Category Archive for: ‘Events’

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  Virtual Salon: The Morality of Pictures

  Please join us on Friday, April 25, 2025 at noon ET for “The Morality of Pictures,” a Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  “Art,” Baudelaire wrote, “cannot, except at the price of death or decay, assume the mantle of morality,” but he immediately added that every artwork “naturally and necessarily suggests a moral.” In this Virtual Salon, three distinguished scholars will consider what role, if any, moral values play in the production and understanding of artworks.

  Bridget Alsdorf is Professor of Modern European Art at Princeton University. The author of Fellow Men: Fantin-Latour and the Problem of the Group in Nineteenth-Century French Painting (2013) and Gawkers: Art and Audience in Late Nineteenth-Century France (2022), she is currently writing a book on love and collaboration in modern Scandinavian painting, photography, and silent film (ca. 1870–1920), informed by the philosophy of Søren Kierkegaard. With Carolyn Yerkes, she is working on a book and exhibition on Jacques Callot.

  Todd Cronan is Professor of Art History at Emory University and editor-in-chief of nonsite.org. He is author of Against Affective Formalism: Matisse, Bergson, Modernism (Univ. of Minnesota Press, 2013), Red Aesthetics: Rodchenko, Brecht, Eisenstein (Rowman & Littlefield, 2021), Nothing Permanent: Modern Architecture in California (Univ. of Minnesota Press, 2023) and coeditor (with Peter Bunnell) of Minor White, Memorable Fancies (Princeton University Press, 2025). He is currently working on a book on Matisse and Manet and (with Walter Benn Michaels and Lisa Siraganian) Intention: Three Inquiries in Art and Action (Univ. of Chicago, 2026). He has also written on art and politics for Jacobin, The Nation, Brooklyn Rail, The Chronicle of Higher Education, and Common Dreams.

  Ralph Ubl is Professor of Modern Art History at the University of Basel, Switzerland. He is author of Prehistoric Future. Max Ernst and the Return of Painting (2013) and Bildtheorie zur Einführung (2013, together with Wolfram Pichler). His most recent publications include essays on Max Klinger and Jeff Wall. He is currently writing a book on Eugène Delacroix.

  ***

  This online event is free and open to the public, but registration is required at: https://tinyurl.com/The-Morality-of-Pictures

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  2025 AHNCA/Dahesh Graduate Student Symposium

  TWENTY-SECOND ANNUAL GRADUATE STUDENT SYMPOSIUM
  IN NINETEENTH-CENTURY ART
  Saturday & Sunday, March 15–16, 2025, 11AM to 5 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. Advance registration is required.

  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 15, 2025

  11:00 am Keynote Lecture, “Picturing the Heavens: Étienne-Leopold Trouvelot’s Astronomical Drawings”

  Rachael Z. DeLue, Christopher Binyon Sarofim ’86 Professor in American Art and Director of the Princeton Humanities Initiative, Princeton University

  Prof. DeLue will be introduced by Michelle Foa, AHNCA Programs Chair; Q&A to follow.

  Lunch break

  1:30 pm Welcome

  Nancy Locke, President, AHNCA

  J. David Farmer, Director of Exhibitions, Dahesh Museum of Art

  1:40 pm Viktoriia Bazyk, University of Vienna
  “Hellish Masculinities: Virility, Violence and Eroticism in William Bouguereau’s Dante and Virgil in Hell”

  2:00 pm Elizabeth Keto, Yale University
  “Life, Death, and Resurrection: Harriet Hosmer and the Anatomy of Neoclassical Sculpture”

  2:20 pm Rhea Stark, Columbia University
  “The Rise and Reformation of Temple Emanu-El: America’s ‘Cathedral Synagogue’ and the Aesthetic Identifications of Reform Jewry”

  2:35–2:50 pm Q & A

  2:50–3:05 pm Break

  3:05 pm Paula Bruno Garcén, Universidad de Buenos Aires, Instituto de Geografía
  “Cosmopolitan Experiences and Technologies of Light, Space and Movement in Buenos Aires During the 19th Century”

  3:25 pm Elizabeth Halide Akant, City University of New York
  “Fabricating the Sultan’s Image: The Zonaros and the Politics of Ottoman Belonging, 1892–1909”

  3:45–4:00 pm Q & A

  4:00–4:10 pm Break

  4:10–4:30 pm Response to papers from Prof. DeLue

  4:30–5:00 pm General discussion with all speakers and audience

   

  

  Sunday, March 16, 2025

  1:00 pm Welcome

  Nancy Locke, President, AHNCA

  Stephen Edidin, Deputy Director and Chief Curator, Dahesh Museum of Art

  1:10 pm Dahi Jung, University of Zurich
  “Beyond Canton, Beyond China: Pith Paper Across Cultures”

  1:30 pm Taylor Stewart, The University of Chicago
  “Constructing Kōgei: Shibata Zeshin’s Trompe L’Oeil Lacquers”

  1:45–2:00 pm Q & A

  2:00–2:15 pm Break

  2:15 pm Sarah Rapoport, Yale University
  “‘A pastel by Manet frozen in pietra dura’: Craft Labor and National Identity in James Tissot’s Cloisonné Enamels”

  2:35 pm Tyler C. Spencer, The Institute of Fine Arts, New York University
  “A Second Look at Illustration: Timothy O’Sullivan and American Survey Photography”

  2:50–3:05 pm Q & A

  3:05–3:20 pm Break

  3:20–3:40 pm Response to papers from Prof. DeLue

  3:40–4:10 pm General discussion with all speakers and audience

  

  Special thanks to:

  Amira Zahid, Trustee, Dahesh Museum of Art

  Tannaz Hajimirzaamin, Technical Director

  Jury: André Dombrowski, J. David Farmer, Michelle Foa, Nancy Locke, Mary Morton, David O’Brien, James H. Rubin

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  Virtual Salon: Art and Ecology

  Please join us on Friday, February 7, 2025 at 11AM ET for “Art and Ecology”, a Virtual Salon co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  For this event, we are fortunate to host four speakers to discuss this important area of nineteenth-century studies: Sarah Gould, Simon Kelly, Michael Lobel, and Harmon Siegel. Each speaker will give a brief presentation on an object drawn from their research, followed by discussion and then a Q&A.

  Sarah Gould is an Assistant Professor at Université Paris 1 Panthéon-Sorbonne, where she focuses on the study of British art in both her research and teaching. Her academic interests lie at the intersection of the material and ecological meanings of art. She is currently working on two monographs, one on the Victorian painter John Everett Millais and the other on pollution in painting and visual culture in nineteenth-century Britain.

  Simon Kelly is Curator and Head of Department of Modern and Contemporary Art at the Saint Louis Art Museum. He has curated numerous exhibitions there including, most recently, “Monet/Mitchell: Painting the French Landscape” (2023) and “Matisse and the Sea” (2024). He has published extensively on 19th- and early 20th-century French art, particularly on Barbizon and Impressionist painting, including the book, Théodore Rousseau and the Rise of the Modern Art Market (Bloomsbury, 2021). He is currently writing a book on the 19th-century international community of artists at Barbizon. Kelly received his doctorate from Oxford University, where he also taught art history.

  Michael Lobel is Professor of Art History at Hunter College and the Graduate Center, CUNY. His publications include four books, the most recent being Van Gogh and the End of Nature, published by Yale University Press in summer 2024. A regular contributor to exhibition catalogues and to such publications as Artforum, American Art, and Art Bulletin, his research has been supported by grants and fellowships from the Dedalus Foundation, the NEH, and the Terra Foundation for American Art.

  Harmon Siegel is a Junior Fellow at the Harvard Society of Fellows. His writing has appeared in Art Bulletin, American Art, and Nonsite, and he writes as a critic for Artforum and Texte zur Kunst. His book, Painting with Monet, is now out from Princeton University Press.

  * * *

  This online event is free and open to the public, but registration is required at: https:/tinyurl.com/Art-Ecology.

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  Virtual Salon: New Books by AHNCA Members

  Please join us for two Virtual Salons, one on Friday, January 17 and the other on Friday, January 24, and learn more about books published in 2024 by AHNCA members. Each author will give a brief presentation about their book, followed by a discussion among the authors and a Q&A with the audience.

  Virtual Salons are monthly online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  January 17, 12:00PM EST

  Phillip Dennis Cate, Paris and La Belle Epoque: The Center of Avant-Garde Artist
  Shana Cooperstein, Drawing Pedagogy in Modern France: Habit’s Demise
  Katie Hornstein, Myth and Menagerie: Seeing Lions in the Nineteenth Century
  Heather McPherson, Picturing the Artist’s Studio, from Delacroix to Picasso
  Kelly Presutti, Land into Landscape: Art, Environment, and the Making of Modern France
  Harmon Siegel, Painting with Monet

  January 24, 2:00PM EST

  Ruth E. Iskin, Mary Cassatt between Paris and New York: The Making of a Transatlantic Legacy
  Sarah Lewis, The Unseen Truth: When Race Changed Sight in America
  Kimberly A. Orcutt, The American Art-Union: Utopia and Skepticism in the Antebellum Era
  Jeff Rosen, Julia Margaret Cameron: The Colonial Shadows of Victorian Photography

  * * *

  This event is free and open to the public, but registration is required:

  Register for book event 1, Jan 17, 2025, 12PM: AHNCAbooks1
  Register for book event 2, Jan 24, 2025, 2PM: AHNCAbooks2

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  Virtual Salon: Reconsidering Nineteenth-Century Sculpture

  Please join us on Friday, November 15 at 11AM ET for the Virtual Salon “Reconsidering Nineteenth-Century Sculpture”. The Virtual Salon is a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  In this Salon, Andrew Eschelbacher will moderate a discussion among notable sculpture specialists, each presenting their own projects and views of the current state of nineteenth-century sculpture research.

  Andrew Eschelbacher, Moderator, is Director of Collections and Exhibitions at the Amon Carter Museum of American Art. A specialist of nineteenth- and twentieth-century European and American sculpture, he is the editor of Monuments and Myths: The America of Sculptors Augustus Saint-Gaudens and Daniel Chester French (2023) as well as A New American Sculpture, 1914–1945: Lachaise, Laurent, Nadelman, and Zorach (2017) and Farm to Table: Art, Food, and Identity in the Age of Impressionism (2016).

  Patrick Crowley is Associate Curator of European Art at the Cantor Arts Center of Stanford University where he oversees a collection that ranges from antiquity through 1900. He is currently developing an exhibition on nineteenth-century photo sculpture. Prior to Stanford, he was Assistant Professor of Art History and the College at the University of Chicago. His work has been supported by the J. Paul Getty Trust, Research Institute, the National Endowment for the Humanities and the Center for Advanced Study in the Visual Arts. He is the author of The Phantom Image: Seeing the Dead in Ancient Rome.

  Karen Lemmey is Curator of Sculpture at the Smithsonian American Art Museum. Along with Grace Yasumura and Tobias Wofford, she curated SAAM’s exhibition, The Shape of Power: Stories of Race and American Sculpture (Nov. 8, 2024–Sept. 14, 2025). In 2015, she curated SAAM’s Measured Perfection: Hiram Powers’ Greek Slave. She previously served as monuments coordinator for the City of New York’s Department of Parks & Recreation, and was an Andrew W. Mellon Curatorial Fellow at the National Gallery of Art in Washington, D.C., where she organized the 2006 exhibition, Alexandre-Louis-Marie Charpentier.

  Laure de Margerie is Director of the French Sculpture Census, the first comprehensive catalogue of French sculpture (1500–1960) in American public collections. She was head of the Sculpture Archives at the Musée d’Orsay in Paris (1978–2009), co-authored its collection catalogue, and was part of the Orsay’s first sculpture installation team. She has curated several exhibitions: La Danse de Carpeaux (Paris and Valenciennes, 1989), Drawings by Carpeaux (Paris, 1991–92), Carpeaux peintre (Paris, Valenciennes, and Amsterdam, 1999/2000), and Charles Cordier (1827–1905), Ethnographic Sculptor (Paris, Quebec City, and New York, Dahesh Museum, 2004–05).

  * * *

  This event is free and open to the public, but registration is required at: https://us06web.zoom.us/meeting/register/tZcqcuqqrTgrG9POjIW0knlAvPhiEdg9jnZu.

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  Virtual Salon: AHNCA @ 30: Past, Present, and Future

  Please join us on Tuesday, October 1 at 7PM EDT for the Virtual Salon “AHNCA @ 30: Past, Present, and Future.” The Virtual Salon is organized by Nineteenth-Century Art Worldwide and is part of a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  As AHNCA celebrates its 30th anniversary, we invite you to join Patricia Mainardi, its founder, and Roberto C. Ferrari, her former student who served on the AHNCA board, for a conversation about the history of the organization and how the study of nineteenth-century art has evolved and continues to do so today. There will also be a few surprise guests and time for Q&A as well.

  Patricia Mainardi is professor emerita of art history at the doctoral program in art history of the City University of New York. A specialist in European art of the eighteenth and nineteenth centuries, her books include Art and Politics of the Second Empire: The Universal Expositions of 1855 and 1867; The End of the Salon: Art and the State in the Early Third Republic; Husbands, Wives and Lovers: Marriage and Its Discontents in Nineteenth-Century France; and Another World: Nineteenth-Century Illustrated Print Culture, in addition to numerous articles, catalogues, and reviews. She has received numerous fellowships, including the National Endowment for the Humanities, the Institute for Advanced Study in Princeton, the Center for Advanced Study in the Visual Arts at the National Gallery of Art, the Metropolitan Museum of Art, the American Council of Learned Societies, the Institut National de l’Histoire de l’Art (France), and the Yale Center for British Art. She is Chevalier in the Ordre des Palmes Académiques of France and is one of only two art historians who received both the College Art Association Distinguished Teaching of Art History Award and its Charles Rufus Morey Award for the most distinguished book of the year, Art and Politics of the Second Empire.

  Roberto C. Ferrari is the Curator of Art Properties at Columbia University Libraries, where he oversees the university’s permanent collection. He received his PhD in art history from the Graduate Center, City University of New York, focusing on nineteenth-century British art. Ferrari will guest co-curate with Sophie Lynford a major exhibition on Simeon Solomon at Delaware Art Museum in 2027. He most recently curated the exhibition Time and Face: Daguerreotypes to Digital Prints (Wallach Art Gallery, Columbia University, 2021–22). Ferrari has taught courses in art history and curatorial practice at Columbia, Drew University, and other institutions. He has published extensively and given numerous presentations on the Jewish artists Rebecca and Simeon Solomon, the Black model Fanny Eaton, the neoclassical sculptor John Gibson, and the US-born painter Florine Stettheimer.

  * * *

  This event is free and open to the public, but registration is required at https://us06web.zoom.us/webinar/register/WN_8TAmxLLJSgiiQocRwhP6ww.

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  Virtual Salon: Paris 1874: The Impressionist Moment

  Please join us on Tuesday, September 10, at 7PM EDT for the Virtual Salon “Paris 1874: The Impressionist Moment.” The Virtual Salon is a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  Commemorating the 150^th anniversary of the first impressionist exhibition, Paris 1874: The Impressionist Moment is a critical reexamination of the momentous show at Nadar’s studio on the Boulevard des Capucines. What was actually in that exhibition, and how did it relate to what was shown almost simultaneously at the Salon at the Palais de l’Industrie? How did artists in both shows respond to “l’année terrible” as Victor Hugo called the year 1870­–71, the Franco-Prussian War, the siege of Paris and the savage suppression of the Commune? Exhibition curators Kim Jones and Mary Morton join Tulane Associate Professor Michelle Foa in a discussion of how their installation at the NGA addresses these questions.

  Mary Morton is curator and head of the French paintings department at the National Gallery of Art in Washington DC. She received her bachelor’s degree from Stanford University in history, and her PhD from Brown University, concentrating on 19^th and early 20^th century European painting. Dr. Morton began her curatorial career in the European art department at the Museum of Fine Arts, Houston, and then as associate curator of paintings at the J. Paul Getty Museum in Los Angeles. Her exhibition projects prior to arriving at the NGA include Courbet and the Modern Landscape (2006), Oudry’s Painted Menagerie (2007), and The Spectacular Art of Jean-Léon Gérôme (2010). At the National Gallery, she organized the presentation of Gauguin: Maker of Myth (2011), a reinstallation of the Gallery’s renowned nineteenth-century collection (2012); Gustave Caillebotte: The Painter’s Eye (2015), Cézanne Portraits (2017–18), Corot Women (2018), True to Nature: Open-Air Painting in Europe, 1780–1870 (2020), and Paris 1874: The Impressionist Moment (2024).

  Kimberly A. Jones is curator of Nineteenth-Century French Paintings at the Department of French Paintings, National Gallery of Art, Washington. She received her PhD from the University of Maryland in 1996. A former museum fellow at the Musée national du château de Pau and the Musée d’Orsay, Paris, she joined the curatorial staff of the National Gallery of Art in 1995. She has served as curator and catalogue author for a number of exhibitions at the National Gallery of Art, including Degas at the Races (1998); Edouard Vuillard, which was organized with the Montreal Museum of Fine Arts, the Musée d’Orsay/Réunion des musées nationaux, Paris, and the Royal Academy of Arts, London (2003–2004); In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet, which was organized in association with the Museum of Fine Arts, Houston (2008); From Impressionism to Modernism: The Chester Dale Collection (2010–2011); Impressionist and Post-Impressionist Masterpieces from the National Gallery of Art, an exhibition that traveled to the Museum of Fine Arts, Houston, the National Arts Center, Tokyo, and the Municipal Museum of Art, Kyoto (2011); Degas/Cassatt (2014); Frédéric Bazille and the Birth of Impressionism, which was organized with the Musée Fabre, Montpellier and the Musée d’Orsay, (2016–2017); Degas at the Opéra, organized with the Musée d’Orsay (2019–2020), and Paris 1874: The Impressionist Moment, organized with the Musée d’Orsay (2024–2025).

  This event is free and open to the public, but registration is required at https://us06web.zoom.us/meeting/register/tZEtdOCprzkjHd3fL7DyPlriAMQC79KKtq6r

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  Virtual Salon: Global Perspectives: Plaster Casts in 19th-Century Academies

  Please join us on Tuesday, May 28, at 11AM ET for the Virtual Salon “Global Perspectives: Plaster Casts in 19th-Century Academies.” The Virtual Salon is a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. In this Salon, three specialists will share perspectives on how plaster casts and other copies were negotiated with the curriculum and pedagogy of academies, and in the face of national difference and indebtedness. The conversation will be moderated by Oscar E. Vázquez, Professor of Art History, University of Illinois at Urbana-Champaign. Panelists include:

  Eleonora Vratskidou, Assistant Professor in the Department of Art Theory and History at the Athens School of Fine Arts. She earned her Ph.D. in History and Civilizations from the École des Hautes Études en Sciences Sociales (Paris). She has held research and teaching positions in Berlin at the Dahlem Humanities Center at the Free University [Freie Universität] and the Technical University [Technische Universität], and a May Seeger O’Boyle Postdoctoral Research Fellow in Hellenic Studies at Princeton University. She is a specialist in modern Greek art and cultural history and is the author of L’émergence de l’artiste en Grèce au XIXe siècle (2023), co-editor of Disrupting Schools: Transnational Art Education in the 19th Century (2021) and has written articles on art historiography and the history of art education.

  Josefina de la Maza, Assistant Professor of Art History at the Universidad Adolfo Ibáñez in Santiago, Chile. She earned her Ph.D. in Art History and Criticism from the State University of New York, Stony Brook. She specializes in nineteenth-century Chilean and Latin American Art and criticism, as well as the production and reception of modern textiles and applied arts. She has published on the critical reception of nineteenth-century history painting as well as the circulation of plasters casts as models, among other topics.

  Milena Gallipoli received her Ph.D. in History from the Universidad Nacional de San Martín (UNSAM) in Buenos Aires, and a postdoctoral fellowship from Argentina’s National Council of Scientific and Technical Research (CONICET). She has written extensively about the circulation and criticism of plaster casts in Argentina and is presently completing a catalogue raisonné of the plaster sculptures in the collection of the Museo Cárcova, Buenos Aires.

  This event is free and open to the public, but registration is required at: https://tinyurl.com/VirtualSalon-May28.

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  Virtual Salon: Upcoming Projects on Nineteenth-Century Prints

  Please join us on Friday, April 5 at 1PM ET for the Virtual Salon “Upcoming Projects on Nineteenth-Century Prints.” The Virtual Salon is a series of online events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. In this Salon, three curators will share forthcoming exhibitions and books related to the history of prints and ephemera in Europe and the United States during the nineteenth century. Panelists will discuss their work in the context of recent scholarship on the topic and the evolving place of these works and initiatives within museums. The conversation will be moderated by Britany Salsbury, Curator of Prints and Drawings at the Cleveland Museum of Art. Panelists include:

  Nikki Otten, Associate Curator of Prints and Drawings, Milwaukee Art Museum.
  Nikki Otten stewards a collection of more than 15,000 works on paper spanning the 15th century to the present. She has curated numerous rotations from the collection, and her most recent exhibition was “Always New: The Posters of Jules Chéret” (2023). She holds a PhD in art history from the University of Minnesota.

  Fleur Roos Rosa de Carvalho, Senior Curator of Prints and Drawings at the Van Gogh Museum in Amsterdam.
  Fleur Roos Rosa de Carvalho specializes in fin-de-siècle art with a particular interest in the history of printmaking and collecting. She has curated numerous larger and smaller exhibitions and received grants from the Getty Paper Project and the INHA in Paris to complete her catalogue raisonné of the Vollard suites (1899) created by the four Nabis in close collaboration with Auguste Clot.

  Allison Rudnick, Associate Curator, Drawings and Prints, The Metropolitan Museum of Art.
  Allison Rudnick oversees the visual culture and ephemera collections at the Metropolitan Museum of Art. Her recent exhibitions include “The Art of the Literary Poster: Works from the Leonard A. Lauder Collection” (2024) and “Art for the Millions: American Culture and Politics in the 1930s” (2023).

  This event is free and open to the public, but registration is required at: http://tinyurl.com/Print-Exh.

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  2024 AHNCA/Dahesh Graduate Student Symposium

  TWENTY-FIRST ANNUAL GRADUATE STUDENT SYMPOSIUM

  IN NINETEENTH-CENTURY ART

  Saturday & Sunday, March 16–17, 2024, 1 to 4 PM ET

   

  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 for Saturday, March 16 at: http://tinyurl.com/Symposium-1

  Register for Sunday, March 17 at: http://tinyurl.com/Symposium-2

   

  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 16, 2024

   

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

   

  1:10 – 2:30 PM: First Session & Discussion:

  Marilyn Satin Kushner, New-York Historical Society, Moderator.

   

  Rebecca Yuste, Columbia University, “Nature’s Neoclassicism: Antiquity and Extraction in the Palace of Mines, Mexico City (1797-1813).”

  Yuste examines the life of Neoclassicism as it moved from Europe to the Americas, using the Palace of Mines, designed by Manuel de Tolsà, as a case study. Here, the aesthetic theory of buen gusto came together with Bourbon economic reforms to create an architecture designed, ultimately, to know and control the earth.

   

  Rebecca Yuste is a doctoral candidate at Columbia University, where she is completing her dissertation, “The Drawing, the Garden and the School: Natural History and the Visual Arts in the Novohispanic Enlightenment (1787-1813).” She holds an AB from Princeton University, where she won the Frederick Barnard White Award in Architecture. Rebecca has held positions at the Institute for Studies on Latin America Art (ISLAA), the Whitney Museum of American Art, and the Princeton University Art Museum, and, most recently was the Rockefeller Brothers Curatorial Fellow at the Hispanic Society of America. She is editing a forthcoming issue of VISTAS: Critical Approaches to Modern and Contemporary Latin American Art, and her translation of Viollet-le-Duc’s “Flore” will appear in West 86th in 2025.

   

  Kiki Barnes, City University of New York, “‘Fiercely the red sun descending’: Thomas Moran and The Song of Hiawatha.”

  Barnes analyzes the American painter Thomas Moran’s attempt to produce an illustrated edition of Henry Wadsworth Longfellow’s Ojibwe-inspired epic poem The Song of Hiawatha (1855). Unique in the context of his career, Moran’s extant illustrations help reexamine the perception of Indigeneity around the 1876 U.S. Centennial.

   

  Kiki Barnes is a doctoral candidate completing her dissertation at the City University of New York on landscapes of the Americas and their connections to popular literature, 1865-1900. She holds a BA from Brown University and an MA from the Institute of Fine Arts, New York University. She has been a Curatorial Intern at the American Federation of Art and Mellon Curatorial Fellow in the American Wing of the Metropolitan Museum of Art.

   

  Colton Klein, Yale University, “Material Reconstruction: Ecologies of Metal in an 1887 Photograph of Disabled Union Veterans.”

  In 1887, eighteen disabled Union veterans of the American Civil War posed for a photograph wearing badges—composed of copper forged by enslaved metalworks—recast from Confederate cannons implicated in their disabilities. Klein applies ecologies of metal to mine the photograph’s shadow histories of extraction, race, violence, and disability.

   

  Colton Klein is a doctoral student at Yale University where he is a Whitney Humanities Center Fellow in the Environmental Humanities. His dissertation studies intersectional ecologies of materials and environmental histories in the United States in the visual culture of the nineteenth-century United States. He holds a BA from Washington and Lee University and an MA from Columbia University. He has been a curatorial intern at the Crystal Bridges Museum of American Art and at the Whitney Museum of American Art, where he was also a curatorial assistant in prewar art.

   

  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

   

  Arielle Fields, Pennsylvania State University, “It’s Very Middle Class: The Visual Culture of Nurseries in Britain, 1880-1900.”

  Fields explores the entangled ideals of middle-class identity, motherhood, and visual culture in nineteenth-century Britain. By analyzing nursery objects, she demonstrates that the commerce in nursery furnishings established a nursery aesthetic, and that the visual culture of the nursery transformed Victorian motherhood into a performance of femininity.

   

  Arielle Fields is a doctoral candidate at Pennsylvania State University completing her dissertation on the emergence of nurseries as a social and literal construct in nineteenth-century Britain. She holds a BA from Kenyon College and an MA from the Institute of Fine Arts, New York University. She has presented aspects of her research at SECAC.

   

  Caitlin Chan, Stanford University, “Beyond the Window: Searching for Invisible Origins, from William Henry Fox Talbot’s “The Oriel Window” (1835) to Artificial Intelligence-generated Images.”

  Chan’s presentation is the culmination of her ongoing project to ground Artificial Intelligence aesthetics in a longer genealogy of art history, ultimately finding resonance in another pioneering moment of image-making in the early nineteenth century.

   

  Caitlin Chan is a doctoral student at Stanford University, having previously completed a BA at George Washington University. She has presented her research at College Art Association annual conferences, the Association for Art History annual conference, and Columbia University. At Stanford, she is a Leadership in Inclusive Teaching Fellow and the recipient of the Jeanette and William Hayden Jones Fellowship in American Art and Culture. Previously she was an intern at the Hirshhorn Museum and Sculpture Garden.

   

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

   

  Sunday, March 17, 2024

   

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

   

  1:10 – 2:30 PM: Third Session & Discussion, Patricia Mainardi, Graduate Center, City University of New York, AHNCA Program Coordinator, Moderator

   

  Eve Rosekind, Washington University in St. Louis, “Costume à l’Algérienne: An Empire of Fashion and Mass Consumption in Charles Cordier’s Paris.”

  Algeria – its people and products – became highly visible in Paris after French colonization in the 1830s when art, fashion magazines, and stores offered Algerian-inspired, mass-produced objects to consumers. Rosekind examines the production of Charles Cordier’s Algerian sculptures and the transformation of the burnous, a long cloak with a pointed hood, as part of this larger display of empire in Paris.

   

  Eve Rosekind is a doctoral candidate at Washington University, where she is completing her dissertation, “France Producing Egypt: The Material Cultures of Orientalism, 1869-1922.” She holds a BA from Johns Hopkins University and an MA from Williams College. She has been an intern at the Smithsonian National Museum of Asian Art and the Washington DC National Portrait Gallery; previously she was Curatorial Assistant for European Decorative Arts and Sculpture at the Fine Arts Museums of San Francisco.

   

  Benjamin Price, Princeton University and the Museum of Modern Art, “Nihilism and the Anarchist Imagination in Camille Pissarro’s Turpitudes Sociales (1889).”

  Price studies Camille Pissarro’s Turpitudes Sociales (1889) in order to interrogate the role of nihilistic critique in the artist’s political imagination. His argument centers the response of Esther Isaacson (Pissarro’s niece) and, following her, asks whether the philosophical position of the drawings might be an inescapable one for anarchist thinking in the late nineteenth century.

   

  Benjamin Price is completing his dissertation, “Anarchist Art and Cultures of Science in Fin-de-Siècle France,” at Princeton University. He holds a BA with honors from Trinity College, Dublin, and an MA from the Courtauld Institute of Art where he received the 2018 Paule Vézelay Prize for the best dissertation on modern and contemporary art. He is currently a Mellon-Marron Research Consortium fellow at New York’s Museum of Modern Art.

   

  Zhu Wenqi, The University of Hong Kong, The New Oriental “Other”: Understanding Racial Stereotypes in Western Satirical Magazines of Meiji Japan.”

  Zhu investigates the portrayal of Japanese people in manga and comic magazines that were published during the Meiji era (1868–1912). She argues that periodicals such as Tôbaé  and La Vie Japonaise intentionally depicted the Japanese as an inferior race, despite rising Japanese military and industrial power, in order to safeguard the ethnocentric views of their expatriate readership.

   

  Zhu Wenqi is a doctoral candidate at the University of Hong Kong, where she is completing a dissertation analyzing imagery of East Asia in Western illustrated newspapers and magazines during the nineteenth century. She completed her BA and MPhil at the University of Hong Kong and was an exchange student at the University of Nottingham, UK. She is the recipient of numerous awards and grants, including the Louis Cha Postgraduate Research Fellowship, HKU Conference and Travel Grant, Hong Kong Museum Society’s Travel Grant, Pilot Scheme for International Experience, and Andrew Wyld Research Support Grant.

   

  2:30 – 2:40 PM: Break

   

  2:40 – 3:40 PM: Fourth Session & Discussion, J. David Farmer, Dahesh Museum of Art, Moderator

   

  Maur Dessauvage, Columbia University, “Building an Imperial Body: Karl Friedrich Schinkel and the German Constitution, c. 1817.”

  Dessauvage examines the relationship between architectural and legal-political issues in post-Napoleonic Prussia through a close analysis of Karl Friedrich Schinkel’s Triumphal Arch, arguing that the painting visualized the transition between the eighteenth-century ancien régime and nineteenth-century bourgeois society.

   

  Maur Dessauvage is a doctoral candidate at Columbia University, currently completing his dissertation “The Sovereignty of Style,” examining the relationship between architecture, law, and state-building in nineteenth-century German lands. His research has been supported by the Getty Institute and the Buell Center. He has presented his research at the College Art Association Conference and University of Cambridge among other venues.

   

  Samantha Small, City University of New York, and the Metropolitan Museum of Art, “Fremdkörper: Franz von Stuck and Blackness in Wilhelmine Germany.”

  Small interrogates Bavarian Symbolist artist Franz von Stuck’s Black figures in light of contemporary perceptions of race in Wilhelmine Germany (1890-1918). Examined here for the first time, these figures are positioned amidst social and artistic trends, including Germany’s belated colonialism, and visual spectacles such as advertisements and “Human Zoos”

  (Völkerschauen).

   

  Samantha Small is a doctoral candidate at the City University of New York, where she is completing her dissertation “Franz von Stuck, Painter Provocateur.” She holds a BA from George Washington University and an MA from the Institute of Fine Arts, New York University. Her dissertation has been supported by the Fulbright Program and a Gladys Krieble Delmas Foundation Venetian Research Grant.  She has held positions in the curatorial departments of the Guggenheim Museum and the Blanton Museum, and is currently Jane and Morgan Whitney Fellow in the Department of European Paintings at the Metropolitan Museum of Art.

   

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

   

   

  2023–2024 Jury: Petra ten-Doesschate Chu, J. David Farmer, Marilyn Satin Kushner, Nancy Locke, Patricia Mainardi; Technical Director: Caroline Koch

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

   

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