Graduate Program in the History of Art

http://www.mareetmartin.com/livre/jessica-l-fripp-amandine-gorse-nathalie-manceau-nina-struckmeyer_artistes-savants-et-amateurs

La notion de sociabilité a fait l’objet, depuis quelques années, d’un renouvellement historiographique important. La complexité de cette notion impose pour son étude une approche pluridisciplinaire qui fasse appel aussi bien à la sociologie qu’à la philosophie, à l’anthropologie qu'à l’histoire de l’art.
Ce volume rassemble des études de spécialistes internationaux et explore la diversité des échanges sociaux dans le monde artistique du XVIIIe siècle. En examinant la sociabilité des divers acteurs de la création artistique, ces textes analysent les réseaux formés par le commerce des objets matériels, à travers l’étude des collections, du marché de l’art ou des expositions, et par le commerce des idées, à travers l’étude des écrits sur l’art et de l’art de la conversation. Le rôle des pratiques sociales au sein de la sphère publique dans l’évolution de la production artistique et des échanges matériels, économiques et intellectuels constitue donc l’objet de cet ouvrage collectif.
ISBN : 9791092054422

Anicet Charles Gabriel Lemonnier's Première lecture, chez Madame Geoffrin, de l'Orphelin de la Chine, tragédie de Voltaire, en 1755 (1812) frequently appears in books, articles, and websites as an illustration of the famous salon of Mme Geoffrin. Most scholarship on the painting focuses on its status as a false "document,"  and situates it within the context of Post-Revolution nostalgia for the ancien régime. These discussions ignore two key parts of this work's history: its purchase by Joséphine de Beauharnais, and the critical reaction to its exhibition at the Salon of 1814. This essay explores these two interconnected aspects. First, I situate Joséphine's interest in the broader cultural context of salonnières' use of art to promote a feminocentric history of the salon. Second, I consider how critics fixated on the painting's anachronism, and deemed that aspect necessary to its success.

his pursuit of the Duke of Argyll and their shared interest in the aesthetics of hummingbirds. To Argyll, hummingbirds served as evidence of what would be categorized today as "intelligent design," their multicolored plumage seemingly non-functional and an indication of a Creator's love of beauty. As Argyll noted, species variation was often not related to functional or "essential organs" such as their beaks or tongues, but rather amounted to "…little more than a mere difference of colour. The radiance of the ruby or topaz in one species, is replaced perhaps by the radiance of the emerald or the sapphire in another."

Dr Ellery Foutch will discuss the fascinating life of the first bodybuilder: Victorian Strongman Eugen Sandow and how his arm became the must-have accessory for men of the era. Then, modern day Sandow "The Mighty Moustache" (Sir Leopold Aleksander) will present us with "The Path to Victory" his lecture on gaining the Necessary Attributes of the True Gentleman.

A few years after the exhibition of his Gallery of the Louvre, painter Samuel F. B. Morse adapted one of his canvas stretchers to create the prototype of a telegraph receiver, literally transforming a tool of his art practice into a medium of technological experimentation and invention. Over the course of the industrializing 19th century, the U.S. government revised and formalized procedures for granting patents and copyright, thereby changing public perceptions about creativity, invention, and intellectual property while creating entirely new careers for artists: patent examiners, model-makers, technical illustrators. Patents proliferated, and inventions were eagerly heralded in the popular press and public demonstrations. The very act of perception was altered by technology as well, via new visual spectacles, environments, and experiences. This session seeks to explore the complex relationships of art and invention in the United States.

Technological developments have profoundly changed all aspects of artistic production, consumption, and display; industrially-produced pigments and supports altered the process and materiality of painting itself, while photography and chromolithography yielded entirely new media, fostering competition and leading to anxieties about the status of art. Furthermore, new technologies such as the telegraph and the steamship—whose inventors, Samuel Morse and Robert Fulton, were also painters—allowed for increased transmission of ideas and images around the globe. Innovations such as artificial lighting affected the display of art, and new exhibition formats such as world’s fairs and patent museums juxtaposed painting and sculpture with the latest technological developments, from steam engines to X-ray machines. Many of these enterprises were financed by industrialists such as Andrew Carnegie, Henry Clay Frick, Charles Lang Freer, or Henry Marquand, who marketed innovations to global consumers while turning to artists and art institutions via philanthropy for status. Art in turn was used to glorify technological change, as when railroad magnate J.J. Phelps commissioned George Inness’s painting Lackawanna Valley in 1855.

This session will explore the explosion of inventiveness from art historical perspectives and will consider works of art through the lens of the history of technology. How did new media alter expectations for art and industry? What relationships developed between artists and inventors, and what was at stake in the dialogues between art and invention? How did inventions and patent processes change the look of modernity, and how was American identity shaped by the production of art and inventions?

Please send proposals to organizers Ellery Foutch and Hélène Valance by May 8, 2015. For more information, see http://www.collegeart.org/pdf/2016-call-for-participation.pdf or contact the organizers: [email protected]; [email protected].

Call for Papers: Art and Invention in the U.S.
Session sponsored by the Association of Historians of American Art (AHAA)
College Art Association Annual Conference, February 3-6, 2016
Washington, DC

This session will explore the explosion of inventiveness from art historical perspectives and will consider works of art through the lens of the history of technology. How did new media alter expectations for art and industry? What relationships developed between artists and inventors, and what was at stake in the dialogues between art and invention? How did inventions and patent processes change the look of modernity, and how was American identity shaped by the production of art and inventions?
Please send proposals to organizers Ellery Foutch and Hélène Valance by May 8, 2015. For more information, please see http://www.collegeart.org/pdf/2016CallforParticipation.pdf or contact the organizers: efoutch [at] middlebury.edu; helenevalance [at] gmail.com. Accepted presenters must be members of both AHAA and CAA to participate in the 2016 conference. Proposals from all time periods are welcome.