CFP: The Profession of the Print Publisher in the long 16th century, Albuquerque NM, 1-4 November 2018

Call for Papers:
The Profession of the Print Publisher in the long 16th century
Session at the Annual Meeting of The Sixteenth Century Society & Conference (SCSC), Nov. 1-4, 2018, Albuquerque NM
Deadline: March 15, 2015

From: Femke Speelberg, Dept. of Drawings and prints, The Metropolitan Museum of Art
Session co-sponsored by the Association of Print Scholars (APS)

One of the most revolutionary changes to the field of printmaking over the course of the long sixteenth century was the growing role and influence of the print publisher. While still a rare, or almost undocumented phenomenon around 1500, by the turn of the following century the print market was largely controlled by individual entrepreneurs and well-established publishing firms. The business of print production necessitated new structures of organization, a division of labor and the creation of sales and marketing techniques that profoundly influenced choices of style, technique, subject matter and formatting, as well as taste and collecting practices.

While neglected in early print scholarship in favor of the artistic contributions of the inventor and or printmaker, in recent years much new information about the role of the publisher has come to light through conferences, exhibitions and publications. Much of this work is (by necessity) of monographic nature, focusing on individual publishers and their output. This session seeks to highlight in particular new research that further elucidates the wide-ranging functions performed by the early-modern print publisher, and through a combination of papers expand our comprehension of the local, national and transnational influence of this new profession on the print market.

Papers are encouraged to focus on:

–    Early print publishers and entrepreneurs
–    Specialized publishers
–    Publishers commissioning prints
–    Working relationships between publishers and printmakers
–    (Exclusive) Collaborations with individual artists
–    Publishers shaping the print market / collecting practices
–    Publishers influencing format / specialized subject matter
–    Publishers sourcing prints from elsewhere
–    Networks of Print Publishers
–    Rivalry and Competition between Print Publishers
–    Selling techniques
–    A Publishers Print stock and stock lists

Please submit an abstract (max. 200 words) and a brief bio (not to exceed 300 words) to Femke Speelberg ( by March 15, 2018. Papers will be chosen for one or possibly two sessions to be held during the annual meeting of the Sixteenth Century Society in Albuquerque, New Mexico. You will receive notification from the conveners by April 2, 2018.

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CONF: Ferdinand II of Austria, Prague, 21-23 February 2018

What: Archduke Ferdinand II of Austria (1529–1595) and his Cultural Patronage between Prague and Innsbruck
Where: Prague, Academic Conference Center, Husova 4a.
When: February 21 – 23, 2018
Information & registration at:
There is no registration fee to participate in the conference.

International Conference organized by the Institute of Art History (Czech Academy of Sciences, Prague) in cooperation with the National Gallery in Prague.

Conference chair: Mgr. Sylva Dobalová, Ph.D., IAH CAS


21st–23rd February 2018

Wednesday 21. 2. 2018 / Academic Conference Center

8.30 Registration
9.10 Welcome by the director of Institute of Art History, CAS, Prague: Tomáš Winter
and short introduction by Blanka Kubíková and Sylva Dobalová

9.30–10.30 Opening lectures
Chair: Sylva Dobalová (Institute of Art History, CAS, Prague)

Jaroslava Hausenblasová (Charles University, Prague): Der Hof Erzherzog Ferdinands II. – seine Organisation, Funktionalität und Finanzierung

Veronika Sandbichler (Schloss Ambras Innsbruck): Die Rekonstruktion der Kunst- und Wunderkammer Erzherzog Ferdinands II.: Facts ‘n‘ Figures

10.30–10.45 Coffee break

10.45–12:15 “Kunstkammer”, Collections, Cultural Transfers I
Chair: Veronika Sandbichler (Schloss Ambras Innsbruck)

Thomas Kuster (Schloss Ambras Innsbruck): „Aus Schatzkisten und Betttruhen“: Das Nachlassinventar Erzherzog Ferdinands II. von 1596

Beket Bukovinská (Institute of Art History, CAS, Prague): Die Kunstkammern Erzherzog Ferdinands II. und Rudolfs II.: Berührungen in der Vergangenheit und Gegenwart

Stanislav Hrbatý (The Museum of Eastern Bohemia, Hradec Králové): Archduke Ferdinand’s Collection of Armouries during his Prague Stay

12.15–13.45 Lunch

13.45–15.15 “Kunstkammer”, Collections, Cultural Transfers II
Chair: Thomas Kuster (Schloss Ambras Innsbruck)

Annemarie Jordan Gschwend (Centro de Humanidades, Lisbon): Antonio Meyting, Hans Khevenhüller and Ferdinand II: Cultural Transfers between Iberia and Schloss Ambras

Michaela Pejčochová (National Gallery in Prague): Chinese Paintings in the Collection of the Archduke Ferdinand II at Schloss Ambras: An Outline of the Reception of first Chinese Paintings in Europe

Markéta Ježková (Institute of Art History, CAS, Prague): Ferdinand of Tyrol and Collections in the Netherlands

15.15–15.30 Coffee break

15.30–17.00 “Kunstkammer”, Collections, Cultural Transfers III
Chair: Katharina Seidl (Schloss Ambras Innsbruck)

Susanne König-Lein (Karl-Franzens-Universität Graz): Collecting in Competition? The Kunstkammern in Graz and Ambras

Eva Putzgruber (University of Applied Arts Vienna): The Lampworked Glass Collection of Archduke Ferdinand II of Tyrol: Research on Collection History and Development of Lampworking Technique at the Court of Innsbruck

Hugo Miguel Crespo (University of Lisbon): A Life Cast Flower Bouquet by Wenzel Jamnitzer

18.30 / Waldstein Riding School, Valdštejnská 3, Prague 1 (Tram No. 18, “Malostranská” station)

For speakers and registered participants: Welcome drink offered by National Gallery in Prague, and visit of an exhibition “Ferdinand II, Archduke of Austria. A Renaissance Ruler and Art Patron between Prague and Innsbruck”

Thursday 22. 2. 2018 / Academic Conference Center

9.30–11.00 The Fine Arts and their Protagonists I
Chair: Blanka Kubíková (National Gallery in Prague)

Madelon Simons (University of Amsterdam): Young Archduke’s Inspiration from the North

Sylva Dobalová (Institute of Art History, CAS, Prague): Fountains and “Models” in the Print Collection of Archduke Ferdinand

Ivo Purš (Institute of Art History, CAS, Prague): The Motif of Grottesco on the Ceilings of Villa Star

11.00–11.15 Coffee break

11.15–12.45 The Fine Arts and their Protagonists II
Chair: Alena Volrábová (National Gallery in Prague)

Blanka Kubíková (National Gallery in Prague): Portraiture at the court of Archduke Ferdinand and Bohemian Lands

Elisabeth Reitter (Leopold-Franzens Universität Innsbruck): Die Hofkünstler Erzherzog Ferdinands II (1567–1595)

Eliška Fučíková (Prague): „Ehrnhold und Baumeister“ Hans Tirol (1505/1506–1576) und sein Wirken in kaiserlichen Diensten

12.45–14.00 Lunch

14.00–15.30 Architecture I – The Seat and the City
Chair: Ivan P. Muchka (Institute of Art History, CAS, Prague)

Herbert Karner (Österreichische Akademie der Wissenschaften, Wien): Stadtraum als Residenzraum? Innsbruck und Wien in der 2. Hälfte des 16. Jahrhunderts

Petr Uličný (Institute of Art History, CAS, Prague): How to Read the Habsburg Architecture at Prague Castle

Sarah Lynch (Friedrich-Alexander-Universität Erlangen-Nürnberg): The Archduke and the Architect: Respect, Agreement, and Discord between Archduke Ferdinand and Bonifaz Wolmut

15.30–15.45 Coffee break

15.45–16.45 Architecture II – Summer Residences and Hunting Lodges
Chair: Herbert Karner (Österreichische Akademie der Wissenschaften, Wien)

Luc Duerloo (University of Antwerp): Deer, Haystacks and the Scent of Basil: Habsburg Summer Residences and the Imagination of Life in the Country

Jan Bažant (Institute of Philosophy, CAS, Prague): Renaissance Villas in Prague as Imperial Attributes: from Ambition to Achievement

Thursday 22. 2. 2018 / Lecture Room of the Institute of Art History, Husova 4, 1st floor
14.00–15.15 Humanism – Science, Literature and Music I
Chair: Vladimír Urbánek (Institute of Philosophy, CAS, Prague)

Marta Vaculínová (Institute of Philosophy, CAS, Prague): Dichterarzt Laurentius Span und seine Stellung unter den Humanisten um Erzherzog Ferdinand II.

Lucie Storchová (Institute of Philosophy, CAS, Prague): Humanist Rhetoric and Strategies of Acquiring Patronage: The Case of Georg Handsch

Frederik Pacala (Prague): Georgius Handschius and music (shorter paper)

15.15–15.30 Coffee break

15.30–16.45 Humanism – Science, Literature and Music II
Chair: Jaroslava Hausenblasová (Charles University, Prague)

Katharina Seidl (Schloss Ambras Innsbruck): Kartoffelblüte und Zitronenbaum. Botanische Highlights am Hof Erzherzog Ferdinands II.

Zdeněk Žalud (Hussite Museum in Tábor): Central European Astrologers and the House of Habsburg in the Middle of the 16th Century

Eliška Baťová (Association for Central European Cultural Studies, Prague): „Volumina octo chartacea Bohemica lingua conscripta“: The Closer Look at the Writings of the Unity of the Brethren in the Library of Archduke Ferdinand II of Tyrol (shorter paper)

Friday 23. 2. 2018 / Academic Conference Center

9.30–10.30 The Dynasty and its Festivities I
Chair: Václav Bůžek (University of South Bohemia in České Budějovice)

Joseph F. Patrouch (University of Alberta): Sisters, Nieces, Nephews and Cousins: The Female Dynastic Contexts of Archduke Ferdinand in the Transitional Year of 1567

Jana Hubková (Stadtmuseum Ústí nad Labem): Der Statthalter Böhmens Ferdinand von Tirol und das publizistische Echo des kaiserlichen Einzugs Ferdinands I. in die Prager Städte am 8. November 1558

10.30–10.45 Coffee break

10.45–11.45 The Dynasty and its Festivities II
Chair: Madelon Simons (University of Amsterdam)

Jan Baťa (Charles University, Prague): Music in the Prague Festivities Organized by Archduke Ferdinand II of Austria

Václav Bůžek (University of South Bohemia in České Budějovice): Selbstpräsentation Ferdinands von Tirol in den Jagdfesten

14.30 / Excursion: Summer Palace Star (Hvězda), Obora Hvězda 445, Prague 6

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CFP: Rulers on Display, Toronto, 26-27 April 2019

Rulers on Display: Tombs and Epitaphs of Princes and the Well-Born in Northern Europe 1470-1670

Toronto: Centre for Reformation and Renaissance Studies, Victoria College in the University of Toronto, April 26 – 27, 2019
Deadline: Mar 31, 2018

During the sixteenth and seventeenth century, princes and the nobility found tomb sculpture an effective means of refashioning their identity and promoting their interests in a rapidly changing society. Enormous funds were spent on these monuments, either by the occupants or by their heirs, for whom the sepulchers became a generalized marker of family status. Epitaphs were also fashioned of words, penned in ink and published as well as engraved in stone. Poetical tributes and eulogies to rulers gave them another type of public persona.

For this conference we wish to focus on the agency of these creations in the social and political arena of Northern Europe and Iberia. Previous discussions have concentrated on the culture of death and remembrance. Although these concepts are integral to any consideration of tombs and epitaphs, we want to concentrate here on their broader cultural significance.

We are interested in the ways tombs and epitaphs helped establish a viable image for leading families and facilitated participation in important networks. In which ways did tombs and epitaphs take part in the debates fostered by the Reformation and the Catholic response? How was inquiry into different religions reflected in tomb sculpture? And how did notions of presence inflect the design of and response to these monuments? In which ways did these works extoll virtues of conquest and triumph? How did monuments to military heroes, noble and commoner, evolve in this period? How did gender alter the equation? How did the tombs of the upper bourgeoisie and professional classes relate to the monuments of the nobility? How did the choice of materials effect the perception of these objects? And how did carved monuments relate to memorial representations in other media such as painting and prints?

Networks of artists, writers, academies, patrons, and their agents soon formed, and knowledge of renowned monuments spread throughout Europe, via travel and by reproductive drawings and prints. What formal languages were adopted by the elite and their artists and what sort of communication was there between the different regions of Europe? Were there particular sculptors or writers who developed enduring paradigms?

We welcome papers of 20 minutes devoted to these and related issues. Please send an abstract of 200-300 words and a brief cv by March 31, 2018 to Ethan Matt Kavaler (University of Toronto) at and to Birgit Ulrike Münch (University of Bonn) at  Participants selected will be notified by June 2018.

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Seminars in the History of Collecting, The French Financial Crisis in the late Reign of Louis XV, London, Monday 26 February 2018

Monday, 26 February 2018, 5.30pm

Seminars in the History of Collecting: The Wallace Collection Lecture Theatre

“Heureux ceux qui ont un coeur de bronze…”

The French Financial Crisis in the late Reign of Louis XV and its impact on Royal Manufactures and Royal Patronage

By Professor Alden Gordon (Paul E. Raether Distinguished Professor of Fine Art, Trinity College, Connecticut, USA)

This talk will address the archival evidence for understanding the financial crisis of the late 1760s and early 1770s and chronologically synchronize the actions on behalf of workers with simultaneous royal commissions. This research points to Marigny’s anguish over the fiscal starvation of his administration as the real motivation for his repeated efforts to resign his post rather than the often stated hypothesis that he had lost influence with Louis XV in the years after the death of his sister, the Marquise de Pompadour.The French Royal Treasury experienced a crisis which began during the Seven Years’ War and persisted through the end of the reign of Louis XV and into that of Louis XVI.  This particularly affected the Direction des Bâtiments du Roi which saw its allowances for the payments to the employees of the Gobelins and the entrepreneurs who maintained the many properties of the Maison du Roi cut to the bone in the 1760s and 1770s. To try to keep his skilled workforce intact, the Marquis de Marigny, Directeur-Général des Bâtiments, Arts, Académies et Manufactures du Roi, was forced to resort to exceptional tactics in paying employees while balancing the fulfillment of projects most essential to statecraft and the priorities of the royal family. Notable among the projects pending during these years were the preparations for the marriage of the future Louis XVI to the Austrian princess Marie-Antoinette. The financial crisis forced Marigny to confront difficult choices in assigning new commissions while witnessing the distress of his loyal artists and craftsmen. His secretary, Jean Étienne Montucla, wrote of the emotional distress in Marigny’s inner circle saying that “I am saddened to give you such frightful news; happy those who, under these circumstances, have a heart of bronze, and who would suffer a whole world to perish without experiencing any movement of sensibility.”

This research forms part of the book in preparation on The Life and Career of the Marquis de Marigny: Patron in the Enlightenment.

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CFP: Routes and Contact Zones. Artistic Mobility and Exchange, Munich, 11-13 October 2018

CFP: Routes and Contact Zones. Artistic Mobility and Exchange (Munich, 11-13 Oct 18)

München, October 11 – 13, 2018
Deadline: Mar 5, 2018

For English please scroll down

26. Tagung des Arbeitskreises deutscher und polnischer Kunsthistoriker und Denkmalpfleger / Homburger Gespräch der Böckler-Mare-Balticum-Stiftung

Wege und Kontaktzonen. Kunstmobilität und -austausch in Ostmittel- und Nordosteuropa

Die Mobilität von Menschen, Objekten und Ideen bestimmte über Jahrhunderte das Kunstgeschehen in Ostmittel- und Nordosteuropa und förderte den überregionalen Austausch. Im Gegensatz dazu stand die Kunstgeschichtsschreibung in den Ländern dieser Großregionen lange unter dem Einfluss von national definierten, politischen Konzepten, die gegeneinander abgegrenzte Kulturentwicklungen postulierten. Begreift man Kunst hingegen als Produkt eines grenzüberschreitenden, transkulturellen Austausches, so rücken die Transferwege und ihre angrenzenden Begegnungsorte in den Fokus der Untersuchung.
Handelswege zu Wasser und zu Land, aber auch die Streckennetze der Bahn und der zeitgenössischen Fluggesellschaften befördern bis heute den künstlerischen Austausch. Sie liefern die Infrastruktur für die Mobilität von unterschiedlichen Akteuren (Künstler, Kunstförderer, Kunsthändler) sowie von Kunstwerken, Materialien, aber auch Ideen, Moden, Technologien und Wissen. Manche dieser Wegenetze entwickelten sich zu dauerhaften Routen der grenzüberschreitenden künstlerischen Kommunikation mit fixen Stationen, an denen sich beispielsweise der Kunsthandel konzentriert. Nicht immer konnten sich jedoch Akteure und Objekte auf den bewährten Trassen bewegen: Kriegs-, politisch- oder naturbedingte Blockaden behinderten zeitweise die Mobilität und Kommunikation; die Suche nach Alternativen führte manchmal zur Entstehung von neuen Orten des Austausches und zu einer Verschiebung der Verhältnisse von „Zentrum“ und „Peripherie“.
In diesem geographischen und zugleich kommunikativen Netzwerk, in dem sich Künstler und Kunstwerke bewegen, spielen die Knotenpunkte, an denen sich der transregionale Austausch konzentriert, eine herausragende Rolle. Handels- und Residenzstädte, Herrscher- und Adelshöfe, Kontore der Kaufleute, Künstlerateliers, Akademien, Salons der intellektuellen Eliten, Museen, Galerien und Kunsthändlerdepots fungieren auf ganz unterschiedliche Weise als Kontaktzonen der Künste. Als solche inspirieren sie transregionale und transnationale Kooperationen und den Austausch künstlerischer Ideen und Modelle sowie den Transfer von Wissen, Materialien und Techniken und tragen zur Entstehung neuer, hybrider Kunstschöpfungen bei, in denen sich die Vielfalt der an ihrer Genese beteiligten Kulturen widerspiegeln. Kontaktzonen können aber auch zu Schauplätzen von Konflikten werden und Konkurrenz zwischen fremden und einheimischen Künstlern oder zwischen verschiedenartigen Interessengruppen hervorrufen. Die Landkarte der Begegnungsorte unterliegt dabei wechselnden Konjunkturen und Veränderungen, die die zeitliche und räumliche Dynamik des transnationalen Kulturtransfers widerspiegeln.
Die Tagung richtet den Blick sowohl auf die bekannten, als auch auf die bislang weniger erforschten Wege in und nach Ostmittel- und Nordosteuropa, die zur künstlerischen Mobilität beitrugen. Welche (Infra-)Strukturen, Akteure und personellen Netzwerke unterstütz(t)en die Mobilität und die daraus folgende transnationale Kommunikation, und welche blockier(t)en sie? Welche traditionellen (z. B. die qualitative, quellenbasierte Fallanalyse) und welche innovativen Methoden (z. B. die quantitative, computerunterstütze Geovisualisierung und Netzwerkanalyse) können neue Erkenntnisse über die Wege des künstlerischen Transfers liefern?
Neben den bekannten (z. B. Prag, Krakau, Vilnius) sollen auch die bisher weniger untersuchten Loci des künstlerischen Austausches in Ostmittel- und Nordosteuropa untersucht und früher dominierende Perspektiven und Darstellungen von ‚Zentren‘ und ‚Peripherien‘ hinterfragt werden. Willkommen sind sowohl Fall- als auch Vergleichsstudien, die die Austauschprozesse und ihre Auswirkung auf die Kunstproduktion dokumentieren und analysieren. Darüber hinaus soll die Aufmerksamkeit nicht nur den traditionellen Hauptakteuren des Kunstgeschehens (Künstler, Auftraggeber), sondern auch den nur scheinbar zweitrangigen „Nebendarstellern“, wie Kaufleuten, Materiallieferanten, (Kunst)Agenten und -händlern oder Kuratoren, gelten.
Auch wenn der geographische Fokus der Tagung auf Ostmittel- und Nordosteuropa liegt, sind transregionale Perspektiven sehr willkommen, die den künstlerischen Austausch dieser Regionen mit/in anderen inner- und außereuropäischen Kunstzentren thematisieren. Der historische Rahmen – vom Mittelalter bis in die Gegenwart – ist bewusst breit gefasst, um synchrone und diachrone Vergleiche anzuregen.

Die 26. Tagung des Arbeitskreises deutscher und polnischer Kunsthistoriker und Denkmalpfleger, zugleich Homburger Gespräch der Böckler-Mare-Balticum-Stiftung, wird vom Institut für Kunstgeschichte der Münchner Ludwig-Maximilians-Universität am Zentralinstitut für Kunstgeschichte in München veranstaltet.

Konferenzsprachen sind Deutsch und Englisch. Neben den thematischen Vorträgen (Redezeit 20 Min.) bietet eine Informationsbörse ein Forum zur Vorstellung aktuell laufender, individueller oder institutioneller Forschungsprojekte zur Kunstgeschichte und Denkmalpflege, die sich mit Themen des Kulturerbes in Ostmittel- und Nordosteuropa beschäftigen (Kurzreferate, max. 10 Min.).

Bitte senden Sie Ihr Exposé für einen Vortrag bzw. für die Informationsbörse (ca. 2.000 Zeichen), einen kurzen Lebenslauf mit E-Mail und Postanschrift sowie Angaben zu Ihrer derzeitigen Tätigkeit (max. 1000 Zeichen) bis zum 5. März 2018 an:
Prof. Dr. Aleksandra Lipinska, Institut für Kunstgeschichte, LMU München:

Prof. Dr. Aleksandra Lipinska, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität München
Dr. Ulrike Nürnberger, Böckler-Mare-Balticum-Stiftung, Bad Homburg v.d. Höhe
PD Dr. Beate Störtkuhl, Arbeitskreis deutscher und polnischer Kunsthistoriker und Denkmalpfleger

Working Group of German and Polish Art Historians and Conservators
Art History Institute, Ludwig-Maximilian-University Munich

26. Conference of the Working Group of German and Polish Art Historians and Conservators / Homburger Colloquy (Homburger Gespräch) of the Böckler-Mare-Balticum-Foundation, Munich 11.-13. October 2018

Routes and Contact Zones. Artistic Mobility and Exchange in Central Eastern and North Eastern Europe

The mobility of people, objects and ideas determined the art scene in Central Eastern and North Eastern Europe for centuries and promoted transregional exchange. In contrast, art historiography in the countries of these regions has long been influenced by nationally defined political concepts that posit clearly distinct cultural developments. If, however, art is understood as a product of cross-border, transcultural exchange, then any scholarly investigation must also consider the transfer routes and the meeting places found along them.
Trade routes by sea and by land, and the networks of rail and contemporary airlines, all continue to promote artistic exchange. They provide the infrastructure for the mobility not only of different actors (artists, art patrons, art dealers), but also of works of art and materials, and indeed of ideas, fashions, technologies and knowledge. Some of these road networks have developed into permanent routes of cross-border artistic communication with fixed stations, where, for example, the art trade is concentrated. However, actors and objects have not always been able to operate on the tried and tested paths: mobility and communication have been temporarily hampered by war, by political or natural blockades; the search for alternatives has then sometimes led to the emergence of new places of exchange and to a shifting of the relationship between the “center” and the “periphery”.
Contact zones
This network, which is both geographical and communicative, carries the movements of both artists and works of art, and the nodes at which its transregional exchanges are concentrated play a key role. Commercial and residential cities, royal and noble courts, the offices of merchants, the studios of artists, academies, the salons of the intellectual elites, museums, galleries and art dealer depots act in very different ways as contact zones for the arts. As such, they inspire transregional and transnational collaborations and the exchange of artistic ideas and models, as well as the transfer of knowledge, materials and techniques, and contribute to the emergence of new, hybrid artistic creations that reflect the diversity of cultures involved in their genesis. However, contact zones can also become the scene of conflict and competition between foreign and domestic artists or between various interest groups. The map of these meeting places can moreover vary according to alterations in social and economic conditions, which are in turn reflected in the changing patterns of transnational cultural transfers in space and over time.
The conference will focus on the well-known as well as the hitherto less well-researched routes that led to and into Central-Eastern and North-Eastern Europe, and which contributed to artistic mobility. Several questions arise: Which (infra)structures, actors and personal networks support mobility and the consequent transnational communication, and which ones block them? Which traditional methods (eg. qualitative, source-based case analysis) and innovative methods (eg. quantitative, computer assisted geovisualisation and network analysis) can provide new insights into the pathways of artistic transfer?
In addition to the well-known names (eg. Prague, Krakow, Vilnius), we shall examine the hitherto less explored loci of artistic exchange in Central-Eastern and North-Eastern Europe, and question formerly dominant perspectives on ‘centers’ and ‘peripheries’. Both case studies and comparative studies documenting and analyzing the exchange processes and their impact on art production are welcome. In addition, attention should be paid not only to the traditional main actors of the art scene (artist, client), but also to the seemingly secondary “supporting actors”, such as merchants, material suppliers, (art) agents and dealers or curators.
Although the geographical focus of the conference is on Central-Eastern and North-Eastern Europe, transregional perspectives addressing artistic exchange of these regions with / in other art centers within and beyond Europe are very welcome. The historical framework – from the Middle Ages to the present day – is deliberately broad to encourage synchronous and diachronic comparisons.

The 26th session of the Working Group of German and Polish Art Historians and Conservators, also designated the Homburger Colloquy of the Böckler-Mare-Balticum Foundation (Bad Homburg), is organized by the Institute of Art History of the Ludwig-Maximilian-University in Munich at the Central Institute for Art History in Munich.

Conference languages are German and English. In addition to the papers (speaking time 20 mns), the format of the so-called information forum provides an opportunity for the presentation of current individual or institutional research projects on art history and monument preservation dealing with topics of cultural heritage in Central-Eastern and North-Eastern Europe (short presentations, speaking time 10 mns).

Please send in your proposal of paper or short presentation (max. 2000 characters), together with a short CV (max 1000 characters) by March 5, 2018. Please include both your e-mail and postal address, as well as information on your current affiliation, to:
Prof. Dr. Aleksandra Lipinska, Institut für Kunstgeschichte, LMU München:

Programme Committee:
Prof. Dr. Aleksandra Lipińska, Institut für Kunstgeschichte, Ludwig-Maximilians-Universität München
Dr. Ulrike Nürnberger, Böckler-Mare-Balticum-Stiftung, Bad Homburg v.d. Höhe
PD Dr. Beate Störtkuhl, Arbeitskreis deutscher und polnischer Kunsthistoriker und Denkmalpfleger

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Survey: The Art Market Dictionary SURVEY

Art Market Dictionary

In order to better understand the relevance of the Art Market Dictionary for various target groups, De Gruyter has started an online survey.

Please spread this survey link widely (via copy/paste onto facebook or twitter).

The survey will run until end of February. 


The AMD is the first comprehensive scholarly guide to art galleries, auction houses, art fairs, and agents from multiple national and historical contexts.
The AMD’s first part, on Europe and North America in the 20th and 21st centuries, will be published as an online searchable database and in print in 2019.
​The first part will comprise three printed volumes with ca. 2,000 entries, and an additional ca. 3,000 online entries.​
​We are still looking for authors; if you are interested in contributing, find out more here.

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CFP: Exhibition Databases, Vienna, 14-16 June 2018

Vienna, June 14 – 16, 2018
Deadline: Mar 2, 2018

Workshop: Exhibition Databases

From 14th to 16th June 2018, the research project “Exhibitions of Modern European Paintings 1905-1915” will be hosting a workshop in Vienna. In this project we are building an open-access database compiling exhibitions and all accompanying information that showed modern painting, mainly in Europe, between 1905 and 1915. The objective of the database is to visualise and thus trace the chronology and geography of new art forms and “-isms” that were, at the beginning of the 20th century, often founded within and/or spread via the context of art exhibitions. The database will be accessible online by the end of 2018. The project is directed by Prof. Raphael Rosenberg at the Department of Art History of the University of Vienna, and is funded by the Austrian Science Fund. For further details please visit

Being aware of only a few similar enterprises researching or recording exhibitions with the help and use of databases, the goal of the workshop is to connect comparable projects in order to allow and foster an exchange of methods and technologies between the projects’ representatives. A further objective is to discuss prospects for joint ventures.

Henceforth, this call for papers is addressed to researchers conducting projects or platforms using art exhibition databases. Please send an abstract (max. 500 words) introducing the project and database as well as a short bio from the project leader and/or manager to Christina Bartosch,

Submission deadline: 2nd of March 2018.

Accepted projects will be notified by the end of March 2018.

A limited budget for travel costs of participants is available.

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CFP: Contemporary Art and the Museum Paris, Pierrefitte-sur-Seine, 10-12 October 2018

Paris, Pierrefitte-sur-Seine, October 10 – 12, 2018
Deadline: Apr 16, 2018

Contemporary Art and the Museum: from the Musée du Luxembourg to the present day (1818-2018)

International symposium

Archives Nationales (Pierrefitte-sur-Seine), Centre Pompidou (Paris), Musée d’Orsay (Paris) – 10-12 October 2018


Designed as an extension to the displays and exhibitions organised at the Pompidou Centre and the Musée d’Orsay, the results of the project “Exhibiting the History of a Collection: The Museum for Living Artists” organised as part of the Labex CAP, the international symposium “Contemporary Art and the Museum: from the Musée du Luxembourg to the present day (1818-2018)” will be held in autumn 2018 at the Archives Nationales, the Centre Pompidou and the Musée d’Orsay.

The celebration of the bicentenary of the first museum of contemporary art in the Palais du Luxembourg in 1818 will thus be an opportunity to set out a historiographical appraisal of the institution and of the issues that exhibiting “contemporary” art continues to raise, taking a transnational and interdisciplinary approach. It will therefore take a retrospective and reflective look at how public and private museums, past and present, position themselves when faced with the art of their time.

Universally known as the “Musée du Luxembourg”, this first contemporary art museum positioned itself as a body providing interim artistic recognition between the Salon and traditional museums (Louvre, regional museums): it therefore did not have a collection of its own. The preference for an official name inspired not by its missions but by its initial location concealed a persistent misunderstanding: far from being a “museum for living artists”, the Musée du Luxembourg was de facto a “museum for contemporary artists” (Bénédite, 1892), a musée de passage, where the dead rubbed shoulders with the living until the fate of the works on display was decided.

An organism for the dissemination of contemporary art on a national scale (Bertinet, 2015), the Musée du Luxembourg was one of the models most frequently adopted by the great capitals of the world in the 19th and early 20th centuries (Lorente, 2009). This international influence, however, reached its height just at the moment when the museum was going through a real crisis brought about by its artistic representativeness being considered incomplete, (an absence of any real acquisition policy, out of step with contemporary artistic production) and by a failure to offer good examples in architecture and museography (unsuitable and temporary buildings, saturation of exhibition spaces) (Bastoen, 2015). This crisis was thus particularly symptomatic of and inseparable from the reversal in the position of Paris museums, surpassed by the innovative and creative model embodied in new cultural capitals such as Berlin, New York and Chicago (Tarasco-long, 2009).

The disputed legitimacy of the Musée du Luxembourg goes back to the question, still relevant today, of the aptitude of museum institutions to deal with contemporary artistic production, both in terms of an acquisition policy for artworks and their presentation to the public. The symposium programme will endeavour to develop the bases of an interconnected history of contemporary art museums in a global context, in a constant dialogue with current practices.

Continuing the work undertaken by the Labex CAP and the 2017 edition of the Bibliothèque Kandinsky’s Summer University, we will welcome papers examining the following themes in particular:

Scope of the contemporary:
because it is interested in “art in the process of being made” and not in “inherited art” (Pomian, 1989), the museum of contemporary art immediately raises the issue of its own temporality. How have museum institutions devoted to contemporary art defined the chronological limits and object categories relating to them? The diversity of the terms adopted – museums of “living”, “modern”, “contemporary” art –like the random nature of forming the collections and their fate through history, demonstrates this ambiguity.

Sources of the contemporary:
the diversity of people involved in contemporary art museums and related institutions leads to the production of sources that are little known, totally new even, in some cases. How do contemporary art institutions and archive departments make these sources their own, which they do not necessarily produce? How do they envisage their historic and scientific value? What are their strategies for acquisition, conservation, communication, and enhancement?

Creating narratives:
moreover, the choice of acquisitions, the opportunities offered by donations and bequests, as well as the display, dissemination and circulation of artworks oblige the museum to create a fairly powerful discourse on the history of contemporary art and its current situation. Rarely consensual, these narratives can be prescriptive about the value of an artist, a movement, or even of a local or national art scene. The growing globalisation of culture and the recognition of cultural areas long ignored by a history of modern art mainly centred on the West makes this critical dimension particularly sensitive today.

Museum policies:
the creation of contemporary art museums also raises somewhat significant issues when it comes to economics, politics, architecture and town planning, as the recent multiplication of private foundations and offshoots of great institutions shows. In this respect, we particularly welcome proposals examining the relationships or conflicts between public and private museums, between the role of the State and that of the market, between the collector’s activities and curator’s profession, which often reveal great disparities from country to country.

Museums and contemporary creation:
a work entering a museum, whether this is desired or denounced, calculated or imposed, early, late or even posthumous, has always been an important factor in an artist’s biography. Not only should the multiple issues of the process of becoming a museum piece be examined, but also the place of the contemporary art museum in the creative process. Particular attention will therefore be given to the possible interactions of an artwork with a museum institution, its space, its function and its history, both from a practical point of view and a symbolic one.

Proposals for papers (around 2500 characters (with a small abstract by the author) should be sent to before 16 April 2018. The languages for the symposium will be French and English.

Arnaud Bertinet (université Paris I-Panthéon-Sorbonne / Hicsa / Labex CAP)
Julien Bastoen (école nationale supérieure d’architecture de Paris-Belleville)
Laurent Cazes (docteur de l’université Paris 1 Panthéon-Sorbonne)
Alice Thomine (musée d’Orsay)
Scarlett Reliquet (musée d’Orsay)
Nicolas Liucci-Goutnikov (MNAM/Centre Pompidou / Labex CAP)
Jean-Max Collard (MNAM/Centre Pompidou)
Clothilde Roullier (Archives nationales)
Geneviève Profit (Archives nationales)
Claire-Emmanuelle Longuet (Sénat)
Pauline Debionne (Sénat)

Jérôme Glicenstein (Université Paris 8)
Johanne Lamoureux (Université de Montréal)
Richard Leeman (Université Bordeaux-Montaigne)
J. Pedro Lorente (Universidad de Zaragoza)
France Nerlich (INHA)
Pierre Pinchon (Aix-Marseille Université)
Dominique Poulot (Université Paris I-Panthéon Sorbonne)
Pierre Wat (Université Paris I-Panthéon Sorbonne)

References of the CFP:
Bastoen (2015). Julien Bastoen, L’art contre l’Etat? La trajectoire architecturale du Musée du Luxembourg dans la construction de l’illégitimité de l’action artistique publique. 1848–1920 (Art against the State? The Architectural Trajectory of the Luxembourg Museum in Constructing the Illegitimacy of Public Artistic Action, 1848-1920), European doctoral thesis in architecture, Université Paris Est, 2015.
Bénédite (1892). Léonce Bénédite, “Le Musée des artistes contemporains (The Museum of Contemporary Artists)”, La Gazette des Beaux-Arts, May 1892, p. 401-415.
Bertinet (2015). Arnaud Bertinet, Les Musées de Napoléon III. Une institution pour les arts (1849-1872) (The Museums of Napoleon III. An Institution for the Arts (1849-1872)), Paris, Mare et Martin, 2015.
Lorente (2009). J. Pedro Lorente, Les Musées d’art moderne et contemporain : une exploration conceptuelle et historique (Museums of Modern and Contemporary Art: Conceptual and Historical Exploration), translated from the Spanish by Julien Bastoen, Paris, L’Harmattan, 2009.
Pomian (1989). Krzysztof Pomian, “Le musée face à l’art de son temps », Cahiers du Musée national d’art modern” (The Museum confronted with the Art of its Time), Cahiers du Musée National d’Art Moderne, 03/1989, Contemporary Art and the Museum, p. 5-10.
Tarasco-Long (2009). Véronique Tarasco-Long, “ Capitales culturelles et patrimoine artistique : Musées de l’ancien et du nouveau monde” (Cultural Capitals and Artistic Heritage: Museums of the Ancient and New World) in Christophe Charle (dir.), Le temps des capitales culturelles (The Time of Cultural Capitals), Seyssel Champ-Vallon, 2009, p. 135-170.

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Summer School: Provenance, Zadar, 27-31 Aug 2018

Zadar, August 27 – 31, 2018
Deadline: Mar 16, 2018

Call for Participation
Provenance, why does it matter?
Provenance, Dispossession and Translocation Research
Summer School, Zadar/Croatia, August 27-31, 2018

Transfer of Cultural Objects in the Alpe Adria Region (TransCultAA) is a three-year-research project financed by the European Union in the HERA (Humanities in the European Research Area) funding scheme (“Uses of the Past”). Its multinational team of scholars analyses historical and current conflicts of ownership, patrimony and cultural heritage. TransCultAA examines the very concrete and material results of a genuinely European history of transfers, translocations, displacements, confiscations, lootings, thefts of cultural objects, and restitution politics: Who transferred or translocated which objects, when and why? Which explanations (if any) were – and are – given?
TransCultAA is now organizing a summer school at the University of Zadar/Croatia (August 27-31, 2018) and is asking for applications. We are looking for 12-15 participants who
–    show a distinct interest in questions of provenance, dispossession and translocation research,
–    have (good or bad) experiences in performing research on particular objects or collections,
–    would like and are able to share their experiences,
–    would like to expand their competences, and
–    are able to communicate in English.
We are thus inviting students, curators, custodians, museum professionals as well as scholars, art dealers, cultural heritage specialists, administrators, private collectors, lawyers, police officers, journalists and other investigators to apply for participation. The summer school provides a unique opportunity to learn, discuss and connect.
The summer school with its strong focus on the Alpe Adria region (Italy, Slovenia, Croatia, Austria) is particularly looking forward to applications from Southeast and East-Central Europe, including Albania, Bulgaria, Bosnia and Herzegovina, Czech Republic, Greece, Hungary, Kosovo, Macedonia, Montenegro, Poland, Romania, Serbia, Slovakia, Turkey etc. However, applications from other countries will also be considered.

The programme of the summer school features five distinct sections:
1.)    presentations by TransCultAA members and invited experts
2.)    presentations by participants
3.)    qualified feedback by TransCultAA members and invited experts to the participants
4.)    public lectures, and
5.)    visits to local archives and museums.
We welcome applications demonstrating an interest in case studies on institutions, administrations, legislations, collections, or even on individual objects as well as overarching methodological considerations, new approaches and developments (such as data bases and digital tools in general).

Interested individuals should explicitly outline their motivation to attend the summer school, along with a short CV, in a single PDF of no more than three pages (letter of interest max. two pages, CV max. one page). Please also delineate your previous and current work in the field.

There is no fee for attendance – the summer school is free of charge. As of now, all participants are expected to cover their travel costs themselves, while accommodation on the campus will be provided (August 26-31).

Only electronic applications attached to an email sent to until March 16, 2018, noon, will be considered.

For general information, see; if you have any questions, please contact

PDF Call for Participation:

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PUB: Exhibiting Art for Sale, Journal for Art Market Studies Vol.2, No. 1

The third issue of the Journal for Art Market Studies focuses on the role and development of the exhibition space in a commercial context, from the American barbershop to veritable art trade palaces built in Munich around 1900, as well as both forerunners of and alternatives to today’s commercial gallery spaces.

Andrea Meyer,    Introduction

Alison Stagg, The American Dressing Academy: a venue for early American caricature prints

Meike Hopp, Art Trade Palaces – Galleries of art dealers as architectural task and their reception in Munich around 1900

Malcolm Gee, Modern Art Galleries in Paris and Berlin c.1890-1933: types, policies and modes of display

Anne Luther, Artist-run Galleries – Differentiating Three Models in Current Contemporary Art Markets

Interview with Sebastian Baden

Helene Bosecker/Susanne Meyer-Abich, Conference report “The Art Fair”

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