Monthly Archive for: ‘May, 2025’

2021 AHNCA/Dahesh Graduate Student Symposium

EIGHTEENTH ANNUAL GRADUATE STUDENT SYMPOSIUM
IN NINETEENTH-CENTURY ART
Saturday & Sunday, September 25 & 26, 2021, 1 to 4 PM EDT

Co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and
the Dahesh Museum of Art. This event will be held virtually.

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

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Saturday, September 25, 2021

1 PM: Welcome: Nancy Locke, Pennsylvania State University, President of 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

Christine Garnier, Harvard University, and Center for Advanced Study in the Visual Arts, National Gallery of Art, Washington, D.C., “Dining from the Mine: Tiffany & Co.’s Comstock Silver Service of 1878.”

The Mackay silver service, displayed at the 1878 Exposition Universelle in Paris, was designed and fabricated by Tiffany & Company from metal extracted from the owner’s Nevada mine. Garnier examines the service through the period rhetoric of America’s inexhaustible supply of silver, as well as the environmental impacts of the material’s extraction on local foodways.

María Beatriz H. Carrión, The Graduate Center, City University of New York, and The Rijksmuseum, “Indigeneity as Spectacle: Photography, Infotainment, and the Curtis Indian Picture Opera.”

Edward S. Curtis inaugurated the Indian Picture Opera: A Vanishing Race in 1911. This fusion of music, images, and narration served popular and specialized audiences interested in learning about Indigenous Americans. Through this show, Curtis developed a form of modern, multimedia infotainment and reinforced the troublesome association between indigeneity and spectacle.

Edoardo Maggi, ‘Sapienza’ University of Rome, “Filippo Belli ‘Painter-Photographer’ in Rome: Picturesque Motifs and Artistic Documentation.”

Filippo Belli (1836–1927) was active mainly as a supplier of images depicting the Roman countryside meant to be used by artists, but he was also a documenter of the Eternal City’s cultural heritage. His work still awaits a proper study, and reconstructing it will shed more light on Italian historical photography.

2:30 – 2:40 PM: Break

2:40 – 3:40 PM: Second Session & Discussion

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

Lieske Huits, University of Cambridge, and Victoria & Albert Museum, “Excellent Modern Ornaments, Models of Ancient Production: The Art Journal’s Illustrated Catalogues and the Logic of Appropriation in Nineteenth-Century Revival Jewelry.”

Described as both modern ornaments and models of ancient production, the jewelry of John Brogden exemplifies how these seemingly opposed descriptions could coexist for nineteenth-century art-manufactures. Using The Art Journal’s illustrated catalogues of the world exhibitions, Huits examines the language surrounding revival and adaptation of style in the nineteenth century.

Feng Schöneweiß, Institute of East Asian Art History, University of Heidelberg, “Becoming Dragoon Vases: Porcelain, Provenance, and Monumentality in German Antiquarianism (1853–1913).”

Schöneweiß considers how the emerging recognition of provenance shaped public perception of monumentality during the long nineteenth century. Focusing on eighteen so-called Dragoon Vases of Dresden provenance, he explores the transcultural biography and monumentality of Chinese porcelain in German antiquarian, museological, and historiographical contexts.

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

Sunday, September 26, 2021

1:00 PM: Welcome: Nancy Locke, President of AHNCA, and J. David Farmer, Director of Exhibitions, Dahesh Museum of Art

1:10 – 2:30 PM: Third Session & Discussion

Alia Nour, Dahesh Museum of Art, Moderator

Gabriel Hubmann, University of Basel, “Allegory and Caricature in Antoine-Jean Gros’s Napoleon Visiting the Plague-Stricken of Jaffa (1804).”

The figure of Napoleon in Gros’s history painting has been interpreted as allegorical allusion to Apollo, Christ, or even to Doubting Thomas. Hubmann will argue that instead of being a potpourri of iconographical references, this figure can be read as reaction against caricatures critical of Napoleon.

Sean Kramer, University of Michigan, “Heroism and Difference: Regarding the Indigenous Soldier in Alphonse de Neuville’s The Last Cartridges (1873).”

Kramer examines the presence of a tirailleur algérien [Algerian light infantryman] in Alphonse de Neuville’s iconic Franco-Prussian War canvas, The Last Cartridges, in which Neuville transformed the figure into a synecdoche of the so-called indigenous troops, and gave him an intriguingly prominent role in an image celebrating French martial bravery in defeat.

Franziska Niemand, University of Fribourg, and Vitrocentre Romont, “Displaying a Forgotten Characteristic of Mamluk and Ottoman Architecture: Colored Glass Plaster Windows at 19^th-Century World`s Fairs.”

While glass plaster windows were a characteristic of the Ottoman or Mamluk style displayed at 19th century World’s Fairs, by the 20th century they had disappeared from the attention of Islamic art historiography. This case study of the 1873 Weltausstellung in Vienna illuminates the reception of the forgotten windows through visual sources.

2:30 – 2:40 PM: Break

2:40 – 3:40 PM: Fourth Session & Discussion

Marilyn Satin Kushner, New-York Historical Society, Moderator

Alexis Monroe, Institute of Fine Arts, New York University, and Smithsonian American Art Museum, “Buildings in the Landscape and the Architecture of Statehood.”

The official government report of the 1849 Simpson Expedition is replete with fantastical prints of the New Mexico landscape. Monroe argues that these strange images must be understood in context of the contemporaneous debate over New Mexico statehood — which was inseparable from the debate over the future of slavery in America.

Hampton Smith, Massachusetts Institute of Technology, “Tapping Painting: George Inness and Turpentine.”

Smith reframes George Inness’s landscapes of Florida and Georgia as they relate to turpentine, a material Inness utilized copiously. Attending to the intersection of subject matter and facture particular to Inness, he reveals how Inness’s late works softened the image of an ecologically harmful and pointedly racialized industry.

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

2020 – 2021 Jury: Petra ten-Doesschate Chu, Roberto C. Ferrari, Marilyn Satin Kushner, Nancy Locke, Patricia Mainardi, Alia Nour. Technical Director: Kaylee Alexander

The symposium is free and open to the public but registration is required at: https://tinyurl.com/ahncadahesh18

For further information: gro/muesumhsehad//ofni
Virtual Salon: Revisiting the Beaux-Arts Style

Please join us on Monday, May 24 at 7PM EDT, for “Revisiting the Beaux-Arts Style,” a discussion of the current exhibition at the New-York Historical Society, “The Art of Architecture: Beaux-Arts Drawings from the Peter May Collection,” and its implications for nineteenth-century art and architectural historians. This is the second “Virtual Salon,” a series of events co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art.

The exhibition at the New-York Historical Society comprises more than fiftyarchitectural drawings from a little-known private collection of more than seven hundred works on paper. The selection on view represents different stages in the education of architects and the practice of architecture in nineteenth and early twentieth century France and America. The drawings range from admission and diploma drawings at the Paris École des Beaux-Arts, Rome Prize submissions and ‘envois de Rome,’ to work by professional architects working for the state. The exhibition will continue until June 13, 2021. For more information: https://www.nyhistory.org/exhibitions/art-architecture-beaux-arts-drawings-peter-may-collection/

Maureen Cassidy-Geiger will provide an overview of the collection and exhibition, presenting the École system via relevant drawings in the show and in the broader collection, including non-French drawings. She is curator of the exhibition and of the May Collection, and co-author and editor of the catalogue Living with Architecture as Art: The Peter W. May Collection of Architectural Drawings, Models, and Artefacts. She has published on architecture, including the Philip Johnson Glass House, but is better known as a specialist in Dresden court culture, Meissen porcelain and the Grand Tour.

Marilyn Satin Kushner will briefly discuss how this exhibition engages with the New-York Historical Society collections, as well as her decision to install the exhibition floor to ceiling, Salon style. Dr. Kushner is Curator of Prints, Photographs, and Architectural Collections at New-York Historical Society; she previously headed the Department of Prints, Drawings, and Photographs at the Brooklyn Museum. She was co-curator and co-editor of the N-YHS exhibition and catalogue The Armory Show at 100: Modernism and Revolution; her most recent publication, The Art of Winold Reiss, An Immigrant Modernist, will be available in late Spring 2021.

Kevin D. Murphy will focus on the worldwide prestige of the Beaux-Arts style in the nineteenth century, and its impact on both buildings and architectural education, especially in the United States. While the influence of Beaux-Arts classicism in the US has been recognized, less widely acknowledged has been the impact of Americans on the Ecole, especially of American women who were among the first female students there. He is Andrew W. Mellon Chair in the Humanities, and Professor and Chair in the Department of History of Art and Architecture at Vanderbilt University. His work has focused on historicism in France and the United States. Among his many publications are Memory and Modernity: Viollet-le-Duc at Vézelay and, most recently, The Cathedral of Notre-Dame of Paris: A Quick Immersion.

A Q&A will follow the three presentations.

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The event is free but advance registration is required: https://tinyurl.com/revisitingbeauxarts.

Future events will be announced on the websites of AHNCA (www.ahnca.org) and the Dahesh (www.daheshmuseum.org) as well as through social media.
Virtual Salon: Dahesh Prize Redux 2021

The Virtual Salon, cosponsored by the Association of Historians of Nineteenth-Century Art and the Dahesh Museum of Art, will feature Nancy Karrels and Christine Olson on Wednesday, July 14, at 7PM. Ms. Karrels and Ms. Olson were the joint recipients of the Mervat Zahid Cultural Foundation Prize at the seventeenth AHNCA/Dahesh Graduate Student Symposium in Nineteenth-Century Art (2020) that took place in March 2021. They will represent their papers and discuss their work and future plans.

Nancy Karrels’s presentation is entitled “Documenting Plunder: The Dessins Denon as a Vision of Museum-Building in the Modern Era.” It is part of her doctoral dissertation “Visual Provenance: The Iconography of Cultural Conquest in France, 1796–1830,” in progress at the University of Illinois, Urbana-Champaign. She curated the 2017 exhibition “Provenance: A Forensic History of Art” at the Krannert Art Museum and has published articles and given papers internationally on the history of collecting. She is the recipient of a Fulbright Doctoral Award (France) and a Social Sciences and Humanities Research Council of Canada doctoral fellowship. She holds degrees in Common Law and Civil Law from McGill University.

Christine Olson’s presentation is entitled “The Grammar of Ornament and the Design of Nineteenth-Century Design.” It is part of her doctoral dissertation “Owen Jones and the Epistemologies of Nineteenth-Century Design,” in progress at Yale University. She is a former Tiffany and Company Curatorial Intern in American Decorative Arts at the Metropolitan Museum of Art, where her research culminated in a co-authored article in the Metropolitan Museum Journal (2016) on design drawings for Tiffany Mosaics. She holds an MA in Humanities and Social Thought from New York University, where she also completed an Advanced Certificate in Museum Studies, and a BA in Religion from Oberlin College.

This event is free and open to the public, but registration is required. Please register through the following link: https://tinyurl.com/daheshredux
Virtual Salon: Alternate Careers Workshop

Because of hiring freezes at museums and universities, younger scholars are increasingly worried about their future. In response, the Association of Historians of Nineteenth-Century Art and the Dahesh Museum of Art are co-sponsoring a Virtual Salon on Sunday, August 8 at 7PM EDT to explore alternate career paths for their consideration. Speakers include:

Alison W. Chang, who earned her doctorate at the University of Pennsylvania in 2010, with a dissertation on Edvard Munch. She is Program Officer at the American Council of Learned Societies, where she manages several of the organization’s fellowship programs, including those specifically related to art history. Previously she was the Director of Communications, Marketing, and Membership at CAA. Her current scholarly interests include contemporary Scandinavian artists, critical race theory, and printmaking.

Andrew Eschelbacher, who earned his doctorate from the University of Maryland in 2013 with a dissertation on the French sculptor Jules Dalou. After teaching at the Virginia Military Institute, he joined the Portland Art Museum, where he was Associate Curator before being appointed as Director of Curatorial Affairs at the American Federation of Art. He is editor of A New American Sculpture, 1914–1945 (Yale, 2017).

Paul Provost, who earned his doctorate from Princeton University in 1994 with a dissertation on Winslow Homer. He has over twenty-five years’ experience in museums, business, and foundations: he began at New-York Historical Society, then for more than two decades he was Deputy Chairman at Christie’s, after which he founded the arts consulting firm Provost & Associates. He has been closely involved with World War II Holocaust and Restitution matters and other cultural property claims. Currently he is Chief Executive Officer of Art Bridges, the new arts foundation dedicated to expanding access to American Art.

Matt Woodworth, who earned a doctorate from Duke University in 2011 with a dissertation on English Gothic architecture. He worked for three years in Scotland as author of the Pevsner Architectural Guides published by Yale University Press, taught for three years at Duke as Visiting Assistant Professor, then, in 2018, founded Curated Touring, which arranges private European travel for individuals or small groups. See: https://www.curatedtouring.com; and https://www.forbes.com/sites/everettpotter/2019/10/23/curated-touring-avoiding-the-crowds/?sh=6423584616fc.

This event is free and open to the public, but registration is required. Please register through the following link: https://tinyurl.com/altcareers-art.
Virtual Salon: The Art Market in the Nineteenth Century

Please join us on Wednesday, October 20, at 7PM EDT for our October Virtual Salon on The Art Market in the Nineteenth Century. This series of online events is 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 specialists in this area who will discuss this increasingly important area of nineteenth-century studies: Veronique Chagnon-Burke, Anne Helmreich, and Simon Kelly. Their discussion will be followed by a Q&A and then a break-out room where attendees can socialize informally.

The discussion will be moderated by Véronique Chagnon-Burke, co-founder of WADDA [Women Art Dealers Digital Archives], a digital platform that maps the role women art dealers played in the institutionalization of modern and contemporary art. She is founding member of the New York chapter of The International Art Market Studies Association [TIAMSA] and a section editor for the forthcoming Art Market Dictionary to be published by De Gruyter (Berlin) in 2021. She is also a member of the steering committee of the Society for the History of Collecting, and on the editorial advisory board of the Bloomsbury Press series Contextualizing Art Markets.

Anne Helmreich is Associate Director, Getty Foundation. Her current research focuses on the history of the art market and the productive intersection of the digital humanities and art history. She recently co-authored “Digital Methods and the Study of the Art Market,” for The Routledge Companion to Digital Humanities and Art History (ed. Kathryn Brown, Routledge, 2020) with Pamela Fletcher, and “Purpose-built: Duveen and the Commercial Art gallery,” Nineteenth-Century Art Worldwide 20/2 (Summer 2021) with Edward Sterrett and Sandra van Ginhoven.

Simon Kelly is Curator and Head of Department of Modern and Contemporary Art at the Saint Louis Art Museum. He has written extensively on Barbizon and Impressionist painting, focusing on the relationship between artists and the art market, as well as related histories of patronage and collecting. His new book, Théodore Rousseau and the Rise of the Modern Art Market: An Avant-Garde Landscape Painter in 19^th-Century France, was published in July 2021.

The event is free and open to the public, but registration is required at: https://tinyurl.com/artmarkets19
Virtual Salon: Art of the Americas: Global Perspectives

Please join us on Wednesday, November 17, at 7PM ET for Art of the Americas: Global Perspectives, the November 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 at https://tinyurl.com/americas19.

For this event, we are fortunate to host three specialists who will discuss this increasingly important area of nineteenth-century studies: Asiel Sepúlveda (Moderator), Katherine Manthorne, and Emmanuel Ortega. Their discussion will be followed by a Q&A and then a break-out room where attendees can socialize informally.

Asiel Sepúlveda is Assistant Professor of Art History at Simmons University. His research focuses on print culture in the nineteenth-century Caribbean. In 2015, he received the Dahesh Museum of Art Prize for the Best Paper at the 12th Annual Graduate Student Symposium in Nineteenth-Century Art, subsequently published in Nineteenth-Century Art Worldwide (Autumn 2015) as “Humor and Social Hygiene in Havana’s Nineteenth-Century Cigarette Marquillas.” He is currently editing a book-length project entitled “Havana Impressions: Print Culture and Global Modernity in Plantation Cuba (1790–1860),” which explores the urban imagery of the Cuban plantation system through the lens of print studies and global art histories.

Katherine Manthorne, a specialist in modern art of the Americas, is Professor of Art History at the Graduate Center of the City University of New York; prior to that, she was the Director of the Research Center at the Smithsonian American Art Museum. Her scholarship has long focused on the landscape and hemispheric dimensions of American art, beginning with Tropical Renaissance: North American Artists Exploring Latin America, 1839–1879 (1989) and continuing in California Mexicana: Missions to Murals, 1820 to 1930 (2017) and Traveler Artists: Landscapes of Latin America from the Patricia Phelps de Cisneros Collection (2015). Women artists are featured in two recent books: Women in the Dark: American Female Photographers 1850–1900 (2020) and Restless Enterprise: The Art and Life of Eliza Pratt Greatorex (2020).

Emmanuel Ortega is the Marilynn Thoma Scholar in Art of the Spanish Americas, and an Assistant Professor of Art History at the University of Illinois at Chicago. He specializes in the topic of sentimentality as it pertains to nineteenth-century Mexico, and Novohispanic Franciscan portraiture. His essay “The Mexican Picturesque and the Sentimental Nation: A Study in Nineteenth-Century Landscape” was published in the Art Bulletin (June 2021). He is co-producer of the YouTube channel Unsettling Journeys and a recurrent lecturer for the Arquetopia Foundation for Development, the largest artist residency in México.
Virtual Salon: Dahesh Prize Redux 2021

Please join us on Wednesday, December 8, at 2PM EST at the Virtual Salon “Dahesh Prize Redux 2021.” This event will feature Lieske Huits and Sean Kramer, recipients of the Mervat Zahid Cultural Foundation Prize at the eighteenth AHNCA/Dahesh Graduate Student Symposium in Nineteenth-Century Art held in September 2021, moderated by J. David Farmer of the Dahesh Museum. Ms. Huits and Mr. Kramer will re-present their research and discuss their work and future plans. The Virtual Salon series is co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. The event is free and open to the public, but registration is required at https://tinyurl.com/daheshredux2021.

David Farmer, Moderator: Dr. Farmer was appointed Director of the Dahesh Museum in 1993 and, after a short break for retirement, he returned to the museum as Director of Exhibitions. He specializes in the art of Early Modern Northern Europe and its revival in the 19th century, most notably in Belgium.

Lieske Huits will present “Excellent Modern Ornaments, Models of Ancient Production: The Art Journal’s Illustrated Catalogues and the Logic of Appropriation in Nineteenth-Century Revival Jewelry.” Ms. Huits is a doctoral candidate in the history of art at the University of Cambridge in collaborative partnership with the Victoria and Albert Museum. Her thesis “A New Visual Narrative of Nineteenth-Century Historicism” reconsiders the concept of historicism in the decorative arts, focusing primarily on the reception of historicist artifacts in nineteenth-century illustrated print media. She has received research grants from the Netherlands Interuniversity Institute for Art History in Florence and the Leiden University Fund’s International Study Fund.

Sean Kramer will present “Heroism and Difference: Regarding the Indigenous Soldier in Alphonse de Neuville’s The Last Cartridges (1873).” Kramer is a doctoral candidate at the University of Michigan, studying nineteenth-century French and British art and visual culture. His dissertation focuses on imagery of the common soldier through the lenses of manhood and medicine, on the one hand, and race and imperialism, on the other. His research has been supported by the University of Michigan’s Rackham Graduate School, International Institute, and Museum of Art, as well as the Yale Center for British Art. His essay “Undressing the Army: Hygiene and Hierarchies in Eugène Chaperon’s The Shower in the Regiment (1887)” will appear later this year in Male Bonds in Nineteenth-Century Art (Leuven University Press).
Virtual Salon: Rethinking the Visual and Material Culture of Enslavement

Please join us on Wednesday, January 19, at 7PM ET for Rethinking the Visual and Material Culture of Enslavement, the January 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/rethinkingenslavement.

For this event, we are fortunate to host three specialists who will discuss this important area of nineteenth-century studies: Jennifer Van Horn (Moderator), Adrienne Childs, and Phillip Troutman. Each will give a brief presentation on an object drawn from their research on the visual and material culture of enslavement, followed by discussion and then a Q&A. After the event, there will be a break-out room where attendees can socialize informally.

Jennifer Van Horn holds a joint appointment as associate professor in the departments of Art History and History at the University of Delaware. She is the author of The Power of Objects in Eighteenth-Century British America and Portraits of Resistance: Activating Art during Slavery, forthcoming from Yale University Press (2022). A piece of this project published in The Art Bulletin was awarded the National Portrait Gallery’s Director’s Essay Prize. Recently she co-edited a special double issue of Winterthur Portfolio: “Enslavement and Its Legacies.”

Adrienne L. Childs is an art historian and curator. She is an adjunct curator at The Phillips Collection and associate of the W.E.B. Du Bois Research Institute at the Hutchins Center for African and African American Research at Harvard University. She curated the exhibition Riffs and Relations: African American Artists and the European Modernist Tradition, 2020, at the Phillips Collection. Her current book project is Ornamental Blackness: The Black Figure in European Decorative Arts, forthcoming from Yale University Press. She has held fellowships the Lunder Institute at the Colby College Museum of Art, the Center for Advanced Study in the Visual Arts (CASVA), The Hutchins Center at Harvard University, The Clark Art Institute and the David C. Driskell Center. She is co-curator of the recent exhibition The Black Figure in the European Imaginary at the Cornell Fine Arts Museum at Rollins College. She contributed to The Image of the Black in Western Art, Volume V from Harvard University Press. Childs is co-editor of the book Blacks in European Art of the Long Nineteenth Century, Routledge. Her scholarly interests are the relationship between race and representation in European and American fine and decorative arts. She also served as curator at the David C. Driskell Center at the University of Maryland where she curated numerous exhibitions of African American art.

Phillip Troutman is Director of Writing in the Disciplines and an Assistant Professor of Writing and of History at the George Washington University. He was a 2018–2019 Smithsonian Institution Senior Fellow at the Smithsonian American Art Museum and the National Museum of American History and is completing a book entitled “‘Incendiary Pictures’: the Radical Visual Rhetoric of American Abolition.” The book details the 1830s work of African American engraver Patrick Henry Reason and white editors Lewis Tappan and Elizur Wright, Jr., and has been supported by a National Endowment for the Humanities Summer Stipend and a Reese Fellowship in the Print Culture of the Americas, Clements Library, University of Michigan.
2022 AHNCA/Dahesh Graduate Student Symposium
NINETEENTH ANNUAL GRADUATE STUDENT SYMPOSIUM

IN NINETEENTH-CENTURY ART

Saturday & Sunday, March 26 & 27, 2022, 1 to 4 PM EST

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/ahncadahesh19

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 26, 2022

1 PM: Welcome: Nancy Locke, Pennsylvania State University, President of the Association of Historians of Nineteenth-Century Art; Amira Zahid, Trustee, Dahesh Museum of Art

1:15 – 2:30 PM: First Session & Discussion

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

Gabriel Hubmann, University of Basel, “Allegory and Caricature in Antoine-Jean Gros’s Napoleon Visiting the Plague-Stricken of Jaffa (1804).”

Gros’s history painting has given rise to several questions still relevant today. One detail in particular has puzzled scholars: the dramatic size difference between Napoleon and the sick soldiers. Hubmann argues that this detail can be interpreted as a kind of allegory, both drawing from and directed against caricatures critical of Napoleon.

Teresa Mocharitsch, University of Graz and Museumsakademie Joanneum, “Vae Victoribus: Charles Landelle’s Velleda and the Franco-Prussian War.”

With his painting Velleda (1870), Charles Landelle adapted the Germanic seeress Veleda for the French narrative of the Franco-Prussian War. Mocharitsch situates the picture in the iconography of Veleda, in the painter’s oeuvre, and in the visual culture of this armed conflict in order to deepen our understanding of the resonance of historical reception.

Glynnis Napier Stevenson, University College London and the Nelson-Atkins Museum of Art, “‘In the West of Traditions, 1793 Was Yesterday’: Royalism at the 1889 Decennial Exposition.”

Julien Le Blant’s 1883 painting The Execution of Charette [1796] exemplifies compromises made at the Paris Exposition Universelle of 1889 to appeal to right-wing voters during a crucial election year. One hundred years after the storming of the Bastille, the governing centrists used the Exposition to extend an olive branch to the politics of royalist grievance.

2:30 – 2:40 PM: Break

2:40 – 3:40 PM: Second Session & Discussion

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

Katie Loney, University of Pittsburgh and the Metropolitan Museum of Art, “Making a Global Market for Indian Art: Lockwood de Forest and The Ahmedabad Wood Carving Company.”

Loney traces the Ahmedabad Wood Carving Company’s artistic furnishings and ornamental work through the late nineteenth-century global art market, identifying systems of circulation, exchange, and display in which the AWCC helped establish a canon of Indian applied arts grounded in Western judgments and tastes as well as imperial control through trade.

Lea C. Stephenson, University of Delaware, “Dressing Up Egypt: Whiteness and the Allure of Egyptomania, 1870–1920.”

A late nineteenth-century wave of Egyptomania included American and British artists and collectors interpreting Egypt as a setting for sensuous escapism. Elite, white women in the United States and Britain wore Egyptian-inspired dresses and jewels—in portraits and in life. Stephenson examines this haptic and embodied act of performing race when dressing up as “Egyptian.”

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

Sunday, March 27, 2022

1:00 PM: Welcome: Nancy Locke, President of AHNCA, and J. David Farmer, Director of Exhibitions, Dahesh Museum of Art

1:15 – 2:30 PM: Third Session & Discussion

Marilyn Satin Kushner, New-York Historical Society, Moderator

Remi Poindexter, City University of New York, “Plantation Pastorales: Jenny Prinssay’s Caribbean Landscapes and the Salon of 1814.”

In 1814, two works depicting the French Caribbean were shown in the Paris Salon, made by an enigmatic artist named Jenny Prinnsay (née Bouscaren) who had previously shown at the Salon of 1801. Poindexter discusses Prinssay’s View of a Bay on the Island of Martinique as it relates to early nineteenth-century depictions of the French colony and the Caribbean as a whole.

Thomas Busciglio-Ritter, University of Delaware, “From Brussels to Point Breeze:

Charlotte Bonaparte and the American Landscape, 1821–1825.”

Busciglio-Ritter examines the production of landscape images by Charlotte Bonaparte during her American residence, 1821-1824. Her involvement with networks of transatlantic lithographers and painters resulted in the publication of her portfolio of sketches: Picturesque Views of America, one of the first to widely circulate views of U.S. scenery in print to European audiences.

Gabriela Torres, University of Lisbon. “Light and Shadow: The Photography of Louis Igout and Its Relation to Nineteenth-Century Academic Figure Drawing”

Torres explores a photography album by Louis Igout (1837–1881), created to serve as an auxiliary aid for artists. Through it, she demonstrates the growing influence of photography in the creation of new graphic expressions, illustrating this with charcoal drawings by Portuguese students from the Paris École des beaux-arts, the Académie Julien and the Académie Delécluse.

2:30 – 2:40 PM: Break

2:40 – 3:40 PM: Fourth Session & Discussion
1. David Farmer, Dahesh Museum of Art, Moderator
Carter Jackson, Boston University, “Turbulent Politics and a Stage for Democracy: Government and Governmentality in the Allegheny County Courthouse.”

Jackson explores the role of architecture during moments of political unrest by examining how Henry Hobson Richardson’s design for the Allegheny County Courthouse, completed in 1888, mediated a fraught relationship between citizens and their government in late nineteenth-century Pittsburgh.

Ivana Dizdar, University of Toronto and The National Gallery of Canada, “Embracing the North: Panoramic Visions of Global Commerce in Triumphal France (1889).”

Unveiled at the Paris Bourse de Commerce in 1889, the vast panoramic mural Triumphal France represents trade between France and the world. Curiously, one of the mural’s four regional sections depicts the Polar North. Exploring this inclusion, Dizdar examines how the Arctic figured in French nineteenth-century visual culture and geopolitics.

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

2022 Jury: Petra ten-Doesschate Chu, J. David Farmer, Marilyn Satin Kushner, Nancy Locke, Patricia Mainardi. Technical Director: Kaylee Alexander

The symposium is free and open to the public, but registration is required:

ADD.

For the complete program: www.ahnca.org; www.daheshmuseum.org. For further information: info@daheshmuseum.org.
Virtual Salon: Materiality and the Nineteenth-Century Decorative Arts

Please join us on Wednesday, February 9, at 7PM EST for Materiality and the Nineteenth–Century Decorative Arts, the February 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/19decarts.

In this Salon, Amy F. Ogata (Moderator), Lee Talbot, and Christine Garnier will discuss questions of materiality and the decorative arts in the nineteenth century. Their discussion will explore the environmental origins and processing of materials, the significance of materiality expressed in decorative forms to cultural identity, and the broader ways that histories of materiality, applied arts and art history might be understood together. The discussion will be followed by a Q&A and, after the event, there will be a break-out room where attendees can socialize informally.

Amy F. Ogata is Professor of Art History at the University of Southern California. Her research concerns the relationship between architecture and design, and the history of applied arts in Europe and the US in the 19th and 20th centuries. Her books include Designing the Creative Child: Playthings and Places in Midcentury America (Minnesota 2013), which won the Alice Davis Hitchcock Award from the Society of Architectural Historians. She was the co-curator of Swedish Wooden Toys (2014) and co-editor of the accompanying catalog (Yale 2014). She also wrote a book on Art Nouveau in Belgium (Cambridge 2001). Articles have appeared in Art History, Journal of the Society of Architectural Historians, Journal of Design History, The Senses and Society, Studies in the Decorative Arts, West 86th, and Winterthur Portfolio. She is currently working on a book about French Second Empire, metalwork, and the industrial age.

Lee Talbot is a curator at The George Washington University Museum and The Textile Museum in Washington, DC. He joined The Textile Museum in 2007, specializing in the history of East Asian textiles. He has curated numerous exhibitions and published catalogues, articles, and textbook chapters. Lee was previously curator at the Chung Young Yang Embroidery Museum in Seoul, Korea. He has a B.A. from Rhodes College, an MBA from the Thunderbird School of Global Management and a M.A. and M.Phil. from Bard Graduate Center. He serves on the board of The Textile Society of America, and co-edited the recent issue of the Journal of Textile Design, Research, and Practice.

Christine Garnier is a PhD candidate in the History of Art & Architecture at Harvard University and the Wyeth Predoctoral Fellow at the Center for Advanced Study in the Visual Arts. Her work focuses on the histories of the decorative arts, craft, and photography of the United States, with a focus on material histories and ecocriticism. Her dissertation, “The American Silverscape: Art, Extraction, and Sovereignty (1848–1893),” considers how a range of silver aesthetic objects—sculptures, medals, dinner services, and jewelry—helped mediate discourses on economics, natural resources, and Indigenous sovereignty during the silver mining boom throughout the Intermountain West. Her research has been supported by the Center, the Smithsonian American Art Museum, the Decorative Arts Trust, and the Center for Craft, among others.

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