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Royalists to Romantics: Women Artists from the
Louvre, Versailles, and Other French National Collections
National Museum of Women in the Arts, Washington, D.C., 24 February — 29 July 2012

Rose Adélaïde Ducreux, "Portrait of the Artist," ca. 1799 (Rouen: Musée des beaux-arts)

In keeping with its mission to rediscover and celebrate women artists of the past and demonstrate their continued relevance, the National Museum of Women in Arts (NMWA) presents Royalists to Romantics: Women Artists from the Louvre, Versailles, and Other French National Collections. The exhibition features 77 paintings, prints, and sculptures dating from 1750 to 1850—many of which have never been seen outside of France. To develop the exhibition, NMWA spent months scouring the collections of dozens of French museums and libraries to cull rarely-seen works by women artists. Royalists to Romantics showcases these exceptional works and reveals how the tumultuous period that saw the flowering of the court of Louis XVI and Marie Antoinette, the terrors of the French revolution, the rise and fall of Napoleon, and the restoration of the monarchy affected the lives and careers of women artists.

Featuring 35 artists, including Marguerite Gérard, Antoine Cecile Haudebourt-Lescot, Adélaïde Labille-Guillard, Sophie Rude, Anne Vallayer-Coster, and Élisabeth Louise Vigée-Lebrun, the exhibition explores the political and social dynamics that shaped their world and influenced their work. Some of these artists flourished with support of such aristocratic patrons as Marie Antoinette, who not only appointed her favorite female artists Élisabeth Louise Vigée-LeBrun and Anne Vallayer-Coster to court, but advocated their acceptance into the Académie Royale de peinture et de sculpture. The political upheavals of the French Revolution and the following decades brought a new set of challenges for women artists. Royalists to Romantics explores the complex ways that women negotiated their cultural positions and marketed their reputations in France’s shifting social, political and artistic environment.

Royalists to Romantics: Women Artists from the Louvre, Versailles, and other French National Collections has been organized by the National Museum of Women in the Arts, Washington, D.C., with logistical support from sVo Art, Versailles.

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Laura Auricchio, Melissa Hyde, and Mary D. Sheriff have contributed essays to the catalogue:

Jordana Pomeroy, ed. Royalists to Romantics: Women Artists from Versailles, the Louvre, and Other French National Collections (New York: Scala Publishers, 2012), 144 pages, ISBN: 9781857597431, $45.

This beautifully illustrated book examines eighteenth-century French theories of sexual difference and their influence on the ‘woman-artist question’; paradoxical Revolutionary attitudes toward women artists, who encountered as many new limitations as opportunities; and the complex ways that women marketed their reputations and managed their cultural positions in France’s intricate social and artistic hierarchy.

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From Architectural Digest:

James Reginato, “Prince Charles Unveils Dumfries House,” Architectural Digest (February 2012): 58-69.

Scotland’s most dazzling historic country house opens its doors after a rejuvenation spearheaded by His Royal Highness the Prince of Wales

John and Robert Adam, Dumfries House, Ayrshire, Scotland, 1754-59 (Photo by Derry Moore for Architectural Digest)

Several years ago, a major drama unfolded in Great Britain when Dumfries House, one of the most significant and beautiful historic properties in the Commonwealth, teetered on the verge of sale and dispersal. The 18th-century Palladian villa in Ayrshire, Scotland, is a seminal work of renowned architect Robert Adam and his brothers, John and James; it contains a world-class collection of British Rococo furniture, including some 50 examples from a fledgling cabinetmaker named Thomas Chippendale. Ordered straight from the craftsman’s workshop in 1759 by the fifth Earl of Dumfries, who commissioned the house and took up residence there the following year, the furnishings now form part of a magnificent
ensemble that embodies, in the words of His Royal Highness
the Prince of Wales, “British craftsmanship at its best.”

Blue Drawing Room, Dumfries House (Photo by Derry Moore for Architectural Digest)

The fate of the mansion had begun to seesaw in 2005, when John Crichton-Stuart, the seventh Marquess of Bute (a celebrated Formula One driver whose family had inherited the Dumfries title in the early 19th century), felt the strain of balancing its ownership with that of Mount Stuart, the immense Victorian Gothic palace and grounds where he currently resides. Dumfries, exquisite and well looked after though it was, had not been lived in by the family for some 150 years, except for a near-40-year residency by the fifth marquess’s widow, from 1956 to 1993. It truly was a sleeping beauty.

Family Bedroom, Dumfries House (Photo by Derry Moore for Architectural Digest)

When a deal to sell the 2,000-acre property to the Scottish National Trust fell through, Lord Bute took the bold move of marketing it via an estate agency and hiring Christie’s to sell off its holdings. Experts at the auction house began documenting the contents of the mansion; a two-volume catalogue was produced, and sale dates were set for July 12 and 13, 2007.

Just weeks before the auction, however, Dumfries’s plight came to the attention of Prince Charles—a tireless, and rather fearless, advocate of British heritage. . . .

More of the online excerpt of the story and additional photos are available at Architectural Digest.com

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For bloggers and bloggers-to-be, there’s a useful video clip of Margaret Russell speaking in New York at Kravet’s Design BlogFest (18 May 2011). Her appearance underscores, I think, both how hard she’s working to breathe new life into AD and how much blogs have changed the design landscape.

Your Paintings

The purpose of the project is to open up the UK’s 200,000-strong oil painting collection for learning, research and public enjoyment. To this end, over the last nine years the PCF has been making a photographic record of all oil paintings in public ownership in the United Kingdom. 80% of these paintings are in storage. And at least two thirds of these paintings have not been photographed before.

When complete at the end of 2012 the website will show 200,000 paintings by some 40,000 artists.

Discover the website – Over 100,000 paintings are already online

Sir Joshua Reynolds, Portrait of Captain Benjamin Davies
with unattributed Portrait of Elisabeth Viscount Davies, 1761-72

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Benjamin Davies was born in 1728 in Bristol, England and immigrated to New York in 1750. His seafaring career began with a voyage to China, as an apprentice to Captain William Sedgwick, Commander of the London East India Company Service. He also accompanied Captain George Jackson to India before taking passage to New York in 1850 aboard the Neptune. In 1753 he married Elizabeth Viscount, a recent widow of Dutch descent. The next 13 years was spent in the seafaring trade with many partners, much of which is documented in his Diaries, currently located in the Colgate papers at Yale University Library.

In 1765, when the Stamp Act was to be established in the Colonies, Davies took command of the ship Hope and sailed to England with his wife Elisabeth to secure items for his mercantile business. While there, he had a pendant portrait made of his wife with the ship Hope in the background to match the earlier portrait he commissioned from Sir Joshua Reynolds. The Beekman Mercantile Papers at the New York Historical Society contains references to Benjamin Davies making multiple voyages as Captain of the ship Hope between England and American between 1765-1771. . . .

The full article at ArtDaily is available here»

Proposals due by 1 April 2012

Keynote Speaker: Gregory Williams, Assistant Professor of Art History at Boston University and author of Permission to Laugh: Humor and Politics in Contemporary German Art (University of Chicago Press, 2012)

Bodies function as indicators of identity. A toned and muscular body indicates a laborer, or someone who is concerned with their health whereas a frail or emaciated body may indicate trauma or an eating disorder. An obese body could indicate sloth or illness, although historically it has been a sign of wealth and even beauty. A body plastered in tattoos could designate gall, a passionate form of expression, one who loves art, or one who has lost a lot of bets. Based on cultural “standards,” some bodies, such as those of women and minorities, have at times indicated inferiority, while others, such as those of Aryan men, have stood for superiority. However, the practice of identifying someone by their body is nothing more than assumption, which is rarely accurate in comparison to the way one defines their own identity. Throughout history, this disparity has resulted in detrimental action in society including stereotyping, discrimination, oppression, and in extreme cases, genocide.

The College of Visual and Performing Arts (CVPA) Art History Club at the University of Massachusetts Dartmouth seeks proposals for an undergraduate student symposium on the topic of the body in visual culture. We are interested in projects that address the role of the sexuality, oppression, gender, identity in the representation of the body as well as the transformation of the body at the hands of technology.

We invite papers from undergraduates as well as graduate students—in all categories of Art History and related fields, including BFA and MFA programs—which will comprise a broad range of methodologies and media (painting, installation, performance, film, video, digital media, novels, comic books, and so on). We also welcome proposals on the presentation of one’s creative artwork. Possible topics include but are not limited to the following:

-How do the body and identity inform one another? Are they separable or inextricable?
-How does something intangible (identity) become associated with something physical (body)?
-Does expression of identity manifest in the body or does the body in some way cause identity?
-How is the body used to express identity or some part of it? Why is this expression significant?
-Does the practice of identifying someone by the body affect personal identity? What are the results or changes due to this practice?
-How has the perception of the body changed over time, and for whom?
-What technologies participate in this transformation and how?

Please submit a 200-word abstract (for a 15-minute presentation) to umassdarh@yahoo.com by April 1st. All submissions must include your name, institution, and a titled description of your project. Send a .doc/.docx, .pdf or .jpg file to umassdarh@yahoo.com.

Lodging will be arranged at no cost to participants who travel from far away. Free meals will be provided during the conference.

Contact Email: umassdarh@yahoo.com Questions? Please email alandry2@umassd.edu

The J. Paul Getty Trust announced today the appointment of Kara Kirk as publisher of Getty Publications, effective April 13. Kirk, who was chosen after an international search, most recently served for six years as associate publisher at The Museum of Modern Art (MoMA) in New York, where she worked on all aspects of the publications process, from editorial development to distribution and sales. In addition, she managed a variety of new media projects and worked as part of a museum-wide team to develop a strategic plan for MoMA’s digital publishing initiatives.

Prior to moving to New York, Kirk served as the Getty’s general manager of publications from 2002–2006. Previously, she was the director of publications and graphic design at the San Francisco Museum of Modern Art. She holds an MLA from Stanford University and a BA from Pomona College.

As publisher, Kara will work to ensure that the Getty is a leader in art publishing in both print and new media. “Our goal is to create a list that reflects the Getty’s current activities and aspirations, one that builds on a record of excellence to achieve real eminence,” said Deborah Marrow, director of the Getty Foundation, who oversees the work of Getty Publications. “We are delighted that Kara will be the one to guide us on this path.”

“I am delighted to be returning to the Getty and to have the chance to work with such a stellar team.  It is an interesting moment to be a publisher and I look forward to addressing the many challenges and opportunities afforded by the changing terrain to insure that the Getty continues to make valuable and lasting contributions to art history publishing.

‘While these visions did appear’: Shakespeare on Canvas
Yale Center for British Art, New Haven, 3 January — 3 June 2012

Curated by Eleanor Hughes and Christina Smylitopoulos

Johann Heinrich Ramberg, "Olivia, Maria, and Malvolio, from 'Twelfth Night', Act III, Scene iv," 1789, oil on canvas (Yale Center for British Art, Paul Mellon Fund)

“While these visions did appear,” a selection of Shakespearian subjects drawn from the Center’s permanent collection of paintings, forms part of Yale’s university-wide celebration of the works of William Shakespeare (1564–1616). This display focuses primarily on depictions of Shakespeare’s comedies, but also draws on comedic elements from the tragedies and histories, and encourages consideration of the multifaceted ways—verbal and visual—in which Shakespeare’s plays have inspired painters and audiences alike.

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CONFLICTING ART HISTORIES: DIALOGUES OF COSMOPOLITANISM AND NATIONALISM IN EIGHTEENTH-CENTURY BRITISH CULTURE

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Freya Gowrley (University of Edinburgh), Taste à la mode: The consumption of foreignness in visual and material culture, 1740-80

This paper will examine the how the consumption of imported commodities functioned as a signifier of female respectability in the visual and material culture of the eighteenth century. A symbolic trope of singular importance depicting the monkey, tea equipage and black page boy was employed by artists first to portray, and eventually epitomise, the consumption of foreign luxuries by genteel female consumers. Such goods therefore played an active role in constructing – in terms of both practice and perception – the acquisitive habits of the female consumer.  Whilst emblematic of the consequential relationship between the consumption of cosmopolitan goods and the establishment of respectability in eighteenth-century polite culture, such objects were not only crucial to the construction of this fashionable gentility, but its satirical castigation. Via their connection with processes of imitation, fashionability and commodification, these consumables were posited as inherently gendered objects by eighteenth-century satirists, used to express contemporary fears over voracious female consumerism, effeminacy, and national contamination. Yet beyond this satirical function, the constitutive elements of this symbolic trio were also those actively adopted by the fashionable elite as the means by which to express their gentility. The specific combination of monkey, tea service and black page boy therefore constituted a potent visual language, capable at once of portraying the female consumption of foreignness, and forming an active commentary on the very same.

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Carly Collier (University of Warwick), British Artists and Early Italian Art during the Long Eighteenth-Century: Education, Expectations, the Influence of Contemporary Taste and the Grand Tour

As Shearer West’s 1999 essay made abundantly clear, the newly-founded Royal Academy was the locus for an enduring tension between xenomania and xenophobia from its inception in the mid-eighteenth century. That the institution’s early decades were overshadowed by the constant struggle between nationalism and cosmopolitanism – the desire to establish a national academy to evolve a British school, but the dependence on Italian art in general and the paradigmatic Italian academical model – is irrefutable.

My paper will explore this theme through the prism of the relationship between British artists and early Italian art c. 1770-1830. British taste during this era dictated that native artists looked to specific periods and artists to emulate – notably the ‘holy trinity’ of Raphael, Michelangelo and Titian, as well as seventeenth-century landscape and figurative masters such as Poussin and Claude Lorrain. Accordingly, there was very limited availability of visual and literary material in Britain relating to the works of artists outside of this canon of taste, and particularly the  Italian ‘primitives’ (those artists of the Tre- and Quattrocento). There is, however, evidence that British artists paid attention to early Italian art whilst travelling or residing in the country (Joshua Reynolds, George Romney and John Flaxman are all interesting examples), which in varying degrees served to facilitate the ‘rediscovery’ of this art for their colleagues back home. This paper shall first examine the status quo as regards art education and the influence of taste, before analysing how the largely under-explored relationship between British artists and early Italian art added a new dimension to the  “unwritten and unresolved conflict between nationalism and cosmopolitanism” present in the artistic institutions and practices of the period. Overall, this paper aims to demonstrate how fundamental the contributions of British artists were to the national understanding of the history of early Italian art and its bearing on constructions of Britain’s own artistic genesis.

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Dr Patsy Hely (School of Art, Australian National University), All Things Bright and Beautiful, and British

On holiday in Bath in 1760, the Reverend John Penrose wrote to his daughter describing a breakfast he attended:

‘the tables were spread with singular Neatness. Upon a Cloth white as Snow were ranged Coffee Cups, Tea Dishes of different sizes, Chocolate Cups, Tea Pots, and everything belonging to the Equipage of the Tea Table…’

The late eighteenth century in Britain saw a flowering of the ceramic arts with Wedgewood, Chelsea, Bow, Royal Worcester and others all producing very finely manufactured domestic objects. The use of these ceramic wares had quite quickly become naturalized at most levels of society over the century – in urban centres at least.

Imagine then the small earthenware cup – thick, crude-handled, unglazed – displayed amongst the colonial artefacts in the Museum of Sidney in Australia. Apart from bricks and clay pips, this cup is one of the first locally made ceramic objects in the colony. Dating from around 1790, two years after the British arrived in 1788, the cup represents one of the earliest attempts to manufacture the basic necessities of everyday life at Sydney Cove.

The type and variety the Reverend Penrose catalogues above suggests a marvelling at the miracle of skilled British manufacture, an admiration that similarly took hold in Australia. This paper will examine the ways in which eating and drinking implements arriving on transports or support ships in late 18^th and early 19^th century Australia acted to construct ideas about ‘Britishness’ in a colony on the other side of the world.

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Matthew Martin (Melbourne College of Divinity/National Gallery of Victoria), English Porcelain, Catholic Collectors

This paper will explore English luxury porcelain production as an area with the potential to cast light on the relationship between nationalism and cosmopolitanism in eighteenth-century British art.  The Chelsea factory, the leading eighteenth-century English luxury porcelain manufacturer, was, as Hilary Young has suggested, essentially a French manufactory operating in London; its proprietor Nicolas Sprimont was French, as were the majority of the artists and craftsmen working there.  Whilst much of the factory’s production was heavily imitative of porcelain produced at Meissen and Sèvres, Chelsea’s market was almost exclusively British and the advertising of its products was framed in terms of its superiority to German and French imports.  The association of Huguenots with the Chelsea factory suggests a significant role for confessional identity in the negotiation of an anti-Gallic stance in the factory’s market identity.  But despite the Protestant associations of many Chelsea personnel, a small but important group of sculptures produced at Chelsea in the late 1750s and 1760s employ explicitly Counter-reformation devotional imagery, including a Pietà group modelled by Joseph Willems, an example of which was owned by the 4th Lord Clifford of Chudleigh, a leading Recusant.  Based upon the Pietà in Notre Dame de Paris, Lord Clifford’s acquisition of this Chelsea group served both to mark his membership of a cosmopolitan aristocratic European Catholic culture, and through its status as an English luxury production, to signal his membership of the English elite.  Such an object thus expressed a uniquely English Catholic identity, at once nationalist and cosmopolitan.

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Dr Andrew Kennedy (School of Oriental and African Studies, London), Empire and nation in the topographical works of Thomas and William Daniell

This paper aims to analyse the pictorial and textual representation of empire and nation in two topographical series: Oriental Scenery (1795-1808), by Thomas and William Daniell, and  A Voyage Round Great Britain (1814-1825), by William Daniell and Richard Ayton.   My paper attempts to examine the ideological framework within which the Daniells’ representational strategies developed.  To do so, it will draw on some of the ideas about space and place in capitalist society put forward by Henri Lefebvre and David Harvey.

These writers propose that the capitalist social order creates an abstract, universal space with the aim of dominating particular places.  I argue that such a space is represented in the Daniells’ views, most of which feature an apparently straightforwardly lucid depiction of sublime and/or exotic objects through a limpid atmospheric medium.  Places shown in this way, are, I suggest, both homogenised and differentiated, domesticated and made strange, via the deployment of an encyclopaedic Enlightenment empiricism.  The work of homogenisation serves, then, to reinforce the notion of the power of the British state, whether in the far north of Scotland, or in the Indian subcontinent.   Yet some sense of heterogeneity must also be maintained, in order to dramatise the work of power in subordinating such diverse territories and places to its will.

In such a context, the device of the coastal voyage in the later series appears to be an excellent way to suture an abstract national and imperial space, conveniently defined by a natural boundary, onto real places.  But that project is threatened when some of those places and their inhabitants reveal a heterogeneity that is hard to assimilate.

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Jordan Mearns (University of Edinburgh), Strength vs. Sentiment: The Poems of Ossian and women artists in later eighteenth-century Britain

James Macpherson’s Poems of Ossian (1765) were simultaneously one of the most popular and most controversial literary sensations of eighteenth-century. While the body of existing literature relating to the poems and the literary debates they engendered is weighty, the artistic response to the poems, particularly in Britain, remains under-explored. In his consideration of Alexander Runciman’s Ossian’s Hall (1772—3) at Penicuik House, Midlothian, Martin Myrone has interpreted the poems as a vehicle intrinsically suited to the expression of spectacular historicized masculinity. This paper will show the extent to which Ossian had a dedicated female readership, and was depicted by a broad range of women artists including Angelica Kauffman and Maria Cosway and amateurs such as Lady Diana Beauclerk and Catherine Maria Fanshawe. Contrary to Myrone’s reading, women artists responded to the poems’ innovative sentimental idiom, producing scenes which conformed to the circumscribed range of acceptable female artistic practice. By examining a wide range of visual material I wish to suggest that Ossian provided a particularly apt text for female artists to engage with, which allowed for the exploration of gender roles and as a vehicle for the expression, not of raw masculinity, but scenes of refined and elegiac sentiment. A wider consideration of this paper will be the incorporation of Scottish subject-matter within the notional ‘British School’ of painting and its place in metropolitan exhibition culture.

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Dr John Bonehill (University of Glasgow), Loutherbourg and the ‘Spirit of Hogarth’

Philippe Jacques de Loutherbourg’s The Troops at Warley-Camp, reviewed by his Majesty was first exhibited at the Royal Academy in 1780. It was one of a pair of paintings commemorating the king’s presence at a spectacular mock battle staged two years earlier, as part of defensive safeguards introduced to meet a threatened French invasion. On exhibition at William Chamber’s newly opened Somerset House, Loutherbourg’s painting featured as part of an array of militaristic and patriotic imagery relating to the ongoing war waged against rebellious American colonists and their new Continental allies. These included pictures that drew comparisons between the present day defence of the realm and historic precedents, as well as works celebrating the nation’s land and maritime forces, grand histories, ambitious, full-length portraits, and landscapes such as Loutherbourg’s painting of the camp at Warley. Critics responded warmly to Loutherbourg’s picture, struck by ‘the grandeur of the scene’ but also its ‘touches of humour’. Indeed, it was a fine blend of the patriotic and the comic, the documentary and the theatrical. While some critics of the day were dismissive of Loutherbourg’s ‘French pomposity’, judging his manner highly artificial, others admired how readily he had assimilated the cultural traditions of his adopted country. Loutherbourg’s talent for social satire was considered of a kind with that of a notable native precedent, whose art was widely identified as being expressive of the national character, the painter being thought to ‘possess the Humour and Spirit of Hogarth’.

This paper will situate Loutherbourg’s Troops at Warley-Camp and the artist’s companion picture in relation to a range of cultural and political concerns, including the conduct of the American War and the defensive measures intended to protect the nation’s coastlines from the threat of French invasion, if also the commemoration of these events in paint, especially as they shaped critics’ calls for a national school of landscape painting. A survey of Loutherbourg’s critical reception, especially that prompted by his painting of the king’s review of the troops, shows his appeal to those who looked to the ‘spirit of Hogarth’ at this moment of national crisis. Yet, there were of course a number of unresolved tensions in this championing of an art apparently free of the perceived pedantry of Continental tradition, not least in its rejection of the values that defined the doctrines of the institution where the picture was on display and which had determined Loutherbourg’s own schooling as an artist.

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John Richard Moores (University of York), War with France in English political prints, c. 1740-1815

Robin Simon’s Hogarth, France and British Art challenged the view of William Hogarth as Francophobe nationalist by emphasising his cosmopolitanism and placing his art within a Continental context. Though he was dismissive towards the genre, Hogarth had a profound influence on lower forms of political and social prints (or ‘caricatures’). Much like Hogarth’s output, such prints have been interpreted as projecting anti-Gallic attitudes. The so-called ‘golden age of caricature’ coincided with those years in which Gerald Newman and Linda Colley considered hostility towards the French to have contributed to the formation of national identity. Numerous political and social prints from this time focussed on France, yet most studies of this genre have concentrated on how the British portrayed themselves and each other. Those which have discussed prints on France have promoted the view that English perceptions of the French were essentially hostile.

Informed by war and rivalry as well as by trade, travel, and cultural exchange, the prints projected some positive characteristics onto the French ‘Other’, were often less concerned in lampooning the French than in undermining the personalities and policies of the ruling regime at home, they contain varying degrees of sympathy and affinity with the French, and are demonstrative of a relationship more distinct and intimate than that shared with any other nation. In times of conflict enmity was inevitably more apparent, but even then the prints did not necessarily promote an Anglo-French relationship defined by antagonism and derision.

The Salon of the Royal Academy of Painting and Sculpture: Archaeology of an Institution
National Museum of Fine Arts, Quebec, 13-15 September 2012

Proposals due by 15 March 2012

International Symposium by Centre Interuniversitaire d’étude sur la République des lettres (CIERL), under the direction of Dr Isabelle Pichet

The historiography of the Salon of the Royal Academy of Painting and Sculpture in Paris is often bereft of a key part of its history: how the Salon itself became an art institution. Originally integrated into the fêtes de l’Académie, over time the Salon came to be best known in the form of a temporary, independent, and recurrent exhibition. This event developed little by little, reimagining itself through and eventually blossoming as the popular biennal exhibition. The unique character of the Salon was established through the regular repetition of the exhibition cycle, a sequence that helped to root the event’s particular characteristics in the minds of the public and in the regard of other institutions. In creating this rhythm within Parisians’ horizon of expectation, the Salon provided a habitus for their audience; moreover, the Salon inspired curiosity and desire in the provinces and nations that sought to imitate it.

This conference seeks to define and better understand the trajectory followed by the Salon from its emergence in the late 17th century to its full maturity in the second half of the 18th century. This symposium aims also to identify the diverse parameters and conditions that contributed to the development and helped to affirm the singularity of the Salon. This call for papers solicits proposals that will increase our understanding of the foundations and limits that shaped the form and content of the Salon as well as help us to survey the influence and impact of these exhibitions on various aspects of French and European society. As a multidisciplinary event, this conference is a laboratory and reflection on current research and scholarly approaches that consider the Salon and its place in the “art worlds,” as well as literature, philosophy, politics, and history.

New, unpublished papers shall not exceed the twenty minutes allocated to each participant. Proposals for papers (title and abstract of 250 words, institutional affiliation) should be sent to the committee before March 15, 2012 at the following address: colloque.salon@lit.ulaval.ca

Plenary lecture by Dr. Kim de Beaumont, Adjunct professor at Hunter College, Art Historian specialist of Gabriel de Saint-Aubin

Applications due by 30 March 2012

The Indianapolis Museum of Art is pleased to announce a nine-month curatorial fellowship. The fellowship supports scholarly research related to the Clowes Collection at the IMA and provides curatorial training in the field of European painting and sculpture. The Clowes Fellow is fully integrated into the curatorial division of the Museum and has duties comparable to those of an assistant curator, ranging from collection research and management to exhibition development and the preparation of interpretive materials and programs.

To be eligible for the fellowship, the applicant must be enrolled in a graduate course of study leading to an advanced degree in the history of art or a related discipline, or be a recent degree recipient (within the last two years). Applicants must demonstrate scholarly excellence and promise, as well as a strong interest in the museum profession. U.S. citizenship is not required.

The Clowes Fellow will receive a stipend of $18,000 and an educational travel allowance of $2,000. Housing is provided in a scholar’s residence on the grounds of the museum. The nine-month fellowship period will begin September 4, 2012. The appointment is renewable.

Applications should include a cover letter explaining your interest in the fellowship, a curriculum vitae, a writing sample, a concise statement describing your area of research and its relationship to the Clowes Collection, and three letters of recommendation (academic and professional). Applications must be received by March 30, 2012.

Please send application materials to:
Ronda Kasl
Senior Curator of Painting and Sculpture before 1800
Indianapolis Museum of Art
4000 Michigan Road
Indianapolis, IN 46208-3326