CFP: Art Crossing Borders: The Birth of an Integrated Art Market in the Age of Nation States (Europe, ca. 1780-1914)

CFP: Art Crossing Borders: The Birth of an Integrated Art Market in the Age of Nation States (Europe, ca. 1780-1914)
Europe and its Worlds: Cultural Mobility in, to and from Europe, International Conference at the Radboud University Nijmegen (The Netherlands), 16-18 October 2013
Deadline: 20 April 2013
During the long nineteenth century continuing improvements in the road and transportation infrastructure ensured that the local art markets in Europe became connected like never before, both in the proverbial and literal sense of the word. Ever more paintings, art lovers and artistic information crossed regional and national boundaries, culminating in a truly integrated European art market. Paintings increasingly found new destinations in foreign private and public collections, while more and more artists, art lovers and art dealers could freely roam the European continent in their never-ending pursuit of aesthetic pleasure and/or commercial benefit. Information networks equally tightened, allowing dealers and collectors to easily communicate across wide distances and at the same time stay close to the pulse of art scenes abroad.
The increasing internationalisation of the European art world was closely intertwined with a growing importance of the very conceptual categories that this integration seemed to question: artistic and commercial labels referring to nationality, most conspicuously articulated in the division of art production into separate national “schools” in (popular) art historical literature, art criticism, early museum catalogues and, most importantly in this context, auction catalogues and catalogues of contemporary art exhibitions and commercial galleries. Thus, major art dealers imported thousands of paintings from abroad, but often pitched them as typical examples of a national “school”; universal exhibitions introduced foreign artists to local markets, but were also based on a logic of emulative competition along national lines; and artists often sought patronage abroad, but usually preferred nurturing the taste for the foreign in other countries to adapting their own work to foreign taste.
Many of these developments are often glossed over rather quickly, because most histories of the art market, like most histories of art itself, are still written along national lines. The aim of this panel is to tackle this deficit head-on and to contribute in this way to the writing of a global history of the art market, while not losing out of sight the historical impact of the national paradigm that paralleled the market’s integration. This session therefore raises the central research question how the integrating European art market of the long nineteenth century (1780-1914) simultaneously countered and constructed the notion of national painterly “schools”, along the crucial axes of nationalism and internationalism. It thus also addresses the decisive challenge that Europe still faces today: how to harmonize disharmonious local, national and transnational voices.

Please send proposals (max. 400 words) for a 20 minute paper for this session to Jan Dirk Baetens (J.Baetens[at]let.ru.nl) and/or Dries Lyna (D.Lyna[at]let.ru.nl). For more information, see http://www.ru.nl/europeanditsworlds/conference/introduction or contact the session convenors.

Foundation of the European Society for Nineteenth-Century Art (ESNA)

The European Society for Nineteenth Century Art ('ESNA') is a working group of scholars, graduate students, and museum professionals based in the Netherlands whose research focuses on European art of the long nineteenth century. ESNA's aim is to provide a forum that promotes the exchange of ideas in this field, to support and encourage graduate research, and to enhance networking opportunities for participants. ESNA seeks to contribute to, and foster debate on, nineteenth-century art through its organization of an annual symposium, the invitation of visiting speakers, and co-ordination with other organizations and groups devoted to the study of the nineteenth century. ESNA is a working group formed under the auspices of the Dutch Research School for Art History (Onderzoekschool Kunstgeschiedenis).

Graduate student summer seminar at Yale Center for British Art

Graduate Student Summer Seminar

"Coloring Color. The history, science and materiality of paint"

June 17–21, 2013

Call for applications

In June 2013, the Yale Center for British Art (ycba) will offer a week-long graduate student seminar, open to doctoral candidates interested in learning about color and its historical development, manufacture, and use in a range of art works in the eighteenth, nineteenth, and twentieth centuries. The seminar, which is organized by the ycba’s Conservation Department, will concentrate on the physical materials of color.

 

An infosheet is available. Please contact Marinella.Vinci[at]yale.edu for more information.

The deadline for receipt of applications is Monday, March 4, 2013.

Call For Papers: Uneasy Alliances: Boundaries and Bargains in Nineteenth-Century Art

Call for Papers: A one-day symposium organized by the European Society for Nineteenth-Century Art (a working group of the Dutch Postgraduate School for Art History).

Date: 23rd May, 2013

Venue: University of Amsterdam

Uneasy Alliances: Boundaries and Bargains in Nineteenth-Century Art

 

This one-day symposium explores ways in which nineteenth-century European art gave expression to the tensions, possibilities, and limitations attaching to the formation and breaking of alliances. Having regard to family relations, artistic encounters, commercial exchanges, and the shaping of geo-political boundaries, the symposium seeks to explore the nineteenth-century artworld as a space of personal, pictorial, and political bargaining. Regard will be given to ways in which alliances (or their rupture) were depicted in, or symbolized by, the content, production, and transfer of art objects. Whether a reinforcement of strength or an imposition of boundaries, the combining of interests is examined as a fertile terrain for aesthetic and social negotiation. Participants are also invited to reflect on recent methodological and disciplinary 'alliances' that shape our reading or re-reading of nineteenth-century art history, its art markets, and exhibition practices.

Please send a proposal for a 20 minute paper to Kathryn Brown (k.j.brown[at]tilburguniversity.edu) and Alba Campo (alba[at]albacampo.com). Proposals should include an abstract (max 250 words) and details of the presenter's institutional affiliation. Proposals should be received by no later than 28th February.

Ronald de Leeuw onderzoeksbeurs

Ter gelegenheid van het afscheid van Prof. drs. Ronald de Leeuw als algemeen directeur van het Rijksmuseum en ter herinnering aan zijn verdiensten als directeur van het Van Gogh Museum (1986-1996) en aan zijn promotionele activiteiten voor het onderzoek naar de 19de-eeuwse, West-Europese kunstgeschiedenis, biedt het Van Gogh Museum vanaf 2009 jaarlijks aan een getalenteerde onderzoeker (m/v) de mogelijkheid onderzoek te doen naar een onderwerp uit het verzamelgebied van het museum. De Ronald de Leeuw Onderzoeksbeurs heeft een waarde van € 5.000.

De onderzoeker (m/v) wordt met deze beurs in de gelegenheid gesteld een afstudeerscriptie over een onderwerp uit de West-Europese kunstgeschiedenis uit de periode 1830-1914 te bewerken tot een publicatie, een voorstel te schrijven voor een promotieonderzoek of een onderzoeksreis te doen.

Getalenteerde onderzoekers kunnen solliciteren, bij voorkeur na voordracht door hun docent(en) en op voorwaarde dat ze niet langer dan drie jaar zijn afgestudeerd.
Schriftelijke sollicitaties dienen vóór 1 maart 2013 te worden gericht aan:
Van Gogh Museum
t.a.v. Frédérique Haanen
Postbus 75366
1070 AJ Amsterdam
Een selectiecommissie beoordeelt het (onderzoeks)voorstel op geschiktheid. De onderzoeksbeurs gaat in op 1 mei 2013. Het resultaat dient vóór 1 oktober 2013 aan het Van Gogh Museum kenbaar te worden gemaakt.
De sollicitatie gaat vergezeld van een schriftelijke motivatie (max. 1.500 woorden), een curriculum vitae (inclusief publicatielijst), een exemplaar van de afstudeerscriptie, en een referentie.
Zie voor meer informatie: hier.