Conf: Le collezioni degli artisti in Italia (Rome, 22 Jun 17)

Le collezioni degli artisti in Italia: trasformazioni e continuità di un fenomeno sociale tra Cinquecento e Settecento

The collections of artists in Italy: transformations and continuity of a social phenomenon between the sixteenth and eighteenth centuries

BSR British School at Rome, via Antonio Gramsci, 61, 22.06.2017

Organized by Francesca Parrilla and Matteo Borchia in collaboration with The British School at Rome (BSR) and the initiative of the Rome Art History Network (RAHN).

 One of the most fascinating aspects of collecting in the modern age concerns collections assembled by artists. It presents the artist in the special role of collector and creates a rather privileged view onto the the collector’s personality and social role. In the dwellings, shops and studios, together with the goods related to the practice of the craft, exhibitions are presented in accordance with valid design criteria, in addition to pieces of antiquity and objects of various nature. It is not always an arbitrary collection, but generally the possession of these works reflects a precise collector’s will, the result of personal pride, pure commercial speculation or the desire to rank at a higher level on the social scale.

The conference intends to address the many aspects of a delicate and problematic theme and provide the opportunity for a valid comparison between epochs and contexts from a social point of view. The emergence of differences and analogies in the overall Italian landscape will allow us to observe the various profiles taken by the artists (from connoisseur to antiquarian, from intellect to merchant).

Conference language and programme: ITALIAN

PROGRAMME

09.30 / Saluti
Thomas-Leo True (BSR), Ariane Varela Braga (RAHN – Università di Zurigo)

Introduzione
Francesca Parrilla (RAHN- Borsista presso la Fondazione 1563 per Arte e la Cultura della Compagnia di San Paolo, Torino)

10.00 / I sezione
modera: Alessandro Zuccari (Sapienza Università di Roma)

Linda Borean (Università di Udine): L’artista nel ruolo di collezionista nella Venezia barocca

Cecilia Vicentini (Università eCampus/Università di Ferrara): Inventari, testamenti e lasciti: carte di artisti ferraresi

11.00 /pausa caffè

Mauro Pavesi (Università Cattolica del Sacro Cuore): Tra mercato, collezionismo e accademia: il caso della Lombardia di Cinque e Seicento

Roberta Piccinelli (Università di Macerata): Le collezioni degli artisti a Mantova da Giulio Romano a Frans Geffels

Valentina Frascarolo (Università di Genova): Pittori intellettuali, storici e naturalisti nella Genova di primo seicento. Dimore e collezioni

13.30 / Pausa Pranzo

14.30 / II sezione
modera: Maria Cristina Terzaghi (Università Roma Tre)

Macarena Moralejo Ortega (Universidad de León): L’eredità di Federico Zuccari (1539-1609): libri e oggetti d’arte per la stesura di un elenco di sua proprietà

Riccardo Gandolfi (Sapienza Università di Roma): Prospero Orsi: pittore, mercante e “promotore” nella Roma del Seicento

Elena Onori (Sapienza Università di Roma): La bottega d’arte dei Manenti: centro di divulgazione della cultura metropolitana tra “centro” e “periferia” nel XVII secolo

Ginevra Odone (Université de Lorraine / Sapienza – Università di Roma): Dalla collezione di un artista a quella di un antiquario. Da Guglielmo Cortese (1679) a Giacomo Bellotti (1792)

15.50/ pausa caffè

Teresa Vale (ARTIS-Istituto di Storia dell’Arte della Facoltà di Lettere dell’Università di Lisbona): Tra casa e bottega: la presenza della pittura e della scultura negli inventari dei Valadier

Raquel Gallego Garcia (Universitat de Barcelona): Johan Tobias Sergel e la sua raccolta di disegni come esempio di una singolare forma di collezionismo

17.10 / III sezione
modera: Francesca Cappelletti (Università di Ferrara)

Matteo Gianeselli (Palais Fesch-musée des Beaux-Arts, Ajaccio/Institut national d’histoire de l’art, Paris): Dans l’intimité de Ridolfo del Ghirlandaio: les collections d’ «un’omo da bene»

Davide Dossi (Dipartimento di Grafica dell’Hessisches Landesmuseum di Darmstadt): Un artista collezionista nella Verona di primo Seicento: il caso Ottino

Alice Collavin (Scuola Normale Superiore di Pisa): Johann Carl Loth (1632-1698): artista, collezionista e sensale nella Venezia seicentesca

Francesco Lofano (Università degli studi di Bari): Atelier e collezioni di artisti nella Napoli del XVIII secolo

18.30 / Discussione e chiusura dei lavori (Matteo Borchia, Francesca Parrilla)

19.30 / Rinfresco e saluti

Per info: romearthistorynetwork@gmail.com

Reference:
CONF: Le collezioni degli artisti in Italia (Rome, 22 Jun 17). In: H-ArtHist, Jun 5, 2017 (accessed Jun 7, 2017).

CONF: Annual Third Year Postgraduate Symposium (London, 8-9 Jun 17)

London, Kenneth Clark Lecture Theatre
The Courtauld Institute of Art
Somerset House, Strand, June 8 – 09, 2017
Registration deadline: Jun 7, 2017

The Courtauld’s New Research Symposium 2017 is a platform for third-year PhD candidates to present and exchange their research to their peers, the wider scholarly community and the public. Ranging from medieval England to contemporary Bosnia-Herzegovina via Renaissance Florence the conference will bring questions concerning materiality, identity and institutions to bear on art and politics. Whether performing a close analysis of a late-fifteenth-century altarpiece frame or a Marxist reading of photographic technologies after the 2008 financial crisis, what are the pressing methodological questions for the discipline? This conference provides a place to consider how the cohort has been collectively thinking through critical challenges and new directions for the History of Art.

Including a keynote by Lynda Nead (Pevsner Professor of History of Art, Birkbeck, University of London)

Free, all welcome, but booking required:

https://www.eventbrite.co.uk/e/annual-third-year-postgraduate-symposium-tickets-34656949870

Attendees are welcome to come to a single session if they wish.

PROGRAM for Part of Friday, June 9

11:30–12:25 Session 6: Modernisms, Materials, Markets

Giovanni Casini: ‘A Dealer’s “Dictatorship”? Giorgio de Chirico, Léonce Rosenberg and the Parisian Art Market in the late 1920s’

Rachel Mustalish: ‘Arthur Dove: Modernism through Materials’

12:30–13:25 Session 7: Collections and Canons

Naomi Speakman: The Virtuoso Appetite: The Medieval Antiquities of Ralph Bernal’

Imogen Tedbury: ‘After the “game of grab”: collecting, displaying and selling Sienese painting after the “Burlington Magazine wars” of 1903’

The Art Fair: TIAMSA 2017 Conference (London, 13-15 July, 17)


Registration now open

The Art Fair
The 2017 TIAMSA Conference
London, 13-15 July, 2017

Get your ticket here
https://tiamsaartfairconference2017.eventbrite.com

Conference Dinner for speakers and participants – tickets online
https://tiamsadinner.eventbrite.com

TIAMSA_Conference_Programme (pdf., 868 KB)

NB: Unless otherwise stated, all events will take place at
Sotheby’s Institute of Art
30 Bedford Square,
Bloomsbury,
London WC1B 3EE

Conference Pre-Programme and Private Tours

Thursday 13 July

‘Historic’ Option
The National Gallery, Trafalgar Square, London WC2N 5DN, UK

2.30pm – 3.30pm
Agnew’s stock books, The National Gallery Archive, with Alan Crookham, TIAMSA Founding Member and Head of the National Gallery Research Centre

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 20 participants.
Book your place here: https://tiamsaagnewsstockbooks.eventbrite.com
Further information is on your ticket

3.40pm – 4.30pm (parallel to Ropac tour)
Guided Tour with Highlights of the National Gallery’s Collection History, with Susanna Avery-Quash, TIAMSA Board Member and National Gallery Senior Research Curator (History of Collecting)

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 20 participants.
Book your place here: https://tiamsangtour.eventbrite.com
Further information is on your ticket 

Contemporary’ Option
Galerie Thaddaeus Ropac, Ely House, 37 Dover St., London W1S 4NJ

2.30pm – 4.15pm (parallel to National Gallery tour)
Inside Tour of Thaddaeus Ropac’s new London gallery, with Polly Gaer, Gallery Director, and Jonathan Woolfson, TIAMSA Board Member and Deputy Director of Sotheby’s Institute of Art, London

To book a place you have to be a member of TIAMSA.
This tour has a maximum capacity of 25 participants.
Book your place here: https://tiamsaropactour.eventbrite.com
Further information is on your ticket

*****

5.00pm – 6.00pm
TIAMSA Annual General Meeting (AGM)
for TIAMSA members only; see separate invitation

*****


6.30pm – Keynote lecture 1
Sophie Raux, Université Lumière – Lyon 2 (FR)
Fairs in the Southern Netherlands and the Development of the Early Modern Art Market (15th-17th centuries)

7.30pm – Reception

*****

 

Friday 14 July

9.00am – Registration

9.30am – Welcome and Introduction
Jos Hackforth-Jones, CEO and Director of Sotheby’s Institute of Art, London
Johannes Nathan, TIAMSA Chair

Session 1 (plenary): Mapping the Art Fair I
Chair: Olav Velthuis, University of Amsterdam (NL)

9.45am – Sofia Evangelou and Rachel A. J. Pownall, Maastricht University, Maastricht (NL), Art Fairs in the 21st Century and Their Role in the Global Art Market Scene

10.15am – Nadine Oberste-Hetbleck, University of Cologne (GER)
Art Cologne: The First Art Fair for Modern and Contemporary Art Between Globalisation and Localisation

10.45am – Coffee

11.15am – Daniela Stocco, Erasmus University, Rotterdam (NL), The Art Fairs in Rio de Janeiro and Sao Paulo: Access to Art as a Marketing Strategy

11.45am – Hua Shuo, University of Hong Kong (CN), When Art Meets New Money: Chinese Participation in Art Fairs in Hong Kong since the 1990s

12.15pm – Concluding Discussion (c. 15 mins.)

*****

12.30pm – Buffet Lunch (provided)

*****

Session 2 (parallel with Session 3): Standards of Quality and Vetting

Chair: Susanna Avery-Quash, National Gallery London (UK)

2.00pm – Deborah Schultz, Regent’s University London (UK), The Art Fair as Curated Event

2.30pm – Erica H. Coslor, University of Melbourne, Melbourne (AU) and Yuval Millo, Warwick Business School (UK), Price or Prize? Art Fairs as Valuation Devices

3.00pm – Coffee

3.30pm – Yasmin Railton, Sotheby’s Institute of Art, London (UK), The Expert Eye: The Reputational Marketing of Scientific Research in Fair Vetting

4.00pm – Gareth Fletcher, Sotheby’s Institute of Art, London (UK)
The Utility of Trust: A Comparative Analysis of the Presentation and Impact of Provenance Information in Establishing Consumer Confidence within the Art Fair

4.30pm – Stephanie Dieckvoss, Central St. Martin’s, London (UK)
The Artist and the Art Fair: Changes in Agency?

5.00pm – Concluding Discussion (c. 15 mins.)


Session 3 (parallel with Session 2): Historical & Geographical Contexts
Chair: Johannes Nathan, Nathan Fine Art / TU Berlin (DE)

2.00pm – Filip Vermeylen, Erasmus University, Rotterdam (NL), The Origins of Art Fairs: Early Examples from Antwerp

2.30pm – Stoyan Sgourev, ESSEC Business School, Paris (FR), Salons, Secessions and Fairs: Historical Links and Benefits

3.00pm – Coffee

3.30pm – Simeng Chang and Marilena Vecco, Erasmus University, Rotterdam (NL) and Roberto Zanola, Universita’ degli Studi del Piemonte Orientale, Alessandria (ITA)
Strategies of Art Fairs: How to Merge in Mainland China?

4.00pm – Linzhi Zhang, University of Cambridge (UK), From Beijing to Basel: Chinese Galleries in Art Fairs

4.30pm – Adelaide Duarte, Universidade Nova de Lisboa (PT), From Global to Local: ARCOmadrid – ARCOlisboa

5.00pm – Concluding Discussion (c. 15 mins.)

5.15pm – Interval

6.00pm – Keynote lecture 2
Noah Horowitz, Director Americas / Member of the Executive Committee, Art Basel (USA) in Conversation with Olav Velthuis, University of Amsterdam (NL)

7.15pm – Conference Dinner
open to all, advance booking required, paid for individually; booking information available soon on artmarketstudies.org

*****

Saturday 15 July

9.15am – Registration

Session 3 (plenary): Mapping the Art Fair II
Chair: Kim Oosterlinck, Université Libre de Bruxelles (BE)

9.45am – Tina Haisch, University of Applied Sciences Northwestern Switzerland, Basle (CH) and Max-Peter Menzel, University of Bayreuth (GER)
Constructions of Local and Global Markets at Three Art Fairs in Basel

10.15am – Karen Van den Berg, Zeppelin University Friedrichshafen (GER)
Self-Questioning as Currency: Public Talks and the Art Fair’s Corporate Identity

10.45am – Coffee

11.15am – David Bellingham, Sotheby’s Institute of Art, London (UK)
‘The Best of The Best’: MASTERPIECE London and the Art Fair as a Lifestyle Event

11.45am – Elisabetta Lazzaro, HKU University of the Arts, Utrecht (NL) and Nathalie Moureau, Université Paul-Valéry, Montpellier (FR), Mapping Diversity in the Contemporary Art Market

12.15pm – Concluding Discussion (c. 15 mins.)

*****

12.30pm – Buffet Lunch (provided)

1.00pm – Sub-Committee Meetings

*****

Session 5 (parallel with Session 6): Experimentation
Chair: Jonathan Woolfson, Sotheby’s Institute of Art, London (UK)

2.00pm – Meike Hopp, Zentralinstitut für Kunstgeschichte Munich (DE), The Art Fair in Frankfurt am Main and Its Auctions, 1920 and 1921

 2.30pm – Norma Ladewig, Freie Universität Berlin, Berlin (DE), The 1960s and 1970s West German Art Fairs as Laboratories of Democracy

3.00pm – Coffee

3.30pm – Martin Hartung, ETH Zurich (CH), Politics of the Art Fair, 1967-1973

4.00pm – Ronit Milano, Ben-Gurion University of the Negev (IL), The “Online” Economy of the Art Fair: The Case of Artspace Website

4.30pm – Concluding Discussion (c. 15 mins.)

*****

Session 6 (parallel with Session 5): Biennales and Nascent Fairs
Chair: Veronika Korbei, Independent Art Historian, Vienna (AT)

2.00pm – Clarissa Ricci, IUAV University, Venice (IT), At the Origins of Art Fairs: The Venice Sales Department after WWII

2.30pm – Diego Mantoan, Università Ca’Foscari, Venice (IT), Artworks for the Biennale or for the Art Fair: A Few Notes on Shifting Aesthetic Paradigms in 20th Century Art

3.00pm – Coffee

3.30pm – I-Yi Hsieh, New York University Shanghai (CN), Inside-Out of the Biennale: the 2016 Shanghai Biennale and Its Fair Economy

4.00pm – Marta Pérez Ibáñez, Universidad Nebrija, Madrid, and Isidro López Aparicio, Universidad de Granada (ES), Art and Resilience: The Artist’s Survival in the Spanish Art Market. Independent Artists’ Art Fairs in Spain – A Case Study

4.30pm – Concluding Discussion (c. 15 mins.)

*****

4.45pm (ends. c. 5.15pm)
Final Plenary Session: TIAMSA Looking Ahead

*****

Tickets
TIAMSA Members £ 70 / Non-members £ 100
TIAMSA Concessionary members £ 40 / Concessions and Students: £ 50

Online registration is now open:
https://tiamsaartfairconference2017.eventbrite.com
Online registration closes on 10 July, 2017

On the day – Tickets
£ 120 – provided there is room
£ 70 concessionary – provided there is room
On the day CASH ONLY

Conference Committee:
Susanna Avery-Quash (National Gallery, London); Antoinette Friedenthal (Independent, Berlin); Veronika Korbei (Independent, Vienna); Johannes Nathan (Nathan Fine Art, Zurich / Potsdam); Kim Oosterlinck (Université libre de Bruxelles); Olav Velthuis (Universiteit Amsterdam); Jonathan Woolfson (Sotheby’s Institute of Art, London)

Progamme (.pdf, 127kB)
The Art Fair The TIAMSA 2017 Conference Programme

Helpful Information

CONF.: Collecting & Display Workshop, 7 July 2017, London

Collectors & Collections: Display & Taste in the Modern & Contemporary Periods

Institute of Historical Research,
Senate House,
Malet St, London, WC1E 7HU

10% off your Booking for all TIAMSA members! *

9.30 Registration

MORNING SESSION: Chair Dr. Dora Thornton, Curator of the Waddesdon Bequest and Renaissance Europe, British Museum

9.45 Opening remarks

10.00 Lina Malfona, Adjunct Professor, Sapienza University, Rome
A City as a collection: the urban model of Villa Adriana

10.30 Anna Seidel, Hamburg
The presentation of the Peretti Montalto sculpture collection in the time of Gianlorenzo Bernini

11.00 Coffee

11.20 Eva Dolezel
Gründler’s Constellations. Ethnographica in the Cabinet of Curiosities of the Francke Foundation in Halle

11.50 Dr. Margaret Samu, Lecturer, The New School Parsons School of Design, NYC
Venus in Fur: Art Collecting and the Female Nude in 18th-19th century Russia

12.10 Dr. Annalea Tunesi, Independent Scholar
The polymath Aleardo Aleardi (1812-1878)

12.45 Discussion

13.00 Lunch

14.00 AFTERNOON SESSION: Chair Dr. Anna Dempster, Head of Academic Programmes, Royal Academy of Arts, London

14.15 Dr. Jennifer Tonkovich, Eugene and Clare Thaw Curator in the Department of Drawings and Prints at the Morgan Library & Museum, NYC
The Brash Connoisseur: Hans Calmann and Collecting Old Master Drawings 1937-1973

14.45 Dr Rachel King, Glasgow Life
“A bas-relief from Nineveh, a bronze of Zadkine, an Aztec mask in black stone, a Gothic Madonna and Child”: Sydney Burney sells stone and sculpture

15.15 Dr. Selina Blasco, Professor in Contemporary Art History, Research and Artistic Practices and Design History, Fine Arts Faculty, Complutense University of Madrid
Interiors with figures: the collections of idols and African masks in the studios of early avant-garde artists

15.45-16.00 Tea

16.00 Yuhua Ding, PhD. Candidate, Cornell University, NY
Collectors of Shitao: Reimaging a Chinese Master

16.30 Dr. Olga Nefedova, Associate professor – Higher School of Economics, Moscow

Introduction of the Orientalist Art movement in the Middle East: alien culture or common heritage?

17.00 Dr. Nizan Shaked, Associate Professor of Contemporary Art History, Museum and Curatorial studies, and Head of the Museum Studies Program in the School of Art at California State University Long Beach
In the Name of the Public: Museums and the collection of contemporary art

17.30 Discussion and conclusion

18.00 Drinks reception


Booking fee (including lunch, tea & evening reception) £50
Booking fee for students £25
Conference dinner on Friday evening £30

To book please contact a.turpin@iesa.edu for a booking form and payment instructions.

Please book by 30 June for catering purposes

10% OFF YOUR BOOKING FOR ALL TIAMSA MEMBERS! *

*This offer was made possible by Adriana Turpin – with many thanks!

CONF.: 2017 Digital Provenance Symposium: Art Tracks and the Digital Humanities

SAVE THE DATE: Monday, November 6, 2017

2017 Digital Provenance Symposium: Art Tracks and the Digital Humanities

Carnegie Museum of Art’s 2017 Digital Provenance Symposium invites vigorous discussion of the role of museums in understanding, researching, disseminating, and digitally publishing museum collections. The symposium will showcase innovative approaches to problems around the representation of events in digital collections, and discuss standardization, collaboration, and communication across the cultural heritage field.

Learn More

Register Here

CONF.: Heritage and Revolution: First as Tragedy, Then as Farce (Cambridge, 6 May 17)

Cambridge/UK, May 6, 2017
Registration deadline: May 1, 2017

From the French Revolution in the eighteenth century, to the communist revolutions in twentieth century Russia and China to the Arab Spring in the twenty-first century, heritage has been in the crosshairs of aspirations to change and utopian constructions of possible futures. This research seminar will explore the unique and complex relationship between cultural heritage and revolutions, two concepts with seemingly opposed temporal connotations.

Continue reading “CONF.: Heritage and Revolution: First as Tragedy, Then as Farce (Cambridge, 6 May 17)”

CONF: Max J. Friedländer (Amsterdam, 8 Jun 17)

Max J. Friedländer (1867-1958):
art-historian, museum director, connoisseur

Rijksmuseum, Amsterdam, June 8, 2017
Registration deadline: Jun 5, 2017

Max J. Friedländer (1867-1958)

The 5th of June 2017 marks the 150th anniversary of the birth of Max J. Friedländer (1867-1958). This milestone offers an excellent opportunity to reflect on the legacy of this still well-esteemed art historian.
Friedländer was appointed director of the Kupferstichkabinett in 1908, then subdirector of the Gemäldegalerie in 1912 and finally director of the latter in 1929. Under the energetic leadership of Wilhelm Bode, general director of the Berlin museums, Friedländer developed into a recognised connoisseur and author of over eight hundred publications, of which Die Altniederländische Malerei (Early Netherlandish Painting) and Von Kunst und Kennerschaft (On Art and Connoisseurship) are the best known.

In the history of art history Friedländer is primarily associated with ”connoisseurship”, a competence which he considered most important. According to Friedländer, connoisseurship embodies a subjective form of scholarship and can only be gained by practice. The lack of a theoretical underpinning and the impossibility of factual verification, however, gradually led to the decline of connoisseurship as a scholarly method, especially in the academic field.

Continue reading “CONF: Max J. Friedländer (Amsterdam, 8 Jun 17)”