CONF: Impressionism Around the World (Philadelphia, 12-14 Apr 19)

Philadelphia Museum of Art, Philadelphia, April 12 – 14, 2019

“IMPRESSIONISM AROUND THE WORLD”
10TH ANNUAL ANNE d’HARNONCOURT SYMPOSIUM 2019

Philadelphia Museum of Art, Perelman Auditorium

organized by André Dombrowski (University of Pennsylvania), Kathleen Foster and Jennifer Thompson (Philadelphia Museum of Art)

How did a quintessentially French art movement like Impressionism become an international phenomenon and global success around the year 1900? Why were its attempts to condense representation so completely into the here and now, into an experiential moment, a flicker of light, and the material conditions of painting such a favorite with audiences of highly disparate nationalities, traditions, religions, political regimes, and imperial ambitions? Leading scholars explore Impressionism’s global reach at the turn of the twentieth century, focusing on the style’s infatuation with speed and commodity culture, mass travel, the telegraph, the moving image, and thus the complete re-organization of modern global time and space these innovations set in motion.

REGISTRATION for this event required (Registration is free and open to the public):
https://www.sas.upenn.edu/arthistory/events/anne-dharnoncourt-symposium-2019

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CFP: Collecting impressionism (Rouen, 25-26 Jun 20)

Rouen, H2o auditorium, June 25 – 26, 2020
Deadline: Jun 20, 2019

An international symposium organised by the Paris Nanterre University Foundation in partnership with the Labex “Les Passés dans le Présent” , and the University of Rouen Normandy, with support from the Contrat Normandie-Paris Île-de-France: destination impressionnisme

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CFP: Writing Impressionism Into and Out of Art History (London, 3-4 Nov 17)

 

A man and woman walking under an umbrella in a Paris road, other walkers-by; costumes of ca. 1877.
Gustave Caillebotte – Paris Street; Rainy Day, 1877; Art Institute of Chicago

London, The Courtauld Institute of Art, November 3 – 04, 2017
Deadline: Feb 1, 2017

CALL FOR PAPERS

Impressionism continues to be celebrated in blockbuster exhibitions worldwide: in the last few years alone, Impressionism, Fashion, Modernity (Art Institute of Chicago, Musée d’Orsay, and Metropolitan Museum of Art, 2013); Gustave Caillebotte: The Painter’s Eye (Kimbell Art Museum and National Gallery of Art, Washington, D.C., 2015-2016); and Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market (Musée du Luxembourg, National Gallery, London, and the Philadelphia Museum of Art, 2015). Since 1878 when Théodore Duret published his Histoire des peintres impressionnistes, Impressionism has occupied a central place in the canon of art history. That place now seems to be called into question, however. New transnational approaches to nineteenth-century art history have troubled the perpetuation of Francocentric histories. As the field’s attention has increasingly turned to places outside France—Britain, the United States, Australia, and beyond—Impressionism has been pushed to the margins. Though Impressionism has long benefited from powerful and compelling narratives via the social history of art, these readings have been worked through so extensively that it warrants asking whether this area of art history may be exhausted for the moment.

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