Monthly Archive for: ‘May, 2025’

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  Virtual Salon: The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture

  Please join us on Friday, January 13 at 11AM ET for “The Colour of Anxiety: Race, Sexuality and Disorder in Victorian Sculpture,” a Virtual Salon discussing the exhibition of this title currently at the Henry Moore Institute in Leeds. Its co-curators, Adrienne L. Childs and Nicola Jennings, will be joined by art historian Lynda Nead in a discussion moderated by Isabel L. Taube of Nineteenth-Century Art Worldwide.

  As we interrogate the time-honored concept that all classical sculpture was white, we have become more attuned to polychrome sculpture in the post-classical period as well. Nineteenth-century sculptors in particular incorporated color into their work, using a variety of materials and methods. Participants in this Salon will discuss this phenomenon of “colored sculpture” with all its aesthetic, political, and sociological ramifications.

  Adrienne L. Childs is Adjunct Curator at the Phillips Collection in Washington, DC, where she curated the exhibition “Riffs and Relations: African American Artists and the European Modernist Tradition.” In 2022 she received the Driskell Prize in African American Art from the High Museum in Atlanta, Georgia. She contributed to The Image of the Black in Western Art (2010) and is co-editor of Blacks and Blackness in European Art of the Long Nineteenth Century (2017). Her current book project is “Ornamental Blackness: The Black Figure in European Decorative Arts,” forthcoming from Yale University Press.

  Nicola Jennings is a Visiting Lecturer at the Courtauld Institute of Art and Director of the Athena Art Foundation, a UK arts charity that uses digital platforms to engage new audiences with pre-twentieth century art. She was formerly Director of the Colnaghi Foundation. She has co-edited several books, including Alonso Berruguete: Renaissance Sculptor (2017), Juan de Mesa: The Master of Passion (2018) and Gothic Architecture in Spain: Invention and Imitation (2020).

  Lynda Nead is Pevsner Professor of History of Art at Birkbeck, University of London. Her books include Victorian Babylon: People, Streets and Images in Nineteenth-Century London (2005); The Haunted Gallery: Painting, Photography, Film c.1900 (2008); and The Tiger in the Smoke: Art and Culture in Post-War Britain (2017). She is currently working on a book called “British Blonde: Women, Desire and the Image in Post-War Britain,” to be given as the biennial Paul Mellon Lectures in 2023.

  Isabel L. Taube is the co-managing editor of Nineteenth-Century Art Worldwide. She has taught at Boston College, Rutgers University, and the School of Visual Arts. As an independent curator, she has organized exhibitions at the Frick Pittsburgh, the Philadelphia Museum of Art, and the School of Visual Arts Gallery. She is currently working on a book about eclecticism in nineteenth-century interiors.

  This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. The event is free and open to the public, but registration is required at: https://tinyurl.com/colour-anxiety.

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  Virtual Salon: Tutankhamun and the Tomb that Changed the World

  Please join us on Tuesday, December 6, 2022, 7PM ET for “Tutankhamun and the Tomb that Changed the World,” a Virtual Salon with Bob Brier, moderated by J. David Farmer. This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  This Salon honors the hundredth anniversary of the discovery of Tutankhamun’s tomb, as well as the publication of Brier’s monograph, “Tutankhamun and the Tomb that Changed the World” (Oxford University Press, 2022). Brier surveys recent research on Tutankhamun, and discusses the legacy of the tomb, how its discovery changed the politics of Egypt, the antiquities laws, and even how museums presently function.

  Bob Brier is Senior Research Fellow at Long Island University and the subject of a National Geographic special, Mr. Mummy. He is the host of the six-part series The Great Egyptians and the three-part series Mummy Detective, both for Discovery, and is featured in the National Geographic film Unlocking the Great Pyramid. He has published numerous articles in both scholarly journals and popular magazines and is the author of several previous books on Egyptology.

  David Farmer was Founding Director of the Dahesh Museum of Art and is currently its Director of Exhibitions. His art historical interests include Early Northern European art and nineteenth-century academic art worldwide.

  The event is free and open to the public, but registration is required at: https://tinyurl.com/tuts-tomb.

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  Virtual Salon: Data-Driven Art History: A Conversation

  Please join us on Friday, November 11 at 11AM EST for the Virtual Salon “Data-Driven Art History: A Conversation.” This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  While all art history can be defined as data-based, the term “data-driven art history” has come to signify quantitative methodologies adopted from sociology and economics and applied to datasets like exhibition catalogs and sales records. The results can be used to analyze the entire field of art production, its reception and its transformation into canonical art history. In this Salon, two major proponents of data-driven art history, Dr. Christian Huemer and Dr. Diana Seave Greenwald, will discuss their work and offer their thoughts on the possibilities and promise of this methodology.

  Christian Huemer is Director of the Belvedere Research Center in Vienna where he is in charge of the museum’s analog and digital research infrastructure. He is also president of DArtHist Austria – the national network for digital art history. Previously he was responsible for the development of the Getty Provenance Index® Databases, including data-driven research projects that led to publications such as London and the Emergence of a European Art Market, 1780–1820 (co-edited with Susanna Avery-Quash).

  Diana Seave Greenwald is William and Lia Poorvu Interim Curator of the Collection at the Isabella Stewart Gardner Museum. She is the author of Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton University Press, 2021). She was previously a postdoctoral fellow at the National Gallery of Art and at the Université libre de Bruxelles.

  The event is free and open to the public, but registration is required at: https://tinyurl.com/data-driven-art.

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  Virtual Salon: (Re)Presenting the 19th Century

  Please join us on Thursday, October 20 at 7PM for “(Re)Presenting the 19th Century,” a Virtual Salon organized by AHNCA’s Emerging Scholars Working Group for the 2022–2023 season. This series of online events is cosponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. “(Re)Presenting the 19th Century” will feature Iris Moon (Metropolitan Museum of Art), Emerson Bowyer (Art Institute of Chicago), and Thomas Busciglio-Ritter (Joslyn Art Museum) in conversation about their respective progress on reinstalling their institutions’ 19th-century galleries. Speakers will address various approaches and strategies for representing 19th-century collections for contemporary audiences. The panel will be moderated by Theresa A. Cunningham, Assistant Curator at the Dixon Gallery and Gardens. The event is free and open to the public but registration is required at https://tinyurl.com/representing19.

  Iris Moon, The Metropolitan Museum of Art

  Iris Moon is Assistant Curator in the European Sculpture and Decorative Arts Department at the Metropolitan Museum of Art. Her research on European decorative arts and architecture has been supported by the Paul Mellon Centre, the Decorative Arts Trust, the Clark Art Institute, and the Getty Research Institute. Alongside curatorial work at The Met, where she recently participated in the reinstallation of the British Galleries, she teaches at The Cooper Union. She is the author of Luxury after the Terror (2022) and Percier and Fontaine and the Struggle for Sovereignty in Revolutionary France (2016), and co-editor with Richard Taws of Time, Media, and Visuality in Post-Revolutionary France (2021). A new book on Wedgwood is forthcoming with MIT Press (2023).

  Emerson Bowyer, The Art Institute of Chicago

  Emerson Bowyer is Searle Curator, Painting and Sculpture of Europe, at the Art Institute of Chicago. A specialist in 18th- and 19th-century French and British art, he has previously worked at the Frick Collection, the Fine Arts Museums of San Francisco, and the Metropolitan Museum of Art in New York. His exhibitions include David d’Angers: Making the Modern Monument (Frick Collection, 2013), Luminous Worlds: British Works on Paper 1760–1900 (Fine Arts Museums of San Francisco), and Like Life: Sculpture, Color, and the Body (Met Breuer, 2018), for which he was co-curator. Emerson is currently working on two exhibitions, on Antonio Canova’s clay sketches and the sculpture of Camille Claudel.

  Thomas Busciglio-Ritter, Joslyn Art Museum

  Thomas Busciglio-Ritter is Richard and Mary Holland Assistant Curator of American Western Art and a Ph.D. candidate in Art History at the University of Delaware. His research examines the visual culture of landscape, American race relations, and tourism, as well as transatlantic circulations during the nineteenth century. A native of France, Busciglio-Ritter holds Master’s degrees in history and art history from the Paris Institute of Political Studies and the École du Louvre. His research has been published in scholarly journals such as the Revue de l’Art, Athanor, and Panorama. He has previously worked on curatorial projects at the Pennsylvania Academy of the Fine Arts and the Metropolitan Museum of Art.

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  Virtual Salon: Dahesh Prize Redux

  Please join us on Friday, September 30 at 1PM for “Dahesh Prize Redux,” our first Virtual Salon of the 2022–2023 season. This series of online events is cosponsored by the Association of Historians of Nineteenth-Century Art and the Dahesh Museum of Art. “Dahesh Prize Redux” will feature the two recipients of the Mervat Zahid Cultural Foundation Prize at the nineteenth annual AHNCA/Dahesh Graduate Student Symposium in Nineteenth-Century Art that took place in March 2022. They will re-present their papers and discuss their work and future plans. The event is free and open to the public but registration is required at https://tinyurl.com/daheshredux2022.

  Thomas Busciglio-Ritter, University of Delaware, “From Brussels to Point Breeze:
  Charlotte Bonaparte and the American Landscape, 1821–1825.”

  Busciglio-Ritter examines the production of landscape images by Charlotte Bonaparte during her American residence, 1821–1824. Her involvement with networks of transatlantic lithographers and painters resulted in the publication of her portfolio of sketches: Picturesque Views of America, one of the first to widely circulate views of U.S. scenery in print to European audiences.

  He is the Richard & Mary Holland Assistant Curator of American Western Art at Joslyn Art Museum in Omaha, as well as a doctoral candidate at the University of Delaware. A scholar from France, he previously received an MA from the École du Louvre. His research covers nineteenth-century landscape art, racial relations, environmental issues, and artistic circulations between Europe and the United States. He was awarded an Andrew W. Mellon Foundation Curatorial Fellowship at the University of Delaware and a 2021 Terra Foundation Research Travel Grant. His research has been published in Revue de l’Art, the Oxford Journal of the History of Collections, Panorama, and Early American Studies as well as in the exhibition catalog Rosa Bonheur at the Musée des beaux-arts in Bordeaux and at the Musée d’Orsay.

  Moderator Patricia Mainardi, City University of New York, Program Director AHNCA.

  Carter Jackson, Boston University, “Turbulent Politics and a Stage for Democracy:
  Government and Governmentality in the Allegheny County Courthouse.”

  Jackson explores the role of architecture during moments of political unrest by examining how Henry Hobson Richardson’s design for the Allegheny County Courthouse, completed in 1888, mediated a fraught relationship between citizens and their government in late nineteenth-century Pittsburgh.

  He is a doctoral candidate at Boston University. His research focuses on issues related to nineteenth-century architecture, nationalism, and subjectivity in Britain and the United States. He received his undergraduate degree in architecture and worked as a designer in professional practice before completing his MA in the History of Art at the University of York. He has been a Research Intern at the Victoria and Albert Museum, the MIT Museum, and Historic New England. During the summer of 2022 he worked as an historian for the National Park Service’s Historic American Buildings Survey, documenting Paul Rudolph’s Boston Government Service Center for the HABS collection at the Library of Congress.

  Moderator Kevin Murphy, Vanderbilt University.

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  Virtual Salon: Nineteenth-Century Print Culture

  Please join us on Thursday, May 19 at 1PM EST for the May Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. This online event is free and open to the public, but registration is required: https://tinyurl.com/printculture.

  In this Salon, Britany Salsbury (Cleveland Museum of Art) will moderate a conversation with Fleur Roos Rosa de Carvalho (Van Gogh Museum), Allison Rudnick (Metropolitan Museum of Art), and Juliet Sperling (University of Washington), who will discuss their current research in the field of 19th-century prints and ephemera, followed by a Q&A.

  Britany Salsbury is associate curator of prints and drawings at the Cleveland Museum of Art and a specialist in 19th-century European works on paper. Her exhibitions and publications include Altered States: Etching in Late 19th-Century Paris (2016); and the forthcoming Nineteenth-Century French Drawings from the Cleveland Museum of Art (2023) and Degas and the Laundress: Women, Work, and Impressionism (2023). With Ruth E. Iskin, she co-edited the book Collecting Prints, Posters, and Ephemera: Perspectives in a Global World (2019) and contributed a chapter on the collector and scholar Loys Delteil. Her dissertation on print portfolios in fin-de-siècle Paris, completed in 2015 at the Graduate Center of the City University of New York, was supported by funding from the Getty Research Institute and the Andrew W. Mellon Foundation.

  Fleur Roos Rosa de Carvalho is Senior Curator of Prints and Drawings at the Van Gogh Museum Amsterdam. She has exhibited and published widely on fin-de-siècle printmaking and print collecting, focusing in particular on the art of the Nabis, Odilon Redon and Henri de Toulouse-Lautrec. In 2017 she published her overview of the period: Prints in Paris 1900: From Elite to the Street.​​​ She is currently preparing the catalogue “Souvenirs d’une opération laborieuse”: reconstructing the genesis of the Vollard suites by the Nabis artists and the printer Clot (1896–1900). Her research is generously supported by the Vincent van Gogh Foundation, The Getty Paper Project, The Elise Wessels Foundation, the Institut national d’histoire de l’art (INHA) and the IFPDA.

  Allison Rudnick is Associate Curator of Drawings and Prints at the Metropolitan Museum of Art where she oversees the collection of printed ephemera. Rudnick’s research interests include the visual culture of the United States in the nineteenth and twentieth centuries, uses of printmaking in activist practices, and the sociopolitical effects of developments in modern print technologies. She is currently organizing an exhibition and related publication on art and politics in the U.S. in the 1930s, which explores the transmission of political ideas and propaganda through the material culture of the period. She received her B.A. in Art History and Museum Studies from Connecticut College and her M.Phil. in Art History at the Graduate Center of the City University of New York (CUNY), where she is currently completing a Ph.D.

  Juliet Sperling is an Assistant Professor of Art History and Kollar Endowed Chair in American Art in the School of Art + Art History + Design at the University of Washington. Her current book project, Tactile Encounter and the Moving Image in American Art, offers a new account of ways of seeing in the United States by charting a history of how, and to what ends, vision and touch converged on the surfaces of interactive prints during the transformative period between c. 1776–1910. Sperling is Chair of the Association of Historians of American Art and a senior fellow and founding member of the Andrew W. Mellon Society of Fellows in Critical Bibliography.

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  Virtual Salon: Degas Up Close

  Please join us on Friday, April 29, at 2PM EST for Degas Up Close, the April Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. This online event is free and open to the public, but registration is required: https://tinyurl.com/degassalon.

  In this Salon, Line Clausen Pedersen (National Galleries of Scotland), Devi Ormond (J. Paul Getty Museum), and Catherine Schmidt Patterson (Getty Conservation Institute) will discuss their collaborative research on Edgar Degas’s Dancers Practicing in the Foyer (1880s, Ny Carlsberg Glyptotek), followed by a Q&A.

  Line Clausen Pedersen is an art historian currently working in Edinburgh as the Director of collection and research at the National Galleries of Scotland. Previously working as a curator and head of department at the Ny Carlsberg Glyptotek, Copenhagen, Line has been responsible for numerous international exhibitions and publications, including exhibitions on Bonnard, Gauguin, Degas, Th. Rousseau and Odilon Redon. Her research is driven by technical studies and has a focus on artistic practices across techniques, chronology and motifs. Recent and current research includes studies of Degas’ practice in wax and a manuscript on curatorial approaches and explorative work with the permanent collections based on case-studies.

  Devi Ormond is an associate conservator of paintings at the J. Paul Getty Museum. She received her Master’s degree in Paintings Conservation in 1999 from the University of Northumbria at Newcastle. She then spent two years at the Hamilton Kerr Institute Cambridge, UK and completed several internships both in Museums and private studios in Europe and the US. She worked at the Victoria & Albert Museum and the Kröller-Müller Museum developing a specialism in the conservation and technical examination of 19th Century paintings. At the Van Gogh Museum for seven years, Devi conserved and researched paintings by both Van Gogh as well as his Dutch and French contemporaries

  Catherine Schmidt Patterson is a Scientist at the Getty Conservation Institute (GCI), where she is a member of the Technical Studies research group. Her primary areas of research are the use of non- or minimally-invasive techniques such as Raman microspectroscopy, x-ray fluorescence spectroscopy, and technical imaging to study works of art, the development of new analytical methodologies, and technology transfer for the benefit of cultural heritage science. Prior to joining the GCI as a member of staff in 2009, she held the GCI’s prestigious Postdoctoral Fellowship in Conservation Science (2007–2009). She received her Ph.D. in Chemistry at Northwestern University, where her research focused on the fundamental physical chemistry governing the interaction of indoor air pollutants with catalytic surfaces.

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  Virtual Salon: Materiality and the Nineteenth-Century Decorative Arts

  Please join us on Wednesday, February 9, at 7PM EST for Materiality and the Nineteenth–Century Decorative Arts, the February Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. This online event is free and open to the public, but registration is required: https://tinyurl.com/19decarts.

  In this Salon, Amy F. Ogata (Moderator), Lee Talbot, and Christine Garnier will discuss questions of materiality and the decorative arts in the nineteenth century. Their discussion will explore the environmental origins and processing of materials, the significance of materiality expressed in decorative forms to cultural identity, and the broader ways that histories of materiality, applied arts and art history might be understood together. The discussion will be followed by a Q&A and, after the event, there will be a break-out room where attendees can socialize informally.

  Amy F. Ogata is Professor of Art History at the University of Southern California. Her research concerns the relationship between architecture and design, and the history of applied arts in Europe and the US in the 19th and 20th centuries. Her books include Designing the Creative Child: Playthings and Places in Midcentury America (Minnesota 2013), which won the Alice Davis Hitchcock Award from the Society of Architectural Historians. She was the co-curator of Swedish Wooden Toys (2014) and co-editor of the accompanying catalog (Yale 2014). She also wrote a book on Art Nouveau in Belgium (Cambridge 2001). Articles have appeared in Art History, Journal of the Society of Architectural Historians, Journal of Design History, The Senses and Society, Studies in the Decorative Arts, West 86th, and Winterthur Portfolio. She is currently working on a book about French Second Empire, metalwork, and the industrial age.

  Lee Talbot is a curator at The George Washington University Museum and The Textile Museum in Washington, DC. He joined The Textile Museum in 2007, specializing in the history of East Asian textiles. He has curated numerous exhibitions and published catalogues, articles, and textbook chapters. Lee was previously curator at the Chung Young Yang Embroidery Museum in Seoul, Korea. He has a B.A. from Rhodes College, an MBA from the Thunderbird School of Global Management and a M.A. and M.Phil. from Bard Graduate Center. He serves on the board of The Textile Society of America, and co-edited the recent issue of the Journal of Textile Design, Research, and Practice. 

  Christine Garnier is a PhD candidate in the History of Art & Architecture at Harvard University and the Wyeth Predoctoral Fellow at the Center for Advanced Study in the Visual Arts. Her work focuses on the histories of the decorative arts, craft, and photography of the United States, with a focus on material histories and ecocriticism. Her dissertation, “The American Silverscape: Art, Extraction, and Sovereignty (1848–1893),” considers how a range of silver aesthetic objects—sculptures, medals, dinner services, and jewelry—helped mediate discourses on economics, natural resources, and Indigenous sovereignty during the silver mining boom throughout the Intermountain West. Her research has been supported by the Center, the Smithsonian American Art Museum, the Decorative Arts Trust, and the Center for Craft, among others.

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  2022 AHNCA/Dahesh Graduate Student Symposium

  NINETEENTH ANNUAL GRADUATE STUDENT SYMPOSIUM

  IN NINETEENTH-CENTURY ART

  Saturday & Sunday, March 26 & 27, 2022, 1 to 4 PM EST

   

  Co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and

  the Dahesh Museum of Art. This event will be held online; register at: https://tinyurl.com/ahncadahesh19

   

   Special thanks to the Dahesh Museum of Art for the Dahesh Museum of Art Prize for the Best Paper(s), a gift from the Mervat Zahid Cultural Foundation

   

  Saturday, March 26, 2022

   

  1 PM: Welcome: Nancy Locke, Pennsylvania State University, President of the Association of Historians of Nineteenth-Century Art; Amira Zahid, Trustee, Dahesh Museum of Art

   

  1:15 – 2:30 PM: First Session & Discussion

  Patricia Mainardi, Graduate Center, City University of New York, AHNCA Program Chair, Moderator

   

  Gabriel Hubmann, University of Basel, “Allegory and Caricature in Antoine-Jean Gros’s Napoleon Visiting the Plague-Stricken of Jaffa (1804).”

  Gros’s history painting has given rise to several questions still relevant today. One detail in particular has puzzled scholars: the dramatic size difference between Napoleon and the sick soldiers. Hubmann argues that this detail can be interpreted as a kind of allegory, both drawing from and directed against caricatures critical of Napoleon.

   

  Teresa Mocharitsch, University of Graz and Museumsakademie Joanneum, “Vae Victoribus: Charles Landelle’s Velleda and the Franco-Prussian War.”

  With his painting Velleda (1870), Charles Landelle adapted the Germanic seeress Veleda for the French narrative of the Franco-Prussian War. Mocharitsch situates the picture in the iconography of Veleda, in the painter’s oeuvre, and in the visual culture of this armed conflict in order to deepen our understanding of the resonance of historical reception.

   

  Glynnis Napier Stevenson, University College London and the Nelson-Atkins Museum of Art, “‘In the West of Traditions, 1793 Was Yesterday’: Royalism at the 1889 Decennial Exposition.”

  Julien Le Blant’s 1883 painting The Execution of Charette [1796] exemplifies compromises made at the Paris Exposition Universelle of 1889 to appeal to right-wing voters during a crucial election year. One hundred years after the storming of the Bastille, the governing centrists used the Exposition to extend an olive branch to the politics of royalist grievance.

   

  2:30 – 2:40 PM: Break

   

  2:40 – 3:40 PM: Second Session & Discussion

  Petra ten-Doesschate Chu, Seton Hall University and Nineteenth-Century Art Worldwide, Moderator

   

  Katie Loney, University of Pittsburgh and the Metropolitan Museum of Art, “Making a Global Market for Indian Art: Lockwood de Forest and The Ahmedabad Wood Carving Company.”

  Loney traces the Ahmedabad Wood Carving Company’s artistic furnishings and ornamental work through the late nineteenth-century global art market, identifying systems of circulation, exchange, and display in which the AWCC helped establish a canon of Indian applied arts grounded in Western judgments and tastes as well as imperial control through trade.

   

  Lea C. Stephenson, University of Delaware, “Dressing Up Egypt: Whiteness and the Allure of Egyptomania, 1870­–1920.”

  A late nineteenth-century wave of Egyptomania included American and British artists and collectors interpreting Egypt as a setting for sensuous escapism. Elite, white women in the United States and Britain wore Egyptian-inspired dresses and jewels—in portraits and in life. Stephenson examines this haptic and embodied act of performing race when dressing up as “Egyptian.”

   

  3:40 – 4:00 PM: Discussion among Participants

   

  Sunday, March 27, 2022

   

  1:00 PM: Welcome: Nancy Locke, President of AHNCA, and J. David Farmer, Director of Exhibitions, Dahesh Museum of Art

   

  1:15 – 2:30 PM: Third Session & Discussion

  Marilyn Satin Kushner, New-York Historical Society, Moderator

   

  Remi Poindexter, City University of New York, “Plantation Pastorales: Jenny Prinssay’s Caribbean Landscapes and the Salon of 1814.”

  In 1814, two works depicting the French Caribbean were shown in the Paris Salon, made by an enigmatic artist named Jenny Prinnsay (née Bouscaren) who had previously shown at the Salon of 1801. Poindexter discusses Prinssay’s View of a Bay on the Island of Martinique as it relates to early nineteenth-century depictions of the French colony and the Caribbean as a whole.

   

  Thomas Busciglio-Ritter, University of Delaware, “From Brussels to Point Breeze:

  Charlotte Bonaparte and the American Landscape, 1821–1825.”

  Busciglio-Ritter examines the production of landscape images by Charlotte Bonaparte during her American residence, 1821-1824. Her involvement with networks of transatlantic lithographers and painters resulted in the publication of her portfolio of sketches: Picturesque Views of America, one of the first to widely circulate views of U.S. scenery in print to European audiences.

   

  Gabriela Torres, University of Lisbon. “Light and Shadow: The Photography of Louis Igout and Its Relation to Nineteenth-Century Academic Figure Drawing”

  Torres explores a photography album by Louis Igout (1837–1881), created to serve as an auxiliary aid for artists. Through it, she demonstrates the growing influence of photography in the creation of new graphic expressions, illustrating this with charcoal drawings by Portuguese students from the Paris École des beaux-arts, the Académie Julien and the Académie Delécluse.

   

  2:30 – 2:40 PM: Break

   

  2:40 – 3:40 PM: Fourth Session & Discussion

  1. David Farmer, Dahesh Museum of Art, Moderator

   

  Carter Jackson, Boston University, “Turbulent Politics and a Stage for Democracy: Government and Governmentality in the Allegheny County Courthouse.”

  Jackson explores the role of architecture during moments of political unrest by examining how Henry Hobson Richardson’s design for the Allegheny County Courthouse, completed in 1888, mediated a fraught relationship between citizens and their government in late nineteenth-century Pittsburgh.

   

  Ivana Dizdar, University of Toronto and The National Gallery of Canada, “Embracing the North: Panoramic Visions of Global Commerce in Triumphal France (1889).”

  Unveiled at the Paris Bourse de Commerce in 1889, the vast panoramic mural Triumphal France represents trade between France and the world. Curiously, one of the mural’s four regional sections depicts the Polar North. Exploring this inclusion, Dizdar examines how the Arctic figured in French nineteenth-century visual culture and geopolitics.

   

  3:40 – 4:00 PM: Discussion among Participants

   

   

  2022 Jury: Petra ten-Doesschate Chu, J. David Farmer, Marilyn Satin Kushner, Nancy Locke, Patricia Mainardi. Technical Director: Kaylee Alexander

   

  The symposium is free and open to the public, but registration is required:

  ADD.

  For the complete program: www.ahnca.org; www.daheshmuseum.org. For further information: info@daheshmuseum.org.

   

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  Virtual Salon: Rethinking the Visual and Material Culture of Enslavement

  Please join us on Wednesday, January 19, at 7PM ET for Rethinking the Visual and Material Culture of Enslavement, the January Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. This online event is free and open to the public, but registration is required: https://tinyurl.com/rethinkingenslavement.

  For this event, we are fortunate to host three specialists who will discuss this important area of nineteenth-century studies: Jennifer Van Horn (Moderator), Adrienne Childs, and Phillip Troutman. Each will give a brief presentation on an object drawn from their research on the visual and material culture of enslavement, followed by discussion and then a Q&A.  After the event, there will be a break-out room where attendees can socialize informally.

  Jennifer Van Horn holds a joint appointment as associate professor in the departments of Art History and History at the University of Delaware. She is the author of The Power of Objects in Eighteenth-Century British America and Portraits of Resistance: Activating Art during Slavery, forthcoming from Yale University Press (2022). A piece of this project published in The Art Bulletin was awarded the National Portrait Gallery’s Director’s Essay Prize. Recently she co-edited a special double issue of Winterthur Portfolio: “Enslavement and Its Legacies.”

  Adrienne L. Childs is an art historian and curator. She is an adjunct curator at The Phillips Collection and associate of the W.E.B. Du Bois Research Institute at the Hutchins Center for African and African American Research at Harvard University. She curated the exhibition Riffs and Relations: African American Artists and the European Modernist Tradition, 2020, at the Phillips Collection. Her current book project is Ornamental Blackness: The Black Figure in European Decorative Arts, forthcoming from Yale University Press. She has held fellowships the Lunder Institute at the Colby College Museum of Art, the Center for Advanced Study in the Visual Arts (CASVA), The Hutchins Center at Harvard University, The Clark Art Institute and the David C. Driskell Center. She is co-curator of the recent exhibition The Black Figure in the European Imaginary at the Cornell Fine Arts Museum at Rollins College. She contributed to The Image of the Black in Western Art, Volume V from Harvard University Press. Childs is co-editor of the book Blacks in European Art of the Long Nineteenth Century, Routledge. Her scholarly interests are the relationship between race and representation in European and American fine and decorative arts. She also served as curator at the David C. Driskell Center at the University of Maryland where she curated numerous exhibitions of African American art.

  Phillip Troutman is Director of Writing in the Disciplines and an Assistant Professor of Writing and of History at the George Washington University. He was a 2018–2019 Smithsonian Institution Senior Fellow at the Smithsonian American Art Museum and the National Museum of American History and is completing a book entitled “‘Incendiary Pictures’: the Radical Visual Rhetoric of American Abolition.” The book details the 1830s work of African American engraver Patrick Henry Reason and white editors Lewis Tappan and Elizur Wright, Jr., and has been supported by a National Endowment for the Humanities Summer Stipend and a Reese Fellowship in the Print Culture of the Americas, Clements Library, University of Michigan.