Wadsworth Atheneum Museum of Art, Hartford, CT, November 10 – 11, 2017
J. Pierpont Morgan (1837–1913) spent over twenty years travelling the globe to amass the largest collection of art and cultural artifacts of his time. Estimated to have exceeded 20,000 works of art, Morgan’s collections represent a broad historical and geographic range of art and cultural artifacts. Acting on his father’s wishes, J.P. Morgan’s son, Jack, donated more than 1,350 works collected by his father to the Wadsworth Atheneum in his native Hartford. In fall 2017, the Wadsworth Atheneum will mark the centennial anniversary of Morgan’s gift and its historical impact with an exhibition, Morgan: Mind of the Collector.
The Wadsworth Atheneum will host an international symposium in conjunction with the exhibition to reexamine and showcase the latest research about Morgan’s collection and how he shaped the identity of the collector in the modern age. Continue reading “CONF: Morgan: Mind of the Collector (Hartford, 10-11 Nov 17)”→
DAVID CHALLIS (University of Melbourne) and DIANA J KOSTYRKO (Australian National University)
Submit proposals to: David Martin Challis email@example.com
It is a remarkable fact that of the thirty-seven paintings representing one of Paul Cézanne’s most iconic motifs, Mont Sainte-Victoire – also one of France’s most recognisable natural geographic features – only one painting from the series can be found in France today. The others are scattered among public and private collections in locations as diverse as Buenos Aires, Amsterdam, Zurich, Tokyo, Moscow, New York and Edinburgh. This is an example of how radically art can be removed from its natural and spiritual ‘home’ and it introduces a raft of considerations, one being: does art acculturate as it travels outwards, or might it otherwise be absorbed into an existing canon and even re-contextualized? This session is principally concerned with the dynamics of the modern art market in the interwar period; therefore we invite papers which tackle the phenomenon of the wholesale shifting of artworks out of Europe, for instance, and whether this was driven by entrepreneurial art dealers, auction houses and collectors, for self-interested purposes, or whether there were greater economic, aesthetic or political forces at work. We welcome papers which present case-studies where fashion has dictated collecting practices; when art coming to market has set new trends in acquisition; or instances where an artwork’s reputation has suffered or gained from changing hands, particularly in moving between public and private sectors.
The deadline for proposals is Monday 14 August 2017.
The history of state or public museums has been the focus of numerous symposiums and publications. Yet astonishingly little research has considered private museums, even though the number of private art museums has risen dramatically over the past two decades. According to the International Council of Museums (ICOM), there are now more private museum spaces in the world than public ones. The majority of these museums are in China, South Korea, the US and Germany, though private museums have been established also in Benin, Brazil, Canada, Denmark, Egypt, India, Japan, Cameroon, Lebanon, Mexico, New Zealand, Norway, Russia, South Africa, among other countries.