The Académie Royale Art Collection

Collaborative publication project

Publishing envisaged for 2023, as volume of the series Passages online, DFK Paris

Editors: Markus A. Castor, Sofya Dmitrieva and Anne Klammt

Our book aspires to highlight the importance of the art collection that the Académie royale de peinture et de sculpture assembled in the century and a half of its existence (1648-1793) and show that this unique, yet almost entirely unstudied, body of works is essential to our understanding of eighteenth-century art and institutional practices.

The Académie royale art collection consisted mainly of reception pieces – the works that young artists submitted for examination by the academic jury to become full members of the institution. It also included miscellaneous donated artworks as well as portraits of the Académie’s patrons that the institution frequently commissioned from current members. Around 300 paintings and some 30 sculptures were on display in the Académie’s rooms at the Louvre and daily surrounded the artists who lived and worked there. The latter could also consult a rich collection of engravings at the Académie’s print room.

The collection was a unique corpus for multiple reasons. Firstly, as almost all the prominent old regime artists were members of the Académie royale, it united such iconic reception pieces as Watteau’s Pilgrimage to the Isle of Cythera (1717), Chardin’s Ray (1728) and Greuze’s Septimius Severus and Caracalla (1769). Secondly, these and other examinational works now offer invaluable insights into academic reception practices and aesthetic values as much as the commissioned portraits of the Académie’s patrons – into its behind-the-scenes personal networks. Finally, the hang of the works in the Louvre is an outstanding example of eighteenth-century curatorial work: since the collection’s arrangement was decided upon by academicians themselves, it stands an important ‘internal’ counterpart to the Académie’s public display, the Salons.

After the French Revolution, this one-of-a-kind body of works got dispersed and is shared today by the Louvre, the Versailles, the ENSBA, and several French regional museums. Thankfully, however, two detailed descriptions are still extant: in 1715, when the collection was housed on the Louvre’s ground floor, it was documented by Nicolas Guérin (Paris: J. Collombat), and in 1781, when it moved to the first floor, it was recorded by Antoine-Nicolas Dezallier d’Argenville (Paris: De Bure). In 1893, the two descriptions were republished as one volume by Anatole de Montaiglon. Two key critical works on the collection are the exhibition catalogue Les peintres du roi, 1648-1793 (Paris: Réunion des musées nationaux, 2000) and Hannah Williams's monograph Académie Royale: A History in Portraits (Farnham: Ashgate, 2015).

The present book is part of the project run by the DFK Paris in collaboration with the Centre Dominique-Vivant Denon (Louvre) and the INHA that aspires to reconstruct the collection digitally and build a database of the works that constituted it.

We invite contributions that define the role of the Académie royale art collection and discuss its history and arrangement. Issues of our interest include but are not limited to:

• Collection arrangement: How did the hangs of the collection on the first and the ground floor of the Louvre differ? What were the guiding principles of the collection’s arrangement? What role did genre play in it? What was the function of different rooms and how did the works adorning the room reflect it? Did the arrangement reflect the Académie’s institutional hierarchy? How did prints, sculptures, and paintings that formed the collection work together?
• Instructive function of the collection: How did these sculptures, paintings, and prints, seen by the Académie’s students on day-to-day basis, influence their work? What message (if any) did they convey?
• Reception pieces: What role did the reception play in the artist’s career? What was the canon of academic reception pieces? How did it help crystallise the academic genre classification?
• Commissioned portraits: Who were the Académie’s patrons whose portraits the institution commissioned from its members? What role did these patrons play in the history of the Académie royale? How were they related to each other and what was their specific interest in sponsoring the institution?
• Conférences de l’Académie royale: How do the lectures that the members regularly delivered at the Académie royale relate to the collection? How do both reflect the Académie’s institutional and aesthetic values? What is the significance of the Salle d’Assemblée as the centre of the institutional life of the Académie royale?
• Dispersal of the collection: How were the works constituting the collection distributed after the French Revolution? What were the unique stories of these paintings, prints, and sculptures post-1793?

Contributions are welcome in English or French and are expected to be between 5,000 and 15,000 words in length. If you are interested, please send a short 300-word abstract and a brief 50-word biography to Sofya Dmitrieva sofya.k.dmitrieva@gmail.com by September 30, 2022. The deadline for selected contributions will be March 31, 2023.

EMERGENCE

From the place to the space of images in French art from the 17^th to the 19^th Century

International Conference
9–10 December 2022 at the German Center for Art History (DFK Paris), Hôtel Lully, 45, Rue des Petits Champs, 75001 PARIS

Conception : Markus Castor, Julia Kloss-Weber and Valérie Kobi

(For further informations please download the PDF Document on the right)

The question of the emergence of pictorial forms of expression can also be understood as a mat-ter of the place, or – perhaps even better – the space, of images. Even the classical approach to reception aesthetics presupposes that images are constitutively tailored to a viewing subject and that this relation to a recipient is essentially reflected in the inner structures of the image or rather already conceptually based thereupon. Such pictorial dispositions are only comprehensible by taking into account the image’s inner spatial configurations in their relationship to the installation space and its features (the exhibition or hanging), i.e. in the experience of the interweaving of pictorial space, viewing context, and recipient.
Gernot Böhme narrowed down this basic relationship between the material object and the viewer in his aesthetic theory of the atmospheric, in which he defined this relatum as atmosphere itself and directed our attention to the mutual shaping of two components, embodiment on the one hand and its appearance in perception on the other (Böhme 2001, p. 54). What is described here as a relation recent positions have further characterized in terms of aesthetic interstitiality (Breitenwischer 2018). Expanding on the debates around Bildakte, one can speak of a realization of the pictorial in an aesthetic in-between, which itself is only brought forth in the performance of the reception process and in the framework of which pictures and their beholders anticipate each other and dialectically constitute each other as such.

The targeted period of investigation is the 17^th and 18^th century. Contributions that develop new theoretical positions are especially welcome. Papers dealing with the 19^th century are also acceptable, provided the subject matter pertains to practices or discourses from earlier centuries.
 
Individual papers are limited to 30 minutes, and joint papers to 40 minutes. Abstracts (approx. 300 words) may be submitted in the languages of the conference – namely English, French, and German – and should be sent with a short CV in a single PDF file to the following three email addresses: Julia Kloss-Weber (julia.kloss-weber@uni-hamburg.de), Valérie Kobi (va-lerie.kobi@unine.ch), and Markus A. Castor (mcastor@dfk-paris.org). Deadline for applications: 30.06.2022. Responses will be given in July 2022.

Georg Ludwig Friedrich Laves and Colleagues: Architects as Designers of Interiors and Furniture (1770-1860)

Hanover, 17–18 March 2023

Georg Ludwig Friedrich Laves (1788-1864), among the most important representatives of classicism in Germany, decisively shaped the image of the city of Hanover with his urbanplanning designs and structures. Numerous secular buildings, including the Leineschloss in the city centre – the residence of the kings of Hanover from 1837 to 1866 and today the seat of the Landtag of Lower Saxony – as well as the reconstructed Schloss Herrenhausen and private palace, are reminders of this court architect of the Kingdom of Hanover. Building alterations and new constructions based on his designs have survived in various places in what is now Lower Saxony, including Schloss Derneburg and the Schloss Celle. As part of these projects, Laves also designed the corresponding interiors, which put him in line with his famous contemporaries Karl Friedrich Schinkel (Berlin), Leo von Klenze and Jean-Baptiste Métivier (Munich), and Johann Conrad Bromeis (Kassel). A majority of the interiors designed by Laves were destroyed in World War II – such as the representative halls of the Leineschloss (1834-36) and the living quarters of the royal family in the Palais an der Leinstrasse (ca. 1818 and later) – and the furniture scattered. Based on the research project of Thomas Dann, who has a comprehensive view of designs for furniture and interiors thanks to his many years of archival work and research around surviving furniture, the Museum August Kestner is showing the
exhibition G. L. F. Laves – ein Hofarchitekt entwirft Möbel from 6 November 2022 to 26 March 2023. For the first time in Hanover, a selection of Laves’s drawings for furniture and interiors will be on view, together with examples of furniture created according to his designs. Parallel to the exhibition, mobile – Gesellschaft der Freunde von Möbel- und Raumkunst e.V., the Museum August Kestner, and the Deutsches Forum für Kunstgeschichte Paris are organizing an international conference that seeks to place Laves’s furniture and interior designs in a larger historical and cultural context. Among the well-known architects who were frequently encountered in the 19th century and who – like Laves in Hanover – designed interiors as well as furniture were the English architects Jeffry Wyatville, John Nash, and Thomas Hope, along
with Charles Percier, Pierre François Léonard Fontaine, and Jakob-Ignatz Hittorff in France and Pelagio Palagi in Italy. It is this special aspect of his work that is the focus of the conference “Georg Ludwig Friedrich Laves and Colleagues: Architects as Designers of Interiors and Furniture (1770-1860),” with particular emphasis on the furniture designs. From an expanded European perspective, the question of the defining characteristics of architects’ furniture will be taken up. Further themes and questions might include:

• What sources of inspiration/role models are called upon and what materials are preferred for the execution?
• What role do surrogate materials play, such as decoration in stucco or sheet iron and zinc?
• How did the transfer of knowledge transnationally between the architects and craftsmen work?
• What is the relationship between architect and client when it comes to the design of interior spaces?
• What sources are there on the collaboration between designers and the executing tradesmen?

The conference will take place on 17–18 March 2023 in the Museum August Kestner in Hanover and is geared towards junior and early career scholars. Proposals for a 20-minute presentation (abstract of 300 words maximum; the conference languages are German and English) together with a short biography (incl. email and physical address as well as institutional affiliation) should be emailed to the following address by 12 September 2022: laves@dfk-paris.org You will be informed of the outcome of your submission by the beginning of October 2022 at the latest.
The conference was organized by Mirjam Brandt (Museum August Kestner, Hanover), Andreas Büttner (Städtisches Museum Braunschweig), Jörg Ebeling (Deutsches Forum für Kunstgeschichte Paris), Martin Glinzer (art historian, Berlin), Henriette Graf (Stiftung Preußische Schlösser und Gärten Berlin-Brandenburg), Petra Krutisch (Germanisches Nationalmuseum, Nuremberg), and Sally Schöne (Museum August Kestner, Hanover).

Historical interiors and the digital – the possibilities and limits of virtual reconstructions for research

International symposium
Organized jointly by the German Center for Art History Paris (DFK Paris), the Mobilier national, and the Centre de recherche du château de Versailles (CRCV)

Location: Paris and Versailles
Date: November 17 and 18, 2022
Contact: interieursetnumerique@dfk-paris.org

The virtual reconstruction of historical interiors – from architecture to wall decoration and furniture to textiles – has been a proven instrument of cultural mediation in recent years, particularly in museums, exhibitions and/or for the study of historical monuments (for instance in archaeology). Questions of spatial proportions and fundamental architectural units are today at the forefront, with emphasis often placed on the possibility of visiting these spaces virtually, either on a 2D screen or with an immersive headset. However, when it comes to the recreation of the aesthetic characteristics of interiors, which are one of the key issues for their understanding, the possibilities of these new models seem limited. Depending largely on the harmonious interaction of different materials such as woods, metals, and textiles, as well as the structures of their respective surfaces, the nuances of colour or gold, or even the traces of artisanship, the existing solutions in rendering the materiality of an historic interior remain insufficient, both aesthetically and scientifically. The hope to swiftly overcome the excessively sanitized surfaces of digital models, expressed in 2013 (Kohle 2013, p. 166), has not yet come to fruition. Nevertheless, there is more to it than that, as the possibilities of using virtual reconstruction effectively for researching historical interiors - for example, through the virtual insertion of materials that are no longer ethically justifiable or prohibited today - are not fully exploited.

Focusing on the possibilities and limits of virtual reconstructions of historical interiors, of which questions of materiality are only one aspect, this conference highlights the fundamental issues that occupy current research. Firstly, there is the question, not yet completely resolved, of the utility of three-dimensional virtual models – often drawn from the video-game sector – as instruments or even auxiliaries for research in art history. We cannot respond satisfactorily without also exploring the genesis and transformation of the object studied and the representation of one or more states including later modifications. Although research, and in particular archaeology, has already established a tradition of haptic and digital modelling of space, the history of art still seems to be far behind on this front (Messemer 2020). Such a circumspect attitude is off pace with the growing use of three-dimensional models and augmented-reality applications for the transmission of knowledge in museums or in connection with monuments and places of memory (Jeffrey 2021).

Moreover, this disciplinary reservation seems to contradict the often reaffirmed claim of the capacity of digital models to densify scientific reflection beyond the possibilities of language (Pfarr-Harst 2020). Analysis of historical interiors involves confronting architectural structures along with moving objects. However, in the scientific use of three-dimensional models to date, these structures and objects have largely been considered separately. This is why most discourses are interested either in the architectural dimension of spaces or in the objects themselves, considered in isolation. In this context, we would note that the 3D modelling of objects (e.g. pieces of furniture) can give rise to discussions of notions of reproduction and authenticity or, more recently, to questions of cultural appropriation (Jeffrey et al. 2020; Jeffs 2020).

As for the mise-en-scène of social representations and power (Hoppe/De Jonge/Breitling 2018), embodied in the visual and bodily perception of spaces (in their use, particularly ceremonial), this remains insufficiently conveyed by virtual reconstructions, as does the dimension of the use of objects – chairs or desks, for example – as constituting the experience of the room. In addition to the exploration of scenarios of historical utilization in comparison with modern exigencies, the modelling of the acoustic and thermal properties of spaces that were abundantly furnished with textiles (carpets and rugs, curtains, wall hangings, baldachins, and Gobelin tapestries) opens up new research perspectives of the utmost interest. Generally speaking, the absence of those sensory elements integral to the art of interior design constitutes a considerable limitation in the potential benefits of virtual representation.

The international conference – organized jointly by the German Center for Art History Paris (DFK Paris), the Mobilier national, and the Centre de recherche du château de Versailles (CRCV) – will allow for an exchange of information among specialists from the world of museums, historians and historians of art, and experts in digital reconstruction and 3D modelling. It will give occasion to reflect on the stages prior to modelling and virtual restoration, on the creation phase of the tool and dialogues between art historians and technicians, and finally on the future and the public’s reception of such tools. The conference will also enable young researchers to present their own research projects and submit them for discussion in a circle of specialists in the field.
The symposium will take place in Paris, both in person and via videoconference (DUAL MODE), in the conference room of the DFK Paris and the auditorium of the palace of Versailles on November 17 and 18, 2022.

Organizing Committee: Muriel Barbier (Mobilier national), Marc Bayard (Mobilier national), Markus A. Castor (DFK Paris), Jörg Ebeling (DFK Paris), Anne Klammt (DFK Paris), Benjamin Ringot (CRCV), Mathieu da Vinha (CRCV)

Presentations will be limited to 30 minutes. Proposals – in French or English – of around 3,000 characters (including spaces) must include the title of the paper, along with an abstract of its argument, and be accompanied by a short biography (1,200 characters) and the contact details of the candidate. Materials must be received before 5 June 2022, via email to interieursetnumerique@dfk-paris.org.

Applicants will receive a response regarding their participation in the conference by 5 July 2022.

Selected bibliography

Barbier, Muriel and Pénet, Pierre-Hippolyte, “Le lit du duc Antoine de Lorraine et de la duchesse Renée de Bourbon : une nouvelle vie grâce au numérique”, In Situ [online], 40 | 2019, posted 15 September 2019, accessed 23 February 2022. URL: http://journals.openedition.org/insitu/24089; DOI: https://doi.org/10.4000/insitu.24089.

Hoppe, Stephan, Krista De Jonge, and Stefan Breitling. 2018. “The Interior as an Embodiment of Power: The Image of the Princely Patron and Its Spatial Setting (1400-1700)”. PALATIUM e-Publications. https://doi.org/10.11588/ARTHISTORICUM.398.

Jeffrey, Stuart, Siân Jones, Mhairi Maxwell, Alex Hale, and Cara Jones. n.d. “3D visualisation, communities and the production of significance”, International Journal of Heritage Studies, 26.9: 885‑900. https://doi.org/10.1080/13527258.2020.1731703.

Jeffs, Amy. 2020. “Digital 3D Modeling for the History of Art”. In The Routledge Companion to Digital Humanities and Art History, 13 pages. Routledge.

Jordan, Michel, Ringot, Benjamin, “Le projet VERSPERA. Numérisation, recherche et modélisation 3D des plans d’Ancien Régime de Versailles”, in Patin, Stéphane (ed.), Les enjeux du numérique en sciences sociales et humaines. Vers un homo numericus ?, Paris, Éditions des archives contemporaines, 2020; https://doi.org/10.17184/eac.3432

Kohle, Hubertus. 2013. Digitale Bildwissenschaft. Glückstadt: Hülsbusch. https://archiv.ub.uni-heidelberg.de/artdok/2185/.

Le Pareux, Philippe, “Modéliser les palais disparus”, Palais disparus de Napoléon, exh. cat. 15 September 2021-16 January 2022, Paris, Mobilier national, Paris, In Fine, 2021, pp. 253-257.

Messemer, Heike. 2020. “Digitale 3D-Modelle historischer Architektur: Entwicklung, Potentiale und Analyse eines neuen Bildmediums aus kunsthistorischer Perspektive”. Computing in Art and Architecture. https://doi.org/10.11588/ARTHISTORICUM.516.

Pfarr-Harst, Mieke. n.d. “Digitale 2D- und 3D-Visualisierungen als ikonische    Erkenntnismodelle? Eine kritische Betrachtung ihrer   Entstehungsprozesse, Potenziale und Herausforderungen   im Kontext objekt- und raumbezogener Fragestellungen”. In Bilddaten in den   Digitalen Geisteswissenschaften. Ed. Canan Hastik and Philipp Hegel, 16: 101‑16. Episteme in Bewegung, Beiträge zu einer transdisziplinären Wissensgeschichte. Wiesbaden: Harrassowitz. DOI: 10.13173/9783447114608.101 https://www.harrassowitz-verlag.de/pdfjs/web/viewer.html?file=/ddo/artikel/80725/978-3-447-11460-8_Free Open Access Download.pdf.

Rensinghoff, Berenike, Eine digitale Teilrekonstruktion des Palais Beauharnais in Paris : Open Source Modellierung und Evaluation verschiedener 3D-Viewer = A digital partial reconstruction of the Palais Beauharnais in Paris; Open Source Modelling and Evaluation of various 3D Viewers, Bamberg: Masterarbeit, Otto-Friedrich-Universität Bamberg/Masterarbeit, Hochschule für angewandte Wissenschaften Coburg, 2021.

Riedinger, Christophe, Tabia, Hedi, Jordan, Michel. Restitution 3D de monuments historiques à partir de plans anciens. TS. Traitement du Signal, Lavoisier, Cachan, 2015, 32 (1), pp. 87-108.

Artistic mobility in the modern era: 17th and 18th centuries

International conference
Co-organized by the DFK Paris and the Université Grenoble Alpes/LARHRA

Location: German Center for Art History (DFK Paris), Paris, France
Date: October 27 and 28, 2022
Contact: marlen.schneider@univ-grenoble-alpes.fr 

The spatial turn has greatly impacted our understanding of certain artistic phenomena. It has, among other things, allowed for a reassessment of the geography of art, one that should nonetheless be updated and nuanced: Thomas DaCosta Kaufmann and many others have exposed the possibilities for a history of art that offers a “new geography,” which challenges in particular old geographical concepts of space as something stable, immutable, and constant. On the contrary, through a juxtaposition of the spatial dimension of art (geography) and its temporal dimension (history), the boundaries that we tend to draw between different cultural, political, and even national spaces prove to be in motion, in a continual dynamic evolution. The question of identity arises, of the characteristics and spatial confines of a school, a style, etc. that was forged in a certain local context, such as a city, a court, or a country, and to which must be added the many inspirations that have come from other spaces over time, due to the circulation of ideas, objects, and people.

In order to better understand this spatial complexity of artistic production in the modern era, it is necessary to carefully consider the mechanisms and issues of one of its principal drivers: artistic mobility, including the circulation of objects as well as of people. While several recent studies concerning the art market and collecting practices have illuminated certain aspects of the mobility of objects on an international and even a global scale, the mobility of artists has not yet been the subject of a systematic and comprehensive examination for the 17th and 18th centuries. Recent research has been focusing on specific phenomena, geographical contexts and artistic groups, such as artistic mobility from and to the Netherlands, the travel to Italy, the Schildersbent in Rome, artists in exile during the French Revolution, or Huguenot artists and craftsmen in Britain.
The conference seeks to bring together and to extend these different geographical and thematic approaches to artistic mobility, in order to identify their general mechanisms, local particularities, and overall methodological problems: How does the analysis of the mobility of artists in the modern era enable us to shape the cartography of art differently? Studying the mobility of artists calls into question our criteria for classifying artistic agents and objects and ascribing them a geographical and cultural identity. The movements of artists, their journeys between different countries and cultural centers, necessitate that we think in new terms: instead of a single national identity, the concept of multiple identities – already much discussed for the contemporary period – could be useful. In some cases, it might also be appropriate to speak of deracinated identities, which can result from or generate difficulties to adapt to foreign places, cultures and work conditions. How, then, might we establish patterns of interpretation that take into account these multiple and hybrid identities resulting from artistic journeys and practices across borders?
We welcome proposals that engage these questions through case studies, which can range from the individual journey of a single artist to veritable group movements – whether within the same country, within Europe, or on a global scale. The various motives for the movements of artists will be explored – training, exploitation of a new market, political migration – along with the impact of these circulations on the careers and production of artists. The purpose is to contribute to the social history of artists in the modern era and to better understand the practical conditions of this mobility before 1800, when the means of transportation and communication and the political and societal structures at times created a difficult and restrictive environment for artists on the move. The conference will also be an opportunity to discuss the contribution of digital humanities to the analysis and visualization of the routes, stages, and networks of mobile artists. One particular stake of the study of artistic mobility is to finally make known hitherto overlooked figures: too often, artists in movement do not appear in historiographical accounts; they escape traditional categories of classification and find little visibility. In turn, certain established art-historical hierarchies can be challenged, for example those linked to a fixed cartography of art or those that still distinguish between “high art” and “low art”, between canonical artists and marginalized figures.   

Proposals are due by: April 30, 2022
Papers can be presented in French or English (about 20 minutes); proposals (maximum of 800 words) and a short curriculum vitae should be submitted to: marlen.schneider@univ-grenoble-alpes.fr 

Rhythms and Resonances. Sounding Objects in the Middle Ages

Call for Papers
Conference at the German Center for Art History – DFK Paris (and online)
May 19–20, 2022
Organisation: Philippe Cordez (German Center for Art History – DFK Paris), Rebecca Müller (Karl-Ruprechts-Universität Heidelberg), and Joanna Olchawa (Goethe-Universität Frankfurt am Main)

This interdisciplinary conference is dedicated to objects from the medieval period that produce music, repetitive sounds, or tones – from bells and organs, musical instruments, and sounding automata to the coins in one’s wallet. Also crucial is the question of how such sounds are “echoed” in ornament, images, and texts. In what terms might we describe and understand the relationship of object-generated sound to sight, touch, and other senses, as well as to voice and narration? In objects and architectures, how are sounds designed, staged, and received through movements and rituals? What intentions and meanings are conveyed in this way?

Submissions are welcome from history and art history, literary studies, musicology, cultural anthropology, and the fields of Sound History and Sensory Studies. Please send an abstract, not exceeding one page in length, to pcordez@dfk-paris.org, r.mueller@zegk.uni-heidelberg.de, and olchawa@kunst.uni-frankfurt.de by January 15, 2022.

For further information please refer to this document.

Westkunst, 1981: a Historiography of Modernism Exhibited

March 10–11, 2022, German Center for Art History Paris 

The German Center for Art History Paris invites interested scholars to participate in a workshop based on the exhibition Westkunst on March 10–11, 2022.
Interested scholars are requested to submit an abstract (max. 400 words) of a possible contribution and a short biography (max. 200 words) in German, French, or English to marnoux@dfk-paris.org and Maria.Bremer@ruhr-uni-bochum.de by November 30, 2021. Travel and accommodation costs for speakers may be covered by the DFK Paris under certain conditions. 
Workshop organizers: Mathilde Arnoux (German Center for Art History Paris), Maria Bremer (Ruhr-Universität Bochum), Thomas Kirchner (German Center for Art History Paris)

In 1981 a large exhibition opened in the trade fair center in Cologne under the title Westkunst—Zeitgenössische Kunst seit 1939 (Western Art: Contemporary Art Since 1939). Organized by art critic Laszlo Glozer and curator Kasper König, the show was composed of twelve historical sections and a contemporary one entitled Heute (Today). Along with the 700–800 artworks and archival material, the exhibits included reproductions of exhibition presentations and artist studios, and nine films specially created for the event. Overall, the Western-centric survey highlighted the avant-garde and politically charged themes of “freedom” and “individual expression”.

For more information, please refer to the adjacent document at the right.

Fall Course 2021

The fall course, “Introduction to academic French and conducting research in France,” enables young German historians and art historians to discover their disciplines in French institutions. 

In addition to a half-day specialized language course, the main institutions in Paris will be presented: the French National Institute for Art History (INHA), documentation from the Orsay and Louvre museums, the Kandinsky Library, and other important archives and libraries.

Lectures by experts complement visits to the various sites. Fall courses generally take place in the second half of September, with the cooperation of the German Historical Institute of Paris (DHI). Depending on the year, the course is held either at the DFK Paris or DHI.

For German researchers only.

For further information please contact:

German Center for Art History Paris, Hôtel Lully, 45 rue des Petits Champs, 75001 Paris
Dr. Julia Drost: jdrost@dfk-paris.org

German Historical Institute Paris, Hôtel Duret-de-Chevry, 8 rue du Parc-Royal, 75003 Paris
Prof. Dr. Rolf Große: rgroße@dhi-paris.fr

For further information, please follow the link to the call for applications.

Call for Applications: International Study Course
The Paris World Fairs – (Re-) Productions of Art and Fashion
19th March 2020

Organized by the Deutsches Forum für Kunstgeschichte (DFK Paris) in cooperation with the Technische Universität Darmstadt

Application deadline:
31 October 2019

CFP Document to download

Call for papers

V. Forum Kunst des Mittelalters – Ponti – Peaks – Passages Bern – 18.-21. September 2019 

Sektion 9:
Die Brücke in der Stadt. Passagen, Bilder, Handel, 12.–14. Jahrhundert
Sektionsleitung: Philippe Cordez (Paris)
Sponsored session: Deutsches Forum für Kunstgeschichte, Paris

Plus d'information / Weitere Informationen / More information 

CALL FOR PAPERS

German-French Research Program (Berlin, 8-10 November 2018; Paris, 18-20 March 2019)

Art Market and Art Collecting from 1900 to the Present in Germany and France

German-French Research Program

Berlin, Germany, 8–10 November 2018
Paris, France, 11–13 March 2019

Deadline for submissions: 14 September 2018

Refugee crises, trade wars, migration debates: within the context of global geopolitical, economic and cultural-political upheavals, Europe is presently undergoing a process of transformation. At the same time, European territorial occupations and colonial rule of the past are coming increasingly into the focus of national and transnational scholarship and the politics underlying it.

The 2018–2019 German-French Research Program organised by the Forum Kunst und Markt/Centre for Art Market Studies of the Technische Universität Berlin and the Centre Georg Simmel of the Paris-based École des Hautes Études en Sciences Sociales in cooperation with the Deutsches Forum für Kunstgeschichte Paris responds to these dynamics. The program’s thematic emphasis is research into the art market and art collecting in national and transnational networks in Germany and France as well as how they relate to art and cultural policy from 1900 to the present. This historical timespan encompasses two world wars, occupations, world economic crises, stock market crashes, economic miracle years, the Cold War, the founding of the European Union, the fall of the Berlin Wall and, not least importantly, the above-mentioned crises of the present.

The chief aim of the program – which is being carried out with financial support from the Université franco-allemande/Deutsch-Französische Hochschule (UFA/DFH) – is to network doctoral and post-doctoral scholars currently carrying out research on the art market, museums and collecting in the contexts described above across national and discipline boundaries. To this end, it provides them with opportunities to present their research at conferences in Berlin and Paris and enter into exchange with experts and specialists in the respective countries, as well as access to museum and research “labs”, auction houses, galleries and archives.

The prerequisite for the selected doctoral and post-doctoral scholars’ participation in the German-French research network is the attendance of both research conferences – the one taking place in Berlin (8–10 November 2018) and the one in Paris (18–20 March 2019), which build on one another – and the presentation of a twenty-minute lecture on their own research projects in the context of the program themes at one of the two conferences.

Assistance towards travel and lodging expenses will be granted. Participants will be informed about the administrative modalities of the respective German-French project partners following the selection procedure.

The conference languages will be English in Berlin (conference subject: “Art Market and Art Collecting in Germany and France from 1900 to 1945”), and French and English in Paris (“Art Market and Art Collecting in Germany and France from 1945 to the Present”). Please send your application, complete with a lecture synopsis of 2,000 characters maximum, including spaces, and a CV to germanfrenchprogramme@gmail.com by 14 September 2018.

The German-French organisers will carry out the selection procedure and announce the participants by the end of September 2018.

Concept and organisation: Dorothee Wimmer, Elisabeth Furtwängler (Centre for Art Market Studies/TU Berlin), Denise Vernerey-Laplace, Hélène Ivanoff (Centre Georg Simmel/EHESS, Paris), Julia Drost (DFK Paris)

Internationales Forschungsatelier für Nachwuchswissenschaftler/-innen der Fotografiegeschichte und -theorie:

»Paris – urbaner, institutioneller und künstlerischer Ort der Fotografie«

Paris, 3.-7. Juli 2017

Deadline: 24. Februar 2017

Organisiert vom Deutschen Forum für Kunstgeschichte – DFK Paris

in Zusammenarbeit mit der Université Paris Ouest Nanterre La Défense und der Universiteit Leiden,

gefördert von der Deutsch-Französischen Hochschule, Saarbrücken (http://www.dfh-ufa.org)

Die Bewerbungsunterlagen finden Sie auf dieser Seite.

Picturesques Modernities

Architectural Regionalism as a Global Process (1890–1950)

30. November / 2. Dezember 2016

Deutsches Forum für Kunstgeschichte Paris

Konzept: Michael Falser (Universität Heidelberg)

Internationale Konferenz in Zusammenarbeit mit dem Cluster of Excellence ‘Asia and Europe in a Global Context’ (Global Art History), Deutsches Forum für Kunstgeschichte Paris, Centre de recherche interdisciplinaire en histoire, histoire de l’art et musicologie der Universität Poitiers (CRIHAM/Département d’histoire de l’art et archéologie), Centre André Chastel (CNRS/Universität Paris-Sorbonne) und Association d’histoire de l’architecture (A.H.A.).

Einsendeschluss: 15. August 2016

Weitere Informationen entnehmen Sie bitte diesem Dokument.

Surréalisme et arts premiers

Workshop am Deutschen Forum für Kunstgeschichte Paris, 10. Oktober 2016

im Rahmen des Labex Le surréalisme au regard des galeries, des collectionneurs et des médiateurs, 1924–1959

Konzept: Julia Drost, Fabrice Flahutez und Martin Schieder

Als im Mai 1936 die Pariser Galerie Charles Ratton die Exposition surréaliste d’objets präsentiert, möchte sie die Möglichkeiten des Surrealismus veranschaulichen, die Wirklichkeit zu transfigurieren, ohne diese jedoch zu metamorphosieren. Die ausgestellten Objekte – mathematische Objekte, objets trouvés und Objekte aus Nordamerika oder Ozeanien – werden in den Status des Phantastischen erhoben, obwohl sie keinerlei Veränderung oder Transformation erfahren haben. Es sind die Dichter, die einen »Gebrauchsgegenstand allein durch Wahl des Künstlers in den Rang eines Kunstgegenstands erheben«, wie André Breton 1938 im Dictionnaire abrégé du Surréalisme erklärt …

Weitere Informationen finden Sie im beigefügten Dokument.

Der Workshop richtet sich insbesondere an Nachwuchswissenschaftler/-innen. Er schreibt sich in das Forschungsprojekt des Labex Le surréalisme au regard des galeries, des collectionneurs et des médiateurs, 1924–1959 ein und knüpft an die beiden Workshops Le monde au temps des surréalistes (November 2014) und Le Surréalisme dans l’Europe de l’entre-deux-guerres (März 2016) am Deutschen Forum für Kunstgeschichte an.
Bitten reichen Sie Ihre Vorschläge (max. 1 Seite auf deutsch, französisch oder englisch) mit einer Kurzbiographie bis zum 15. Juni 2016 ein.

Julia Drost, Deutsches Forum für Kunstgeschichte, Paris, jdrost@dfk-paris.org
Fabrice Flahutez, Université Paris Ouest, flahutez@gmail.fr
Martin Schieder, Universität Leipzig, schieder@uni-leipzig.de

The Avant-garde and its Networks:
Surrealism in Paris, North Africa and the Middle East from the 1930s

Date: 14–15 November 2016
Venue: Orient-Institut Beirut
Organizers: Orient-Institut Beirut/Deutsches Forum für Kunstgeschichte Paris

Surrealism – along with Futurism – can be considered as one of the few avant-garde movements of the early twentieth century that was established in Cairo. In 1939, Georges Henein, Kamel el-Telmessany, Ramses Younan and Anwar and Fouad Kamel founded the Art and Freedom group (Jamaat al fann wal-hurriya), which continued until the late 1940s …

For further information please download the attached document (french version), english version.

The deadline for submission of abstracts (300 words) is 15 June 2016. Please send your abstract together with a short biographical statement to Monique Bellan (bellan@orient-institut.org) and Julia Drost (jdrost@dfk-paris.org). Successful applicants will be notified by late July 2016.

La date limite pour envoyer les résumés de vos communications (300 mots) est fixée au 15 juin 2016. Nous vous remercions de joindre une courte notice biographique et d’adresser le tout à Monique Bellan (bellan@orient-institut.org) et Julia Drost (jdrost@dfk-paris.org). Les candidats retenus seront informés d’ici à la fin du mois de juillet 2016.

Provenienzforschung. Wechselseitige Perspektiven – Frankreich und Deutschland

Das Deutsche Forum für Kunstgeschichte (DFK Paris) und das Institut national du patrimoine (INP) organisieren in Kooperation mit dem Institut national de l’histoire de l’art (INHA) und dem Arbeitskreis Provenienzforschung e.V. vom 2. bis 3. Juni eine zweitägige Veranstaltung zum Thema »Provenienzforschung. Wechselseitige Perspektiven – Frankreich und Deutschland«. Expert/-innen beider Länder aus den Bereichen Provenienzforschung, Museumswesen und Kunstrecht werden hierbei in Dialog treten. Siehe Veranstaltung.

Bewerbung »Vernetzungstreffen«:

In Ergänzung zu den Vorträgen findet am Nachmittag des 3. Juni ein Vernetzungstreffen statt.
Dieses Zusatzmodul richtet sich an Interessent/-innen mit einer Altersgrenze von 30 Jahren und sehr guten Französischkenntnissen.
Anreisenden deutschen Teilnehmer/-innen kann mit freundlicher Unterstützung des Deutsch-französischen Jugendwerks (OFAJ/DFJW) und des DFK Paris ein Reisekostenzuschuss bis maximal 200 € gewährt werden. Voraussetzung für eine Förderung ist eine erfolgreiche Bewerbung für das Vernetzungstreffen sowie die Teilnahme an der Gesamtveranstaltung »Provenienzforschung« (Fachvorträge und Vernetzungstreffen).

Interessenten werden gebeten, ein kurzes Motivationsschreiben sowie einen aktuellen Lebenslauf einzureichen, siehe Ausschreibung. Bewerbungsschluss ist der 20. Mai 2016.

« Réalité autre, mais réalité quand même »
Hans Hartung und die Abstraktion
Internationale Tagung am Deutschen Forum für Kunstgeschichte,

Paris, 12./13. Januar 2017

Konzept:
Thomas Kirchner (Deutsches Forum für Kunstgeschichte, Paris)
Antje Kramer-Mallordy (Université Rennes 2/Archives de la Critique d’Art)
Martin Schieder (Universität Leipzig)

Mit Unterstützung der Fondation Hartung-Bergman, Antibes

Bewerbungsfrist: 12. September 2016 

Weitere Informationen entnehmen Sie bitte diesem Dokument.

Studientag zu Otto Dix, 28.-29. November 2016 in Colmar

Bitte senden Sie eine Beschreibung Ihres Themenvorschlags (max. 3000 Zeichen, in deutscher, franz. oder engl. Sprache) sowie einen aussagekräftigen Lebenslauf und eine Liste der Publikationen bis zum 16. Mai 2016 in einem einzigen Dokument (Word oder pdf) an Aude Briau: abriau@musee-unterlinden.com

Exotische Bilder. 
Fernweh (in) der Kunstgeschichte

Workshop am Deutschen Forum für Kunstgeschichte Paris (DFK), in Zusammenarbeit mit dem Sackler Research Forum am Courtauld Institute of Art

Paris, 9. und 10. Juni 2016

Bewerbungsfrist abgelaufen
 

Als Symptom einer Leerstelle deuten »exotische Bilder« auf ein Bedürfnis der Kunstgeschichte, das in historiographischer Perspektive durchaus positiv befragt werden kann. Die Tagung möchte den verschiedenen Motivationen hinter diesen Diskursen in methodenkritischer und ideengeschichtlicher Perspektive nachgehen.

Informationen im PDF-Format zum Download.