(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

ed 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

$199 for members of the American Institute for Conservation, $249 for non-members, and $119 for students.

Workshops and tours will take place on October 30 and November 3. Applications are currently being accepted for workshop on collotype printing, photogravure printing, and processes identification. Interested individuals must apply by April 1 to be considered for a workshop. Tours of photomechanical collections in prominent local institutions will be offered. Registration will open at the beginning of May on a first-come first-serve basis.

For roughly 150 years, people have been accustomed to seeing photomechanical prints on a daily basis. Prints exist in a variety of milieus with multiple variations over time, use, and geography. Historic and contemporary examples are prevalent in museums, libraries, archives, and personal collections worldwide. Photomechanical prints were developed to fill many needs including practical and economical methods for mass reproduction, techniques to facilitate the simultaneous printing of images and text, increased image permanence, a perception of increased truthfulness and objectivity, and an autonomous means of artistic expression. They exist at the intersections of numerous disciplines: photography and printmaking, functional and artistic practices, the histories of photography and the graphic arts, and the specialties of paper and photograph conservation.

The program will provide an opportunity for conservators, curators, historians, scientists, collections managers, catalogers, archivists, librarians, educators, printmakers, artists, and collectors to convene and collaborate while exploring all aspects of photomechanical printing. The resulting advancement of our collective understanding of these ubiquitous but under-researched materials will allow for new interpretations and improved approaches to their collection, interpretation, preservation, treatment, and display.

The program schedule, abstracts, and workshop information can be found at https://learning.culturalheritage.org/p/photomechanical. Register for the symposium and apply for the workshops now!

from Bosch to Bruegel (October 9, 2022, through January 8, 2023), a collaboration with the Albertina Museum, Vienna

Thursday, November 3, 2022
Keynote
6:00 p.m.
Stijn Alsteens, International Head, Department of Old Master Drawings, Christie’s
Friday, November 4, 2022
Welcome and Introduction
10:00 a.m.
Heather Lemonedes Brown, Virginia N. and Randall J. Barbato Deputy Director and Chief Curator
Emily J. Peters, Curator of Prints and Drawings, the Cleveland Museum of Art
Session 1: Color and Practice
10:45 a.m.–12:05 p.m.
Chaired by Laura Ritter, Albertina Museum
• Sixteenth-Century Netherlandish Drawings on Colored Grounds
Olenka Horbatsch, British Museum
• New Terrains: Landscape Drawings on Colored Grounds in the Low Countries
Stephanie Porras, Tulane University
• Hendrick Goltzius and the Material of Blue Paper in Haarlem
Alexa McCarthy, University of St. Andrews
• Abraham Bloemaert and Karel van Mander: Drawing and Painting in Pink
Austėja Mackelaitė, the Morgan Library & Museum
Session 2: Practice and Audience
1:15–2:25 p.m.
Chaired by Annemarie Stefes, Independent Scholar, Bremen
• Stained Glass in the City: Drawing for a Booming Market in the Netherlands
Ellen Konowitz, State University of New York, New Paltz
• “Dropping a line:” Contemporary Inscriptions on Netherlandish Drawings
Saskia van Altena, Rijksmuseum
• Drafting Netherlandish Sculpture: The Spencer Album in the New York Public Library
Ethan Matt Kavaler, University of Toronto
• Jacques de Gheyn II Drawing Inventions nae ‘t leven en uyt den gheest
Susanne Bartels, University of Geneva, University of Amsterdam, and Rijksbureau voor Kunsthistorische Documentatie (RKD)
Session 3: Audience and Place
3:00–4:20 p.m.
Chaired by Emily Peters, the Cleveland Museum of Art
• Amateur Drawing, Music Book Production, and Sociality in Sixteenth-Century Urban Bruges
Huw Keene, University of Edinburgh
• Designs for a Pious City: Lambert Lombard and Catholic Monuments for Liège
Elizabeth Rice Mattison, Hood Museum of Art
• Reimagining the Post-Reformation Landscape through Drawing
Virginia Girard, Columbia University
• More than Drawing: Intermediality of Netherlandish Drawings around 1600
Iris Brahms, Free University Berlin
Closing Remarks
4:30–5:00 p.m.
Victoria Sancho Lobis, Benton Museum of Art, Pomona College
All sessions will be held in the John C. and Sally S. Morley Family Foundation Lecture Hall at the CMA.
Registration
Attendance is free and open to the public, but registration is required. Please follow this link to register: http://cma.org/TOTCsymposium.
Lodging information
There are two hotels within easy walking distance to the museum:
Courtyard by Marriott Cleveland University Circle
2021 Cornell Rd, Cleveland, OH 44106
P: +1 (216) 791-5678
https://www.marriott.com/en-us/hotels/clece-courtyard-cleveland-university-circle/overview/
Glidden House
1901 Ford Drive, Cleveland, Ohio, 44106
P: +1 (216) 231-8900
https://www.gliddenhouse.com/

Exhibition Information
https://www.clevelandart.org/exhibitions/tales-of-the-city
Contact
NetherlandishDrawings@clevelandart.org
Tales of the City: Drawings in the Netherlands from Bosch to Bruegel is supported as part of the Dutch Culture USA program by the Consulate General of the Netherlands in New York.


Generous support is provided by the Robert Lehman Foundation. Additional support is provided by Randall J. and Virginia N. Barbato.

All exhibitions at the Cleveland Museum of Art are underwritten by the CMA Fund for Exhibitions. Principal annual support is provided by Michael Frank in memory of Patricia Snyder. Major annual support is provided by the Womens Council of the Cleveland Museum of Art. Generous annual support is provided by an anonymous supporter, Dick Blum (deceased) and Harriet War

d moneys of account. In and well beyond Florence, Renaissance artists across Europe worked with gold and silver, wax and wood, sound and space to create both tangible and intangible cultural heritage. This panel seeks to revisit the "material turn" in the humanities and to recouple Renaissance materiality to the immaterial. Thus we ask about the spatial, technical, ritual, and institutional framings of any material work of art and about the past voices, phantom performers, and music that enlivened plays, dances, processions, liturgies, and other events. We seek to incite more performative, active imaginings of various objects in their artworlds—books, musical instruments, tools, pigments, dye woods, lead type, copper plates, among much more—and the artists who once manipulated them, breathed on them, and performed before them.
Proposals will also be considered for a special issue of Arts journal co-edited by Lisa Pon (USC) and Kate van Orden (Harvard).
Please email 150-word abstract and 200-word cv to lisapon@usc.edu and vanorden@fas.harvard.edu before AUGUST 1.

to get inky and print up some gigantic relief blocks in our back driveway.

While the steamroller may be the star of the show, the whole shop will be buzzing with activities and fun!

Please visit the link below for more information.

ang (Academia Belgica): Welcome
Dominique Allart & Antonio Geremicca (Université de Liège): Introduction

Moderator: Sabine van Sprang
14.20 Joris Van Grieken (KBR, Royal Library of Belgium): Between Rome and Antwerp. Rome and the Rise of Professional Printmaking in the Low Countries, 1530-1550

14.50 Dominique Allart (Université de Liège): Once Again on the Triumph of Bacchus Engraved by Cornelis Bos, Its Sources and Reception

15.20 Discussion
15.40 Coffee Break

Moderator: Anna Cerboni Baiardi
16.10 Alessia Alberti (Milano, Castello Sforzesco, Raccolta delle stampe ‘A.
Bertarelli’): Il Sogno di Raffaello di Giorgio Ghisi tra Italia e Fiandre

16.40 Antonio Geremicca (Université de Liège): Tra Giorgio Ghisi e Hieronymus Cock. Sul fortuito successo anversese di Bronzino nell’incisione

17.10 Anne-Sophie Laruelle (Université de Liège): L’utilisation de modèles gravés dans les
tapisseries réalisées dans les anciens Pays-Bas au XVIe siècle. Etudes de cas

17.40 Discussion

Friday, April 8 2022

Moderator: Elena Rossoni
09.30 Laura Aldovini (Pavia, Musei Civici del Castello Visconteo): Tiziano, la xilografia e il Trionfo nei Paesi Bassi
10.00 Giorgio Marini (Ministero per i Beni e le Attività Culturali): Cornelis Cort, Titian, the Carraccis: Reproductive Printmaking as ‘Critical Interpretation’ of Venetian 16th Century Painting

10.30 Discussion
10.50 Coffee Break

Moderator: Giorgio Marini
11.20 Elena Rossoni (Pinacoteca Nazionale di Bologna): Due Crocifissioni a confronto: Jacob Bos, il milieu internazionale romano, e le reciproche influenze tra cultura italiana e fiamminga

11.50 Anna Cerboni Baiardi (Università degli Studi di Urbino ‘Carlo Bo’): Francesco Barocci e Cornelis Cort: un incontro decisivo

12.20 Discussion

12.40 Dominique Allart, Antonio Geremicca & Sabine van Sprang: Conclusion

Conception and Organization:
Prof. Dominique Allart (Université de Liège)
Dr. Antonio Geremicca (Université de Liège)
Dr. Sabine van Sprang (Academia Belgica)

Information and Registration:
D.Allart@uliege.be
antonio.geremicca@uliege.be

l Arts and Culture of African Americans and the African Diaspora at the University of Maryland, College Park, discusses his artistic practice, with an emphasis on the intersections of race and printmaking.

Presented live in the Clark's auditorium. This program will also be livestreamed; advance registration online (https://www.clarkart.edu/event/detail/1989-88540) to receive the livestream link is required.


IMPRINTING RACE: A ROUNDTABLE DISCUSSION ON THE MATERIALITY OF PRINT AND THE MAKING OF RACE

FRIDAY, MARCH 18, 2022
3:00 PM–4:00 PM

This roundtable explores the role of printmaking in tangibly shaping and challenging ideas of racial difference. Motivated by colonial encounters and the later, widespread institution of chattel slavery in the Atlantic world, early modern Europeans and their inheritors sought to materialize race to ground social hierarchy in physical, bodily difference. The participants of this conversation will consider two important strands of recent art-historical scholarship on materiality and the production of race, exploring the question: how have the constitution of matrix and print shaped different conceptions of surfaces and bodies?

Participants include Horace Ballard (Harvard Art Museums), Layla Bermeo (Museum of Fine Arts, Boston), Jennifer Chuong (Harvard University), Jase Clark (Raven Fine Art Editions), Thadeus Dowad (University of California, Berkeley), Kailani Polzak (University of California, Santa Cruz), and Curlee Raven Holton (Lafayette College and Raven Fine Art Editions).

Presented live in the Clark's auditorium. This program will also be livestreamed; advance registration online (https://www.clarkart.edu/event/detail/1988-88539) to receive the livestream link is required.

Additional support provided by the Association of Print Scholars and The Rare Book School.

r>
Please join us for the concluding program for the exhibition Imperfect History: Curating the Graphic Arts Collection at Benjamin Franklin’s Public Library (September 20, 2021 – April 8, 2022). Imperfect History explores the development of the Library’s graphics art collection as it relates to historical and cultural biases within American history. The exhibition is a candid exploration of the evolution of American graphic arts curatorship and collections in one of the oldest cultural institutions in the country.

Collecting, Curating, and Consuming American Popular Graphic Arts Yesterday and Today, including a keynote lecture by Makeda Best, Harvard Art Museums, continues the conversation started through Imperfect History. The symposium seeks to examine changing and innovative directions in how historical popular graphic art (i.e., art not traditionally classified as fine art, that is representative of popular culture, and/or is mass produced and consumed) is curated, interpreted, and used and understood by those who produced, viewed, and consumed it. Collecting, Curating, and Consuming asks how does historical American popular graphic art act as a mirror, bridge, and barrier in facilitating our visual conceptions of our past and present?

Further information, including sessions, panelists, and where to register is at the External Link below.

The exhibition and programming is supported by the Henry Luce Foundation, Walter J. Miller Trust, Center for American Art, Philadelphia Museum of Art, Jay Robert Stiefel and Terra Foundation for American Art.

r materials. We hope to bring together all actors involved in these dynamics, whether conservators, collection managers, registrars, curators, installers, scientists, even artists, in order to initiate a discussion around the challenges and compromises between exhibition and preservation.