ESNA winter seminar 2015 - 30 januari 2015

ESNA winter seminar 2015 (mainly Dutch spoken)
30 januari 2015, 13-17u
RKD, Prins Willem-Alexanderhof 5, 2595 BE Den Haag

Zie ook: https://esnaonline.wordpress.com/announcements/conferences/


In vervolg op de geslaagde middag over de samenwerkingsmogelijkheden tussen musea en universiteiten (31 januari 2014), organiseert ESNA opnieuw een studiemiddag.
Nu willen we met elkaar van gedachten wisselen over de laatste methodologische kwesties binnen het onderzoek over de 19de eeuw. Opnieuw nodigen we onderzoekers uit van zowel universiteiten als musea.

In de afgelopen decennia heeft het gebied van de kunstgeschiedenis, altijd al multidisciplinair van karakter, vruchtbaar gebruik kunnen maken van nieuw ontwikkelde methodologie uit culturele studies, mediastudies en esthetica. Hiervan is de socio-economische contextuele benadering in Nederland het meest populair, getuige een groeiend aantal studies over kunstmarkt en de wereld van de kunstenaar sinds de jaren 90. De samenhang tussen het kunstwerk en politiek werd in april 2014 onderzocht in het symposium The Artwork Exposed. Receptie-esthetische benaderingen, in het bijzonder analyses van de mediale kanten van het kunstwerk en de rol van de kunstenaar als mediapersoonlijkheid geven nieuwe inzichten in de 19de-eeuwse kunstgeschiedenis, zie onder meer het symposium The Mediatization of the Artist in juni 2014. Kwesties van gender blijven onverminderd relevant en maken deel uit van het huidige onderzoek naar beeldhouwers bij de Universiteit van Gent en het RKD. Recent worden in de histoire croisée de traditioneel nationale contouren van het kunsthistorisch onderzoek verlegd naar een globaler podium, met daaruit voortvloeiende paradigmawisselingen. Zie bijvoorbeeld de sessie National Histories of Art beyond the Nation’s Borders, aangekondigd voor het AAH congres in Norwich van 2015 (CFP op de ESNA website). Ten slotte creëert digital humanities nieuwe gezichtspunten; de toepassing van netwerk-databases bijvoorbeeld leidt tot nieuwe onderzoeksvragen. Bij al deze benaderingen moeten we ons afvragen: wat hebben ze ons te bieden?

De traditionele kunsthistorische aanpak fungeert intussen nog steeds uitstekend, in het bijzonder in tentoonstellingen en publicaties voor een grotere groep lezers. Denk daarbij aan de biografische benadering, de analyse van een object, de stilistische ontwikkeling binnen een oeuvre en de historische positiebepaling. Maar opnieuw is de vraag: wat levert het op voor de voortgang van ons onderzoeksgebied?

Een derde methodologische kwestie vormt de recente kunstgeschiedschrijving zelf: nu we in ons onderzoek steeds meer nationale grenzen overschrijden, is het des te opvallender dat veel methodologisch vernieuwend onderzoek zich richt op de Franse 19de-eeuwse kunstgeschiedenis. Lopend promotieonderzoek biedt een aantal voorbeelden: Camelia Errouane bekijkt de politieke connotaties van de decoraties in de mairies van Parijs, Maite van Dijk onderzoekt de ontvangst in de Franse pers van buitenlandse schilderijen ingezonden op de Salon des Indépendants en Mayken Jonkman volgt Nederlandse kunstenaars naar Parijs. Domineert de Franse kunst nog steeds de 19de-eeuwse kunstgeschiedenis, en welk aandeel hebben Amerikaanse kunst- en cultuurhistorici in deze trend? Hoe eenkennig zijn wij, methodologisch gezien?

Aan de hand van een aantal korte presentaties, zullen we discussiëren over de doelmatigheid en reikwijdte van diverse onderzoeksmethoden. Daarnaast stellen we de vraag hoe we nieuwe benaderingen kunnen implementeren in tentoonstellingen en publicaties voor een groter publiek.
NB. Het spannende en omvangrijke gebied van digital humanities laten we voorlopig buiten beschouwing; dit zal het thema worden van de ESNA studiemiddag 2016.

Programma
13u: inloop en registratie
Welkom en inleiding: Dr. Jenny Reynaerts (Rijksmuseum)
13.30-13.50u: Prof. dr. Saskia de Bodt (Universiteit Utrecht):
‘Per definitie interdsiciplinair’
13.50-14.20u: Prof. dr. Wessel Krul (Rijksuniversiteit Groningen):
Hoe Nederlands is de Nederlandse kunst? Hippolyte Taine en de gevolgen
14.20-14.50u: Discussie en thee
14.50-15.10u: Dr. Jan Dirk Baetens (Radboud Universiteit):
Het falen van/in de kunstgeschiedenis: pleidooi voor een kunstgeschiedenis van mislukking en mislukkelingen
15.10-15.30u: Dr. Rachel Esner (Universiteit van Amsterdam):
The Artist and 19th-Century ‘New’ Media
15.30-15.50u: Drs. Maite van Dijk (van Gogh Museum):
De ontvangst van buitenlandse inzendingen op de Salon des Indépendants
15.50-16.15u: discussie
16.15-17.00u: borrel

De kosten voor deelname bedragen € 15,00 ter plekke te betalen.
Wegens het aantal beschikbare plaatsen verzoeken wij u zich op te geven tot 15 januari 2015 op Esnaonline@hotmail.com, ovm Studiemiddag 2015

Rondleiding en lezing Museum Mayer van den Bergh nov.

Oproep: Prijs van het Gentse Historische Onderzoek

Oproep: Prijs van het Gentse Historische Onderzoek

Deze nieuwe prijs uitgereikt door de Maatschappij voor Geschiedenis en Oudheidkunde te Gent (MGOG) bekroont een masterscriptie met betrekking tot de geschiedenis, archeologie en kunstgeschiedenis van de stad Gent.

Enkel studenten afgestudeerd in het academiejaar voorafgaand aan de oproep kunnen deelnemen. Er is geen beperking inzake de nationaliteit van de auteurs. Het manuscript dient evenwel in één van de volgende talen te worden aangeboden: Nederlands, Frans, Engels of Duits.

De laureaat krijgt niet alleen een prijs maar ook de mogelijkheid om het bekroonde werk als monografie of als artikel te publiceren in deVerhandelingen/Handelingen van de Maatschappij voor Geschiedenis en Oudheidkunde te Gent.

De prijs bedraagt 500 EUR en wordt uitgereikt op de Dag van het Gentse Historische Onderzoek, die dit jaar plaatsvindt op 6 december 2014 in het STAM. De jury behoudt zich het recht voor om de prijs niet toe te kennen.

De uiterste indiendatum is 1 november 2014.

Eén exemplaar van de masterscriptie wordt aangevuld met een elektronische versie en een kort CV, bezorgd op het adres van de MGOG, p/a prof.dr. Marc Boone, Blandijnberg 2, 9000 Gent. Een PDF wordt verzonden naar: 

Marc.Boone(a)ugent.be en AnneLaure.VanBruaene(a)ugent.be.

Lezing Christine Peltre, Gent, 28 okt.

Op dinsdag 28 oktober 2014 om 10u geeft prof. dr. Christine Peltre (Université Marc Bloch, Straatsburg; auteur van o.a. L’atelier du voyage (Paris: Gallimard, 1995)) een gastcollege getiteld “L’atelier du voyage au XIXe siècle” in het kader van het mastervak "Onderzoeksseminarie Moderne en Actuele Kunst" (Steven Jacobs & Marjan Sterckx) aan de Universiteit Gent, Vakgroep Kunst-, Muziek- en Theaterwetenschappen. Een cluster binnen dit vak is dit jaar gewijd aan het Oriëntalisme in de 19de-eeuwse kunst (m.m.v. Davy Depelchin).

Het college gaat door in Auditorium Julien Denduyver op de Hoveniersberg in Gent (gebouw van de Faculteit Economie), en staat open voor geïnteresseerden. Welkom!

Lecture Desmond Manderson: "Klimt’s Jurisprudence: Sovereign Violence and the Rule of Law" and Interdisciplinary Masterclass "Fiat Lex: History - Jurisprudence - Art"

Book publication: Genius, Grandeur & Gêne. La fin-de-siècle autour du Palais de Justice de Bruxelles et le personnage controversé d'Edmond Picard

Conference: The Turbulent Mind: Madness, Moods and Melancholy in the Art of the Nineteenth Century, Museum of Fine Arts Ghent, 16-17 May 2014

Registration for the conference is now open:

Email to catherine.verleysen@gent.be (mentioning your institutional affiliation), and transfer of the registration fee to: 
AGB Kunsten en Design – Botermarkt 1 – B-9000 Ghent – Belgium
IBAN BE11 0910 1974 1448
BIC GKCCBEBB
Mentioning name of participant and ‘The Turbulent Mind’ 

Confirmation of registration takes place only after receipt of the conference fee.

Book presentation M - collecties Beeldhouwkunst - 29 April 2014

On Tuesday 29 April 2014, M - Museum Leuven will present its newest publication: M Collecties - Beeldhouwkunst, the long-awaited catalogue of the sculpture collection of the museum. Along with the exhaustive catalogue of almost 1000 objects, there are also 50 notes on highlights from the collection and two essays on the museum's late gothic and 19th century sculpture collections.

Authors: Peter Carpreau, Marjan Debaene, Ko Goubert, Goedele Pulinx and Eline Sciot
Coordination and editing: Marjan Debaene, Ko Goubert and Eline Sciot
Language: Dutch / Pages: 224 / Hardcover / Highlights: Full Colour / Catalogue: Black & White Price: 29 € - You will be able to buy the catalogue at a reduced price on April 29th.

M will celebrate the launch of the book with an afternoon of lectures regarding the publication and M's future plans regarding her sculpture collection, a sculptural tour in the permanent collection of the museum and some celebratory drinks afterwards.
Start: 13h End: 18h
Price: Free
Please register by sending an e-mail to marjan.debaene@leuven.be Closing date for registration: April 23rd. Please save the date. A detailed program will follow.

This book presentation is the first of a series of network days we will be organizing. M wants to bring together a network for mediaeval and renaissance sculpture of researchers, curators, restaurators and other interested parties on a regular basis, so do not hesitate to forward this e-mail to everybody who might be interested.

CFP: Bodies Beyond Borders, 1750-1950

Call for Papers: Bodies Beyond Borders. The Circulation of Anatomical Knowledge, 1750-1950 
Leuven, 7-9 January 2015 

How does anatomical knowledge move from one site to another? Between 1750 and 1950 the
study of anatomy underwent great changes, as a part of the development of scientific medicine, through public anatomies, as well as in the interplay between the two. How did these changes spread geographically? How did knowledge about newly discovered lesions travel from one hospital to another? What was the role of anatomical models in the spread of the public consciousness of syphilis, for example? Was the spread of this knowledge hindered by national borders, or did anatomical knowledge cross those borders easily? These questions are concerned with what James Secord terms ‘knowledge in transit’. To seek an answer to these questions, a conference focusing on the circulation of anatomical knowledge between 1750 and 1950 will be organized in Leuven from 7-9 January 2015. Confirmed speakers are Sam Alberti, Sven Dupré, Rina Knoeff, Helen MacDonald, Anna Maerker, Chloé Pirson, Natasha Ruiz-Gómez and Michael Sappol.

Knowledge does not move by itself – it has to be carried. To better understand how anatomical knowledge moves from place to place, we will seek to trace the trajectories of its bearers. Some of those bearers were tied very specifically to the discipline of anatomy: wax models, preserved bodies (or parts of them) or anatomical atlases, for example. These objects are polysemic in nature, tending to have different meanings in different contexts and for different audiences. It makes the question of how anatomical knowledge travelled all the more pertinent if, for example, wax models that went from a Florentine museum to a Viennese medical training institution underwent a shift in meaning en route. But bearers of knowledge less specifically tied to anatomy were equally important: articles, books and individual persons to name but a few examples.

For our conference we welcome contributions regarding the geographical movement of anatomical knowledge between 1750 and 1950. We are equally interested in ‘scientific’ and ‘public’ anatomy – as well as in exchanges between the two domains. Therefore, we encourage contributions about bearers of anatomical knowledge as wide-ranging as persons (scientists, students, freaks), objects (models, preparations, bodies or body parts), visual representations (films, atlases, wall maps) and practices (dissections, travelling exhibitions), as well as their (transnational and intranational) trajectories.

Paper proposals must be submitted by 1 June 2014.

Please send a 300-word abstract to pieter.huistra@arts.kuleuven.be

Notification of acceptance: early July, 2014.

Call for poster presentations for Master and PhD students - Art and Visual Culture in the Long Nineteenth Century Museum of Fine Arts, Ghent, 16-17 May 2014 Deadline: 1 April 2014

On 16 and 17 May 2014, the European Society for Nineteenth-Century Art, the Research Platform XIX and the Museum of Fine Arts in Ghent will organize the international conference “The Turbulent Mind: Madness, Moods and Melancholy in the Art of the Nineteenth Century”. The conference will be held at the Museum of Fine Arts in Ghent and will accompany the current  Géricault exhibition in the museum. 

Belgian and Dutch Master and PhD students whose research bears on nineteenth-century art or visual culture are invited to present their research on this occasion in a so-called poster session during the conference’s lunch and coffee breaks. A maximum of 6 eligible students and junior researchers will be assigned a table on which they can present their research on paper (text and images). These presentations should be in English and should include the following elements:
- A visually attractive and intelligible layout;
- The researcher’s name, affiliation and email address for further contact;
- A clearly stated research question and methodology;
- Some salient examples or case studies;
- Illustrations of the subject researched;
- Possible hypotheses or preliminary conclusions.
Participants to the conference will be able to circulate during the breaks and to engage in discussion on the presented research with the presenters. A summary of their research will also be distributed to all conference attendants.

This is your chance to be noted by an international audience of academics, museum professionals and other specialists in the field!

We invite all interested students and junior researchers to submit an abstract (brief summary) of their proposal (in English) to TheTurbulentMind@hotmail.com, by 1 April 2014 at the latest. The presented research does not have to bear on the conference’s main theme: we welcome all papers relating to the art or visual culture of the long nineteenth century. The organizing committee of the conference will make a selection of the proposals and will confirm acceptance by 15 April 2014. Travel and other expenses will, unfortunately, not be covered.

See for more information on the conference:
http://werkgroep-xix.blogspot.be
http://esnaonline.wordpress.com/announcements
http://www.mskgent.be/nl/onderzoek/colloquia/call-for-papers-

Conference: The Turbulent Mind: Madness, Moods and Melancholy in the Art of the Nineteenth Century, Museum of Fine Arts Ghent, 16-17 May 2014

CFP Intellectuals & the Great War, Dec. 2014

Intellectuals & the Great War

An International Conference.
Ghent University, December 17-19, 2014

Ghent University announces a First World War conference, scheduled to take place from 17-19 December 2014. The focus of this international scholarly gathering is on the role of the intellectual in the First World War. It aims to explore the ways in which intellectuals, working in different fields and contexts, dealt with the strain, the shock and the aftermath of WWI. We invite papers that look into the position of the university during the war; the ways in which academia and the ‘monde international des esprits’ dealt with the issue of action and commitment, and what it meant for thinkers to be confronted with the physical aspects of war. In the vast field of WWI studies, relatively little attention has been devoted to the role of the intellectual. When this topic has been tackled the debate rarely reached a transnational, multidisciplinary level. In bringing together scholars from different academic and national backgrounds, the 2014 Ghent conference seeks to do justice to the many faces of the intellectual during WWI and wants to trace what the scholarly world now owes to them. We aim to address the strategies and narratives of both the Entente and Central European intellectuals, of both patriots and collaborators in occupied territories.

The Great War broke out at a time of educational reform. Due to demographic changes and social reforms the early twentieth century speeded up the democratization of higher education, which had slowly begun in the second half of the nineteenth century. The fact that colleges started to open their doors to men and, in some cases women, from different social backgrounds changed the profile of the intellectual, from armchair scholar to public figure and intrepid adventurer. The impact of the First World War on this development cannot be overestimated. Those not out on the battlefield had to confront the questions if and how to contribute and react. In which ways did the events influence innovative developments, within the fields of the sciences, philosophy, literature and the arts? In which ways was the question how to make sense of the broken minds, the many maimed and dead bodies dealt with across disciplines? What survives today of the insights or techniques that question yielded? How do twenty-first-century intellectuals, engage in writing and rewriting the history of 1914-1918, look back on the attempts of our peers to mobilize their minds and bodies? More specifically, the conference proposes four avenues, with four intellectual disciplines, for discussion:

·         Science

The positioning of the academic and scientific world at large during the First World War is this section’s focus. We also welcome papers that seek to find an answer to what it meant to be an academic at the time, both intellectually and practically. We are interested in the legitimization of scientific and technological progress made in service of the war effort. Finally, we also invite papers that aim to understand the impact in terms of continuity and discontinuity of the First World War and the Russian Revolution on the transnational circulation of ideas and cultural goods. We encourage proposals that deal with the individual life-story of scientists, engineers, social and human scientists, to open up to a larger perspective.

·         Literature

In this section we want to explore the impact of the Great War on early twentieth-century as well contemporary literature. Possible topics include: WWI as a period of literary innovation; the production and reception of patriotic and non-pacifist texts; the image of war poets as “doomed youth”; generation gaps in the war effort; the production of nationalist literature before, during, and after the war; the decision for authors whether to swell the ranks or to comment from the sideline; the ideal of heroism; the employment of women in factories and other previously male domains; the formation of new social norms in masculinity and femininity; war poetry by female writers and its exclusion from anthologies until after 1980; nature and the countryside as a scene of war and peace; the representation of trauma during and after the War Effort.

·         Philosophy

Paper proposals that deal with any aspect of philosophy’s relationship to the First World War and its reception among philosophers are welcome. Topics could include the role of the war in the thought (and lives of) particular philosophers (e.g. Wittgenstein, Otto Neurath, Carnap, Bergson, Russell, Reinach, Eucken, etc). We are especially interested in papers that explore the role of the war in the rise (and decline) of philosophical movements (analytic philosophy, phenomenology, Lebensphilosophie, positivism) and their broader relationship to larger intellectual and political movements. We also welcome contributions that deal with the philosophy and morality of mass war and that trace the ways in which current debate in ethics relates to 1914-1918, with the use of arms, with the philosophy of history, and with the social responsibility, if any, of intellectuals.

·         Artists and architects

Paper proposals dealing with the following themes are welcomed: The Great War as artistic motif; the war as catalyst for the development of new artistic currents as well as for the rise of a new type of artist coping with industrial modernity; the use of visual media in the war effort; the relation between the arts and new war-related visual practices (such as aerial photography or camouflage techniques); industrial warfare as a nihilist "Gesamtkunstwerk" in relation to avant-garde currents such as Futurism and Dada; the development of new international contacts and forms of collaboration among artists within pacifist circles in exile; architectural conferences and education of architects abroad; exiles returning to their home country; confrontation of local and international ideas about rebuilding the country ; et cetera.

Proposals for 20-minute papers are due via email (intellectualsandthegreatwar@gmail.com) by Feb 25, 2014, and should take the form of a 1-page abstract accompanied by a short CV; in the case of complete panels, proposals should consist of an abstract and short CV for every panelist together with a short CV for the chair (if different).

The conference will be held from December 17-19, 2014 at Het Pand, Onderbergen 1, 9000 Ghent, Belgium. We welcome papers in English, French, German, and Dutch.  

The Artwork Exposed: Politics and the Arts (1850-1914)

Symposium in collaboration with the Royal Netherlands Historical 
Society (KNHG)
Amsterdam, 17-18 April 2014
With a Keynote Lecture on 
“Patriotism, Empathy, and the Politicization of Art”
by Michelle Facos (Indiana University Bloomington)
In art history, the last decades have seen an overwhelming number of
publications that provide political interpretations of a variety of
artworks. It almost seems as if any visual object can be interpreted
in ways inscribing it with political significance. Rather than adding
yet more interpretations of individual works to the canon of art
history, this symposium aims to take the topic of art and politics
into more theoretical realms by asking questions that touch upon the
fundamental relationship between artworks, history and politics.
Artworks are in the first place visual objects. How can artworks and
political history be related to each other, apart from using the first
to illuminate the second – and vice versa? How are visual objects able
to communicate a political message? How can historians deal with the
divide between intention and perception when analyzing artworks? And
whose intentions are we talking about: those of the artist, those of
the commissioner, or those of the viewer?
The conference sets out to develop new ways of thinking about artworks
as objects in networks of intention, interpretation and social
relations that include artists, commissioners, critics and the
audience. It is the explicit intention of the organizers to step
beyond the well-known generalizations of art history, like artistic
styles or schools, avant-garde and arrière-garde, modern and
traditional. It offers a platform that brings together young and
established scholars, both historians and art historians, who are
studying the period 1850-1914. In addition, the conference will
include a visit to the Rijksmuseum for an in situ discussion of the
relationship between arts and politics in the Dutch context.

PROGRAM:

Thursday, 17 April 2014

Location: Van Gogh Museum, Auditorium

13.00–13.30 Registration

13.30–13.35 Welcome

13.35–13.50 Introduction by Camelia Errouane (University of Groningen)

13.50–14.35 Keynote lecture by Michelle Facos (Indiana University 
Bloomington)

14.35–14.55 Discussion

14.55–15.15 Break

Session 1: The Influence of Politics on the Reception of Art  
15.15–17.00

1. Bart Pushaw (Tallinn University): Artistic Alliances and 
   Revolutionary Rivalries in the Baltic Art World, 1890-1914
2. Joes Segal (Utrecht University): The Politicization of Art in the 
   German Empire, 1900-1914
3. Marie Cambefort (Royal Holloway): ‘Das Unbehagen in der Kultur‘: 
   The Reception of Art at the Venice Biennale, 1909-1914

17.00–19.00 Excursion: tba

Friday, 18 April 2014

Location: Rijksmuseum, Auditorium
Day chair: Wessel Krul (University of Groningen)

9.00–9.30 Coffee/tea

Session 2: Artists and their Political Strategies 
9.30–11.10

1. Tom Verschaffel (Leuven University), Between Politics, the Public 
   and two Capitals: The Strategies and the Network of the Stevens 
   Family
2. Laura Prins (Van Gogh Museum), Politics of Printmaking in the Early
   Third Republic, 1870-1914
3. Marlies van der Riet (University of Amsterdam), Artists into 
   Politics: The National Monument and The Hague’s Theatre Debate, 
   1863-1913

11.10 – 11.40 Break

Session 3: Political Motivations and the (Dis)appearance of Artworks
11.40–13.20

1. Geneviève Lacambre (independent scholar), Gustave Moreau and the 
   Republic
2. Alison McQueen (McMaster University), Discourses of French Colonial 
   Dominance through Public Sculpture: The Monument to Maréchal Bugeaud
   in Algiers, 1852-1858
3. Sandra Leandro (New University of Lisbon, University of Évora), 
   Politics in a Phantom Museum: The Industrial and Commercial Museum 
   of Oporto

13.20–14.50 Lunch break and visit Rijksmuseum

Session 4: The Intentions of Commissioners 
14.50–16.30

1. Jenny Reynaerts (Rijksmuseum), Heritage, Museumfication and the 
   Political Past: The Decorations in the Rijksmuseum Front Hall and 
   Gallery of Honour
2. Giovanna Capitelli (University of Calabria), Against Secularization
    – Towards Anti-Modernity: Pius IX and the Esposizione romana 
    relative all’arte cristiana e al culto cattolico of 1870
3. Karen Vannieuwenhuyze (University of Antwerp), The Antwerp 
   Municipality and the (Ab)use of Sculptures, Statues and Memorials 
   in the Urban Political Space

16.30–17.00 Final reflections by Wessel Krul (University of Groningen)

17.00–18.00 Drinks

This symposium is organized by Camelia Errouane (University of 
Groningen) and Laura Prins (Van Gogh Museum, Amsterdam) in 
collaboration with the Royal Netherlands Historical Society (KNHG).

To register for this event, please mail to info@knhg.nl and transfer 
the registration fee to 
IBAN: NL25 INGB 0006 9343 91
BIC: INGBNL2A

Registration fee (includes refreshments and lunch): € 40 
Reduced prices for students (€ 20), KNHG members (€ 30) and KHNG 
student members (€ 15).