Séminaire « Patrimoine spolié pendant la période du Nazisme (1933-1945) – Recherche de provenance à l’échelle internationale »
La découverte de la collection rassemblée par le marchand d’art allemand Hildebrand Gurlitt (1895-1956) a suscité une évaluation critique des principes de Washington énoncés en 1998 sur la restitution des œuvres spoliées. Après l’acceptation du legs Gurlitt par le musée des Beaux-Arts de Berne en 2014, la Suisse a dû affronter une phase de questionnements. Les demandes de transparence par rapport à l’origine et au parcours des œuvres se sont accrues. La recherche de provenance au sein du musée des Beaux-Arts de Berne associe recherche sur l’objet même et étude du contexte historique afin de reconstruire le parcours de ces œuvres. La conservatrice Nikola Doll, responsable de la recherche de provenance au musée des Beaux-Arts de Berne, témoigne du travail mené par cette institution dans le cadre spécifique de l’affaire Gurlitt.
Nikola Doll ( Responsable de la recherche de provenance au musée des Beaux-Arts de Berne, Suisse)
Warsaw/Warszawa, 19. – 21.09.2019 Deadline: Feb 15, 2019
Call for Papers Artistic Patronage in Central Europe: From Private Foundations to State Art
—For English version please scroll down—
Tagung des Arbeitskreises deutscher und polnischer Kunsthistoriker und
Denkmalpfleger, veranstaltet vom Institut für Kunstgeschichte der
Universität Warschau und dem Museum der Stadt Warschau (Muzeum Warszawy)
Kunstpatronage in Mitteleuropa zwischen Privatstiftung und Staatskunst
Geschichte der Kunst ist zum großen Teil eine Geschichte der
Auftragserteilung. Privates Mäzenatentum bildete von je her eine
unabdingbare Grundlage der Entwicklung von Architektur und Bildender
Kunst. Daneben stehen von der Antike bis in die Gegenwart die Aufträge
staatlicher und religiöser Institutionen, die immer auch auf die
Etablierung einer “offiziellen Kunst” zielten. Mit dem Kunstmarkt und
dem Auktions- und Galeriewesen etablierten sich seit dem 19. Jahrhundert
neue Faktoren der Produktion und Distribution von Kunst.
The Orléans Collection: Tastemaking, Networks and Legacy
New Orleans Museum of Art, January 11-13, 2019
The New Orleans Museum of Art and the Frick Center for the History of Collecting will host a symposium in conjunction with ‘The Orléans Collection’ exhibition dedicated to the collecting and collection of Philippe II duc d’Orléans (1674–1723) on view at the New Orleans Museum of Art October 26, 2018 through January 27, 2019
Collecting over just over two decades, Philippe II d’Orléans amassed one of the most important collections of European paintings in the history of art, which he displayed in his Palais-Royal in Paris. This celebrated collection assembled over 500 masterpieces of European Art and this landmark exhibition reunites a representative group of forty works to tell the complex story of the collection’s formation and character and the impact of the sales of the collection in London during the French revolution, a watershed event in the history of collecting.
The Orléans Collection exhibition catalogue essays offer an overview of the collection, Philippe’s relationship with his court painter Antoine Coypel, the refurbishment of the Palais-Royal during the regency, his collecting of Venetian, Dutch and Flemish and Bolognese Art, contemporary artists studying the collection, and a review of the circumstances of the collection’s dispersal. The catalogue’s extensive Appendix transcribes the earliest 1727 publication of the collection tracing picture to their current locations.
The symposium seeks to expand beyond the scope of the catalogue and consider a wider range of relationships concerning Philippe d’Orléans’s taste and the impact the collection had for generations of collectors and artists, and an increasingly wider public throughout the eighteenth century. Subjects of interest might include: Philippe II’s patronage network; fellow collectors and trends in collecting in Paris; dealers and the art market in eighteenth century
Paris; connections with contemporary collections in the German principalities; the ‘Orléans Effect’ in Great Britain and later entrance in public collections.
Travel can be provided to a limited number of applicants.
To propose a paper, please submit a message of interest and 300 word abstract by September 30, 2018 to: email@example.com
Reference: Vanessa I. Schmid, Ph.D., Senior Research Curator for European Art, New Orleans Museum of Art
“Public Agency in Private Spaces: Politics, Painting, and Patronage in the Long Eighteenth Century”
New York, NY, June 26 – 27, 2018 Deadline: Jan 10, 2018
Christie’s Education Symposium 2018: Celebrating Female Agency in the Arts
Scholars across disciplines have long probed the relationship between politics and art in the public sphere in the long eighteenth century—the tumultuous, seminal historical period that saw the rise of the Enlightenment, modern systems of representative democracy, and, eventually, the Industrial Revolution. Yet, to date, scholarship of this period has largely failed to notice female artists and patrons, despite their omnipresence in public shows and frequent initiation of substantial commissions. Similarly, political history has overlooked non-royal women, despite their strong influence as the wives, mothers, and sisters of politicians. Continue reading “CFP: Session Celebrating Female Agency in the Arts (New York, 26-27 Jun 18)”→
Call for Sessions Celebrating Female Agency in the Arts
Deadline July 15, 2017
Following the success of the 250-anniversary conference held in London in July 2016, Christie’s Education is organizing its second academic conference on the theme of women in the arts. The Conference will take place at Christie’s, 20 Rockefeller Plaza in New York on Tuesday June 26th and Wednesday June 27th 2018.
From Antiquity to today, women have always played a significant role in the arts and their markets. With this call for sessions, we welcome proposals coming from a wide range of disciplines that would consider women’s diverse contributions to the arts from a transnational and transhistorical perspective. We hope that the sessions will reflect the global and historical diversity of the issues at stake.
This conference is not advocating for a separate history nor an alternative history of art and its markets, but rather we want to look at the central role played by women in the creation, development, support and preservation of the arts and, also how their contribution has changed over time.
Sessions should consider globally and throughout history women as artists, patrons and collectors of art and architecture, dealers and brokers, art historians and art critics as well as curators and preservers of culture. From the presence of women in emerging and established art centers to historical aristocratic patronage and back in time to the medieval period and antiquity we hope that the sessions will investigate a diverse range of topics.
Deadline for Session Proposals: We encourage academics across disciplines and art professionals to submit proposals for individual sessions. Sessions will be 115 (4 x 20 minute papers) or 90 minutes (3 x 20 minute papers) in length. Please send a 250/300-word abstract to Dr. Cecily Hennessy (firstname.lastname@example.org) and Dr. Véronique Chagnon-Burke (email@example.com) by July 15th 2017. We look forward to receiving your proposal.
Art patronage has always been beneficial for both the artist receiving support and the patron giving it. While a tradition of aristocratic female patronage has existed since the Renaissance, it was not until the 20th century that female patrons became prominent players in the art world.
The role that women such as Abby Rockefeller, Gertrude Vanderbilt Whitney or Katherine Dreier played in supporting the development of modern art in the United States is well documented.