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17th Graduate Student Symposium in 19th-Century Art (online, 20-21 Mar 21)
Online, Mar 20–21, 2021
Patricia Mainardi, City University of New York
Seventeenth Annual Graduate Student Symposium in Nineteenth-Century Art (Rescheduled from 2020)
Co-sponsored by the Association of Historians of Nineteenth-Century Art (AHNCA) and the Dahesh Museum of Art. Special thanks to the Dahesh Museum of Art for the Dahesh Museum of Art Prize for the Best Paper, a gift from the Mervat Zahid Cultural Foundation.
Program (EST time) Saturday, March 20, 2021
1 PM: Welcome: Nancy Locke, Pennsylvania State University, President of Association of Histo- rians of Nineteenth-Century Art; Amira Zahid, Trustee, Dahesh Museum of Art
1:15 – 2:10 PM: First Session & Discussion
Patricia Mainardi, Graduate Center, City University of New York, AHNCA Program Chair, Moderator Nancy Karrels, University of Illinois, Urbana-Champaign, “Documenting Plunder: The Dessins Denon as a Vision of Museum-Building in the Modern Era”
Karrels proposes that the illustrated acts of art pillage contained in the Dessins Denon, a print recueil project pursued by Musée Napoléon director Dominique-Vivant Denon in the early 1800s, outlined a systematic methodology of national museum-building for France, while shrewdly attach- ing Denon’s feats to those of Napoléon and the Grande Armée for posterity.
Harmon Siegel, Harvard University, “Renoir and the Balding of Bohemia”
The Bohemian movement placed youthfulness at the core of its project. But by the time Renoir was ready to join them, the Bohemians were growing old. Siegel asks what it meant for Renoir to enter this world at the moment of its balding and shows how he developed a new generational aesthetic.
2:10 – 2:20 PM: Break
2:20 – 3:40 PM: Second Session & Discussion Roberto C. Ferrari, Columbia University, Moderator
Courtney Wilder, University of Michigan, “Hand-Written Design: Printed Textiles and the Boun- daries of Industrial Art”
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Wilder discusses the emergence of what might be termed a "hand-written" style in fashionable printed dress textiles, and argues that it is emblematic of struggles to forge an individualized ges- ture within the restricted notational systems that designers, calligraphers, and female consumers encountered during the early industrial era (ca. 1830–1850).
Christine Olson, Yale University, “The Grammar of Ornament and the Design of Nineteenth-Century Design”
Olson charts the processes of thinking, drawing, composing, and printing that led to the publica- tion of Owen Jones’s The Grammar of Ornament (1856). Arguing that it was a staggeringly com- plex design project in its own right—and not only a work about design—she traces the multiple reg- isters of meaning embodied by the book’s visual rhetoric and material makeup.
Rachel Lee Hutcheson, Columbia University, “The ‘Natural Color’ Event in Nineteenth-Century Pho- tography”
Color is neither entirely physical, nor an entirely psychological phenomenon, a fact of new impor- tance in the late nineteenth century. Hutcheson discusses natural color photographic technolo- gies that manipulated the human eye with filters and light to externalize color vision processes that heighten the relationship between the body and its environment.
3:40 – 4:00 PM: Discussion among Participants Sunday, March 21, 2021
1:00 PM: Welcome: Nancy Locke, President of AHNCA, and J. David Farmer, Director of Exhibi- tions, Dahesh Museum of Art
1:15 – 2:35 PM: Third Session & Discussion
Marilyn Satin Kushner, New-York Historical Society, Moderator
H. R. Blakeley, Princeton University, “The Gun Emboldens the Brush: Rubens and Revolution in the Painting of Antoine Wiertz”
Blakeley resituates Antoine Wiertz (1806–1865)—an artist whose work receives attention most often for its prefiguration of film and montage—within the context of Belgium’s first years as a modern state, investigating his role in creating a national visual identity following the revolution of 1830 and Belgian independence.
Dina Murokh, University of Southern California, “The Picture Gallery in McKenney and Hall's Histo- ry of the Indian Tribes of North America”
Attending to the material, visual, and literary forms that constitute McKenney and Hall’s History of the Indian Tribes of North America (1837–1844), Murokh shows how, through visual portraiture and biography, History engaged the period form of the picture gallery both to authorize its con- tents and to legitimize its value as history.
Michaela Hojdysz, Masaryk University, Czech Republic, “Rebuilding and Conservation of Bouzov Castle: Historic Preservation in Central Europe in the Late Nineteenth Century”
In the late nineteenth century, the Teutonic Order envisioned a return to the great eras of the knightly order’s past. Its leading figure, Grandmaster Eugen, the Archduke of Austria-Teschen, decided to rebuild the order’s centers, especially the ruins of Bouzov Castle in Moravia, recreating
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it as the order’s summer residence and the centerpiece of the envisioned revival.
2:35 – 2:40 PM: Break
2:40 – 3:40 PM: Fourth Session & Discussion
Petra ten-Doesschate Chu, Seton Hall University and Nineteenth-Century Art Worldwide, Modera- tor
Nicholas St. George Rogers, University of Pennsylvania, “The Pictorial World of Richard Wagner’s Parsifal and the World’s Fairs”
Rogers explores the influence exerted upon opera stage design by contemporary mass culture.
From the visual technologies developed to exhibit non-Western objects and people at World’s Fairs, the painted sets of Parsifal (1882) derived a means of establishing authority through the manipulation of space—collapsing the colonialized world into a seeming Romantic fantasy.
Beatrice Immelmann, University of Vienna, [University of Goettingen] “Listening with the Mind’s Eye – Giovanni Segantini’s Evocazione Creatrice della Musica (1897) and its Art Theoretical Impli- cations”
Segantini’s altar-like tryptic, devoted to the composer Gaetano Donizetti, illustrates the materializa- tion of an artistic idea. The visuality of Donizetti’s musical thinking is surprising, but actually points to a paradigm of Romantic music aesthetics. Visuality and mental imagination were consid- ered to be crucial for the creation and communication of music and musical effect.
3:40 – 4:00 PM: Discussion among Participants
2020 – 2021 Jury: Petra ten-Doesschate Chu, Roberto C. Ferrari, Marilyn Satin Kushner, Nancy Locke, Patricia Mainardi, Alia Nour, and Peter Trippi. Technical Director: Kaylee Alexander
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The symposium is free and open to the public, but registration is required.
Register Online: https://tinyurl.com/ahnca-dahesh-2021 For further information: info@daheshmuseum.org.
Reference:
CONF: 17th Graduate Student Symposium in 19th-Century Art (online, 20-21 Mar 21). In: ArtHist.net, Feb 28, 2021 (accessed Feb 27, 2022), <https://arthist.net/archive/33481>.
