Get ready for an unforgettable experience on April 24-27th at the 49th Annual Meeting of the AHPCS, set in Cleveland’s vibrant and culturally rich University Circle.

Widely celebrated as the #1 arts district in the country by USA Today in 2021, University Circle is a haven for culture and history. And for AHPCS members, the timing couldn’t be better—our visit will coincide with the Print Club of Cleveland’s annual Fine Print Fair at the Cleveland Museum of Art.

All of this cultural splendor is just a short stroll away from our conference home base, the historic Glidden House hotel. Built in 1910 as a grand residence, the Glidden House retains much of its original charm, including its elegant library, parlor, and loggia, offering a unique and inspiring atmosphere for our gathering.

We've planned a fantastic set of lectures, museum visits, and delicious meals. Join us in Cleveland for this must-attend event for print

Echoing the presentation ‘Is this a Delacroix? The art of copying’, the Musée Delacroix invites you to the lecture “From Goya to Delacroix: the Caprichos in 19th-century France” given by Paula Fayos-Pérez, postdoctoral researcher in Art History, in the heart of the painter's studio. [Presentation given in French]

The conference looks at the impact of Goya's Caprichos on 19th-century French art, particularly on the work of Eugène Delacroix. While the interest of the French public and the Romantic generation in Goya reached its peak in the 1830s, Delacroix was a pioneer, beginning to copy this print series around 1819. Deeply linked to his interest in caricature, expressivity and the grotesque, the Caprichos became part of his artistic imagination and led him to produce, in the following years, numerous Goyesque figures that appeared directly or indirectly in his graphic and pictorial work (as, for example, in Faust). His almost obsessive interest in Goya was part of a wider context marked by the 'Romantisme noir', a taste for Spanish art and orientalism, and he was part of the ‘Goya network’ to which artists and writers such as Théophile Gautier, Victor Hugo, Louis Boulanger, Alfred de Musset and George Sand belonged.

BIG PAPER is a play on the Italian word cartone, the art historical term for a preparatory drawing made on a one-to-one scale to the final work: carta = paper and -one = big. In the Renaissance, these cartoons were made during the production of wall-sized expanses of frescoes, tapestries and stained glass. This public conference explores paper in early modern Europe in terms of its use as sheets, pieces joined together or bound codices; relationships between books, bodies, and architectural space; period notions of “scale” and design; and the ties between drawing, monument, and myth. Thus, we take “big” to mean large in material size, but also in terms of intellectual and artistic possibilities, as well as geographic and imaginative scope.
SPEAKERS: Juliana Barone, Shira Brisman, Tracy Cosgriff, Mari Yoko Hara, Heather Macdonald, Maurizio Michelozzi, Morgan Ng, and Michael Waters
CHAIRS: Claire Farago, Frederic Nolan Clark, Lisa Pon
RSVP by January 17 at https://docs.google.com/forms/d/e/1FAIpQLSf-3l1HAS6SU0sICFARfSN-dsgUww7h_AfTUVCpJZxmBP4_Tw/viewform

Announcing an upcoming virtual presentation, War of the Dots: A Symposium Exploring Accessibility in Archive and Museum Exhibits

Date: November 5, 11-12:30

Summary: In 2022, Washington State University (WSU) began to collaborate with the Washington State School for the Blind (WSSB) to establish a museum highlighting the history of the school. In 2024 the two organizations set up their first collaborative exhibit—a popup experience called “War of the Dots.” The goal of the exhibit was to engage blind and low-vision students in the history of tactile print, connecting accessibility challenges of the past with the present day. The presenters for this symposium will reflect on the experience of creating the exhibit while taking into account accessibility for blind and low-vision audiences. Mike Hudson, long-time museum director for the American Printing House for the Blind, will ground this discussion in past debates about tactile print. In both the past and the present, the War of the Dots draws attention to the need for truly inclusive museums and cultural experiences.

This symposium is sponsored by Rare Book School and the Andrew W. Mellon Foundation as part of the Andrew W. Mellon Fellowship for Diversity, Inclusion, and Cultural Heritage.

Register at: https://wsu.zoom.us/meeting/register/tJUudu-pqTMvGtURzxoZ_TntHOMbEThPNDNz

The 37th Congress of the International Paper Historians will take place in Oslo, Norway, on September 9 -14, 2024. The conference, entitled Analysis of Paper, will include studies on the identification, characterization and analysis of historic paper, and new techniques for recording watermarks and other physical characteristics of paper. Both in-person and remote access are offered. Register by transfer or credit card through The National Museum portal. The organizers and co-sponsors, The National Museum, The National Library of Norway and MUNCH (The Munch Museum) hope to see you in Oslo!

Note: The deadline for signing up is August 1st!

Please see the attachments for the final programme and the registration form.

For the organizing committee,
Kari Greve

CALL FOR PAPERS
International interdisciplinary conference
Université de Bourgogne, 19-20 June 2025
BOOK OF NATURE, NATURE OF BOOKS
PRACTICES OF FEMALE BOTANISTS
Keynote speakers:
Anne Hodge (Curator of Prints and Drawings, National Gallery, Dublin)
Valérie Chansigaud (Historian of Science, Independent Scholar and Author)
The research centres TIL (Université de Bourgogne) and EMMA (Université Paul-Valéry Montpellier 3) are organizing a bilingual (French-English) international interdisciplinary conference on the role of women in the development of botany as part of visual, manuscript and print cultures, from the Middle Ages to the contemporary period.
We propose to foster discussions relating to the interconnections between natural science history, print and book culture, visual and gender studies as well as ecocriticism. Papers may focus on a wide variety of case studies pertaining to any geographical area, from herbals to non-fiction writing, from publishers’ and libraries’ archives to museum collections, or from the garden to the diary and to the printed book. They will address the role of women as amateur or professional botanists, gardeners, members of clubs, illustrators, diarists, writers, publishers, and in any other capacity where their individual practices bear on forms of manuscript and print artefacts.
The following themes will be of particular interest:
- The book of nature and its legacy
- Itineraries of Women and Plants
- Records, archives and publicity
- Circulation of manuscript and print artefacts
- Spaces of practice and display
- Botany, illustration and nature writing
- Amateur and professional science
- Female crafting and the intermedial circulation of models

Full CFP accessible at: https://til.u-bourgogne.fr/wp-content/uploads/2024/04/CFP-final-EN-FR-botanique-IC-2025.pdf

Please send a 300-word abstract and a biobibliography (in English or French) before 31st October 2024 to bookofnature2025@gmail.com
Notification: 15th December 2024. The programme will be finalized in January 2025.
After the conference, submission of papers for publication: 30th September 2025.
Scientific Committee: Dr Marie-Charlotte Anstett (CNRS, Université de Bourgogne); Dr Anna Cabanel (KU Leuven); Dr Kathleen Davidson (University of Sydney); Rodolphe Leroy (Université de Bourgogne); Dr Katherine Manthorne (City University of New York); Dr Clélia Nau (University Paris-Cité); Dr Ann Shteir (York University, Canada).

Organizing committee: Sophie Aymes, Marie-Odile Bernez, Ali Hatapçı, Candice Lemaire (Université de Bourgogne), Valérie Morisson (Université Paul-Valéry Montpellier 3).

Please join us Friday, May 3, from 10-noon EST for a free virtual symposium we have organized as part of our Getty Paper Project.
Do share this link with anyone who might be interested.

Speakers and presentation topics:
• “The Problems of Medium Specificity According to S. R. Koehler”
Katie Larson, Assistant Professor of Modern and Contemporary Art History, Baylor University
• “New Mediums, New Directions: Reproducing Raphael in the Age of Lithography”
Rebecca Szantyr, Print Specialist, Miriam and Ira D. Wallach Division of Art, Prints, and Photographs, New York Public Library
• “Between the Ink and the Plate: Printmakers Troubleshooting with Color”
Fenna Engelke, Morse Fellow for Advanced Training in Conservation of Works of Art, Museum of Fine Arts, Boston
• “Process Papers, Shading Mediums, and Mechanical Tints: An Exploration of Drawing Materials Made for Photomechanical Reproduction”
Sarah Mirseyedi, PhD, Andrew W. Mellon Curatorial Fellow in Prints, Drawings, and Photographs, RISD Museum
• “Lines, Dots, Masses, and Combinations: Sylvester Koehler’s Intaglio Categories”
Jennie Waldow, Luce Curatorial Fellow, Hammer Museum
• “Cataloging Secrets: Koehler’s Outline of Etching”
Emily Arthur, Associate Professor of Printmaking, University of Wisconsin-Madison
• “Just Flong Enough: Two Hours of Light, Relief, and Pressure”
Nora M. Rosengarten, PhD candidate, History of Art and Architecture, Harvard University
• “Dotting the Photomechanical Landscape: Frederick Ives’ Original Process and Sylvester Koehler’s 1892 Exhibition”
Benjamin Levy, PhD candidate, Joint Program between Case Western Reserve University and the Cleveland Museum of Art

This project is supported by Getty through the Paper Project initiative.

The 48th annual meeting of the American Historical Print Collectors Society will take place in Williamstown, Massachusetts.

Williamstown, a charming college town, located in the shadow of Mount Greylock, the highest point in the Berkshire Mountains of northwestern Massachusetts, is home to Williams College and the Clark Art Institute. The surrounding area abounds historic associations and cultural attractions, including the homes and studios of artists Daniel Chester French and Norman Rockwell and authors Hermann Melville, William Cullen Bryant and Edith Wharton. Nathaniel Hawthorne completed The House of the Seven Gables while living in a little red house now located on the grounds of the Tanglewood Music Center, the summer home of the Boston Symphony Orchestra. Other nearby attractions include Hancock Shaker Village, the Berkshire Atheneum, and the Massachusetts Museum of Contemporary Art (MassMOCA).

The AHPCS has arranged special tours of several of the region’s outstanding cultural collections for this year’s annual meeting, as well as lining up a program of first-rate speakers: Georgia Barnhill, Robert Emlen, Michael McCue, Rebecca Szantyr, and Christina Michelon

For more information and to register (by April 15th) please visit our website: https://ahpcs.org/williamstown/

In conjunction with two upcoming exhibitions that explore images of women’s labor during the 19th
century—Degas and the Laundress: Women, Work, and Impressionism (Cleveland Museum of Art, October 8, 2023–January 14, 2024) and Mary Cassatt at Work (Philadelphia Museum of Art, May 18–September 8, 2024)—scholars present on an international range of topics related to the visual culture of working women.

Organized by Britany Salsbury, Cleveland Museum of Art; Laurel Garber, Philadelphia Museum of Art; Nicole Georgopulos, University of British Columbia; and Jillian Kruse, Case Western Reserve University

We are announcing the international seminar 'Goya: grotesco / coleccionismo', which will take place on 16-17 November 2023 in Madrid, at the Biblioteca Histórica Marqués de Valdecilla (Universidad Complutense de Madrid). The event will also be recorded and live-streamed (UCM Directo). To secure a ticket, you can register on Eventbrite: https://seminariointernacionalgoya2023.eventbrite.es

Francisco de Goya (1746-1828) is recognised for the enormous richness and variety of his work, both in the subjects and the means he used. He worked for the Court —portrait and decorative programs— for the Church —religious painting—, as well as for private clients, without forgetting the private sphere, a favourable environment not only for cabinet paintings and engravings but also for grotesque and fantastic subjects, social criticism, humour and human tragedies. This international seminar focuses on the study of Goya's work from two themes: the grotesque and collecting, and will include the participation of leading researchers in both fields of study.

In the first part of the seminar, the grotesque-fantastic will be addressed, an issue present in Goya and inscribed in the context of the origins of Romanticism. The use of satire and caricature will be examined as an end in itself and as experimentation with visual forms, and also as a means to point out political or religious issues while avoiding censorship. The second part is dedicated to the collecting of Goya's work, particularly in France, Spain, Great Britain and the United States. The study of his paintings, drawings and engravings arose first and mainly among French critics, which stimulated the collecting of Goya’s works and, therefore, increased the demand and caused the proliferation of imitations on the market.

The purpose of this seminar is to contribute, from the proposed double approach, to the critical study of Goya's work with the presentation of recent and original research. In this way, it inserts into the debates about the artist and in the updating of his state of the question.

Thursday, 16 November: GOYA AND THE GROTESQUE

10:00 Arrival and registration of participants.

10:30 Welcome and introduction to Session 1. Chair: Juan Bordes.

11:00 MANUELA MENA (Museo Del Prado), ¿Grotesco o sublime?: Goya y su "censura de los errores y vicios humanos".

12:00 ISABELLE MORNAT (Université Gustave Eiffel, Paris), Grotesco, burlesco, esperpento: la paradoja del legado goyesco en la caricatura española del siglo XIX.

14:30 MARTIAL GUÉDRON (Université de Strasbourg), Grimacing singers & grotesque dissonances in graphic satire.

15:30 LAURENT BARIDON (Université de Lyon), Entre texte et image, ironie et onirisme : Goya et les dessinateurs satiriques français.

17:00 ANDREW SCHULZ (University of Arizona), Listening to the Grotesque.

18:00 Round table and Q&A with all the speakers.

20:00 Reception at Espacio SOLO (by invitation).



Friday, 17 November: COLLECTING GOYA

10:00 Arrival and registration of participants.

10:30 Welcome and introduction to Session 2. Chair: Amaya Alzaga (UNED).

11:00 JANIS TOMLINSON (University of Delaware), Un siglo de coleccionismo de Goya en los Estados Unidos: 1913-2013.

12:00 VIRGINIA ALBARRÁN (Patrimonio Nacional), De Goyas que son Esteves.

14:30 REVA WOLF (University of New York New Paltz), Three Early Collectors of Goya, One Common Thread.

15:30 JOSÉ IGNACIO CALVO (Fundación Goya en Aragón), Pioneros en el coleccionismo de obras de Goya (siglo XIX).

16:30 Round table and Q&A with all the speakers. Final remarks.


Follow us on Twitter and Instagram: @goyaseminar2023
For any questions: seminariogoya2023@gmail.com