Category Archive for: ‘Events’

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  Virtual Salon: Reinstalling Nineteenth-Century American Art in US Museums, Part 2: Innovation/Interpretation

  Please join us on Tuesday, February 27 at 7PM ET for the Virtual Salon “Reinstalling Nineteenth-Century American Art in US Museums, Part 2: Innovation/Interpretation.” This event 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.

  Join us for a discussion among four curators who are in the process of reinstalling the American galleries at their museums. Building on part 1 of this Virtual Salon series, Art/History, held in November 2023, part 2: Innovation/Interpretation will move from theory to practice. Panelists will discuss such issues as (1) balancing new voices with the curatorial voice; (2) strategies for providing multiple interpretive options in the galleries; (3) prototyping new types of installations; and (4) gathering feedback from visitors, community groups, and education and interpretation staff. The panel will be moderated by Isabel L. Taube, Co-Managing Editor, and Kimberly Orcutt, Executive Editor, Nineteenth-Century Art Worldwide.

  Virginia M. G. Anderson is the Curator of American Art and Department Head of American Painting & Sculpture and Decorative Arts at the Baltimore Museum of Art (BMA) and is an Adjunct Professor in the Program in Museums and Society at Johns Hopkins University. Since arriving at the BMA in 2018 she has organized six exhibitions focused on work by women artists, including Art/Work: Women Printmakers in the WPA (November 5, 2023–June 30, 2024). In 2022, she reconceived and reinstalled the American Modernism galleries in the Dorothy McIlvain Scott American Wing at the BMA.

  Leo Mazow has been the Louise B. and J. Harwood Cochrane Curator of American Art at the Virginia Museum of Fine Arts (VMFA) since 2016. He was previously Associate Professor of Art History at the University of Arkansas and Curator of American Art at the Palmer Museum of Art at Penn State University. His recent projects include the exhibitions and publications Edward Hopper and the American Hotel (2019–20) and Storied Strings: The Guitar in American Art (2022–23). He is currently organizing the reinstallation of American art for VMFA’s upcoming expansion.

  Jeremiah William McCarthy is Chief Curator at the Westmoreland Museum of American Art. During his tenure, he has transformed the museum’s permanent collection galleries into dynamic, rotating displays and has strengthened its holdings of historical and contemporary women artists. He is the curator or co-curator of the exhibitions Inspired Encounters: Women Artists and the Legacies of Modern Art (2022–23); For America: Paintings from the National Academy of Design (2019–22); and Women Artists in Paris, 1850–1900 (2017–18). Previously, he held curatorial positions at the National Academy of Design, the American Federation of Arts, and the Metropolitan Museum of Art.

  Sarah Kelly Oehler is the Field-McCormick Chair and Curator, Arts of the Americas, and Vice President of Curatorial Strategy at the Art Institute of Chicago. A specialist in late nineteenth and twentieth century painting, Oehler has organized numerous exhibitions for the museum, including Charles White: A Retrospective (2018). Her current project is Georgia O’Keeffe: “My New Yorks” (2024). She is also leading the team reenvisioning the phased reinstallation of the Americas galleries; those featuring late nineteenth century through mid-twentieth century art were realized in 2019 and 2022, and the team’s focus is now on the earlier American galleries.

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  This event is free and open to the public, but registration is required at: http://tinyurl.com/reinstall-2.

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  Virtual Salon: New Books on Nineteenth-Century Art by AHNCA Members

  Please join us on Thursday, January 25, at 7PM ET for the Virtual Salon “New Books on Nineteenth-Century Art by AHNCA Members.” 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.

  This New Books Salon is the first of what we hope will be an annual event featuring books by our members. This panel will be moderated by Nancy Locke; the authors who will discuss their books are:

  Kaylee P. Alexander, University of Utah, A Data-Driven Analysis of Cemeteries and Social Reform in Paris, 1804–1924 (NY: Routledge, Research in Art History series, 2023).

  Nina Athanassoglou-Kallmyer, University of Delaware, Art and Monist Philosophy in Nineteenth Century France. From Auteuil to Giverny (NY: Routledge, and UK: Oxford, 2023).

  Andre Dombrowski, University of Pennsylvania, Monet’s Minutes: Impressionism and the Industrialization of Time (New Haven: Yale UP, 2023).

  Flemming Friborg Jensen, Copenhagen Business School, Paul Gauguin. The Master, the Monster, and the Myth (Copenhagen: Strandberg Publishing, distr. by DAP and Thames & Hudson, 2023).

  Laure de Margerie, French Sculpture Census/Répertoire de sculpture française, French Sculpture, An American Passion / La sculpture française, une passion américaine, with a contribution by Antoinette Le Normand-Romain (Paris: INHA/Snoeck, 2023).

  Donald A. Rosenthal, Independent Scholar, Richard Wagner and the Art of the Avant-Garde, 1860–1910 (Lanham, MD: Rowman & Littlefield, 2023).

  Leanne M. Zalewski, Central Connecticut State University, The New York Market for French Art in the Gilded Age, 1867–1893 (New York: Bloomsbury Visual Arts, Contextualizing Art Markets series, 2023).

  Moderator: Nancy Locke, Pennsylvania State University, and President, Association of Historians of Nineteenth-Century Art.

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

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  Virtual Salon: Artists’ Friendships

  Please join us on Thursday, December 7, at 7PM ET for the Virtual Salon “Artists’ Friendships.” This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  In this Virtual Salon, three distinguished curators, Emily A. Beeny, Ashley E. Dunn, and Kimberly A. Jones, will discuss past, present, and future exhibitions that focus on dialogues between three pairs of artists: Manet and Degas, Manet and Morisot, and Cassatt and Degas. The panel will be moderated by Michelle Foa.

  Emily A. Beeny is Curator in Charge of European Art at the Fine Arts Museums of San Francisco, where she is preparing an exhibition on Manet and Morisot. She received her PhD from Columbia University and has held curatorial appointments at the Getty Museum, the MFA, Boston, and the Norton Simon Museum.

  Ashley E. Dunn is Associate Curator in the Department of Drawings and Prints at The Metropolitan Museum of Art, where she is responsible for nineteenth-century French drawings, prints, and illustrated books. Her exhibition projects at The Met include Manet/Degas (2023), Devotion to Drawing: The Karen B. Cohen Collection of Eugène Delacroix (2018) and Rodin at The Met (2017).

  Kimberly A. Jones is Curator of Nineteenth-Century French Paintings in the Department of French Paintings at the National Gallery of Art, Washington. Among her many exhibitions and catalogues are Degas at the Races (1998); Edouard Vuillard (2003–2004); In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet (2008); Degas/Cassatt (2014); and Degas at the Opéra (2019–2020).

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

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  Virtual Salon: Reinstalling Nineteenth-Century American Art in US Museums, Part 1: Art/History

  Please join us on Tuesday, November 14 at 7PM ET for the Virtual Salon “Reinstalling Nineteenth-Century American Art in US Museums, Part 1: Art/History.” This event is organized by Nineteenth-Century Art Worldwide and is part of a series of online events cosponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  Join us for a discussion among four curators who are in the process of reinstalling the American galleries at their museums. They will consider what it means to install nineteenth-century American art now, reflecting on (1) the shift in emphasis from art to history as an organizing principle; (2) concurrent efforts toward greater inclusivity and diversity; and (3) strategies employed to “fill gaps” in the narratives they want to tell. The panel will be moderated by Isabel L. Taube, Co-Managing Editor, and Kimberly Orcutt, Executive Editor, Nineteenth-Century Art Worldwide.

  Erin Corrales-Diaz is the Curator of American Art at the Toledo Museum of Art. Before coming to Toledo, Corrales-Diaz was the Assistant Curator of American Art at the Worcester Art Museum. She has also held dual posts as Curator of the Johnson Collection and Visiting Scholar at Wofford and Converse Colleges. She is a specialist in nineteenth- and early twentieth-century American art with a particular focus on art of the American Civil War and African American art. Corrales-Diaz received her doctorate from the University of North Carolina and an MA in art history from Williams College.

  Kathleen A. Foster is The Robert L. McNeil, Jr., Senior Curator of American Art and Director of the Center for American Art at the Philadelphia Museum of Art, and Adjunct Professor in the History of Art at the University of Pennsylvania. With publications on topics ranging from eighteenth- to twentieth-century American art (most recently about Thomas Eakins and watercolors), she is currently leading the team planning for the reinstallation of the Museum’s collection: the new Early American Galleries (1650–1850) opened in the spring of 2021, with the second-floor galleries (1850–1950) to follow.

  Eleanor Jones Harvey is Senior Curator at the Smithsonian American Art Museum. She earned a BA with distinction in art history at UVA, and a PhD at Yale University. Dr. Harvey studies the intersection of landscape painting and American culture. She organized The Civil War and American Art (2012–13) and Alexander von Humboldt and the United States: Art, Nature, and Culture, (2020–21). She was the curator of American art at the Dallas Museum of Art from 1992 to 2002. At both Dallas and SAAM she has participated in building-wide reinstallations of the permanent collection.

  Sylvia Yount is the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art. Previously, she held senior curatorial positions at the Virginia Museum of Fine Arts, the High Museum of Art, and the Pennsylvania Academy of the Fine Arts. Yount has completed numerous collection reinstallations and organized major exhibitions on a variety of topics, especially women and artists of color. She is currently leading an American Wing reinstallation to mark the department’s centennial in 2024. She continues to lecture and publish on American art and history as well as on contemporary museum practice.

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

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  Virtual Salon: Expanding the 19th Century: Trial and Error in the Classroom

  Please join us on Friday, October 27 at 2pm ET for the Virtual Salon “Expanding the 19th Century: Trial and Error in the Classroom.” This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  Our October salon is organized by AHNCA’s Emerging Scholars Working Group and will consider innovative approaches to teaching more inclusive histories of nineteenth-century art and visual culture. Our discussion will feature three of our colleagues who have been engaging with experimental course design and new approaches to the art historical survey that depart from geographical, methodological, and material canons. We’ll cover their successes and failures in various learning environments and reflect on how our field can continue to stay relevant in the contemporary classroom.

  Nicole Georgopulos (moderator) is an historian, curator, and educator specializing in European art of the nineteenth century. She is an Assistant Professor in the Department of Art History, Visual Art & Theory at the University of British Columbia, where she teaches eighteenth- and nineteenth-century European art as well as curatorial practice. Her research and teaching focus broadly on the intersections of visual art with histories of science, philosophy, and cultural constructs of gender.

  Shana Cooperstein is an Assistant Professor of Art History at IE University in Madrid. She specializes in the art of the long nineteenth century, particularly as this concerns the material practices of artistic production, representational theory, and the history of scientific imaging. Her interdisciplinary scholarship is motivated by unresolved questions about the role of human sense perception in the development of art-making strategies. Drawing Pedagogy in Modern France: Habit’s Demise, a book manuscript under contract with Routledge, examines schematization, the education of the eye and other problems central to the history of art instruction in the modern era. Her research has been supported by The Osler Library of the History of Medicine, the Institut Français d’Amérique, Media@McGill, The Wolfe Chair Graduate Fellowship in Scientific and Technological Literacy and The Max Stern Museum Fellowship.

  Aaron Slodounik received his doctorate in art history and a certificate in women’s studies from the Graduate Center of the City University of New York in 2021. He is currently at work on a book project, tentatively entitled Savage Whiteness: Paul Gauguin and the Birth of Modernism. He is the 2022 recipient of the Teaching Prize from the British Society for Eighteenth-Century Studies. This semester he is teaching honors and introductory courses as an adjunct assistant professor at The City College of New York and at Lehman College. He welcomes inquiries about potential collaborations and career opportunities.

  Allison Leigh is an Associate Professor of Art History and the SLEMCO Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. She is a specialist in European and Russian art of the eighteenth and nineteenth centuries and the author of Picturing Russia’s Men: Masculinity and Modernity in 19th-Century Painting and co-editor of the volume Russian Orientalism in a Global Context: Hybridity, Encounter, and Representation. She is currently completing a book on misogyny and modern art that will be published by Abrams Press in 2025.

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  This event is free and open to the public, but registration is required at: https://tinyurl.com/19-cen-class

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  Virtual Salon: Nineteenth-Century Caricature: It’s Okay to Laugh

  Please join us on Friday, September 29 at 1:30PM ET for the Virtual Salon “Nineteenth-Century Caricature: It’s Okay to Laugh.” This series of online events is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

  In the past, caricature was of marginal interest to most art historians, but in the wake of visual culture studies it has now attracted a great deal of attention. Join us for a discussion among four scholars who are doing ground-breaking work on caricature in a variety of modes.

  Kathryn Desplanque, Moderator, is Assistant Professor at the University of North Carolina, Chapel Hill. She is a mixed Black multigenerational immigrant who studies the impact of global capitalism’s emergence on the art world. She has published numerous articles on caricature; her first book, Inglorious Artists: Art-World Satire and the Emergence of a Capitalist Art Market in Paris, 1750–1850, is currently under review at the University of Delaware Press.

  Douglas Fordham is Professor of Art History at the University of Virginia, author of two monographs on British Art, most recently Aquatint Worlds: Travel, Print, and Empire (2019). As a Mellon Indigenous Arts Fellow, he recently worked with UVA PhD students and the Kluge-Ruhe Collection of Aboriginal Art to produce an exhibition and catalogue, Boomalli Prints and Paper: Making Space as an Art Collective (2022).

  Richard J. Powell, is John Spencer Bassett Professor of Art & Art History, Duke University. He has published numerous books on topics ranging from primitivism to postmodernism, including Going There: Black Visual Satire (2020). He was Editor-in-Chief of The Art Bulletin, and has organized numerous art exhibitions. In 2022 he delivered the 71st Andrew W. Mellon Lectures at The Center for Advanced Study in the Visual Arts, National Gallery of Art, on “Colorstruck! Painting, Pigment, Affect,” currently being revised for a forthcoming book from Princeton University Press.

  Allison Stagg, Research Associate, Technical University of Darmstadt, Germany, has published widely on the subject of historical caricature, articles in Print Quarterly and Imprint: The Journal of American Historical Print Collector’s Society, and, most recently, Prints of a New Kind: Political Caricature in the United States, 1789–1828 (2023). Previously, she was the Terra Foundation Visiting Professor in American Art History at the Freie Universität of Berlin.

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  This event is free and open to the public, but registration is required at: https://tinyurl.com/19-cen-caricature

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  Virtual Salon: African Arts

  Please join us on Friday, April 21, at 1PM ET for “African Arts,” a 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/African-Arts.

  For this event, we are fortunate to host three speakers and a moderator to discuss this important area of nineteenth-century studies: Kristen Windmuller-Luna (Moderator), Sandrine Colard, Helina Gebremedhen, and Constantine Petridis. Each speaker will give a brief presentation on an object drawn from their research, followed by discussion and then a Q&A.

  Sandrine Colard is Assistant Professor of Art History at Rutgers University-Newark (USA), a researcher, and a curator-at-large at Kanal-Pompidou (Brussels). Holding a PhD from Columbia University, Colard is a historian of modern and contemporary African arts and photography and has lectured internationally (MoMA, Concordia University, EHESS, Wiels, Tate Modern, Bozar, Sorbonne, European Parliament, etc.) She has written for numerous publications (African Arts, Critical Interventions, etc.). Colard was the curator of the 6^th Lubumbashi Biennale, Future Genealogies: Tales from the Equatorial Line (Lubumbashi, DRC, 2019). Other exhibitions include: The Way She Looks: A History of Female Gazes in African Portraiture. Photographs from The Walther Collection (Ryerson Image Center, Toronto, 2019), and Recaptioning Congo (FOMU, Antwerp, 2022). Her research has been supported by fellowships from Quai Branly Museum, Institut National d’Histoire de l’Art, the Ford Foundation, and the Getty/ACLS. She is at work on her book about the history of photography in the colonial Congo.

  Helina Gebremedhen is a PhD student at the Institute of Fine Arts, New York University, and currently the Cleveland Museum of Art’s Leigh and Mary Carter Director’s Research Fellow. Specializing in medieval Islamic and African art history, her research focuses on medieval Ethiopia within the context of the Red Sea and Indian Ocean regions, with a special interest in the cultural, political, and commercial networks that connected these spaces and societies. Research interests include the circulation of Islamic metalwork across East Africa, ajami texts, talismanic practices, and historiography of these regions and visual cultures. She earned a MA in History from McGill University, Montréal, and an honors BA in Near and Middle Eastern Civilizations from the University of Toronto, Canada.

  Constantine Petridis, who earned a PhD in art history from Ghent University in his native Belgium, has been chair and curator of Arts of Africa at the Art Institute of Chicago since 2016. His most recent publications include Speaking of Objects: African Art at the Art Institute of Chicago (2020) and The Language of Beauty in African Art (2022), which accompanied a traveling exhibition of the same name. Before coming to Chicago, he held research, curatorial, and teaching positions at the Research Foundation-Flanders, the Metropolitan Museum of Art, the Cleveland Museum of Art, Case Western Reserve University, the Art Gallery of Ontario, and the Indianapolis Museum of Art.

  Kristen Windmuller-Luna is the Curator of African Arts at the Cleveland Museum of Art. A first-generation college graduate, she received her PhD in African Art and Architecture from Princeton University. She has previously held curatorial positions at institutions including the Brooklyn Museum, the Princeton University Art Museum, and The Metropolitan Museum of Art, in addition to working as a museum educator and a university lecturer. Recent exhibitions include “Threads Across Time: African Textiles, 500-1993” in Stories from Storage (2021) at the Cleveland Museum of Art, and African Arts—Global Conversations (2020) and One: Egúngún (2019) at the Brooklyn Museum. Her publications have appeared in Res: Anthropology and Aesthetics; African Arts; Nka: Journal of Contemporary African Art; and the Metropolitan Museum Journal, among others. Her next exhibition considers links between northern and eastern Africa and the Byzantine Empire. She serves on the boards of the Arts Council of the African Studies Association and the journal African Arts.

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  2023 AHNCA/Dahesh Graduate Student Symposium

  TWENTIETH ANNUAL GRADUATE STUDENT SYMPOSIUM
  IN NINETEENTH-CENTURY ART
  Saturday & Sunday, March 25–26, 2023, 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 at: https://tinyurl.com/grad-symposium

  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 25, 2023

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

  Margarita Bucceroni-Tellenbach, Kunstakademie Düsseldorf & Technische Universität Dresden, Germany, “Native Americans in Nineteenth-Century Roman Sculpture.”

  In the nineteenth century, Rome was the European center of sculpture and the point of origin for American sculpture. This presentation brings into focus a rich body of works depicting Native Americans, created by both Europeans and Americans resident in Rome between 1820 and 1900.

  Margarita Bucceroni-Tellenbach is a doctoral candidate at the Kunstakademie Düsseldorf & Technische Universität Dresden. Her research focuses on nineteenth-century sculpture in Italy. She received her BA and MA at Ruprecht-Karls-Universität, Heidelberg, with theses on the Byzantine origins of El Greco’s paintings and on Ferdinand Pettrich’s “Indian Museum.” She has been an intern at the Vatican Museums, a curatorial and research fellow at the Dresden State Art Collections, and, most recently, research assistant to the Director General of the Dresden State Art Collections.

  Virginia Magnaghi, Scuola Normale Superiore, Pisa, Italy, “Giovanni Bastianini in the Making. On Forgery and Visual Culture in Florence at the Time of Italy’s Unification.”

  Magnaghi studies the sculptor Giovanni Bastianini (1830–1868) in order to investigate the broader topic of artists’ visual culture in Florentine workshops around the time of Italy’s unification (1848–1871). Rather than focusing on his faults as a so-called forger, she shifts attention to his iconographic choices, looking at his work as a mirror of the values upon which the process of nation-building relied.

  Virginia Magnaghi is a doctoral candidate at the Scuola Normale Superiore, Pisa, where she is completing a doctoral dissertation on the representation of nature in Italy during the inter-war period. She is a member of the editorial board of the journal Stratagemmi prospettive teatrali, and has been a Research Fellow and Cultural Program Assistant at the Center for Italian Modern Art (CIMA) in NYC.

  Jordan Hillman, University of Delaware, USA, “Humoring the Police: Comic Remediations of Authority in Fin-de-Siècle Paris.”

  In the decades before 1900, the proliferation of policemen on the streets of Paris was matched by their increased visibility in avant-garde prints, posters, and illustrations. This presentation explores how artists used humor, an especially powerful—and potentially dangerous—tool, to challenge the serious and authoritative image of the police force.

  Jordan Hillman is a doctoral candidate at the University of Delaware. Her dissertation, “Mediating Authority: Representations of the Police in Paris ca.1900,” has been supported by fellowships from UD’s Graduate College and the Paris Centre allemand d’histoire de l’art. She has presented her research at numerous conferences, and published sections from it in Visual Arts Research and Athanor. She was a research assistant at the Baltimore Museum of Art, and an intern at the National Gallery of Art, Washington, DC. She is currently completing her dissertation research as an affiliate of the Université Paris Nanterre.

  2:30 – 2:40 PM: Break

  2:40 – 3:40 PM: Second Session & Discussion
  Marilyn Satin Kushner, New-York Historical Society, Moderator

  Alonso Moctezuma, Universidad Iberoamericana Ciudad de México, Mexico, “Between La Bohème and Mexican Modernisms: Opera, Literature, Visual Culture, and the Fin-de-Siècle Representation of the Male Artist.”

  Moctezuma analyzes how the representation and consumption of Puccini’s opera La Bohème influenced the development of Mexican Modernisms between 1897 and 1910. He studies the agency that opera, literature, and visual culture had in the construction of the image of the fin-de-siècle male artist.

  Alonso Moctezuma is completing his MA in Art Studies at Universidad Iberoamericana Ciudad de México, where he is finishing his thesis on opera, spectatorship, and Mexican masculinities during the nineteenth century. His research focuses on opera, literary, and visual culture of the nineteenth century, approaching the subject through gender studies and decolonial theory. He has presented his research at numerous conferences and published in La ópera de México (Mexico City, 2023) and Les Cahiers du Grimh. Image et musique (Lyon, 2022).

  Barbára Romero-Ferrón, Western University, Canada, “Concept(s) of Spanish Art through the Nineteenth Century. Network Analysis of Exhibitions in Spain, the United Kingdom, and the United States of America, 1800–1939.”

  Romero-Ferrón applies network analysis to explore the construction of the concept of Spanish art from 1800 to 1939. Using temporary exhibitions as the main object of study, her project seeks to achieve a better understanding of the diversity of the concepts displayed in these exhibitions and the artists associated with them.

  Barbára Romero-Ferrón is a doctoral candidate at Western University where she is completing her dissertation by constructing a data-driven exhibition history of nineteenth-century Spanish Art. She previously earned a BA and MA at the University of Málaga, Spain. She was a Visiting Researcher at the Rijksmuseum, Amsterdam, and is currently a Graduate Intern at the Getty Research Institute.

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

  

  Sunday, March 26, 2023

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

  Isabelle Gillet, University of Michigan, USA, “Uprooted Exoticism: The Portrait of a White Aristocratic Créole in Restoration France.”

  Gillet focuses on this portrait by Louise Bouteiller that shows Césarine de Houdetot flaunting her roots in Mauritius, the island celebrated for its famed Pamplemousses Garden and as the setting for Bernardin de Saint-Pierre’s 1788 novel Paul et Virginie. Yet, Houdetot lived there for only four years—while it was still a French colony. The portrait bespeaks a complicated image, layered with devotion to the motherland, colonial nostalgia, and white creole identity.

  Isabelle Gillet recently defended her doctoral dissertation, “Civility and Portraits of Women in France (1815–1848)” at the University of Michigan, where she is currently a fellow at the Institute for the Humanities. She holds an MA from Williams College and a certificate in Museum Studies from the University of Michigan. She has been a curatorial intern at both the Frick Collection and the Williams College Museum of Art, and has presented her research at the Cleveland Museum of Art, the Bibliothèque Nationale de France, and the Sterling and Francine Clark Art Institute.

  Alex Round, Birmingham City University, UK, “‘Sisters in Art’: Reassessing the Pre-Raphaelite Sisterhood.”

  Alex Round examines the impact of friendships among Pre-Raphaelite women artists and writers, showing how they used their friendships to challenge the masculine structures of the art world and the wider Victorian culture. She discusses their lives, their individual and collaborative achievements, and their creative agency as distinct from the Pre-Raphaelite Brotherhood.

  Alex Round is completing her doctoral dissertation, “‘Sisters in Art’: Reassessing the Pre-Raphaelite Sisterhood,” at Birmingham City University, UK. Her PhD is currently funded by Midlands4Cities, in partnership with the Arts and Humanities Research Council. She is a trustee of the Birmingham and Midland Institute, as well as co-founder of the Pre-Raphaelite Society Podcast Series and its Graduate Network. She has published in The Victorian Web, The Victorianist and the PRS Review and has an essay in the forthcoming summer issue of the Poetry Birmingham Literary Journal. She is co-editor of the forthcoming anthology from University of Delaware Press, Forgotten Sisters: Overlooked Pre-Raphaelite Women.

  Miha Valant, University of Ljubljana, Slovenia, “Province and Modernity: The Carniolan Institute for Artistic Weaving in Ljubljana around 1900.”

  Miha Valant discusses the Carniolan Institute for Artistic Weaving in Ljubljana, the former Austrian province of Carniola (present-day Slovenia). He shows how this short-lived Institute aimed at modernizing the quality of local weaving with modern design and tried to establish itself in the Austrian craft system and contemporary market.

  Miha Valant is completing his dissertation at the University of Ljubljana, where he also earned his BA and MA. His research focuses on the art system in present-day Slovenia, through a focus on the organization of art and art societies in the second half of the nineteenth century. He is currently a member of the exhibition committee for “Moderno!/Modern!” in preparation by Moderna galerija and partner institutions in Zagreb, Belgrade, and Paris.

  2:30 – 2:40 PM: Break

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

  Emily Madrigal, University of Virginia, USA, “Plaster Subjunctives: Édouard Dantan’s A Life-Casting at the Haviland Atelier, Auteuil, 1887.”  

  Édouard Dantan’s A Life-Casting at the Haviland Atelier, Auteuil, exhibited in the Paris Salon of 1887, was the first work in the history of French painting to picture the plaster life-casting process. Madrigal tracks its critical reception and examines the stakes of visualizing a sculptural process in nineteenth-century France.

  Emily Madrigal is a doctoral student at the University of Virginia with a research focus on the materials of sculpture, specifically plaster in nineteenth-century France. She received her BA from Princeton University and her MA from Williams College. She interned at the Peggy Guggenheim Museum, Venice, and has published her research in Thresholds MIT.

  Bojana Rimbovska, University of Canterbury Te Whare Wānanga o Waitaha, New Zealand, “From Quarries to Courts: Visualizing the Production and Movement of Plaster Casts across Imperial Space.”

  Drawing on Henry Cole’s account of molding and casting operations at Sanchi, India, Rimbovska considers the ways in which the production and distribution of plaster casts was entangled with processes of colonization and environmental destruction, and with the museological cultures that helped to facilitate the spread of these fragile facsimiles across imperial space.

  Bojana Rimbovska is a doctoral student at the University of Canterbury Te Whare Wānanga o Waitaha where she completed her BA with First-Class Honors and her MA with Distinction. Her research focuses on replication and flows of material culture in the long nineteenth century, with a specific interest in colonial antipodean contexts. She has presented her research at conferences of the Association for the Study of Literature, Environment & Culture of Australia & New Zealand.

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

  

  2022 – 2023 Jury: Petra ten-Doesschate Chu, J. David Farmer, Marilyn Satin Kushner, Nancy Locke, Patricia Mainardi, Caterina Pierre;
  Technical Director: Caroline Koch

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

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

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  Virtual Salon: Art and the Environment

  Please join us on Friday, March 10, 2023 at 12PM (EST) for Art and the Environment, 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 three scholars who will discuss this important area of nineteenth-century studies: Kelly Presutti (Moderator), Stephanie O’Rourke, and Marika Takanishi Knowles. Each will give a brief presentation on an object drawn from their research on art and the environment, followed by discussion and then a Q&A.

  Speaker Bios:

  Kelly Presutti is Assistant Professor at Cornell University, where she teaches courses in art history and the environmental humanities. Her forthcoming book, Land into Landscape: Art, Environment, and the Making of Modern France, analyzes the active role representation played in both symbolically reconfiguring and physically reshaping France’s ground in the nineteenth century. Recent publications include “‘A Better Idea than the Best Constructed Charts’: Watercolor Views in Early British Hydrography,” (Grey Room, 2021), an analysis of a set of watercolor views of the French coastline commissioned by the British Admiralty, and “The Sèvres’ Service des Départements and the Anxiety of the Fragment,” (Word and Image, 2021).

  Stephanie O’Rourke is a Senior Lecturer in Art History at the University of St Andrews. She specializes in exchanges between artistic production and scientific knowledge in 18th- and 19th-century Europe and its colonial networks. Her first book, Art, Science, and the Body in Early Romanticism, examines the changing evidentiary authority of the human body at the turn of the nineteenth century. She is currently at work on a second book provisionally titled Picturing Natural Histories in an Age of Extraction, whose research has been funded by the Leverhulme Trust and the Royal Society of Edinburgh. She holds a BA from Harvard University and a PhD from Columbia University.

  Marika Takanishi Knowles is a Senior Lecturer in the School of Art History at the University of St Andrews, where she researches and teaches French art of the seventeenth, eighteenth, and nineteenth centuries. In addition to her monograph on seventeenth-century French art, Realism and Role-Play: The Human Figure in French Art from Callot to the Brothers Le Nain (2020), she has co-edited a special issue of Word & Image, ‘The French Fragment from Revolution to Belle Époque’ (2021). She has published on Ingres (Res), Degas (Word & Image), Nadar (Oxford Art Journal) and Manet (Word & Image). She is interested in the relationship between visual art and behavioral and affective social phenomena, which she explores through the comparative study of art, literature, and theatre.

  This online event is free and open to the public, but registration is required: http://tinyurl.com/art-and-environment.  

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  Virtual Salon on Clark Exhibition of Eighteenth-Century French Drawings from the BnF

  On Wednesday, February 1, 2023, 7PM ET, the Association of Historians of Nineteenth-Century Art and the Dahesh Museum of Art join with the Clark Art Institute for a Virtual Salon on the Clark’s current exhibition Promenades on Paper: Eighteenth-Century French Drawings from the Bibliothèque nationale de France. Focusing on select drawings from the exhibition, curators Esther Bell, Anne Leonard, and Sarah Grandin will offer a varied and lively picture of artistic practices in the years leading up to and just after the French Revolution.

  Esther Bell is Deputy Director and Robert and Martha Berman Lipp Chief Curator at the Clark Art Institute. Prior to joining the Clark, Bell was the curator in charge of European paintings at the Fine Arts Museums of San Francisco. Bell has published essays and organized exhibitions on a range of subjects, from seventeenth-century genre painting to eighteenth-century theater to nineteenth-century millinery.

  Anne Leonard is Manton Curator of Prints, Drawings, and Photographs at the Clark Art Institute. In addition to curating numerous exhibitions of works on paper, she is co-editor of The Routledge Companion to Music and Visual Culture (2014) and author/editor of Arabesque without End: Across Music and the Arts, from Faust to Shahrazad (2022).

  Sarah Grandin is Clark-Getty Paper Project Curatorial Fellow at the Clark Art Institute. She specializes in French works on paper and the material culture of the ancien régime. She has published essays on typography, drawing, and Savonnerie carpets, and is preparing a monograph on issues of scale in the graphic and decorative arts under Louis XIV.

  This event is free and open to the public, but registration is required. Please register through the following link: https://www.clarkart.edu/event/detail/2168-89961.