he artist, presented for the first time at the Jenisch Vevey Museum. Three themes guide the installation: Parisian urban views, the rural landscapes of Brittany, and the trees of the Vaud countryside. They reflect the various journeys taken by the artist, between France and Switzerland, between 1881 to 1890.

Forel's etchings are contrasted with works of similar subjects from the collection (Rembrandt, Félix Buhot, Francis Seymour Haden and Charles-François Daubigny). The exhibition also benefits from loans of several matrices and preparatory drawings from the Alexis Forel Museum.

laire Brizon

Over the past decades, art historians and historians of sciences
have increasingly focused their attention on epistemic images in different scientific areas. The aim of this interdisciplinary workshop is to examine practices of knowledge production since the 16th century, by focusing on their visuality and materiality. Our goal is to investigate how images, objects, and texts interact, and how these interplays shape the disciplines of art history, anthropology, and the natural sciences.

DAY 1, April 19, 2018

Morning, 9.30-12.30
DUOS SESSION (Upon Registration)
Room: Kuppelraum, Hochschulstrasse 4

9.15
Introduction, Dr. Sara Petrella and MA Claire Brizon

Images of Science
9.30-10.00
MA Antoine Gallay (UNIGE), Thinking with Diagrams: Sébastien Le Clerc’s Illustrations for the Nouveau Système du Monde (1706)
Respondent: Prof. Dr. Beate Fricke (UNIBE)

10.00-10.30
MA Guillaume Kaufmann (UNINE), De l’existence d’un intestin chez les infusoires. Félix Dujardin contre Christian Ehrenberg (1841) : problème de la transparence et images idéales
Respondent: Dr. Marc Ratcliff (UNIGE)

10.30-11.00
Coffee break

Bodies and Signs
11.00-11.30
MA Romina Ebenhöch (UNIBE), Wearing Books: Book-shapes
Miniature Pendants of the 15th and 16th Centuries
Respondent: Prof. Dr. Heinzpeter Znoj (UNIBE)

11.30-12.00
MA Sarah Brämer (UNIBAS) L’origine et le progrès de l’art, de la parole et de l’écriture selon William Warburton
Respondent: Prof. Dr. Christophe Uehlinger (UZH)

12.00-12.30
MA Zainabu Jallo (UNIBE), From the Sacred to the Spectacular: Performance of Diasporic Consciousness through Visual Representations in Brazilian Candomblé
Respondent: Dr. Carine Ayélé Durand

Moderator: Dr. Theresa Holler (UNIBE)

Afternoon:
Museum Visit (Upon Registration)
14.30-16.00, Historisches Museum, Helvetiaplatz 5
With curator Dr. Alban von Stockhausen

16.45-17.15 Coffee break

Keynote
17.15-18.00, Kuppelraum, Hochschulstrasse 4
Prof. Dr. Alban Bensa (EHESS), The New Caledonia of Fritz Sarazin: Images, Objects, and Narrative Forms
Roundtable

18.15-19.00, Kuppelraum, Hochschulstrasse 4
The Image Paradigm
Prof. Dr. Alban Bensa (EHESS), Prof. Dr. Silvia Naef (UNIGE), Dr. Vera Wolff (ETH)
Moderator: Prof. Dr. Noémie Etienne (UNIBE)

DAY 2, April 20
Morning, 9.30-12.30

Working group (Upon Registration)
Room: Kuppelraum
Creating Otherness
With Prof. Dr. Alban Bensa (EHESS)
Moderator: Dr. Chonja Lee (UNIBE)

10.45-11.15 Coffee break

Afternoon:
DUOS SESSION (Upon Registration)
Room: Kuppelraum

Expert Practices
14.00-14.30
MA Maxime Martignon (CP UPEM), Ecrire les objets de curiosité à l'époque de Louis XIV : usages non savants de la collection de Michel Bégon (1638-1710)
Respondent: Prof. Dr. Adrien Paschoud (UNIBA)

14.30-15.00
MA Yasmine Atlas (UNIGE), La fabrique de l'expert : un gentilhomme angevin au service de la Compagnie des Indes
Respondent: Dr. Paola von Wyss-Giacosa (UZH and Völkerkundemuseum)

15.30-16.00
Coffee break

Global Histories
16.00-16.30
MA Paul Mellenthin (UNIBAS), Writing Art Histories with Photographs. The Case of Adolphe Braun
Respondent: Prof. Dr. Michaela Schauble (UNIBE)

16.30-17.00
MA Marina Leoni (UNIGE), Le climat dans la construction des géographies artistiques au siècle des Lumières. Le cas des Réflexions critiques sur la poésie et sur la peinture (1719) de Jean-Baptiste Du Bos
Respondent: Prof. Dr. Noémie Etienne

Moderator: Dr. Yvonne Schweizer (UNIBE)

Evening:

Book Launch
Prof. Dr. Philippe Borgeaud (UNIGE) and Dr. Sara Petrella (UNIBE): Le Singe de l’autre. Du sauvage américain à l’histoire comparée des religions (Geneva, Bibliothèque de Genève; Paris, éditions des Cendres, 2016).

Jean-François Daubigny. A selection of 45 prints of the finest landscapes and a small number of portraits will be shown in the museum’s Berlage Room.

In the mid-19th century a group of young artists settled in the French village of Barbizon, close to the forest of Fontainebleau, just outside Paris. There, taking a fresh look at the world, they painted the simple rural life, free of all academic convention. Their practice of painting ‘en plein air’, in the open air, enhanced the realism of their work.

In the years that followed the Barbizon School became an important role model for artists from all over Europe. The quiet village of Barbizon turned into an international artists’ colony, where artists from the Netherlands, Germany, Sweden, Britain, Belgium and even the United States went to paint the landscape as Rousseau and Millet had done. The painters of the Hague School and German artist Max Liebermann also regarded the Barbizon School as an important source of inspiration. Liebermann, whose work will be on display at the Gemeentemuseum at the same time, in a major retrospective, was for example a big fan of Millet.

etter understand them. Doing so, he developed a 'Japanese eye' that would give his work a new direction. What was this Japanese way of looking? Discover more in the exhibition Van Gogh & Japan.

Van Gogh fell under the spell of Japanese printmaking in Paris, where he quickly purchased over 600 prints from a dealer. He hung them in his studio, so he could gradually absorb the influence of these colourful works. More than 100 Japanese prints from his collection are on view in the exhibition.

ish Library)
Professor Ulrike Stark (University of Chicago)

DAY 1 • Thursday, 28 June 2018

1100–1140 Registration & refreshments
1145–1200 Introduction

1200–1230
Lucie Ryzova (University of Birmingham, UK)
Free floating words: the social landscapes of print in colonial Egypt

1230–1250
Niki Sioki (University of Nicosia, Cyprus)
Neighbours on paper: multilingual documents and multi-script printing in late 19th and early 20th century Cyprus

1300–1400 Lunch

1400–1420
Naïma Ben Ayed (Dalton Maag Ltd, UK)
Maghreban specificities, past and present: a closer look at typography and calligraphic heritage in the Maghreb

1430–1450
Gerry Leonidas (University of Reading, UK)
Themes in the globalisation of typeface design

1500–1515 Break

1515–1525
Arina Stonescu (Lund University, Sweden)
Communist typography in Romania 1948–1989: the education of typographers during the communist time and its legacy

1530–1540
Eliza Deac (Babeş-Bolyai University, Romania)
Shaping the visual identity of Modernist poetry: the role of typographical layout in French & Romanian Symbolist poems

1545–1555
Guglielmo Rossi (Royal College of Art, UK)
The collective production of radical politics in print, London in the 1970s

1615–1630 Break

1630–1650
Tobias Klein (Humboldt University, Germany)
Tones and characters: towards a comparative study of musical letter notation

1700–1720
Jesús Barrientos (University of Puebla, Mexico)
The Renaissance letters of Mesoamerican scribes in sixteenth century New Spain

1730–1800
Graham Shaw (University of London, UK)
The iconography of the Indian freedom movement: the Japanese dimension

1800–1815 Closing remarks

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DAY 2 • Friday, 29 June 2018

1030–1120 Registration & refreshments

1130–1200
Robin Jeffrey (National University of Singapore)
Printing in India: technology, commerce and turning points – puzzles and possibilities

1200–1220
Wafi Momin (Institute of Ismaili Studies, UK)
From manuscripts to printed texts: the evolution of Khojki script and literary production

1230–1250
Fiona Ross (University of Reading, UK)
The analysis of printed characters: reflections on typographic history and textual representation

1300–1400 Lunch

1400–1420
Vivien Chan (Nottingham Trent University, UK)
Colour and lights: the politics of traditional Chinese script in Hong Kong’s urban landscape

1430–1450
Ritika Prasad (University of North Carolina, USA)
Wheeler booksellers: railways and reading in colonial India

1500–1515 Break

1515–1525
Marta Dos Santos (LCC/School of Oriental & African Studies, UK)
Printing for salvation: the production of the morality book Yuli Chao Chuan Jingshi as a hell-avoiding strategy in late imperial China

1530–1540
Pouran Lashini (University of Dallas, USA)
Early Iranian printing through various writing systems and artefacts

1545–1555
Svenja Michel (University of Hamburg, Germany)
Changes in book art: images in Books of Hours between manuscript making and printing

1615–1630 Break

1630–1650
Zhenzhen Lu (University of Hamburg, Germany)
Thinking about orthography in early modern China

1700–1720
Juliette Cezzar (Parsons School of Design, USA)
Movable type, multiple scripts, changing alphabets: design, technology, and literacy in the late Ottoman Empire

1730–1800
Ulrike Stark (University of Chicago, USA)
Making tracts attractive: missionary print in nineteenth-century rural India

1800–1815
Closing remarks

Register via the 'External Link' below.

e "tunnel des dessins" at the Musée des Pêcheries, which presents many works for the first time.

Quantitatively, the drawing room of the Musée des Pêcheries de Fécamp is one of the most modest of the Museums of France. But it still preserves works of great beauty, which until now has remained very confidential because they can not be exposed in good conditions of conservation. The aim of this "drawing tunnel" - in the words of Achim von Meier, architect/museographer who designed it - is to be able to exhibit these fragile works in rotation, protected from the direct glare of the daylight, under rigorously controlled artificial lighting, and thus to the admiration of the public.

The sixteenth century is beautifully represented in the collection of Fécamp, with 28 portraits of characters of the court of Valois. Also including the work of Pierre Dumonstier, the Portrait of King Charles IX child is the flagship; from the eighteenth century, the young woman sitting plaiting a wreath of flowers by Jacques-André Portail (1695-1759) is an exceptional intimate sheet particularly attractive and precious. But most of the are from the nineteenth century. Alongside the sketches by Delacroix, maritime or regional designs are, unsurprisingly, the most numerous, and the magnificent works of Pierre Prins (1838-1913), impressionist pastel artist, close friend of Édouard Manet, who stayed several times in Fécamp at the turn of the century.

In 2011, the descendants of Édouard Renaud, a railway engineer born in Fécamp in 1873, offered the Musée de Fécamp 53 watercolors that their grandfather made during the First World War when he was mobilized as a officer in charge of the construction of the railways while serving on the front. The donation of these watercolors of war, which illustrate the daily life of the soldiers, was completed in 2016 with a new donation of 60 additional sheets. They will form the subject of the second exhibition of the "tunnel of drawings" presented from November 11, 2018 on the occasion of the centenary of the Armistice.

uc d’Aumale, have never been exhibited to the public.

The graphic arts collection at Chantilly, one of the richest in France, was established by Henri d’Orléans, Duc d’Aumale (1822-1897), son of King Louis-Philippe. The former bequeathed his collection to the Institut de France in 1884, along with the Château de Chantilly and its collections of paintings, precious books and art objects. These collections form the heart of the Musée Condé. Respecting the wishes of the donor, they cannot be lent outside of Chantilly.

A lover of 17th-century Nordic engravings, in the second half of the 19th century the Duc d’Aumale acquired a number of Rembrandt’s soft-ground etchings. He selected prints of the highest quality: Christ Healing the Sick, also known as The Hundred Guilder Print (2nd print on Japanese paper) bears discreet annotations from the hand of the great specialist, Robert-Dumesnil (1778-1864): "‘I do not know a more beautiful print". It was estimated at 124 pounds in the inventory handwritten by the Duc d’Aumale; 120 pounds in the inventory of burgher and Mayor of Amsterdam, Jan Six. The Landscape with Three Trees by the same Rembrandt is deemed "the most beautiful print ever known"; it was acquired in London at the art dealer Colnaghi’s on 24 January 1859 as "proof of the greatest beauty on paper". The prints bear the stamp of some of the greatest collectors, including Pierre Mariette in the 17th century.

According to the current Dutch specialist of Rembrandt’s engraved work, Dr Jaco Rutgers, this is possibly Rembrandt’s finest set of engravings preserved in France, after the four large Parisian collections of the Bibliothèque Nationale de France, the Edmond de Rothschild Collection at the Musée du Louvre, the Dutuit Collection at the Petit Palais, and the Custodia Foundation. The Duc d’Aumale’s Collection features several scenes of beggars and paupers, landscapes, portraits (including Rembrandt’s mother), and some religious scenes. The last room displays several drawings from the Musée Condé, attributed to Rembrandt or his entourage.

world. He notably illustrated the novel "Notre Dame de Paris" by Victor Hugo and "Les Trophées de José-Maria" by Hérédia. He was a fantastic engraver and painter.

tive painting, and were close to artists at the Ecole des Beaux-Arts.

Their taste for colour and decorative motifs could be satisfied in designing interiors. In fact, the idea of a total work of art, which developed in the late 19th century, became a call for the integration of the artistic disciplines. These architectural decors were inspired by a vocabulary that extended from medieval times to the 18th century, and included the influences of Orientalism. This historicist approach is revealed as much in public buildings by the use of panelling and marouflage canvas to treat surfaces, as in private dwellings where great importance was placed on drapery, mouldings and painted decorations. The salons, reception rooms and stairs were the areas most favoured for decoration by architects, such as the one in the Gare d’Orsay by Victor Laloux.