Third conference for Court, Country, City: British Art 1660-1735 research project

HISTORIES OF BRITISH ART, 1660-1735: RECONSTRUCTION AND TRANSFORMATION

2012 Conference 20-22 September

The King's Manor, University of York

Histories of British Art is the third and final conference organised as part of 'Court, Country, City: British Art 1660-1735', a major research project run by the University of York and Tate Britain, and funded by the Arts and Humanities Research Council.

Held at the King’s Manor in York, this three-day conference includes a drinks reception at York City Art Gallery and a visit to Beningbrough Hall (built 1716) for a private viewing of the National Portrait Gallery’s collection of over a hundred artworks from the period.

Confirmed keynote speakers:

Malcolm Baker
Diana Dethloff
Charles Ford
David Solkin

The conference will include a range of international speakers presenting research on the following panels:

Netherlandish influences on British Art
Aristocratic patronage
British portraiture
Print, copies and communication
Art & Virtuosi
Queen Anne & British Art
Prospects
Art writing in Britain
Rebuilding projects
Later Stuart court culture
Other painting histories
Artists and collecting

Conference organiser: claudine.vanhensbergen@tate.org.uk

REGISTRATION

Online registration * for the conference is now available.

£10 Conference administration fee (mandatory) to include tea & coffee for the three days, wine reception at York City Art Gallery, and transportation and entrance to Beningbrough Hall.
£18 Lunch charge (optional) To include a buffet lunch at King's Manor on each of the three days of the conference.
£35 Conference dinner (optional) To include a three course dinner with wine and coffee at the King's Manor on the evening of Friday 21st September.

*Please read before you begin your online registration
The Online Store Registration will take you to the page where you can buy these three items. Once you have added the first item to your basket, click on Continue Shopping at the bottom left of the page. This will take you to the front of the Online Store. From there, in the Navigation list on the left, click on Product Catalogue (not Conferences and Events). This will bring up a list of departments. Go to Centre for Eighteenth Century Studies. You should see the conference listed. Click on this to continue shopping.

ACCOMMODATION, TRAVEL AND TOURIST INFORMATION

Please see our Information for Delegates web page.

PROVISIONAL PROGRAMME (last updated 03.05.12)

Day 1 Thursday 20 September	Day 2 Friday 21 September	Day 3 Saturday 22 September
11.00-12.00pm Registration & coffee 12.00-12.30pm Lunch 12.30-1.00pm WELCOME ADDRESS Mark Hallett (University of York) 1.00-2.30pm KEYNOTE ADDRESS Malcolm Baker (University of California, Riverside) ‘Masons, statuaries and sculptors: reconsidering the place of sculpture in British art and its histories 1660-1735’ 2.30-3.00pm Tea and Coffee 3.00-5.30pm SESSION 1 *Panel 1:* Netherlandish influences on British Art Sander Karst (Vereniging Rembrandt) ‘The participation of Dutch migrant artists in the London art market at the end of the seventeenth century’ Debra Pring (Independent scholar) ‘Translating vanitas: Dutch artists and their vanitas paintings in Britain’ Matt Fountain (University of Cambridge) ‘Pieter van Roestraeten: The market for the Dutch still life painting in late 17th century England’ Karen Hearn (Tate Britain) ‘Constructing physical perfection? Patches, squints and spots in late 17th century British and Netherlandish portraits' Panel 2: Aristocratic patronage Susan E. Gordon (University of Leicester) ‘The English garden, c. 1660-1735: breaking the mould at Castle Howard’ Lydia Hamlett (University of York/Tate Britain) ‘Sublimity and bathos: painting spaces 1660-1735’ Lauren Dudley (University of Birmingham) ‘Reconstructing the fragments of the past: British identity built on ruins?’ Craig Ashley Hanson (Calvin College, Michigan) ‘Looking to the lowlands: Anglo-Dutch relations and artistic continuities in the decades after 1688’ *Panel 3: Art writing in Britain* Caroline Good (University of York/Tate Britain) ‘Graham’s Short Account (1695) and Buckeridge’s Essay Towards an English School (1706)’ Amy Todman (University of Glasgow) ‘John Dunstall and The Art of Delineation, or Drawing’ Sophie Mesplède (University of Rennes) ‘George Vertue (1683-1756): writing Catholicism into British art history’ Peter Forsaith (Oxford Brookes University) ‘Protestantism, piety and portraiture: religion and painting in times of transition’ Panel 4: *British portraiture* Sarah Moulden (University of East Anglia) ‘Turning turk: Andrea Soldi's portraits of Levant Company merchants, c.1730-36’ David A. Brewer (Ohio State University) ‘Authors and objecthood’ Jacqueline Riding (University of York) ‘Highmore's portrait of The Lee Family (1736)’ Kate Retford (Birkbeck College) ‘Connoisseurial conversations: Gawen Hamilton’s Sir James Thornhill Showing his Poussin to his Friends’ 6.00-8.00pm Drinks Reception at York City Art Gallery	9.00-10.30am KEYNOTE ADDRESS Diana Dethloff & Charles Ford (University College London) ‘Where spheres collide: the public, private and intimate business of Roger North’ 10.30-11.00 am Tea & coffee 11.00-1.00pm SESSION 2 Panel 5: Art & Virtuosi Stephen Lloyd (Independent Art Historian) ‘“…il celebre David Paton pittor di chiaroscuro…”: an Edinburgh limner at Ham House and the Medici court’ Helen Pierce (University of Aberdeen) ‘“This Ingenious young Gent and excellent artist”: William Lodge (1649-1689) and the York Virtuosi’ Arlene Leis (University of York) ‘“Ladys and Virtusae” in the portrait print collection of Samuel Pepys’ Panel 6: Queen Anne & British Art Claudine van Hensbergen (University of York/Tate Britain) ‘Queen Anne by the seaside: Sir Jacob Bancks, Francis Bird and the Minehead commission (1719)’ Tabitha Barber (Tate Britain) ‘Queen Anne and her state image’ Sebastian Edwards (Historic Royal Palaces) ‘The empty bed: the reception of the monarch at the country house between the Restoration and the Hanoverian succession’ *Panel 7: Prospects* Simon Turner (Independent Art Historian) ‘“Things resembling graves & solid rocks”: Wenceslaus Hollar and Tangier in 1669’ Ailsa Hutton (University of Glasgow) ‘John Slezer’s Theatrum Scotiae: prospects of seventeenth-century Scotland’ Emily Mann (Courtauld Institute) ‘Making plans, improving prospects: a printed view of Britain’s Atlantic empire’ *Panel 8: Print, copies and communication* Martin Myrone (Tate Britain) ‘Engraving’s third dimension’ Anne Puetz (Courtauld Institute) 'Useful, profitable and curious:the emergence of the design print in late seventeenth- and early eighteenth-century Britain' Peter Moore (University of York/Tate Britain) 'The mezzotint in colonial New England, c1710-1730' 1.00-2.00pm Lunch *Visit to Beningbrough Hall* 2.00pm Meet Exhibition Square for transport to Beningbrough Hall 2.30-5.30pm Visit to Beningbrough Hall (National Trust) 5.30pm Depart Beningbrough for York 7.30pm Conference dinner at the King's Manor	9.00-10.30am KEYNOTE ADDRESS David Solkin (Courtauld Institute) ‘From The Escape of Charles II’ to The Life of Charles I: The first revolution in English history painting’ 10.30-11.00am Tea & coffee 11.00am-1.00pm SESSION 3 Panel 9: Rebuilding projects Anya Matthews (Courtauld Institute) ‘“With honour yet frugality”: the rebuilding of the Livery Company Halls after the Great Fire of London’ Eleonora Pistis (University of Oxford) ‘Oxford 1708-1714: Nicholas Hawksmoor and the renovatio urbis’ Peter N. Lindfield-Ott (University of St. Andrews) ‘Early Gothic-Revivalism: the reconstruction and transformation of medieval architecture, and the formation of Gothic-Revival furniture’ *Panel 10: Later Stuart court culture* Erin Griffey (University of Auckland) ‘The art of display at the court of Charles II’ Helen Wyld (National Trust) ‘Charles II and tapestry’ Susan Jenkins (English Heritage) ‘Collecting patterns: artists from the court of Charles II in the collection at Audley End House’ Panel 11: Other painting histories Nathan Flis (University of Oxford) ‘Francis Barlow (c.1626-1704): a painter between city and country’ Margaret Dalivalle (University of Oxford) ‘“Surrogates, stand-ins and charming imposters”: the status of copies in seventeenth-century England’ Darragh O’Donoghue (Trinity College, Dublin) ‘Irish naïve painting in the first half of the 18th century’ *Panel 12: Artists and collecting* Richard Stephens (University of York/Tate Britain) ‘The Palace of Westminster as a centre of the art trade’ Rudolf Dekker (Huizinga Institute, Amsterdam)) ‘Constantijn Huygens Jr.: art advisor to King William III’ Richard Johns (National Maritime Museum) ‘Death of the artist: the sale of James Thornhill’s collection’ 1.00-2.00pm Lunch 2.00-3.15pm ROUNDTABLE ‘Court, Country City?: reflections on the present state of the field’ Chaired by Martin Myrone (Tate Britain) and Nigel Llewellyn (Tate Britain) 3.15pm: CLOSING REMARKS Penelope Curtis (Director, Tate Britain)

Day 1

Thursday 20 September

Day 2

Friday 21 September

Day 3

Saturday 22 September

11.00-12.00pm Registration & coffee

12.00-12.30pm Lunch

12.30-1.00pm

WELCOME ADDRESS

Mark Hallett
(University of York)

1.00-2.30pm

KEYNOTE ADDRESS

Malcolm Baker (University of California, Riverside)
‘Masons, statuaries and sculptors: reconsidering the place of sculpture in British art and its histories 1660-1735’

2.30-3.00pm Tea and Coffee

3.00-5.30pm SESSION 1

Panel 1: Netherlandish influences on British Art

Sander Karst (Vereniging Rembrandt)
‘The participation of Dutch migrant artists in the London art market at the end of the seventeenth century’

Debra Pring (Independent scholar)
‘Translating vanitas: Dutch artists and their vanitas paintings in Britain’

Matt Fountain (University of Cambridge)
‘Pieter van Roestraeten: The market for the Dutch still life painting in late 17th century England’

Karen Hearn (Tate Britain)
‘Constructing physical perfection? Patches, squints and spots in late 17th century British and Netherlandish portraits'

Panel 2: Aristocratic patronage

Susan E. Gordon (University of Leicester)
‘The English garden, c. 1660-1735: breaking the mould at Castle Howard’

Lydia Hamlett (University of York/Tate Britain)
‘Sublimity and bathos: painting spaces 1660-1735’

Lauren Dudley (University of Birmingham)
‘Reconstructing the fragments of the past: British identity built on ruins?’

Craig Ashley Hanson (Calvin College, Michigan)
‘Looking to the lowlands: Anglo-Dutch relations and artistic continuities in the decades
after 1688’

Panel 3: Art writing in Britain

Caroline Good (University of York/Tate Britain)
‘Graham’s Short Account (1695) and Buckeridge’s Essay Towards an English School (1706)’

Amy Todman (University of Glasgow)
‘John Dunstall and The Art of Delineation, or Drawing’

Sophie Mesplède (University of Rennes)
‘George Vertue (1683-1756): writing Catholicism into British art history’

Peter Forsaith (Oxford Brookes University)
‘Protestantism, piety and portraiture: religion and painting in times of transition’

Panel 4: British portraiture

Sarah Moulden (University of East Anglia)
‘Turning turk: Andrea Soldi's portraits of Levant Company merchants, c.1730-36’

David A. Brewer (Ohio State University)
‘Authors and objecthood’

Jacqueline Riding (University of York)
‘Highmore's portrait of The Lee Family (1736)’

Kate Retford (Birkbeck College)
‘Connoisseurial conversations: Gawen Hamilton’s Sir James Thornhill Showing his Poussin to his Friends’

6.00-8.00pm Drinks Reception at York City Art Gallery

9.00-10.30am

KEYNOTE ADDRESS

Diana Dethloff & Charles Ford (University College London)
‘Where spheres collide: the public, private and intimate business of Roger North’

10.30-11.00 am Tea & coffee

11.00-1.00pm SESSION 2

Panel 5: Art & Virtuosi

Stephen Lloyd (Independent Art Historian)
‘“…il celebre David Paton pittor di chiaroscuro…”: an Edinburgh limner at Ham House and the Medici court’

Helen Pierce (University of Aberdeen)
‘“This Ingenious young Gent and excellent artist”: William Lodge (1649-1689) and the York Virtuosi’

Arlene Leis (University of York)
‘“Ladys and Virtusae” in the portrait print collection of Samuel Pepys’

Panel 6: Queen Anne & British Art

Claudine van Hensbergen (University of York/Tate Britain)
‘Queen Anne by the seaside: Sir Jacob Bancks, Francis Bird and the Minehead commission (1719)’

Tabitha Barber (Tate Britain)
‘Queen Anne and her state image’

Sebastian Edwards (Historic Royal Palaces)
‘The empty bed: the reception of the monarch at the country house between the Restoration and the Hanoverian succession’

Panel 7: Prospects

Simon Turner (Independent Art Historian)
‘“Things resembling graves & solid rocks”: Wenceslaus Hollar and Tangier in 1669’

Ailsa Hutton (University of Glasgow)
‘John Slezer’s Theatrum Scotiae: prospects of seventeenth-century Scotland’

Emily Mann (Courtauld Institute)
‘Making plans, improving prospects: a printed view of Britain’s Atlantic empire’

Panel 8: Print, copies and communication

Martin Myrone (Tate Britain)
‘Engraving’s third dimension’

Anne Puetz (Courtauld Institute)
'Useful, profitable and curious:the emergence of the design print in late seventeenth- and early eighteenth-century Britain'

Peter Moore (University of York/Tate Britain)
'The mezzotint in colonial New England, c1710-1730'

1.00-2.00pm Lunch

Visit to Beningbrough Hall

beningbrough-hall

2.00pm Meet Exhibition Square for transport to Beningbrough Hall

2.30-5.30pm Visit to Beningbrough Hall (National Trust)

5.30pm Depart Beningbrough for York

7.30pm Conference dinner at the King's Manor

9.00-10.30am

KEYNOTE ADDRESS

David Solkin (Courtauld Institute)

‘From The Escape of Charles II’ to The Life of Charles I: The first revolution in English history painting’

10.30-11.00am Tea & coffee

11.00am-1.00pm SESSION 3

Panel 9: Rebuilding projects

Anya Matthews (Courtauld Institute)
‘“With honour yet frugality”: the rebuilding of the Livery Company Halls after the Great Fire of London’

Eleonora Pistis (University of Oxford)
‘Oxford 1708-1714: Nicholas Hawksmoor and the renovatio urbis’

Peter N. Lindfield-Ott (University of St. Andrews)
‘Early Gothic-Revivalism: the reconstruction and transformation of medieval architecture, and the formation of Gothic-Revival furniture’

Panel 10: Later Stuart court culture

Erin Griffey (University of Auckland)
‘The art of display at the court of Charles II’

Helen Wyld (National Trust)
‘Charles II and tapestry’

Susan Jenkins (English Heritage)
‘Collecting patterns: artists from the court of Charles II in the collection at Audley End House’

Panel 11: Other painting histories

Nathan Flis (University of Oxford)
‘Francis Barlow (c.1626-1704): a painter between city and country’

Margaret Dalivalle (University of Oxford)
‘“Surrogates, stand-ins and charming imposters”: the status of copies in seventeenth-century England’

Darragh O’Donoghue (Trinity College, Dublin)
‘Irish naïve painting in the first half of the 18th century’

Panel 12: Artists and collecting

Richard Stephens (University of York/Tate Britain)
‘The Palace of Westminster as a centre of the art trade’

Rudolf Dekker (Huizinga Institute, Amsterdam))
‘Constantijn Huygens Jr.: art advisor to King William III’

Richard Johns (National Maritime Museum)
‘Death of the artist: the sale of James Thornhill’s collection’

1.00-2.00pm Lunch

2.00-3.15pm ROUNDTABLE

‘Court, Country City?: reflections on the present state of the field’

Chaired by Martin Myrone (Tate Britain) and Nigel Llewellyn (Tate Britain)

3.15pm: CLOSING REMARKS

Penelope Curtis (Director, Tate Britain)

sleter-detail