SYMPOSIUM
Learning and Teaching with Rembrandt: Cross-Disciplinary Approaches to the Master Etcher
Saturday, October 28, 2017, at the Johnson Museum, 10am–5pm

This daylong symposium will examine how both pedagogical approaches and increased watermarks data for Rembrandt’s prints can be used along with traditional connoisseurship to answer questions about Rembrandt as a printmaker--and raise new ones. Speakers will discuss cross-disciplinary projects and collaborative research in academic collections, and how they extend the reach of existing knowledge about Rembrandt’s practice. A panel discussion will explore the teaching of Rembrandt’s prints from a variety of perspectives in different settings, including the university, the encyclopedic museum, and the conservation studio.

Registration is free; contact Elizabeth Saggese at eas8@cornell.edu or 607-254-4642 by October 23 to reserve a space.

Keynote presenters

Erik Hinterding, Curator of Prints, Rijksmuseum, Amsterdam
“Rembrandt’s Paper: State of the research and where we go from here”

Susan Donahue Kuretsky, Professor of Art on the Sarah Gibson Blanding Chair, Vassar College
“In Love with Line: Tales of Teaching with Rembrandt”

For a full list of presenters and complete event schedule, visit
http://museum.cornell.edu/calendar/learning-and-teaching-rembrandt-cross-disciplinary-approaches-master-etcher

This symposium has been generously supported by Ronni Lacroute, Cornell Class of 1966, with additional support from Susan E. Lynch. Cosponsored by the Department of the History of Art and Visual Studies at Cornell University,


EXHIBITION
Lines of Inquiry: Learning from Rembrandt’s Etchings
Exhibition on view now through December 17, 2017, at the Johnson Museum
Co-curated by Andy Weislogel and Andaleeb Badiee Banta


In this exhibition, more than sixty impressions from across Rembrandt’s oeuvre show the artist’s process, including how he made changes to his plates, and detail his use of a variety of printing supports.

Works from the collections of Cornell, Harvard, Princeton, Syracuse, and Yale Universities, Oberlin and Vassar Colleges, the University of Kansas, the Morgan Library & Museum, and private collections feature subject matter ranging from portraits and self-portraits to genre scenes, religious narratives, landscapes, study plates, and academic nude studies.

Lines of Inquiry has been organized by the Johnson Museum in collaboration with the Allen Memorial Art Museum, Oberlin College, where it will be on view February 6–May 13, 2018.

Please join us to examine and discuss large-scale prints

Discussants:
Nancy Bialler, Independent Scholar
Jamie Gabbarelli, Postdoctoral Curatorial Fellow, National Gallery of Art
Rena M. Hoisington, Senior Curator, The Baltimore Museum of Art
Rachel Mustalish, Conservator, The Metropolitan Museum of Art
Freyda Spira, Associate Curator, The Metropolitan Museum of Art
Naoko Takahatake, Associate Curator, Los Angeles County Museum of Art

RSVP by October 18, 2017 via email to jillian.pfifferling@metmuseum.org

The conference Visual Design: The Periodical Page as a Designed Surface is concerned with the visual design of the Journal, taken to mean the whole spectrum of periodical print publications, including amongst others newspapers and magazines. Interest is thus focused on the periodical page (or double-page spread) as a visible printed surface on which words and images appear in a designed context. The premise is that the written and pictorial content of the periodical are not realized in abstraction (as disembodied and placeless), but remain tied to the materiality of the periodical, which provides for a two-dimensional and sequential arrangement of diverse visual elements.

Thursday, Nov 23

Panel 1: Technik- und Layoutgeschichte | History of technology and layout

Panel 2: Rezeptionskulturen: Journalgestaltung und Publika | Cultures of reception: design and audiences


Friday | Friday, Nov 24

Panel 3: Typographische Strategien | Typographic strategies

Panel 4: Medienformatwechsel: zwischen Buch und Journal | Change of media formats: between book and journal

Panel 5: Stofflichkeit, Räumlichkeit, Handhabung der Seite | Materiality of the page


Saturday, Nov 25

Panel 6: Ideologische Formatierungen | Ideological implications of formatting

Dutch Drawings on the Horizon: A Day of Talks in Honor of George S. Abrams

This symposium brings together international experts on 17th-century Dutch drawings in honor of George S. Abrams (Harvard College ’54, Harvard Law ’57). Mr. Abrams and his late wife, Maida, pioneered the collecting of Dutch drawings in the United States and have been a unifying force for study and scholarship in the field. Their generous gift of 110 works in 1999 transformed the Harvard Art Museums’ Dutch drawings collection into one of the most comprehensive in any U.S. museum. Speakers will use the vast breadth and depth of the Abrams Collection as a touchstone for discussing the exceptional draftsmanship of the Dutch Golden Age, from Goltzius to Rembrandt.

SCHEDULE

9:30am Doors open. Seating for the day is first come, first served.

10am Director’s Welcome and Introductory Remarks

Martha Tedeschi, Elizabeth and John Moors Cabot Director
Edouard Kopp, Maida and George Abrams Curator of Drawings

Morning Session I

Chair: Arthur Wheelock
Curator of Northern Baroque Paintings, National Gallery of Art, Washington, D.C.

“Drawing from Life and from Imagination”
Peter Schatborn
Head of the Rijksprentenkabinet, emeritus, Rijksmuseum

“Esteemed and Appreciated: The Figure Studies of Cornelis Dusart”
Susan Anderson
Curatorial Research Associate for Dutch and Flemish Drawings, Harvard Art Museums; and Curator, Maida and George Abrams Collection

“Bakers’ Dozen: Natural Delights by Johannes Bronkhorst and the Henstenburghs”
Jane Turner
Head of the Rijksprentenkabinet, Rijksmuseum; and Editor, Master Drawings

Morning Session II

Chair: Benjamin Weiss
Director of Collections and Leonard A. Lauder Curator of Visual Culture, Museum of Fine Arts, Boston

“Cornelis Visscher’s Bohémienne: From Print to Drawings”
Stijn Alsteens
International Head, Department of Old Master Drawings, Christie’s

“With Astonishing Speed and Great Elegance”: Wallerant Vaillant’s Portraits at the Diet of Frankfurt, 1658”
William W. Robinson
Maida and George Abrams Curator of Drawings, emeritus, Harvard Art Museums

12:30pm Lunch Break

2pm Afternoon Session

Chair: Peter C. Sutton
The Susan E. Lynch Executive Director, Bruce Museum

“10 Drawings Attributed to Rembrandt: Critiquing the Abrams Collection”
Martin Royalton-Kisch (in absentia)
Former Senior Curator of Prints and Drawings, The British Museum

“Pen-and-Ink Figure Drawings by Jan Lievens: Issues of Style, Attribution, and Dating”
Gregory Rubinstein
Senior Director and Head of Old Master & Early British Drawings, Sotheby’s Worldwide

“Collecting Netherlandish Drawings—Frits Lugt and Maida and George Abrams”
Ger Luijten
Director, Fondation Custodia, Frits Lugt Collection

Roundtable Discussion with George Abrams and Speakers
Moderator: Peter Sutton

The conference is scheduled to end at 4PM

The symposium coincides with the installation "The Art of Drawing in the Early Dutch Golden Age, 1590–1630: Selected Works from the Abrams Collection", on view at the Harvard Art Museums from September 9, 2017 to January 14, 2018.

The symposium will take place in Menschel Hall, Lower Level. Please enter the museums via the entrance on Broadway. Doors will open at 9:30am.

Free and open to the public. Limited seating is available on a first-come, first-served basis.

Support for this program is provided by the Stanley H. Durwood Foundation Support Fund

The exhibition on the German artist Käthe Kollwitz at the IKON gallery in Birmingham is accompanied by an academic symposium with speakers from Museum, Art History and German Studies.

This symposium explores the life and work of the German artist Käthe Kollwitz (1867-1945). It examines her extensive and varied oeuvre, which encompassed printmaking, drawing and sculpture, and discusses this in relation to wider socio-political and cultural contexts in Germany and beyond. Kollwitz’s works are considered through a series of short papers and roundtable discussion. This is a unique chance to listen to academics, curators and writers talking about the impact of Kollwitz in a gallery setting surrounded by the artist’s own work.

The symposium is free of charge – booking is essential. Please book online or call IKON on 0121 248 0708. Please note that online booking closes at 5pm on Friday 13 October.

Programme

10.00 -10.30am
Coffee and registration

10.30am
Jonathan Watkins (Ikon)
Frances Carey (British Museum)

11.15-11.45am
Dorothy Price (University of Bristol): Imagining the Maternal

11.45-12.15pm
Elizabeth Kajs (University of Bristol): Motherhood at the Centre: Connecting Creativity and Reproduction in Käthe Kollwitz’s Artistic Practice

Discussion – Chair Frances Carey

12.35-2pm
Lunch (own arrangements) and Kollwitz exhibition

2.00-2.30pm
Shulamith Behr (Courtauld Institute of Art): Kollwitz through the Eyes of Women Art Critics: The “Hieroglyphic Language of Drawing” and Gendering of Authorship

2.30-3pm
Nina Lübbren (Anglia Ruskin University): Kollwitz: A Printmaker's Sculpture

Discussion – Chair Camilla Smith

3.20-3.50pm: Tea/coffee and comfort break

3.50-4.20pm
Nicholas Martin (University of Birmingham): Petrified Grief: The First World War in Käthe Kollwitz’s Art and Writing

4.20-4.50pm: Camilla Smith (University of Birmingham): Kollwitz during the 1930s: An Artist between Resistance and Conformity

Discussion – Chair Dorothy Price

5.15-6pm: Round table discussion: Kollwitz, legacy and sites of remembrance Lord Max Egremont and Frances Carey (chaired by Jonathan Watkins)

*NOTE: Due to unforeseen circumstances, the date of this program has been changed*

Learning and Teaching with Rembrandt: Cross-Disciplinary Approaches to the Master Etcher
New date!
Saturday, October 28, 2017 at the Johnson Museum

This daylong symposium will examine how both pedagogical approaches and increased watermarks data for Rembrandt's prints can be used along with traditional connoisseurship to answer questions about Rembrandt as a printmaker--and raise new ones. Speakers will discuss cross-disciplinary projects and collaborative research in academic collections, and how they extend the reach of existing knowledge about Rembrandt's practice. A panel discussion will explore the teaching of Rembrandt's prints from a variety of perspectives in different settings, including the university, the encyclopedic museum, and the conservation studio.

Registration is free; contact Elizabeth Saggese at eas8@cornell.edu or 607-254-4642 to reserve a space.


Keynote presenters

Erik Hinterding, Curator of Prints, Rijksmuseum, Amsterdam
"Rembrandt's Paper: State of the research and where we go from here"

Susan Donahue Kuretsky, Professor of Art on the Sarah Gibson Blanding Chair, Vassar College
"In Love with Line: Tales of Teaching with Rembrandt"

Additional presentations by Andaleeb Badiee Banta, Allen Memorial Art Museum, Oberlin College; Stephanie Dickey, Queen's University; Margaret Holben Ellis, Institute of Fine Arts, New York University; C. Richard Johnson, Jr., Cornell University; Elizabeth Nogrady, Frances Lehman Loeb Art Center, Vassar College; Nadine Orenstein, Metropolitan Museum of Art; Gregory Page, Cornell University; Lisa Pincus, Cornell University; and Andrew C. Weislogel, Johnson Museum of Art, Cornell University.

Support for this symposium has been generously provided by Ronni Lacroute, Cornell Class of 1966.

http://museum.cornell.edu/calendar/learning-and-teaching-rembrandt-cross-disciplinary-approaches-master-etcher


Lines of Inquiry: Learning from Rembrandt's Etchings
Exhibition on view September 23-December 17, 2017

In this exhibition, more than sixty impressions from across Rembrandt's oeuvre will show the artist's process, including how he made changes to his plates, and detail his use of a variety of printing supports.

Works from the collections of Cornell, Harvard, Princeton, Syracuse, and Yale Universities, Oberlin and Vassar Colleges, the University of Kansas, the Morgan Library & Museum, and private collections will feature subject matter ranging from portraits and self-portraits to genre scenes, religious narratives, landscapes, study plates, and academic nude studies.

Lines of Inquiry has been organized by the Johnson Museum in collaboration with the Allen Memorial Art Museum, Oberlin College, where it will be on view in 2018.

http://museum.cornell.edu/exhibitions/lines-of-inquiry-learning-from-rembrandt-etchings
http://www2.oberlin.edu/amam/LinesofInquiry.html

A symposium to be held at the Cape Ann Museum in Gloucester, Massachusetts

This symposium is being organized in conjunction with the Cape Ann Museum’s special exhibition Drawn from Nature & on Stone: The Lithographs of Fitz Henry Lane (October 7, 2017 – March 4, 2018) and Fitz Henry Lane Online, a catalogue raisonné and resource tool created by the Museum. The symposium will feature papers by six scholars working in fields related to printmaking that explore such diverse topics as how race and race relations were portrayed in print following the issuance of the Emancipation Proclamation in January 1863; the role women artists and artisans played in printmaking during the 19th century; and how the rise of industrialization in towns such as Lowell and Lawrence, Massachusetts, affected the careers of Fitz Henry Lane and other print makers.

The symposium will be held in the Cape Ann Museum’s auditorium and will be a day-long event. Space is limited for this event and seats are available on a first come, first served basis. Cost for the full day symposium is $35 and includes a boxed lunch and admission to the Museum and the Lane lithography exhibition. Tickets are available online at Eventbrite (use External Link below).

SYMPOSIUM PROGRAM
9:15 Registration

10:00 Opening Remarks

10:00 to 12:00 Morning Session

Helena Wright, Curator, Division of Graphic Art, at the National Museum of American History, Smithsonian Institution – "Fitz Henry Lane in Lowell"

Marie-Stephanie Delamaire, Associate Curator, Fine Arts, at Winterthur Museum and Joan Irving, Winterthur Paper Conservator and affiliated professor at the University of Delaware – "Fine or Commercial Lithography: A Cultural and Material Reappraisal of Fanny Palmer’s Prints Published by Currier & Ives"

Rebecca Szantyr, Fellow in the Department of Prints and Drawings at Yale – "Rock, Paper, Press: Collecting Prints and Geological Knowledge in the 1820s"

12:00 to 1:00 Lunch Break

1:00 to 3:00 Afternoon Session

Christine Garnier, PhD candidate at Harvard – "Assembling the Runaway: Self-Liberation and Visual Games of the American Civil War"

Ellen Sondag, Adjunct faculty member at the Academy of Art University, San Francisco, CA – "Representing Firefighters: Conflagration of the Masonic Hall, Philadelphia"

Margaretta Lovell, Professor of American Art, University of California, Berkeley – "F. H. Lane’s Lithographs, Robert Bennett Forbes, Pirates of the China Sea"

3:00 to 3:30 Questions/Closing Remarks

3:30 to 5:00 Exhibition Viewing

We are pleased to announce the acceptance of three APS sponsored panels at the 2018 Annual Meeting of the Renaissance Society of America, to be held from 22–24 March 2018, at the New Orleans Hilton Riverside.

[1] "Knowns and Unknowns: On the Limits of Knowledge in Early Modern Print Culture"
Chair/Organizer: Stephanie Porras, sporras@tulane.edu, Tulane University

"Arctic Ink"
Christopher P. Heuer, Clark Art Institute

"Early Modern Data: Collecting Knowledge from Printed Books"
Stephanie Leitch, Florida State University;

"'Un fumo oscuro': Galieo, Greuter, and the Fine Style. Printing the Unknowable in 1600 Rome"
Ruth S. Noyes, Wesleyan University;

"Illuminating Fossils and Early Modern Print Culture"
Robert Felfe, Universität Hamburg

[2] "Sculpture in Print 1480–1600 III: Focusing on the Sculptor"

Chair: Madeleine C. Viljoen, madeleineviljoen@nypl.org, New York Public Library
Co-organizer: Anne Bloemacher, annebloemacher@hotmail.com, Westfälische Wilhelms-Universität Münster
Co-organizer: Mandy Richter, richter@khi.fi.it, Kunsthistorisches Institut in Florenz, Max-Planck-Institut

Respondent: Marzia Faietti, marzia.faietti@beniculturali.it, Gabinetto Disegni e Stampe degli Uffizi

"Veit Stoss in Print"
Ruth Madeline Ezra, Harvard University

"The Young Baccio Bandinelli and the Role of Prints at the Beginning of a Sculptor’s Career"
Angelika Marinovic, Universität Wien

"Models For Sculptures in Print: Michelangelo’s “Samson and Two Philistines” in Lukas Kilian’s Engraving"
Claudia Echinger-Maurach, Westfälische Wilhelms-Universität Münster

[3] "Sculpture in Print 1480–1600 IV: Focusing on the Fiction"

Chair: Edward H. Wouk, edwardwouk@gmail.com, University of Manchester
Co-organizer: Anne Bloemacher, annebloemacher@hotmail.com, Westfälische Wilhelms-Universität Münster
Co-organizer: Mandy Richter, richter@khi.fi.it, Kunsthistorisches Institut in Florenz, Max-Planck-Institut

Respondent: Bernadine A. Barnes, barnes@wfu.edu, Wake Forest University

"The Visualization of Statues in Prints: Marcantonio Raimondi and the Variation on Statue Bases"
Mandy Richter, Kunsthistorisches Institut in Florenz, Max-Planck-Institut

"Sculpture’s Narrativity in the Northern Renaissance Prints"
Franciszek Skibiński, Nicolaus Copernicus University, Toruń

"Cherubino Alberti and Reproductive Printmaking: A Comparison between Ancient Reliefs and Polidoro’s Monochromes"
Maria Gabriella Matarazzo, Scuola Normale Superiore, Pisa

---
To register or to view the entire program, including information about receptions and other pre-conference events, please click on the 'External Link' below.

Registration deadline: September 8, 2017
Contact: beyond-reproduction-2017@gmx.de

For the lectures on 19th september we kindly ask for registration via email no later than 8th September 2017.

We would like to invite all interested guests to the public evening lecture of Dr. Rudolf Rieger in the print room of the Cabinet of Prints, Drawings and Photographs on 18th September 2017 at 6.30 pm.

Monday, 18.09.2017
6:30pm Public evening lecture in the study room of the Kupferstich-Cabinet

Dr. Rudolf Rieger (Bonn)
Adam von Bartsch (1757-1821) as a graphic artist: the reproduction of old masters' manuals between facsimile claims, normative presuppositions, and artistic interpretation


Tuesday, September 19, 2017, Hans-Nadler-Saal, Residenzschloss, Dresden

Session I: Collecting interpretive graphics in the course of time / Collecting Interpretative Prints - Now and Then

Session II: Translation and implementation / Translation and Technique

Session III: Mobile Motifs and Changes of Meaning

Session IV: Interpretation Graphs as Sources for the Recitative History of Art / Interpretative Prints as Sources for the History of Reception

The symposium is themed to examine how both pedagogical approaches and increased watermarks data for Rembrandt’s prints can be used along with traditional connoisseurship to answer questions about Rembrandt as a printmaker—and raise new ones. Speakers will address how cross-disciplinary projects and collaborative research in academic collections can inspire new methods of learning and extend the reach of existing knowledge about Rembrandt’s practice. A panel discussion will explore the teaching of Rembrandt’s prints from a variety of perspectives in different settings, including the university, the encyclopedic museum, and the conservation studio.

Presenters will include:
- Erik Hinterding, Curator of Prints, Rijksmuseum, Amsterdam
- Susan Donahue Kuretsky, Professor of Art on the Sarah Gibson Blanding Chair, Vassar College
- Nadine Orenstein, Drue Heinz Curator in Charge, Department of Drawings and Prints, Metropolitan Museum of Art
- Margaret Holben Ellis, Eugene Thaw Professor of Paper Conservation, Institute of Fine Arts, New York University
- Elizabeth Nogrady, Andrew W. Mellon Curator of Academic Programs, Frances Lehman Loeb Art Center, Vassar College
- C. Richard Johnson, Jr., Jacobs Fellow in Computational Arts and Humanities, Cornell Tech, New York, and Geoffrey S. M. Hedrick Senior Professor of Engineering, Cornell University
- Stephanie S. Dickey, Bader Chair in Northern Baroque Art. Queen’s University
(Complete schedule and talk topics to be announced.)


At Cornell, major funding for the exhibition has been provided by Dale Reis Johnson and Dick Johnson; Seymour R. Askin, Jr.; Nelson Schaenen, Jr., and Nancy Schaenen; and Joseph W. Simon and Ernest F. Steiner in honor of Vera C. Simon. Additional support has been provided by Malcolm and Karen Whyte, and a gift endowed in memory of Elizabeth Miller Francis ’47. Support for the symposium has been provided by Ronni Lacroute.

At Oberlin, support for the exhibition has been provided by the Gladys Krieble Delmas Foundation and the Robert Lehman Foundation, Inc. Additional support has been provided by Maryan and Chuck Ainsworth, Elaine A. Bridges, Andrew Butterfield and Claire Schiffman, Pamela and James Elesh, Sarah G. (Sally) Epstein and Donald Collins, Suzanne Hellmuth and Jock Reynolds, Brian and Mary Kennedy, Donald Oresman, Betsy Pinover Schiff, Deborah and Andy Scott, Katherine Solender and Willie Katzin, Sietske and Herman Turndorf, Gloria Werner, the John H. and Marjorie Fox Wieland AMAM Support Fund, and the Friends of Art Fund.