Unfortunately, due to the effect of the corona outbreak on international travel, the lecture by Anthea Callen, Enduring Masculinity: the academic nude and ideals of male perfection, foreseen for Friday 13 March 2020 at 18:00 at Vandenhove, is cancelled.
If possible, a new date will be communicated.
The exhibition Strike a pose at Vandenhove remains open and can still be visited on Thursday 12, Friday 13, and Saturday 14 March 2020, between 14:00 and 18:00.
Interuniversitaire en intermuseale werkgroep in België (met kernactiviteiten in Vlaanderen en Brussel) die zich buigt over de 19de-eeuwse kunst. | Interuniversity and intermuseum research platform in Belgium (with main activities in Flanders and Brussels), devoted to the study of 19th-century art.
Posts tonen met het label gender. Alle posts tonen
Posts tonen met het label gender. Alle posts tonen
woensdag 11 maart 2020
woensdag 4 maart 2020
LECT: Anthea Callen: Enduring Masculinity: The Academic Nude and Ideals of Male Perfection (Ghent)
Anthea Callen: Enduring Masculinity: the academic nude and ideals of male perfection
Vandenhove, Centrum voor Architectuur en Beeldende Kunst
Rozier 1, 9000 Gent.
Friday 13 March 2020, 6:00 p.m.
The Royal Academy of Fine Arts in Ghent, like many art academies throughout Europe, was founded in the 18th century in emulation of the French Académie Royale de peinture et sculpture. Academic art’s aesthetic ideal and its highest form, the male nude, was central to the French curriculum, which began with copying the casts after Antique sculptures acquired by all such academies. Classical ideals of male bodily perfection whether Herculean or Apollonian were thus ingrained when pupils began Life classes: drawings by men, from the male nude. In conjunction with training in artistic anatomy (including dissection), classicism endowed academic artists with the powerful authority of both science and Greco-Roman ‘truth’. The rise and spread of these macho, racialised and ‘othering’ ideals coincided with the rise of colonisation, and their enduring tenacity from Winkelmann to Hitler is still manifest now in men’s health magazines, and body-building through to cage fighting and white (or black) supremacy.
Anthea Callen
Art historian, art expert, lecturer and painter, Anthea Callen FRSA is Professor Emeritus of the Australian National University, Canberra, and Professor Emeritus of Visual Culture, University of Nottingham, UK. Internationally recognised as a specialist on Impressionist painting materials and techniques, her classic volume The Art of Impressionism: Painting Technique and the Making of Modernity has now been released as a Yale University Press e-book. Her latest book on landscape painting methods, The Work of Art: Plein Air Painting and Artistic Identity in Nineteenth-Century France is published by Reaktion Books (2015). Her new book Looking at Men: Art, Anatomy and the Modern Male Body (Yale, 2018), examines the close relationship of art and anatomy in the formation of modern ideals of masculinity and the male body. Callen appears regularly as an art expert on television, radio and in film. www.antheacallen.co.uk
Vandenhove, Centrum voor Architectuur en Beeldende Kunst
Rozier 1, 9000 Gent.
Friday 13 March 2020, 6:00 p.m.
The Royal Academy of Fine Arts in Ghent, like many art academies throughout Europe, was founded in the 18th century in emulation of the French Académie Royale de peinture et sculpture. Academic art’s aesthetic ideal and its highest form, the male nude, was central to the French curriculum, which began with copying the casts after Antique sculptures acquired by all such academies. Classical ideals of male bodily perfection whether Herculean or Apollonian were thus ingrained when pupils began Life classes: drawings by men, from the male nude. In conjunction with training in artistic anatomy (including dissection), classicism endowed academic artists with the powerful authority of both science and Greco-Roman ‘truth’. The rise and spread of these macho, racialised and ‘othering’ ideals coincided with the rise of colonisation, and their enduring tenacity from Winkelmann to Hitler is still manifest now in men’s health magazines, and body-building through to cage fighting and white (or black) supremacy.
Art historian, art expert, lecturer and painter, Anthea Callen FRSA is Professor Emeritus of the Australian National University, Canberra, and Professor Emeritus of Visual Culture, University of Nottingham, UK. Internationally recognised as a specialist on Impressionist painting materials and techniques, her classic volume The Art of Impressionism: Painting Technique and the Making of Modernity has now been released as a Yale University Press e-book. Her latest book on landscape painting methods, The Work of Art: Plein Air Painting and Artistic Identity in Nineteenth-Century France is published by Reaktion Books (2015). Her new book Looking at Men: Art, Anatomy and the Modern Male Body (Yale, 2018), examines the close relationship of art and anatomy in the formation of modern ideals of masculinity and the male body. Callen appears regularly as an art expert on television, radio and in film. www.antheacallen.co.uk
donderdag 29 maart 2018
CFP: Male Bonds in Nineteenth-Century Art (Poster Session)
'Male Bonds in Nineteenth-Century Art'
Ghent University & the European Society for Nineteenth-Century Art (ESNA)
Submission deadline: 15 April 2018
ESNA and Ghent University are inviting submissions of proposals for poster presentations, to be given at the Male Bonds in Nineteenth-Century Art conference that will take place in Ghent, Belgium on 15-16 May 2018. Male Bonds is a two-day international conference that aims to explore the place of male bonds in nineteenth-century artistic practice and visual arts. Participation in the poster session is open to Master and PhD students and to early-career researchers from all backgrounds. We welcome papers that undertake the interdisciplinary endeavor of the conference, by marking men in art history as gendered historical subjects. The working language at the conference is English.
Please submit a preliminary title, a short abstract (max 500 words) and a short biography (max 100 words) for a poster presentation, to be sent to esnaonline@hotmail.com by Sunday, 15 April. Selected presenters will be contacted by the end of April.
For the conference website, click here. For the full call for posters, click here. For any enquiries concerning the poster presentations, please contact the ESNA secretary Malika M’rani Alaoui at esnaonline@hotmail.com.
Ghent University & the European Society for Nineteenth-Century Art (ESNA)
Submission deadline: 15 April 2018
ESNA and Ghent University are inviting submissions of proposals for poster presentations, to be given at the Male Bonds in Nineteenth-Century Art conference that will take place in Ghent, Belgium on 15-16 May 2018. Male Bonds is a two-day international conference that aims to explore the place of male bonds in nineteenth-century artistic practice and visual arts. Participation in the poster session is open to Master and PhD students and to early-career researchers from all backgrounds. We welcome papers that undertake the interdisciplinary endeavor of the conference, by marking men in art history as gendered historical subjects. The working language at the conference is English.
Please submit a preliminary title, a short abstract (max 500 words) and a short biography (max 100 words) for a poster presentation, to be sent to esnaonline@hotmail.com by Sunday, 15 April. Selected presenters will be contacted by the end of April.
For the conference website, click here. For the full call for posters, click here. For any enquiries concerning the poster presentations, please contact the ESNA secretary Malika M’rani Alaoui at esnaonline@hotmail.com.
maandag 10 juli 2017
CFP: Male Bonds in Nineteenth-Century Art
'Male Bonds in Nineteenth-Century Art'
Organized by Ghent University and the European Society for Nineteenth-Century Art (ESNA)
In cooperation with the University of Antwerp and the Museum of Fine Arts, Ghent
15-16 May 2018, at the Museum of Fine Arts, Ghent, Belgium
URL of the conference website
Male Bonds is a two-day international conference that aims to explore the place of male bonds in nineteenth-century artistic practice and visual arts. The conference invites participants to reflect on the ways in which changing notions of masculinity and male sexuality impacted forms of sociability between men in the artistic scene of the long nineteenth century. In so doing, it seeks to build a bridge between traditional art-historical scholarship and the fields of gender and gay and lesbian studies: an interdisciplinary exchange of which the full potential for scholarship on the nineteenth century remains to be exploited.
Male homosociality helped structure nineteenth-century European and American society. Its pre-eminence at that time follows, inter alia, from the general separation between men and women in social roles if not in social spheres, and from the lack of a strictly binary view of male sexual orientation. The personal lives and careers of men bore the marks of their relations with other men: with brothers, friends, colleagues, pupils, business associates and many others. Such relations were characterized both by the dynamics of comradeship and by the hierarchies of class, age, race, professional status, etc. They were both established between individuals and in collectivities, especially as fraternal organizations flourished from the late eighteenth century onwards. So intense could men’s relations be that they seem to have included possibilities of a romantic and erotic kind that are foreign to normative relationships between men today, even if male-male intimacy relied upon women’s bodies for its consolidation.
Especially in the fast-paced decades around the turn of the century, changes arose in Europe and the United States that affected male homosociality to varying degrees. Categories such as ‘inversion’ (i.e. the reversal of masculine gender identity) and ‘homosexuality’ came into being through the interplay of increasingly visible queer subcultures and of a discursive explosion emanating from the fields of medicine, psychiatry, law, etc. The increasing conception of same-sex sexualities coincided and intermingled with other challenges to traditional notions of manhood - e.g. fears of degeneration, women’s entry into education, politics and the work force - to such an extent that scholars have described a wide-ranging fin-de-siècle “crisis of masculinity”. Men’s answers to these challenges altered the ways in which they related to other men, establishing for instance a “rough and tough” hegemonic masculinity and what Eve Kosofsky Sedgwick has designated a “male homosexual panic”.
This conference strives to probe, challenge and expand upon this academic grand narrative of male homosociality through the lens of art history. It aims to establish a multifaceted survey of the male bonds that underpinned nineteenth-century art, and to consider the theoretical and methodological implications of the study thereof. Gender studies, queer theory and gay and lesbian studies have made available a great many histories and concepts with which to critically examine the specificity of gender and sexuality in art: an exchange through which all disciplines involved stand to be enriched. We welcome papers that undertake this interdisciplinary endeavor, and mark men in art history as gendered historical subjects.
Topics may include, but are not limited to:
- Friendships, professional ties and family relations
- The artist’s society, the brotherhood, the academy, the studio
- Links with architecture, music, literature, applied arts, etc.
- Links with politics, law, religion, medicine, sports, the military, etc.
- Intersectionality and the role of class, race, sexuality, age, power, etc.
- Ethnicity, colonialism, orientalism and intercultural encounters
- Homophobia and homoeroticism, same-sex desire, queerness
- Women among men, as solvent and/or detractor of men’s bonds
- Male bonds as an artistic theme, the portrait and Freundschaftsporträt, the male nude
We invite proposals for 20-minute papers in English, to be sent to malebonds@ugent.be by October 15. Please combine in one single pdf file: a 300-word abstract, 1 or 2 images, and a 100-word bio. We also welcome proposals for presentations in French and German, but - if accepted - ask that the accompanying PowerPoint be in English. Selected speakers will be contacted in the course of December. Following the conference, a selection of papers will be peer reviewed and published in a journal or edited volume.
Confirmed keynote speakers: Anthea Callen (University of Nottingham and the Australian National University) and Michael Hatt (University of Warwick)
Organizing committee: Thijs Dekeukeleire (Ghent University), Henk de Smaele (University of Antwerp), Rachel Esner (University of Amsterdam), Peggy Hobbels (Museum of Fine Arts, Ghent), Katharina Pewny (Ghent University), Lisa Smit (Van Gogh Museum), Marjan Sterckx (Ghent University)
Scientific committee: Jan Dirk Baetens (Radboud University Nijmegen), Gert Buelens (Ghent University), Anthea Callen (University of Nottingham and the Australian National University), Johan De Smet (Museum of Fine Arts, Ghent), Thijs Dekeukeleire (Ghent University), Henk de Smaele (University of Antwerp), Stefan Dudink (Radboud University), Rachel Esner (University of Amsterdam), Michael Hatt (University of Warwick), Mayken Jonkman (RKD-Netherlands Institute for Art History), Katharina Pewny (Ghent University), Jenny Reynaerts (Rijksmuseum), Abigail Solomon-Godeau (University of California, Santa Barbara), Lisa Smit (Van Gogh Museum), Marjan Sterckx (Ghent University), Maite van Dijk (Van Gogh Museum), Catherine Verleysen (Museum of Fine Arts, Ghent), Kaat Wils (University of Leuven)
Organized by Ghent University and the European Society for Nineteenth-Century Art (ESNA)
In cooperation with the University of Antwerp and the Museum of Fine Arts, Ghent
15-16 May 2018, at the Museum of Fine Arts, Ghent, Belgium
URL of the conference website
 |
| Aimé-Jules Dalou, Brotherhood (La fraternité), 1883, plaster. Paris, city hall of the Xth arrondissement. Credit: Coyau / Wikimedia Commons / CC BY-SA 3.0 |
Male Bonds is a two-day international conference that aims to explore the place of male bonds in nineteenth-century artistic practice and visual arts. The conference invites participants to reflect on the ways in which changing notions of masculinity and male sexuality impacted forms of sociability between men in the artistic scene of the long nineteenth century. In so doing, it seeks to build a bridge between traditional art-historical scholarship and the fields of gender and gay and lesbian studies: an interdisciplinary exchange of which the full potential for scholarship on the nineteenth century remains to be exploited.
Male homosociality helped structure nineteenth-century European and American society. Its pre-eminence at that time follows, inter alia, from the general separation between men and women in social roles if not in social spheres, and from the lack of a strictly binary view of male sexual orientation. The personal lives and careers of men bore the marks of their relations with other men: with brothers, friends, colleagues, pupils, business associates and many others. Such relations were characterized both by the dynamics of comradeship and by the hierarchies of class, age, race, professional status, etc. They were both established between individuals and in collectivities, especially as fraternal organizations flourished from the late eighteenth century onwards. So intense could men’s relations be that they seem to have included possibilities of a romantic and erotic kind that are foreign to normative relationships between men today, even if male-male intimacy relied upon women’s bodies for its consolidation.
Especially in the fast-paced decades around the turn of the century, changes arose in Europe and the United States that affected male homosociality to varying degrees. Categories such as ‘inversion’ (i.e. the reversal of masculine gender identity) and ‘homosexuality’ came into being through the interplay of increasingly visible queer subcultures and of a discursive explosion emanating from the fields of medicine, psychiatry, law, etc. The increasing conception of same-sex sexualities coincided and intermingled with other challenges to traditional notions of manhood - e.g. fears of degeneration, women’s entry into education, politics and the work force - to such an extent that scholars have described a wide-ranging fin-de-siècle “crisis of masculinity”. Men’s answers to these challenges altered the ways in which they related to other men, establishing for instance a “rough and tough” hegemonic masculinity and what Eve Kosofsky Sedgwick has designated a “male homosexual panic”.
This conference strives to probe, challenge and expand upon this academic grand narrative of male homosociality through the lens of art history. It aims to establish a multifaceted survey of the male bonds that underpinned nineteenth-century art, and to consider the theoretical and methodological implications of the study thereof. Gender studies, queer theory and gay and lesbian studies have made available a great many histories and concepts with which to critically examine the specificity of gender and sexuality in art: an exchange through which all disciplines involved stand to be enriched. We welcome papers that undertake this interdisciplinary endeavor, and mark men in art history as gendered historical subjects.
Topics may include, but are not limited to:
- Friendships, professional ties and family relations
- The artist’s society, the brotherhood, the academy, the studio
- Links with architecture, music, literature, applied arts, etc.
- Links with politics, law, religion, medicine, sports, the military, etc.
- Intersectionality and the role of class, race, sexuality, age, power, etc.
- Ethnicity, colonialism, orientalism and intercultural encounters
- Homophobia and homoeroticism, same-sex desire, queerness
- Women among men, as solvent and/or detractor of men’s bonds
- Male bonds as an artistic theme, the portrait and Freundschaftsporträt, the male nude
We invite proposals for 20-minute papers in English, to be sent to malebonds@ugent.be by October 15. Please combine in one single pdf file: a 300-word abstract, 1 or 2 images, and a 100-word bio. We also welcome proposals for presentations in French and German, but - if accepted - ask that the accompanying PowerPoint be in English. Selected speakers will be contacted in the course of December. Following the conference, a selection of papers will be peer reviewed and published in a journal or edited volume.
Confirmed keynote speakers: Anthea Callen (University of Nottingham and the Australian National University) and Michael Hatt (University of Warwick)
Organizing committee: Thijs Dekeukeleire (Ghent University), Henk de Smaele (University of Antwerp), Rachel Esner (University of Amsterdam), Peggy Hobbels (Museum of Fine Arts, Ghent), Katharina Pewny (Ghent University), Lisa Smit (Van Gogh Museum), Marjan Sterckx (Ghent University)
Scientific committee: Jan Dirk Baetens (Radboud University Nijmegen), Gert Buelens (Ghent University), Anthea Callen (University of Nottingham and the Australian National University), Johan De Smet (Museum of Fine Arts, Ghent), Thijs Dekeukeleire (Ghent University), Henk de Smaele (University of Antwerp), Stefan Dudink (Radboud University), Rachel Esner (University of Amsterdam), Michael Hatt (University of Warwick), Mayken Jonkman (RKD-Netherlands Institute for Art History), Katharina Pewny (Ghent University), Jenny Reynaerts (Rijksmuseum), Abigail Solomon-Godeau (University of California, Santa Barbara), Lisa Smit (Van Gogh Museum), Marjan Sterckx (Ghent University), Maite van Dijk (Van Gogh Museum), Catherine Verleysen (Museum of Fine Arts, Ghent), Kaat Wils (University of Leuven)
donderdag 17 november 2016
Symposium 'La vocation artistique à l’épreuve du genre au 19e siècle: regards sur les peintresses belges'
Symposium La vocation artistique à l’épreuve du genre au 19e siècle : regards sur les peintresses belges in Namen.
Journée d’études organisée dans le cadre de l’exposition Femmes artistes. Les Peintresses en Belgique (1880-1914) au Musée Rops à Namur.
Le jeudi 01/12/2016, de 9h à 16h30
Palais provincial, place Saint-Aubain, Namur
Organisée en collaboration avec l’Université libre de Bruxelles
Journée d’études organisée dans le cadre de l’exposition Femmes artistes. Les Peintresses en Belgique (1880-1914) au Musée Rops à Namur.
Le jeudi 01/12/2016, de 9h à 16h30
Palais provincial, place Saint-Aubain, Namur
Organisée en collaboration avec l’Université libre de Bruxelles
woensdag 17 juni 2015
Tento. "Romantische landschappen - Marie de Flandre" in Koninklijk Paleis, Brussel
Bericht van dra. Wendy Wiertz:
Koninklijk
Paleis - Paleizenplein - 1000 Brussel
Van
22 juli tot 6 september 2015,
van 10u30 tot 16u30 (sluiting om 17u00)
Gesloten
op maandag
Gratis
toegang
"Ontdek
deze zomer in het Koninklijk Paleis het rijke oeuvre van Maria van Hohenzollern-Sigmaringen,
Gravin van Vlaanderen (1845–1912), prinses Henriëtte (1870-1948) en hun
omgeving. De gravin van Vlaanderen, moeder van koning Albert I, creëerde
portretten en bloemstillevens, maar verloor haar hart aan het landschap. Zoals
iedere toerist een foto neemt van een panorama, legde zij dat vast in talloze
schetsalbums. Of ze schilderde het landschap meteen in de openlucht, een nieuwe
trend in de 19e eeuw. Thuis, in haar eigen atelier, zette ze de tekeningen
dikwijls om in etsen en olieverfschilderijen. Dit bleef ze heel haar leven
doen. De liefde voor de kunsten gaf de gravin van Vlaanderen door aan haar
kinderen. Haar dochter Henriette was een gekende schilderes van bloemen en
landschappen. Ze stelde regelmatig haar werken tentoon en haar prachtige illustraties
verschenen in boekvorm.
Georganiseerd
door de Koninklijke Vereniging Dynastie
en Cultureel Erfgoed"
Marie de Flandre,
‘Chiny’
uit reeks La Semois,
voor 1910. Brussel, Archief van het Koninklijk Paleis.
zondag 19 april 2015
vrijdag 25 oktober 2013
CFP: Journal of Diversity and Genderstudies
The brand new journal DiGeSt. Journal of Diversity and Genderstudies welcomes contributions on gender and other issues dealing with diversity in all its manifestations for their second issue.
Although the journal focusses primarily on research in the Belgian context, the editorial board is also receptive to reports on research and practices in other countries and societies. More detailed information about the 2nd call for papers and about the journal can be found on the recently launched website: http://www.digest.ugent.be. The deadline is the 10th of January 2014.
Although the journal focusses primarily on research in the Belgian context, the editorial board is also receptive to reports on research and practices in other countries and societies. More detailed information about the 2nd call for papers and about the journal can be found on the recently launched website: http://www.digest.ugent.be. The deadline is the 10th of January 2014.
maandag 16 september 2013
Vier penseelprinsessen in Hingene
Woensdag aanstaande opent in het kasteel d'Ursel in Hingene de tentoonstelling 'Vrouwen met stijl. Vier penseelprinsessen in Hingene'. De tentoonstelling met werk van vier adellijke amateurschilderessen, de periode van Napoleon tot na de Eerste Wereldoorlog omvattend, loopt van 22 september tot 24 november 2013.
In het kader van deze tentoonstelling wordt op 8 november 2013 ook een symposium georganiseerd en verschijnt een publicatie.
Abonneren op:
Posts (Atom)