Visit ‘The Birth of the Art Market’ exhibition in Hamburg with TIAMSA

The Birth of the Art Market.
Rembrandt, Ruisdael, van Goyen and the artists of the Golden Age

Die Geburt des Kunstmarktes.
Rembrandt, Ruisdael, van Goyen und die Künstler des Goldenen Zeitalters

Wednesday, 22. November 2017 

TIAMSA Berlin is offering a one day program to see Hamburg’s Bucerius Kunstforum and the Hamburger Kunsthalle!

Ausstellungsansicht: “Die Geburt des Kunstmarktes”, © Bucerius Kunst Forum, 2017, Foto: Uli Perrey

Program

10.00 am  The Birth of the Art Market. Rembrandt, Ruisdael, van Goyen and the artists of the Golden Age, exklusiv tour with curator and director Prof. Dr. Franz Wilhelm Kaiser. – The Bucerius Kunst Forum presents the first large-scale exhibition devoted to the birth of the art market in the Golden Age of the Netherlands. Tracing the careers of artists such as Rembrandt, Ruisdael, van Goyen and many others, the exhibition explores how the transformation of Dutch society during the seventeenth century brought forth a new art market, with artworks tailored to its demands.

12.00 pm lunch and coffee

2.00 pm Hamburger Kunsthalle, conversation with Dr. Andreas Stolzenburg, director of the prints and drawings room, and Dr. David Klemm, curator of Italian Drawings, about the history of collecting and current developments of collecting in the print room. We will particularly consider Georg Ernst Harzen, the 19th century art dealer whose donation provided one of the foundations of the Kunsthalle’s collection. We will also visit the exhibition of Claude Lorrain’s drawings currently on show there.

This is an exclusive event for members, potential members and their guests.
To book your place please write to Veronika Korbei: office@artmarketstudies.org by Nov. 15.

CFP: Nineteenth-Century Art Worldwide – digital humanities

NCAW Terra-funded digital humanities publishing initiative

Deadline: Jan 15, 2018

The peer-reviewed open-access journal Nineteenth-Century Art Worldwide (NCAW) is pleased to announce a new digital humanities publishing initiative supported by a grant from the Terra Foundation for American Art. The editors of NCAW are now accepting proposals for articles addressing art and visual culture of the Americas in the long nineteenth century, from the American Revolution to World War I. NCAW seeks proposals that take full advantage of the potential of digital publishing by using digital technologies in the article’s research or publication phase, or both. Strong proposals will demonstrate how the production of digital tool(s) and/or components will lead to a scholarly argument’s key insights (either the tool/component enhanced the depth of insight or made it possible) and/or will illustrate aspects of that argument in dynamic/interactive ways.

NCAW welcomes proposals that creatively or innovatively juxtapose digital tools and/or components with art historical analysis. NCAW encourages authors to use open source software when possible. While by no means limited to the following, proposals might explore:

  • High resolution imaging or dynamic image presentation (e.g., panoramas, zoom images, visual essays, x-ray or infrared reflectography, moving images, 3D images of art objects, annotated musical scores, annotated digital facsimiles)
  • “Big data” mining and analysis (e.g., social network analysis or text mining using analytics programs like Gephi, Network Workbench)
  • Mapping and Geographic Information Systems (GIS) (e.g., depictions of sites, locations of objects, paths of travel, using online mapping tools like MapBox, Timemapper, Neatline)

NCAW is a pioneer in publishing art historical digital humanities projects. For examples of already-completed digital humanities projects published in NCAW, see <http://www.19thc-artworldwide.org/digital-humanities-and-art-history>.

To propose a digital humanities project, please submit:

A. Abstract (500 words maximum) as a Microsoft Word document detailing the scholarly content of the article, including how information gleaned from the proposed digital tool will impact the article’s interpretive claims

B. Abstract (500 words maximum) as a Microsoft Word document outlining the appearance/format of the digital tool(s) and explaining how the author plans to present the article and tool within the NCAW framework (technologies used, layout, etc.). Also provide link(s) from existing digital project(s) that resemble your proposed project functionally, aesthetically, or in the technologies used, followed by several sentences describing which elements of that project will differ from/emulate your proposed digital tool

C. Budget (1 page maximum)

D. CV

Authors are not expected to have extensive technical expertise themselves, but should be generally knowledgeable about the technical possibilities related to their project and should be able to articulate how digital research methods and NCAW’s digital publication format connect with their research questions. Upon acceptance of a proposal authors will identify, in discussion with NCAW editors, the digital tools/software to be used and, if necessary, will be expected to identify technical collaborators. NCAW editors will assist with the development of a timeline and with guidelines for workflow, but authors will be responsible for managing their projects.

If interested contributors have an idea for a digital humanities project but would like to discuss it with the editors first, we would be happy to talk with you about your ideas in advance of the deadline.

Please send proposals to Managing Editor Petra Chu <petra.chu[at]shu.edu,> Executive Editor Isabel Taube <taubeisa[at]gmail.com> and Digital Humanities Editor Elizabeth Buhe <ebuhe[at]nyu.edu>. Deadline: Monday, January 15, 2018.

Reference: CFP: Nineteenth-Century Art Worldwide – digital humanities. In: ArtHist.net, Sep 22, 2017. <https://arthist.net/archive/16143>.

Book presentation and panel discussion (Berlin, 20 Sept, 17)

Panel discussion of the forthcoming research on the foundation of the Gemäldegalerie with Bénédicte Savoy, Neville Rowley, and Robert Skwirblies on the occasion of the new publication:

Robert Skwirblies. Altitalienische Malerei als preußisches Kulturgut Gemäldesammlungen, Kunsthandel und Museumspolitik 1797–1830. Ars et Scientia, 13. Berlin/Boston: De Gruyter, 2017.

Location: Central Hall of the Gemäldegalerie, Kulturforum, Berlin
Date: 20 September 2017, 6.30pm

On the podium:

Welcome:

Moderation

  • Sarah Salomon, Research Assistant at Gemäldegalerie and Skulpturensammlung

Download:

 Partner

Logos_Altitalienische Malerei_2_mit Rahmen

 

CfP: Art on the Move – Mobility in the Long Nineteenth Century, Jan 2018, Birmingham

Friday 12 and Saturday 13 January 2018, Barber Institute, University of Birmingham

Conference Organisers: Kate Nichols (Birmingham) and Barbara Pezzini (Manchester)

Keynote Speakers: Pamela Fletcher and Tapati Guha Thakurta

Call for Papers Now Open

In the nineteenth century the circulation of works of art developed into its recognisably modern form. The forces of increasingly globalized capitalism, imperial routes and new means of transport, coupled with the growing reach of advertising and the press caused an unprecedented movement of artists, goods and materials. Larger audiences for art in newly founded museums and galleries across the world also contributed to, and benefitted from, this increased mobility of art.

Nineteenth-century mobility still awaits a thorough art historical investigation. This two-day conference aims to map, examine and problematize this emerging field. What is distinctive about the nineteenth-century circulation of art objects? How does mobility impact upon the modes of art production? Does it engender new subjects and materials? How important is the mobility of art to nineteenth-century art history? What impact does such transnational exchange have on national narratives of art? How are imbalances of power involved and developed through the mobility of art? How do the different networks of mobility – social, commercial and cultural – intersect? Which methodological approaches are best suited to this area of investigation?

The conference will be divided into principal thematic sessions, and we invite paper proposals of case studies or broader analyses that address some aspects of these interlinked beams:

  • networks of production
  • networks of cultural exchange
  • networks of commerce
  • networks of reception.

Potential topics may include: Visualising mobility and networks, mobility of people/objects, reproduction, replication and mobility, the ethics of mobility, enforced mobility, the role of art markets, refusal to move, and methodological approaches to mobility.

The conference will coincide with an exhibition dedicated to the works of Birmingham born engraver, miniature portraitist and photographer Thomas Bock (c.1793 – 1855) at the Ikon Gallery, Birmingham. In 1823 Bock was found guilty of “administering concoctions of certain herbs … with the intent to cause miscarriage” and was transported to the Australian penal colony of Van Diemens Land, where he was pressed into service as a convict artist. Bock’s artistic output includes portraits of Tasmanian Aborigines, his fellow criminals as well as free settlers in Hobart Town. Many of these images returned to Britain, although Bock himself remained in Australia until his death in 1855. This is the first exhibition dedicated to Bock’s work to be held in Britain. An evening reception will be held at Ikon, with a private view of the exhibition and curatorial reflections on exhibiting the circulation of artists and their work.

Please send paper proposals of a maximum length of 250 words, accompanied by a 150 words biography, by Friday 31 March 2017 to artonthemove19@gmail.com 

Art on the Move