
Type : Appel à publication
Date limite de postulation : 15 octobre 2016
Type : Appel à communication
Date de la manifestation : 9 décembre 2016
Lieu : Université de Versailles Saint-Quentin-en-Yvelines
Date limite : 30 septembre 2016
Organisation : Université de Versailles Saint-Quentin-en-Yvelines – Laboratoire DYPAC (Dynamiques Patrimoniales et Culturelles) en partenariat avec la Fondation des Sciences du Patrimoine (LabEx Patrima) sous la responsabilité d’Anne-Clothilde Dumargne – doctorante UVSQ histoire médiévale.
Depuis quelques années de nombreuses études ont renouvelé nos connaissances sur l’environnement domestique médiéval et moderne, qu’il s’agisse de l’architecture de l’habitat (rural et urbain), de son aménagement intérieur et extérieur, de ses méthodes de construction ou de sa gestion. Elles nous ont éclairé sur les pratiques de vie quotidiennes rythmant la naissance, la vie et la mort des individus, leurs occupations pour se divertir ou entretenir leurs liens sociaux, sur la dévotion individuelle qui les anime, les manières dont ils mangent, dorment, se lavent, s’habillent, travaillent et les causes et conséquences sociales, culturelles, économiques ou politiques qui y président et en découlent.
Type : Colloque
Date du colloque : 27 au 29 juin 2016
Lieu : Salle Vasari, INHA, 2 rue Vivienne, 75002 Paris
Direction : Francesco Guidoboni, Jérôme de la Gorce
Colloque international organisé par le Centre André Chastel et le Labex Écrire une histoire nouvelle de l’Europe, avec le soutien du Ghamu et de la Société Archéologique de Sens.
Programme :
Continuer la lecture de Colloque : “Servandoni et son temps. Architecture, peinture, spectacles”
Type : Colloque
Date du colloque : du 9 au 11 juin 2016
Lieu : Auditorium Colbert, INHA, 2 rue Vivienne, 75002 Paris.
Programme :
Jeudi 9 Juin
9h30 – Accueil des participants
9h45 – Introduction
Première session : La Renaissance (1)
Président : Jean Guillaume
10h00 – Krista de Jonge (Université de Leuven) : « L’escalier à la Renaissance : les anciens Pays-Bas revisités »
Type : Appel à communication
Date de la journée d’étude : 15 octobre 2016
Date limite d’envoi des propositions : 15 juillet 2016
Lieu : Bibliothèque municipale de Versailles
Les années 1980 furent propices à l’étude du travail des ingénieurs : en 1981, Anne Blanchard publiait un Dictionnaire des ingénieurs militaires actifs en France entre 1691 et 1791, témoignant par son volume de l’importance de leur activité, tandis qu’en 1988, Antoine Picon, dans son ouvrage Architectes et ingénieurs au siècle des Lumières, accordait enfin aux ingénieurs des Ponts l’attention qu’ils méritaient et examinait leur formation et leurs méthodes de travail au regard de celles des architectes de l’Académie royale d’architecture.
Date : 18 mai 2016 de 18h à 20h.
Lieu : Paul Mellon Centre, 16 Bedford Square, London.
This talk considers the importance of what used to be known as ‘English Coloured Books’ to the conceptualization and visualization of the British Empire. Particular attention will be given to aquatint as a medium, and the ways in which this tonal intaglio process encouraged certain types of visual themes, historical narratives, and viewer responses. Making particular use of the J.R. Abbey collection of ‘Travel in Aquatint and Lithography’ in the Yale Center for British Art, this project explores the production and reception of three ambitious and beautifully illustrated publications: Thomas Daniell’s Hindoo Excavations (1803), William Alexander’s Costume of China (1805), and Samuel Daniell’s African Scenery and Animals (1804–05). This talk asks what these publications might reveal about Britain’s place in the world following the Treaty of Amiens. More broadly, it considers seriality as empire: how did elaborate aquatint publications colour British visions of Africa, Asia, and beyond?
Douglas Fordham is the author of British Art and the Seven Years’ War: Allegiance and Autonomy (University of Pennsylvania Press, 2010) and a co-editor with Tim Barringer and Geoff Quilley of Art and the British Empire (Manchester University Press, 2007). He has published articles relating to British art, visual culture, and empire in Art History, The Art Bulletin, Representations, Oxford Art Journal, and elsewhere.
Type : Colloque international
Date : 9 au 11 février 2016
Lieu : Paris, Centre Allemand d’Histoire de l’art, Hôtel Lully, 45, rue des Petits Champs (2e arrondissement)
Sous la direction de : Kirsten Dickhaut et Markus A. Castor
Programme :
Type : Colloque.
Date limite pour envoyer une proposition : 15 janvier 2016.
Date et lieu de la manifestation : 29 juin-2 juillet – Faculty of Humanities and Social Sciences, Zagreb, Croatia.
The position and status of art and artist changed considerably in Europe in the modern period, primarily with the formulation of the concept of artistic genius and the new division of labour that separated artists from artisans. Those dealing with art were looked upon as individuals possessing an extraordinary talent that transcended mere skill. Regardless of this new individuality, artistic genius cannot be equated with complete autonomy. Although no longer dependent upon brotherhoods and gilds, artistic practice was nevertheless tied to a wider social context. Political circumstances have always influenced artistic production to a greater or lesser extent. However, in the modern period, an increased significance was given to political bodies and legislative frameworks which introduced changes to social structures bringing thereby the need for artists to adapt to new situations. In addition to newly formed bourgeoisie, aristocracy and the church(es) which remained influential in the course of the 19th century, various political elites, and political bodies on both national and local levels, gradually assumed an important role as investors of architectural projects or patrons of artists and artworks in general.
By stimulating or influencing cultural transfers, political structures greatly influenced the shaping of cultural circles in European countries. Changes of political borders, social systems, wars and economic instability are still continuously mirrored in the production of art, both formally and conceptually. Social organization of artistic life has also been determined by different spheres of political, cultural or economic interests. Professional associations, organisation and artist collectives, whose activities can range from utopian programmes to practical implementation of artistic ideas, either affirm or oppose political parties and/or systems. The same is the case with individual artists whose work can speak more or less openly about their personal position in relation to wider socio-political circumstances. Although rarely, they still manage to oppose regimes and enforced visual models in more or less subtle ways. Their personal criticism can be interpreted at least as an effort to undermine the power of oppressive ideologies.
What of all these mere efforts or accomplishments stays recorded and conveyed to other generations is largely determined by museums. As institutions which either specialize in art or collect art as part of more diverse collections, museums often help determine, reinforce or disregard the value of individual art works, artists or certain aspects of art production. Collection and communication of art in these institutions, understood in the widest possible sense of the word, establish a dialogue between art production and the notion of quality, value, tradition and identity. By collecting art, which can be seen as an act of collective remembering, museums designate collected works as representatives of the material world that are worth keeping and protecting. By exhibiting, they transmit messages which are fraught with ideological meanings developed in specific political, economic and socio-cultural contexts. Through their basic functions, museums therefore indicate or clearly point out to specific relationships between art and ideology with what is present in their collections and shown in exhibitions as well as with what is absent.
The goal of the conference is to stress the social contexts of artistic production and to question and interpret social and historical circumstances that conditioned and influenced the creation, meaning and perception of works of art. The contributions to the scientific conference Art and Politics in Europe in the Modern Period should deal with different aspects of complex relationships between visual art and political, economic, cultural, gender and other politics in Europe in the period from the late 15th century to the present day. This can be addressed through one of the topics in the three following topic areas :
Paper proposals should contain author(s)’s name(s), title and the abstract, written in English, which should not exceed 500 words and a short author’s biography not longer than 250 words. Contributors will receive notification of acceptance by 15 February 2016. The official language of the conference is English.