CONF: The Orléans Collection (New Orleans, Jan 11-13, 2019)

Nicolas Poussin, Ecstasy of St. Paul, 1643. The John and Mable Ringling Museum of Art, the State Art Museum of Florida, Florida State University, Sarasota, Museum purchase

Orléans CFP

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: nomasymposium@noma.org

Reference:
Vanessa I. Schmid, Ph.D., Senior Research Curator for European Art,  New Orleans Museum of Art

CFP: Wilhelm von Bode and the Art Market (Bern, 8-9 Nov 18)

Department of Modern and Contemporary Art History Institute for Art History
University of Bern
08. – 09. November 2018

Deadline: Jul 31, 2018

Wilhelm von Bode and the Art Market

Wilhelm von Bode (1845-1929) belongs categorically to the group of the most influential actors in the late nineteenth and the early twentieth century art market. Despite the fact that Bode’s international agency has long been recognized, it has not sustained a focused attention. Certain aspects have received due scrutiny, for instance the acquisitions for the Royal Museums in Berlin, as well as Bode’s complex relations to particular art dealers and private collectors. To completely understand Bode’s agency within the art marketplace, however, a more detailed and de-mystifying analysis is required. Thus, the aim of the conference is to dedicate exclusive attention to Bode’s involvement in the art trade and his multi-faceted role in the art marketplace of his time. Bode navigated the international art market by adopting different, often contradictory identities: he was an expert, a connoisseur and an advisor, but also a strategic buyer and a ruthless competitor. How did these roles intertwine? Where and when was he an innovator, a precursor, a pioneer or a rule-breaker? Continue reading “CFP: Wilhelm von Bode and the Art Market (Bern, 8-9 Nov 18)”

CFP: The Collector and Cultural Narratives, SECAC (Birmingham, AL, 17-20 Oct, 2018)

The Collector and Cultural Narratives, 1845-1918

Birmingham, Alabama, United States, October 17-20, 2018
http://www.secacart.org/
SECAC Sessions (pdf)

 

Session Chair
Julie Codell, Arizona State University

From mid-19th century, a new kind of art history narrative about private collectors appeared in Europe and the US, e.g., Anna Jameson’s Companion to the Most Celebrated Private Galleries…,1844, Gustav Waagen’s Treasures of Art in Great Britain, 1854-57; Dumesnil’s multi-volume Histoire des plus célèbres amateurs…, 1853-1860; the Gazette de Beaux-Arts‘s series on “amateurs,” 1850s; F. G. Stephens’s 90 Athenaeum articles on British collectors, 1873-84; Edward Strahan’s (pseud. Earl Shinn) The Art Treasures of America (1879-1882); Continue reading “CFP: The Collector and Cultural Narratives, SECAC (Birmingham, AL, 17-20 Oct, 2018)”