br> Lynn Marsden-Atlass, Executive Director, Arthur Ross Gallery and University Curator

Speakers:
“The Poet with a Bird on His Shoulder: Paul Gauguin’s Portrait of Stéphane Mallarmé”
Suzanne Boorsch, The Robert L. Solley Curator of Prints and Drawings, Yale University Art Gallery

“Style, Image Technology, and Politics: Impressionist Peintres-Graveurs between 1878 and 1891″
S. Hollis Clayson, Ph.D., Bergen Evans Professor in the Humanities and Professor in Art History, Northwestern University

“Darkness, then Color: Degas and Carnation”
Darcy Grimaldo Grigsby, Ph.D.
, Goldman Distinguished Professor in the Arts and Humanities, and Professor in Art History, 
University of California, Berkeley

“Pater’s Impressions”
Jeremy Melius, Ph.D., Assistant Professor, Department of Art & Art History, Tufts University

Reception to follow.


**For more information please email Meg Pendoley at pendoley@upenn.edu

Callot, Israël Silvestre very quickly turned to the cityscape. Small and picturesque, his early “views” were of his native Nancy and the cities he passed through on the several journeys he made between Paris and Rome.

By contrast, his mature works offer broad panoramas of the French capital, with its royal festivities and the changes it was undergoing, and outlines of the cities conquered by Louis XIV in Lorraine and the Ardennes. In addition, his series devoted to the handsome Ile-de-France châteaux—Vaux-le-Vicomte, Meudon, Montmorency, Versailles—brought a fresh eye to architecture and gardens.

amurais, geishas and actors from the Japanese kabuki theatre, was jeopardized by the growing Western influence which, in turn, in the course of its experimentation with new techniques, materials and forms of expression, incorporated elements of Japanese printmaking into art nouveau.

Several years later, in the early twentieth century, a group of artists and publishers rekindled traditional Japanese art through shin hanga, an art movement that followed in the footsteps of ukiyo-e and succeeded in preserving a space for the printmaking tradition in the context of the new times, endowing it with a new sensibility.

In this exhibition the Fundació Joan Miró is featuring the work of one of the great masters of shin hanga, Itō Shinsui (1898-1972), whose artistic and aesthetic approach helps us reveal, once again, the subtle and deep connections between the work of Joan Miró and Japanese art and thought. A serene observation of objects and a search for new perspectives capable of reaching beyond the influence of old images and traditions, are some of the conceptual and creative coincidences between the two artists.

of artistic production, from Melencolia I of 1514, one of the most intriguing engravings by Albrecht Dürer, to the oil sketch of 1843, Jean-Baptiste-Camille Corot, entitled The Arch of Constantine and the Roman Forum. Also present in the exhibition is a drawing by Claudio de Lorena that illustrates one of its classic landscapes from the 17th century; the meticulous oil clouds studies of the eighteenth-century British painter, John Constable, and a watercolor with annotations by Eugène Delacroix illustrating his trip to Morocco in 1832. This interesting group of objects, each unique in its own right, shows a variety of schools, periods, techniques and subjects. While the landscapes of Titian, Claude, Constable and Corot present a brief overview of the traditions of this genre, the public can also enjoy curious examples of inventive imagination through the drawings of Goya, Fuseli and Liotard. The small treasures that make up the exhibition are usually not visible in the Frick, so the show reveals an unknown aspect of this great New York collection.

ble aspect of her work. Collages, large watercolour drawings and shadow puppetry figures will form part of a large-scale installation specially created for Vevey, in which the exhibition space is transformed into a wasteland theatre where temporalities and cultures blend together. Part workshop and part cabinet of curiosities, the project is a tribute to Fanny Jenisch, the woman to whom the museum owes its existence and who, like the artist, was attached to the city of Hamburg.

be offered as part of the museum's First Thursdays series:

'Rembrandt: The Last Renaissance Artist'
Catherine Scallen, Andrew W. Mellon Associate Professor in the Humanities and associate professor of art history at Case Western Reserve University

Rembrandt Harmensz. van Rijn was an innovative Dutch printmaker and painter of the 17th century, but his choice of subjects and thematic presentation allied him more with earlier Renaissance art. This lecture examines this retrospective side of Rembrandt's art and offers possible motivations, centering on his personal ambition as an artist.

On Friday, April 6, the Allen will host a Rembrandt Study Day for specialists and advanced students. Three workshops led by invited scholars will be held in the exhibition. You can find more information on the program and registration here.

The Study Day event is free, but requires registration by March 23. Due to the small size of the gallery and the prints to be discussed, the workshops are limited to 15 participants each.

If you have questions about these programs, please contact Jill Greenwood, Eric & Jane Nord Family Curator of Education at jgreenwo@oberlin.edu or Andaleeb Badiee Banta, Curator of European and American Art, at abanta@oberlin.edu.


The accompanying exhibition catalogue ($30) is also available for order. Co-authored by myself and Andrew C. Weislogel, The Seymour R. Askin, Jr. '47 Curator of Earlier European and American Art at the Herbert F. Johnson Museum of Art at Cornell University, the publication may be purchased by emailing member.amam@oberlin.edu or calling 440-775-8665.

his work in the holdings of the MAH, is complemented by important pieces by the artist from private and public collections, including those of the Aargauer Kunsthaus and the Victoria & Albert Museum in London.

The exhibition is structured around the landscape and the gure, their representation and their reciprocal relationship, while the central focus is Menn’s artistic research. A student of Lugardon and Ingres, he studied existing models, the gure and nature. Menn rst tried to deepen his understanding and then to capture the form systematically, and to organise and give rhythm to the pictorial surface. As a passionate teacher, he managed to impart to Ferdinand Hodler and many others the fundamentals of imagination and composition.

, Christen Købke, P.S. Krøyer and many more. You can examine the works and methods of some of the greatest figures of art history in this winter’s major special exhibition at SMK.

The exhibition delves into the methods used by various artists, giving you rare insight into the artistic process right from the initial ideas to the fully finished work. A stellar selection of major masterpieces accompanied by rarely-seen sketches and studies allows you to trace the artists’ works and methods, exploring why and how these works ended up looking as they do.

More than 150 drawings, prints and paintings from the 15th to the 20th century enable you to scrutinise the links between sketches and finished art works, exploring how artistic creativity has unfolded itself in different ways through the ages.

d the architect as "an exile who lives in Normandy in a workshop carved like a chest of the Renaissance. "Inspired by the discovery of the habitat of Flanders, the Adeline will transform their house at museum attempts and then claim it as home museum echoing the book published in 1881 by Edmond de Goncourt: The House of artist.

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Session at the CONF: Amenagement interieur (Paris, 19 Mar 18)

AMENAGEMENT INTERIEUR ET COHABITATION DES STYLES
AUX EPOQUES MODERNE ET CONTEMPORAINE

Galerie Colbert, Salle Vasari
Lundi 19 mars 2018
9h30-17h - Entrée libre

Journée d'étude organisée par Claire Hendren, Barbara Jouves et Hadrien Viraben

This workshop proposes to question the usual manner and pragmatic fit in a domestic space objects that were originally not intended to meet, despite playing with them or dissimilarity.

If art history often puts us in the presence of decorative interiors where the harmony is designed according to the ideal of a "total work of art" that here is an opposite side that will exéminé. It is indeed to offer several reflections from unexpected and sometimes surprising parallels that can elicit heterogeneous sets of objects from nature and from different eras. This topic joins the history of taste and collections: he places in the heart of the debate practical need for a collector, dealer or particular, to compose an interior from disparate elements by their age, shape or use.

The summoned cases show the range of possibilities, some have chosen to associate their old furniture to modern art, other modern furniture to old works, or to mix different collections more widely typologies in same space, while suggesting the sake of the whole effect. Teeming and eclectic, these inner advocate as it organized disorder. Similarly, their components, and works of art, sometimes seen as sources of pleasure, sometimes considered with a more trivial purpose, are presented in constant mutation. They then become problematic for the historian who interpret consistently, often tempted to categorize and fix a one-way in time and space.

This day and for researchers who study part of receiving the articles and its impact on their perception, their use and history, as well as people interested in the layout of the space itself. This international and sub-national panorama of modern and contemporary is organized in four frames: the object, as part of internal heterogeneous or subject itself to different influences; the part, through the typical case of the library; the house as a whole; Finally, the image and its role in the public dissemination of these developments.

Prize for the Best Paper, a gift from the Mervat Zahid Cultural Foundation

10 AM: Welcome
Peter Trippi, President of Association of Historians of Nineteenth-Century Art

10:15 AM – 11:30 AM: First Morning Session & Discussion
Marilyn Satin Kushner, New-York Historical Society, Moderator

Lucie Grandjean, Université Paris Nanterre, “John Vanderlyn and the Circulation of Panoramic Images in Nineteenth-Century America: Promoting and Diffusing ‘a love and taste for the arts’”

Remi Poindexter, The Graduate Center, City University of New York, “Martinique's Dual Role in Alcide Dessalines d'Orbigny's Voyage Pittoresque”

Alexandra Morrison, Yale University, “Unfaithful: Julie Duvidal de Montferrier’s Copies”

11:30 AM - 11:45 AM: Break

11:45 AM - 12:45 PM: Second Morning Session & Discussion
Roberto C. Ferrari, Columbia University, Moderator

Siddhartha V. Shah, Columbia University, “Tooth and Claw: Chivalry and Chauvinism in the Jungles of British India”


Clayton William Kindred, Ohio State University, “The Harem in Absentia: Analyzing Race, Gender, and Sexuality in Jean Lecomte du Nouÿ’s The Gate of the Harem”
Scholarship has highlighted the prevalence of harem imagery throughout nineteenth-century art. However, few works have addressed images of the harem that problematize traditionally associated ideas of heterosexual fantasy and phallic control. This paper explores such problems as presented in Lecomte du Nouÿ’s 1876 painting The Gate of the Harem.

12:45 PM – 2:15 PM: Lunch Break

2:15 PM – 3:30 PM: First Afternoon Session & Discussion
Patricia Mainardi, Graduate Center, City University of New York, Moderator

Jennifer Pride, Florida State University, “The Poetics of Demolition: The Pickax and Spectator Motifs in Second Empire Paris”

Kathryn Kremnitzer, Columbia University, “Tracing Mlle Victorine in the Costume of an Espada”
*** Throughout the 1860s, Edouard Manet employed watercolor as an intermediary between painting and printmaking, enabling pictorial revision from canvas to copperplate. This presentation will explore his largely overlooked corpus of watercolors, thus augmenting our understanding of his conceptual and compositional concerns across media.

Galina Olmsted, University of Delaware, “’Je compte absolument sur vous’: Gustave Caillebotte and the 1877 Exhibition”

3:15 PM – 3:30 PM: Break

3:30 PM – 4:45 PM: Second Afternoon Session & Discussion
Petra ten-Doesschate Chu, Seton Hall University and Nineteenth-Century Art Worldwide, Moderator

Maria Golovteeva, University of St. Andrews, “Photography as Sketch in the Works of Fernand Khnopff”

Isabel Stokholm, University of Cambridge, “Fathers & Sons? Two Old Peredvizhniki and a New Generation of Russian Artists, 1890–1914”

The 2018 jury consists of Petra ten-Doesschate Chu, Marilyn Satin Kushner, Roberto C. Ferrari, Patricia Mainardi, and Peter Trippi. The symposium committee includes Caterina Pierre and Margaret Samu. Special thanks to Amira Zahid and Alia Nour of the Dahesh Museum. The symposium is free and open to the public; reservations are suggested but not required.