CfP: Printing Colour 1700-1830

 

Printing Colour 1700-1830: Discoveries, Rediscoveries and Innovations in the Long Eighteenth Century

10-12 April 2018

Senate House, London & London Collections

800px-James_Sadler_-_12_Aug_1811_ascent

Image of James Sadler’s balloon ascent, 12 August 1811 (Wikimedia Commons)

 

Abstracts for posters and 20-minute papers are invited for this three-day, interdisciplinary conference and workshop covering all aspects of the making, collecting and reception of colour prints in the long eighteenth century. The convenors particularly welcome proposals from book historians and scholars of illustration.

 

Full details and instructions on how to submit are available at bit.ly/PC1700-1830.

 

CfP: Blocks Plates Stones

BLOCKS PLATES STONES: Matrices/Printing Surfaces in Research and Collections
21 September 2017, Senate House, London (reception at British Academy)
Deadline: 30 June 2017, via bit.ly/BlocksPlatesStones-Submit
Details: bit.ly/BlocksPlatesStones
Convenor: Dr Elizabeth Savage (Institute of English Studies)

KEYNOTE ROUNDTABLE

Dr Richard S Field (Yale), Prof James Mosley (Institute of English Studies), Dr 
Ad Stijnman (Leiden), Prof Michael Twyman (Reading)

CFP
The material turn in fields that rely on historical printed matter has led to interest in how those texts and images were—and are—produced. Those objects, including cut woodblocks, etched and engraved metal plates, and lithographic stones, could be fundamental to research. Tens of thousands survive from the last 500 years, but the vast majority are inaccessible because they do not fit into the cataloguing structures and controlled vocabularies used by the libraries, archives and museums that hold them. Those that are accessible tend to be under-used, as few researchers are equipped to understand them or communicate about them across disciplinary boundaries. Even the most basic term is debated: in book research, a matrix is the mould for casting pieces of type; in art research, each resulting type is a matrix (and the sheets printed from them are the multiples). As new possibilities to catalogue and digitise these artefacts are revealing their research potential, it is essential to establish how they can best be made available and how they can be used in research.

This deeply interdisciplinary conference will survey the state of research into cut woodblocks, intaglio plates, lithographic stones, and other matrices/printing surfaces. It will bring together researchers, curators, librarians, printers, printmakers, cataloguers, conservators, digital humanities practitioners, and others who care for or seek to understand these objects. The discussion will encompass all media and techniques, from the fifteenth century through the present. Please submit abstracts for papers (20 minutes) and posters (A1 portrait/vertical) by 30 June 2017 at bit.ly/BlocksPlatesStones-Submit.

FUNDING BODY
This event is part of a 12-month British Academy Rising Star Engagement Award, ‘The Matrix Reloaded: Establishing Cataloguing and Research Guidelines for Artefacts of Printing Images’, bit.ly/BARSEAMatrixReloaded. The discussions will support the creation of a research network to distil a single, interdisciplinary best practice from existing standards across disciplines and heritage collections and produce a program to train researchers to engage with matrices/printing surfaces.

ECR Training Day: Matrices/Printing Surfaces

engraver (1805)

Early career researchers are invited to apply for the British Academy funded training day focusing on the use of matrices and printing surfaces in research on illustrated books. The workshop, facilitated by Dr Elizabeth Savage (Institute of English Studies) and Dr Giles Bergel (Oxford), will allow participates to consider both printing surfaces such as woodblocks and engraved plates, and the resulting impressions, and to relate them to the content of printed books.

No previous experience is necessary. Applications are open to scholars from all disciplines and related professions, including current PhD students or those who received a PhD in or after 2007.

Click here to learn more and apply.

‘Picturing Places’ at the British Library

The British Library is delighted to announce the launch of Picturing Places, a new free online resource which explores the Library’s extensive holdings of landscape imagery.
Rotunda

Robert Mitchell, Cross-section of The Rotunda, Leicester Square, built to exhibit panoramas (1801). BL 56.i.12 (Plate 14).

The British Library’s huge collection of historic prints and drawings is a treasure trove waiting to be discovered. Picturing Places showcases works of art by well-known artists such as Thomas Gainsborough and J. M. W. Turner alongside images by a multitude of lesser-known figures. Only a few have ever been seen or published before.

Historically, the British Library’s prints and drawings have been overlooked by scholars. This is the first time that a large and important body of such materials from the Library are being brought to light. While landscape images have often been treated as accurate records of place, this website reveals the many different stories involved – about travel and empire, science and exploration, the imagination, history and observation.

As well as over 500 newly-digitised works of art from the collection, this growing site will feature over 100 articles by both emerging and established scholars from many disciplines. Part of the British Library’s ongoing Transforming Topography research project, films from the Library’s 2016 conference exploring the depiction of places are also accessible, providing revelatory insights about the history of landscape imagery.

Follow @BL_prints for updates on the project’s progress.

Lewis Walpole Library Masterclass

The Lewis Walpole Library is now accepting applications for its residential masterclass,  A Contest of Two Genres: Graphic Satire and Anglo-American History Painting in the Long Eighteenth Century.

The residential course will be led by Mark Salber Phillips (Carleton University) and Cynthia Roman (Lewis Walpole Library), and will take place 15-18 May.

According to the Lewis Walpole Library website:

Centuries-old hierarchies of the visual arts have placed history painting and graphic satire at opposite ends of the spectrum. “History painting” – high minded narrative art depicting exemplary heroes and events— carried enormous prestige, bringing fame to the individual artist as well as to the national school. In contrast, graphic satire was viewed as the lowest form of visual expression – more closely connected to political prints than to high-minded “histories.”

This residential seminar is intended to give doctoral students in a variety of disciplines the opportunity to consider issues and overlaps between these two narrative genres. Making use of visual material and textual resources from the collections of the Lewis Walpole Library’s at Yale, we will examine the often-embattled efforts of artists to construct new modes of visual representation as well as of narrative and history.  Through a multidisciplinary approach, we  will take note of a variety of key issues, including the theoretical context of Enlightenment intellectual history, the more focused discourse of art treatises, and direct encounters with the formal and aesthetic qualities of works of art. Among history painters we will give our attention to the works of William Hogarth, Gavin Hamilton, Benjamin West, and John Trumbull, while among the satirists we will focus on James Gillray, Thomas Rowlandson, and Isaac and George Cruikshank.

The class will be taught as a combination of seminars, small group discussions, and visits to the Yale Center for British Art, the Yale University Art Gallery, and the Wadsworth Atheneum Museum of Art. Most of the teaching will take place in the Lewis Walpole Library in Farmington.

Places are limited, and (post)graduate students are encouraged to apply by submitting a short statement of interest here. Transportation will be available to and from New Haven, and accommodation may be available on-site upon request.

 

Woodpeckings: Victorian prints, book illustration and word-image narratives

Woodpeckings Conference Image

Friday 16th – Saturday 17th June

9am-5pm

Stevenson Lecture Theatre, British Museum

 

Register here: http://www.sussex.ac.uk/english/dalziel/2017/02/22/woodpeckings-victorian-prints-book-illustration-and-word-image-narratives/

Organised by the Dalziel Project

This two-day event presents new perspectives on Victorian prints, book illustration and word-image narratives, brought into dialogue with scholarly interpretations of the Dalziel Archive, a phenomenal resource for researchers of nineteenth-century prints.

The Dalziel Archive has been made newly accessible through the Dalziel Project, funded by the AHRC. The Dalziel family led the most substantial London firm of wood engravers; they were, to borrow the contemporary slang, prolific “woodpeckers”, or “peckers”. At this time, wood engraving was the chief medium of mass production, profusely illustrating books, periodicals and ephemera: everything from Dickens and Trollope to fitness manuals and chocolate advertisements… Between 1839 and 1893 the Dalziels made around 54,000 prints, including all the wood engravings for Lewis Caroll’s Alice books, and Pre-Raphaelite wood engravings after John Everett Millais, Dante Gabriel Rossetti and Edward Burne-Jones.

Our conference brings this new material into the rich field of word-image scholarship. Papers range from analyses of pictorial initials made for canonical Victorian novels, to theories of art instruction and interrogations of the album form. Topics include:

  • Medium and replication technologies
  • Relationships between media: e.g wood engraving, drawing and photography
  • Questions of authorship
  • Digital networks and illustration
  • Rethinking pattern and textual ornament
  • Wordlessness and the image
  • Print and seriality
  • Non-authorized illustration, revisions and interventions
  • Tactile reading and the Victorian pop-up book
  • Affective encounters with the archive

During the conference there will be a round table and sessions inviting participants to examine archival material in the Prints and Drawings study room.

Contributors include: Luisa Calè (Birkbeck), Esther Chadwick (British Museum), Douglas Downing (Independant Scholar), Hannah Field (Sussex), Georgina Grant (Ironbridge Gorge Museum), Natalie Hume (Courtauld), Lorraine Janzen Kooistra (Ryerson), Brian Maidment (Liverpool John Moores), George Mind (Sussex), Clare Pettitt (Kings), David Skilton (Cardiff), Lindsay Smith (Sussex), Bethan Stevens (Sussex), Julia Thomas (Cardiff), Mark Turner (Kings) and Kiera Vaclavik (Queen Mary).

Respondants: Susan Matthews (Roehampton), Sheila O’Connell (British Museum), Peter Lawrence (Society of Wood Engravers) and Felicity Myrone (British Library).

Round table: Caroline Arscott (Courtauld), Michael Goodman (Cardiff) and Katherine Martin (V&A).

Generously supported by the Arts and Humanities Research Council, the British Museum and the University of Sussex.

@dalzielproject

Register here: http://www.sussex.ac.uk/english/dalziel/2017/02/22/woodpeckings-victorian-prints-book-illustration-and-word-image-narratives/

CfP: Art of Power

A new, collaborative exhibition, ‘The Art of Power: Masterpieces from the Bute Collection’, will open on 31 March at two venues: Mount Stuart, on the Isle of Bute, and The Hunterian, Glasgow. The exhibition shows a number of masterpieces from the collecti

JohnStuartBute

John Stuart, 3rd Earl of Bute

on of John Stuart, 3rd Earl of Bute (1713-92), and runs at both venues until 14 January 2018.

Paper proposals are invited for a three-day symposium inspired by themes explored in the exhibition. In addition to the interplay between art, politics and collecting, possible themes include (but are not limited to):

  • Aristocratic and royal collecting
  • Scottish Enlightenment and Scottish identity
  • Mid-eighteenth-century politics and political culture
  • Bute, satire and political prints

The symposium will be held 2-4 October 2017 at The Hunterian and Mount Stuart. Full details, including instructions for submitting proposals, are available here.