting and displaying such works of art.

We invite proposals that consider the following:

  • The significance and value of gems, cameos, medals, and other small works of art, as contrasted to paintings or large-scale sculpture
  • Collecting reduced copies of well-known sculpture and the ways in which these miniatures altered the collector’s relationships with and perceptions of the original
  • Collecting across different scales and the display of miniature collections
  • Moveable works of art and mobility of works of art within a collection
  • The transformation of collections through small, precious objects during periods of change
  • Collections perceived as disposable and exchangeable
  • The safeguard of inheritances and collections
  • Dislocation and re-interpretation of collections

Proposals should be for 20-minute papers and must include a title, abstract of no more than 150 words, keywords and a one-page CV. Speakers will need to be members of RSA and members of The Society for the History of Collecting at the time of the conference.

Please send your submission before 30 July 2020 to Adriana Turpin (adrianaturpin@gmail.com), Sophia Quach McCabe (sqmccabe@gmail.com), and Alice Ottazzi (alice.otz@gmail.com).

Applicants will be notified by 10 August.

Appel à communication : « L’univers de Watteau : Réseaux et influences autour d’Antoine Watteau (1684-1721) ».

Pierre Antoine Quillard, Les quatre saisons : Le Printemps, vers 1725-1729, huile sur toile, 42.5 × 33.5 cm, Madrid, Colección Carmen Thyssen-Bornemisza en depósito en el Museo Nacional Thyssen-Bornemisza, inv. CTB.1930.90.

Type : appel à communication.
Date limite de l’appel : 15 octobre 2020.
Date de l’événement : 17 et 18 novembre 2021.
Lieu :  Paris, musée de l’Armée – Hôtel National des Invalides.

Pour commémorer le 300ème anniversaire de la mort d’Antoine Watteau (1684, Valenciennes – 1721, Nogent-sur-Marne), un colloque de deux jours se tiendra à Paris, au musée de l’Armée – Hôtel National des Invalides, en partenariat avec le salon Fine Arts Paris, les 17 et 18 novembre 2021.

Depuis la grande rétrospective de 1984, plusieurs publications majeures ont vu le jour. En 1996, Pierre Rosenberg et Louis-Antoine Prat co-signaient le catalogue raisonné des dessins de Watteau1. En 2010, Christoph Martin Vogtherr a consacré une étude extensive (historique et matérielle) aux peintures françaises de Watteau et de son entourage au sein des collections des châteaux prussiens2, prolongée dans l’exposition au musée Jacquemart-André3. Depuis 2014, Martin Eidelberg développe, en parallèle du catalogue raisonné des peintures A Watteau Abecedario, le projet Watteau and His Circle.

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Publication : « Les Satellites de Watteau ».

MOULINIER Axel, Les Satellites de Watteau, Cahier du Dessin Français, Paris, galerie de Bayser, 2020, 80 p.

Présentation de l’éditeur :

Depuis les années 1930, l’idée d’un réseau artistique centré autour de Watteau a été formulée et étudiée. Pourtant, à part l’ouvrage de Robert Rey (Quelque satellites d’Antoine Watteau (…), Paris, 1932) aucune publication ne s’est attachée à rassembler l’œuvre graphique de quelques un de ces satellites. Ce Cahier du Dessin Français propose l’étude de neuf artistes (Nicolas Vleughels, Claude Gillot, Jacques Jean Spoede, Pierre Angillis, Philippe Mercier, Nicolas Lancret, Jean-Baptiste Pater, Pierre Antoine Quillard et Bonaventure de Bar) ayant gravité autour de Watteau soit parce qu’ils l’ont formé, accompagné ou bien parce qu’ils sont devenus ses collaborateurs et ses suiveurs.

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Publication : « Ugliness and Judgment : On Architecture in the Public Eye ».

HYDE Timothy, Ugliness and Judgment : On Architecture in the Public Eye, Princeton, Princeton University Press, 2019, 232 p.

Présentation de l’éditeur :

The artist has been a privileged figure in the modern age, embodying ideals of personal and political freedom and self-fulfillment. Does it matter who gets to be an artist? And do our deeply held beliefs stand up to scrutiny? Making the Modern Artist gets to the root of these questions by exploring the historical genesis of the figure of the artist. Based on an unprecedented biographical survey of almost 1,800 students at the Royal Academy of Arts in London between 1769 and 1830, the book reveals hidden stories about family origins, personal networks, and patterns of opportunity and social mobility. Locating the emergence of the ‘modern artist’ in the crucible of Romantic Britain, rather than in 19th-century Paris or 20th-century New York, it reconnects the story of art with the advance of capitalism and demonstrates surprising continuities between liberal individualism and state formation, our dreams of personal freedom, and the social suffering characteristic of the modern era. Continuer la lecture

Appel à communication : « Historians of Netherlandish Art Conference 2021 – ‘Here and Now’: Capturing the Moment in Netherlandish Art (1400–1700) ».

Jacob Duck, Le Fumeur endormi, fin du XVIIe siècle, huile sur bois, 36 x 50 cm, Bergerac, musée du tabac.

Type : appel à communication.
Date limite de l’appel : 1er juillet 2020.
Date de l’événement : du 02 au 05 juin 2021.
Lieu :  Amsterdam et La Haye.

Next year (2-5 June 2021), the Historians of Netherlandish Art Conference 2021 will be held in Amsterdam and The Hague.
Jan Blanc and Marije Osnabrugge, from the project « Un siècle d’or? Repenser la peinture hollandaise du XVIIe siècle » (University of Geneva), will be organizing a session, entitled « ‘Here and Now’: Capturing the Moment in Netherlandish Art (1400–1700) ». You are all welcome to send us a paper proposal before July 1st, 2020.
The Call for Papers for our session and those of all the other sessions about Netherlandish art, can be found here:

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Publication : « Figuring Faith and Female Power in the Art of Rubens ».

LYON J. Vanessa, Figuring Faith and Female Power in the Art of Rubens, Amsterdam, Amsterdam university press, 2020, 256 p.

Présentation de l’éditeur :

This book argues that the Baroque painter, propagandist, and diplomat, Peter Paul Rubens, was not only aware of rapidly shifting religious and cultural attitudes toward women, but actively engaged in shaping them. Today, Rubens’s paintings continue to be used-and abused-to prescribe and proscribe certain forms of femininity.

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Publication : « The Classical Body in Romantic Britain ».

GILROY-WARE Cora, The Classical Body in Romantic Britain, Londres, Paul Mellon Centre for Studies in British Art , 2020, 320 p.

Présentation de l’éditeur :

For many, the term ‘neoclassicism’ has come to imply discipline, order, restraint, and a certain myopia. Leaving the term behind, this book radically challenges enduring assumptions about the art produced from the late 18th century to the early Victorian period, casting new light on appropriations of the classical body by British artists. Continuer la lecture

Appel à communication : « The Church of San Rocco: Confraternal Religious Space and Sanctuary ».

Type : appel à communication.
Date limite de l’appel : 21 juin 2020.
Date de l’événement : du 02 au 04 décembre 2021.
Lieu :  Venise.

The project Churches of Venice: New Research Perspectives (Chiese di Venezia: Nuove prospettive di ricerca)—begun in 2010 and from 2017 supported by the Department of Philosophy and Cultural Heritage at Ca’ Foscari University, Venice and currently sponsored by Save Venice Inc.—consists of a multi-year program of interdisciplinary conferences each focused on a specific Venetian church. The project is designed to engage different disciplines for a deeper understanding of the complex social and religious phenomena embodied in Venetian churches, physical spaces created to serve a variety of religious functions and meanings. In addition to investigating Venetian churches from ‘new research perspectives’, the project also strives to disseminate the latest research to the general public through the publication of the conference proceedings in a dedicated book series published by Viella. Continuer la lecture

Appel à communication : « The Myth of Versailles and European Courts, 18th and 19th Centuries ».

d’après Jacques Rigaud, Vue de château de Versailles sur la cour de la Chapelle, ca. 1725, huile sur toile, 106 x 200 cm, Versailles, musée national des châteaux de Versailles et de Trianon.

Type : appel à communication.
Date limite de l’appel : 31 octobre 2020.
Date de l’événement : 17-19 juin 2021.
Lieu :  Versailles, Château de Versailles.

In conjunction with the research programme Court Identities and the Myth of Versailles in Europe: Perception, Adherence, and Rejection (18th-19th centuries) led by the Centre de recherche since 2017.

At the end of the feudal age, the royal and princely courts represented a European phenomenon in terms of political, social and cultural content: monopolisation of power for the benefit of a single figure, gathering of a group of individuals around a sovereign and their family (princes, courtiers, domestic and military officers), development of a specific sociability and way of life, governed by ceremonial procedures, the search for ostentation and entertainment. These courts were as numerous and diverse as the dynasties that ruled them; nevertheless, some acquired a prescriptive value, such as the Court of Burgundy in the 15th century and the Italian courts of the 16th century. In the 17th and 18th centuries, it was the French Court of the Bourbons, and in particular that of Louis XIV, that became archetypal: an illusionary world, based on a reality observed and experienced by the contemporaries of the kings of France, was constructed and maintained for a long time by European monarchies, up until their demise for the most part in the early 20th century, at a time when political configurations were changing, shifting from shared power with assemblies to the establishment of republics. Continuer la lecture

Appel à communication : « Palaces for Rent : Real Estate in Madrid in the Eighteenth Century / Palacios en alquiler : Patrimonio inmobiliario en el Madrid del siglo XVIII ».

Type : appel à communication.
Date limite de l’appel : 30 juin 2020.
Date de l’événement : 12 novembre 2020.
Lieu :  Universidad Nacional de Educación a Distancia (UNED), Madrid.

This conference is the second in a series devoted to palaces in eighteenth-century European cities. The first conference, which focused on Rome, was hosted by the Art History Department at the UNED (Madrid) last year. In this second edition we seek to explore the case of Madrid during the eighteenth century. On the one hand, the majority of the nobility continued to live in rented palaces at the Court even though they owned properties within the city that they, in turn, rented out to other families. On the other, there was a discrepancy between the magnificence of the Spanish nobility and the quality and decoration of Madrid’s palaces. It was common for nobles to live in rundown old buildings, in most cases only slightly refurbished, which differed from other homes only in size. Over the course of the eighteenth century, and after the Alcázar was destroyed by fire, there was a noticeable change in the location of the city’s palaces. Firstly, the focus of the Court shifted towards the Buen Retiro, fostering the construction of new palaces on the eastern side of the Prado that conformed with both the canons of academic taste and the beautification and modernization of the capital promoted during the reigns of Ferdinand VI and, especially, Charles III. Secondly, during this period, domestic interiors underwent an important renewal as fashionable residences were adapted to new uses and social practices. This phenomenon, which reached its luxurious peak during the reign of Charles IV, provoked intense commercial activity as it spread to other social groups, such as the emerging bourgeoisie, the new administrative elite of the State, and the foreign diplomats who resided in the capital. Continuer la lecture

Publication : « Aesthetic Science : Representing Nature in the Royal Society of London, 1650–1720 ».

WRAGGE -MORLEY Alexander, Aesthetic Science : Representing Nature in the Royal Society of London, 1650–1720, Chicago, The University of Chicago Press, 2020, 272 p.

Présentation de l’éditeur :

The scientists affiliated with the early Royal Society of London have long been regarded as forerunners of modern empiricism, rejecting the symbolic and moral goals of Renaissance natural history in favor of plainly representing the world as it really was. In Aesthetic Science, Alexander Wragge-Morley challenges this interpretation by arguing that key figures such as John Ray, Robert Boyle, Nehemiah Grew, Robert Hooke, and Thomas Willis saw the study of nature as an aesthetic project. Continuer la lecture

Publication : « Representing from Life in Seventeenth-century Italy ».

MCTIGHE Sheila, Representing from Life in Seventeenth-century Italy, Amsterdam, Amsterdam university press, 2020, 256 p.

Présentation de l’éditeur :

In drawing or painting from live models and real landscapes, more was at stake for artists in early modern Italy than achieving greater naturalism. To work with the model in front of your eyes, and to retain their identity in the finished work of art, had an impact on concepts of artistry and authorship, the authority of the image as a source of knowledge, the boundaries between repetition and invention, and even the relation of images to words. This book focuses on artists who worked in Italy, both native Italians and migrants from northern Europe. The practice of depicting from life became a self-conscious departure from the norms of Italian arts. In the context of court culture in Rome and Florence, works by artists ranging from Caravaggio to Claude Lorrain, Pieter van Laer to Jacques Callot, reveal new aspects of their artistic practice and its critical implications.

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Publication : « Baroque Pathways : The National Galleries Barberini Corsini in Rome ».

WESTHEIDER Ortrud (eds.), PHILIPP Michael (eds.)
Baroque Pathways : The National Galleries Barberini Corsini in Rome, New York, Prestel, 2019, 280 p.

Présentation de l’éditeur :

Featuring major works from Caravaggio and his circle and the Italian Baroque period, this lavishly illustrated book looks at Rome as the center of European culture in the 17th century. Continuer la lecture

Publication : « René-Antoine Houasse (1645-1710) : Peindre pour Louis XIV ».

LETT Matthieu, René-Antoine Houasse (1645-1710) : Peindre pour Louis XIV, Paris, Arthena, 2020, 304 p.

Présentation de l’éditeur :

« Peintre du roi », René-Antoine Houasse (1645-1710) l’est assurément. Repéré, après son apprentissage chez Nicolas de Plattemontagne, par le Premier peintre du roi Charles Le Brun, il intervient sur tous les grands chantiers du règne de Louis XIV : à Versailles (Grand Appartement du roi, escalier des Ambassadeurs et galeries des Glaces), au Trianon de Marbre et aux Tuileries. Continuer la lecture