ASSOCIATION of ART HISTORIANS Registered Charity No

November 1992 BULLETIN ASSOCIATION OF ART HISTORIANS Registered Charity No. 2825 79 Editor: Clare Pumfrey, 40 SillwoodRoad, Brighton BN1 2LE Tel: 0273 29433 Advertising Manager: Kate Woodhead, Dog and Partridge House, Byley, Cheshire CW10 9NJ Tel: 0606 835517

NEWS REPORT EXECUTIVE UPDATE

At its busy 104th meeting in September the very much that a wide-ranging policy (with Professor Eric Fernie in the Chair) Executive Committee discussed a number document will be available for discussion has now been published. Professor Benton, of important matters. at the next AGM in April. Meanwhile, I Dr Elam, Professor Kaufmann, Professor would very much enjoy hearing from Onians, Professor Podro, Professor Pointon A new Editor for Art History individual members or from other readers and Dr Tickner will consider submissions The Executive was delighted to ratify of the Bulletin with views on AAH policy from some 45 institutions (relating to well formally the Editorial Board's nomination in the following areas: How should the over 300 individuals) before reporting to of Marcia Pointon to succeed Neil AAH behave in the public realm - as a the Universities Funding Council. McWilliam as Editor of the Association's pressure group on government and Those of you who were at Leeds will journal Art History. Professor Pointon institutions? How active should the AAH remember that it was agreed that the identity attended the EC and outlined her initial be in the international arena? How should of those nominated by the AAH should plans for the j ournal. She will serve for five the AAH be organised - on a democratic remain confidential. I can say, however, years and will be submitting detailed base but needing to be effective that it is clear that the Association's thoughts proposals regarding the management of (professional?) in its management? How on the matter were taken very seriously by the journal to the Editorial Board when it should the AAH foster the history of art as the UFC and that the panel reflects in a meets in October. The new Editor also an intellectual activity? most encouraging way the views that were paid tribute to the work ofher predecessors, Other issues may come to mind; if so, put forward in our discussions last April. I John Onians, the founding-Editor and, more please do raise them. wish to make it clear that there is no truth recently, Neil who (in the words of the in the rumour that the AAH was ignored. outgoing Chair) 'showed great dedication CIHA The Association has also responded to a to the highest professional standards' in his Following decisions taken at the Berlin consultation paper issued in the summer by time as Editor. conference of the Comite International the Higher Education Funding Council for d'Histoire de I'Art the British CIHA England on The Funding of Research. In Future strategy committee is re-constituting itself as an our submission we stressed that a substantial Several reports and other items taken at the affiliated body of the AAH. Full details percentage of the Association's member• September meeting related to a wider should be available well before the April ship is actively engaged in research in the discussion now taking place on the AGM at the Tate Gallery. history of art and that many individuals are Executive. This business was encouraged employed in institutions currently in receipt by Theo Cowdell's paper in Bulletin 45 Research funding of funds administered by the HEFCE. We and will be the subject of a special EC to Members who attended the Leeds con• welcomed the principle that any future take place in November. With the AAH ference will remember the steps taken to funding method should be dynamic, as it is almost 20 years old there is clearly a feeling nominate those the AAH wished to serve clear that the essentially retrospective nature both on the EC and amongst the member• on the Art and Design Panel set up by the of the Research Assessment Exercise might ship as a whole that the main aims of the UFC/PCFC to conduct its selectivity prejudice that nurturing of new approaches Association need to be reassessed. I hope exercise. The membership of the panel and areas of interest that has been such a NEWS REPORT

marked characteristic of our discipline in Royal Holloway & Bedford New they write to the Secretary of State, the recent years. We particularly welcomed College Attorney General and to the Charity the existence of a (too small) element of The College is pressing ahead with its Commissioners registering appropriate 'development' money outlined in the proposal to sell three pictures (by concern. Further details may be obtained proposals as a means of offering some Gainsborough, Turner and Constable) from from Warwick Gould, Royal Holloway & protection to small bands of researchers the founder's collection in order to finance Bedford New College, Egham Hill, Egham, spread across a very large number of a building programme. To general Surrey TW20 OEX, to whom copies of all institutions. In addition, we stressed the astonishment, the Charity Commissioners correspondence should be sent. importance of protecting essential national have given the scheme their approval and resources, such as the photographic libraries in response Professor Jonathan Riley-Smith Nigel Llewellyn at the Courtauld and Warburg Institutes, (a brave member of the College) has lodged Chair from crude applications of funding models an appeal with the Ombudsman. The fight driven only by student numbers. Finally, now moves to Government circles and to the Association put the view that it would the House of Commons. Please all write to welcome the introduction of a Humanities your MPs telling her or him that you know Research Council funded by the HEFCE. of Riley-Smith's Appeal and urging that

BERLIN CONFERENCE REPORT

It was clearly difficult to convince members the preservation of monuments' were splendid garden party given by the Getty of the AAH that 3000 art historians of popular subjects. Moreover, the pro• Trust for Congress lecturers. The good diverse cultures and language skills might gramme was wisely broadened to give the weather was particularly welcome for the meaningfully debate ideas or problems of assembled experts opportunities to discuss Saturday sight-seeing excursions. Having mutual concern, as the XXVIII International topical areas of concern, such as the opted for Dresden, I was impressed by the Congress in Berlin (15-20 July 1992) was 'Museumsinsel',the 'Piero project' and, of superbly organised trip. Moreover, senior attended by few British art historians not course, the Rembrandt 'authentication'. local experts were at hand to explain their presenting a paper. Only the museums were As might be expected at such a rebuilding programmes for the opera and well represented, with delegates predictably conference, the papers were of varying the castle area, and to discuss problems and attracted by the intense debate concerning standard, yet few of those that I heard could progress. Official support was equally the 'Museumsinsel' in Berlin. Challenging be called uninteresting or even frivolous, pronounced in Berlin; Federal President contributions (from Eastern European and several were of undoubted significance Weizsacker and Burgomeister Christine colleagues in particular) certainly would to art history. It was often more difficult to Bergmann spoke at the opening ceremony, have deserved the attention of British secure productive discussion contributions and the Berlin Senate and Museums hosted scholars. Instead, it appears that enthu• from the floor. There was a notable receptions for all the participants. The siastic German students were invited to fill tendency for certain established scholars to newly built ICC Congress Centre offered up their places. try and deliver the paper they felt they excellent facilities, especially for speakers, Under the umbrella of 'Artistic Ex• should have been asked to present. with ample room for exhibitions, a book change ', the organisers assembled a lecture However, more useful input often revealed fair and auxiliary presentations. Only the programme of impressive diversity. profound knowledge and led to some really inability to provide sufficient staff to sell Research presented for debate, and to be exciting debates and, at times, to new coffee during the short breaks put a small published later this year, ranged from the insight. Indeed, on one occasion an spoke in the well-oiled organisational peregrinations of medieval artists to the impromptu dash to the home of a Berlin wheels. 'crossroads of avant-gardes', from the professor permitted our heated dispute to western influence on Islamic architecture continue profitably over improvised lunch Brigitte Corley and Japanese painting to the 'ethnicity and in his garden. national identity in the history of new world The idyllic location for debate was, of art'. The internationality of photography, course, made possible by the perfection of film and video was also traced in interesting German Congress planning, which even contributions. In Berlin4new metropolitan included the provision of hot sunshine architecture' and 'the role of art history in throughout - except during the rather

2 NEWS REPORT

THE AAH AND AUSTRALIA

Members of the AAH who attended the 'How Dogmatic was Le Brun?', 'Women, interests lie in both Australian and Leeds conference in April this year will the Nude, and the Academy', 'Academ• international topics. recall the interest generated by the academic icism in Chinese Oil Painting.. .in the 1980s' AAH members are offered the section 'Australia' organised by Terry and 'Colonials Kill Artfully'. Australian Journal of Art at a discounted Smith. Following Leeds we have decided Volumes VII, VIII (1989/90) and IX individual rate of AUSS10 per issue post to encourage better links between the AAH (1991) of the Australian Journal of Art free to AAH members (please make and the Art Association of Australia by have also been published. Volume VII is payment with Australian bank draft). offering their members a discount rate to on Museums and VIII is a special number Contact Peter McNeil, Secretary, Art join the AAH, in parallel with our standing on gender entitled 'Other Fantasies' and is Association of Australia, Department of arrangement with the College Art edited by USA AAH contact Patricia Art History, The Australian National Association (USA). Simons (contributions on Frankenstein, University, PO Box 4, Canberra ACT 2601, Kate Woodhead has also received copies early modern Germany, Cranach, Bernini, Australia. Telephone (06) 249 2702; Fax of various publications and a letter detailing J-L David etc). Volume IX takes the theme (06) 249 2705. discounted prices for AAH members. of Theatricality (with articles on Likay and Available at AUSS6 post free is: Paul Duro Corroboree amongst non-European themes, Nigel Llewellyn (ed), Perspectives on Academic Art [Papers as well as pieces on Preti, Tiepolo and the October 1992 of the AAA, III], 1991, which includes State Funeral of Wellington). In general, essays on 'Academic Art and its Referents', our Australian colleagues stress that their

FOREIGN NEWS

The activities of the Association featured challenged by the so-called 'New Art Reibold-Bultman goes on to mention recently in an article in the 'Literatur und History' (Nochlin, 1971; Rees and Borzello, similarly varied conference programmes Kunst 'section oftheNeue Ziircher Zeitung 1986), apparently spread by a non- (London 1991; Leeds 1992), and praises (31 July 1992). Brigitte Corley, a member homogenous, aggressive force from the the wide range of subjects, including of our Freelance Subcommittee, here gives Open University, polytechnics and questions of technique and restoration. She a resume of the piece 'Kenner von neuen museums which has now invaded certain also comments on the freedom of inter• Rahmen' by Ursula Reibold-Bultman. conservative universities (she cites Block pretation of the meaning of set subject and Oxford Art Journal). She characterises areas, claiming that this leaves much room Reibold-Bultman poses the question: How the 'new' approach as theoretical and for intellectual games and experiments, far is British art history dependent on its generally as moving away from considering but that it demonstrates that British art nineteenth-century roots, and how has it real objects. If objects are considered at all, history is still not 'dangerously addicted' updated itself, if at all? She claims that the a marked preference for 'low art' is to scientific study. At this point her empirical evaluative method of the apparent. This apparently enables its argument becomes difficult to follow, connoisseur typifies the traditional British disciples to use the typically British gift: because she appears to approve and approach and introduces Cavalcaselle, words! condemn in the same sentence. Ruskin and Fry, and cites Fry's lectures at Continental scholars are astonished at Reibold-Bultman appears to say that the the V&A to demonstrate that art-historical the embittered debate in Britain between lack of continental participants apparent at education centres on museums. 'old' and 'new' art history. AAH conferences may be due to our lack She sees a change of approach, pioneered However, the open forum of the AAH, of concern for British art history. by The Burlington Magazine in 1947, which both as an organisation and as the publisher Apparently, we leave traditional research apparently began to aim beyond Berenson- of Art History, is capable of attracting a to the Americans now. She appears to type connoisseurship, then cites input from range of views ('American connoisseur' indicate that if we were to show a more German emigrants (Warburg, Panofsky, Maginnis, no. 13,1990; aggressive, marxist: scholarly approach both to tradition and Saxl, Bing, Gombrich) after 1937, which Baldwin, Harrison and Ramsden, no. 4, innovation, continentals may observe, be introduces interest in iconography, 1981; an interdisciplinary approach: amused and stimulated by so-called 'new iconology etc. Johnson, no. 9, 1986 and Elkins, no. 7, art history' or may, conversely, enjoy In the last 20 years such work has been 1984). 'naked professionalism'.

3 CONFERENCE NEWS LONDON CONFERENCE 1993 IDENTITY AND DISPLAY Artistic, national and sexual identities and aesthetic, anthropological and other notions of display 2-4 April 1993 Tate Gallery

The Conference academic sessions and Book Fair will be held at the Tate Gallery on Friday 2 and Saturday 3 April. There will also be visits, panel discussions, gallery sessions, performance, film, video and other events on Sunday 4 April. Proposals for contributions to some of the academic sessions are still warmly invited. Conveners: Richard Humphreys, Tate Gallery, London David Bindman, University College, London Sessions Coordinator: Diana Dethloff, University College, London Conference Administrator: Sylvia Lahav, The AAH Conference Office, Tate Gallery, Millbank, London SW1P 4RG Tel: 071-821 1313 ext. 354 Book Fair Organiser: Savita Ayling, 127 Sunnybank Road, Griffithstown, Pontypool, Gwent NR4 5LL, Tel: 0495 762790

ANNUAL GENERAL MEETING video programmes. General Information The AGM will be held after lunch on More details will be available in the Sunday 4 April in the Tate Auditorium. February Bulletin and also from the PLENARY SESSIONS Conference Organiser after 1 January 1993. These will be held at the Westminster SUNDAY SUNDAE Central Hall. Sunday 4 April 9.00-1.30 pm BOOKING FORM Friday 2 April The Tate is closed to the public on Sundays Enclosed with this Bulletin. Sotheby's lecture: Helene Cixous until 2.00 pm. We shall be taking advantage 'Bathsheba and the Skinned Ox: A Tale of of this to arrange a variety of visits, talks ACCOMMODATION Points of View'. Followed by panel and other events to animate the galleries Information can be received from King's discussion. Panel includes Michele Roberts and address ideas and issues pertinent to Campus Vacation Bureau, King's College and Nicole Ward Jouve. the Conference's theme and venue. London, 552 King's Road, London SW10 Saturday 3 April The morning will be organised around OUA Tel: 071-351 6011. Tower and Display' - Stephen Lukes, the following sections: John Brewer, Carol Duncan and Richard 'Inside the Tate': includes visits to the Sennett. Conservation Departments, Library and Academic Sessions Archive; discussion of the Tate's education EVENING RECEPTIONS AND programmes in London and Liverpool; a 1 Art in Bourgeois Society: cl790- PARTIES session on the Tate Gallery St Ives; an 1850 Friday 2 April inside view on the installation of Richard National Gallery: Drinks in the Brasserie. Serra's controversial 'Weight and Conveners: Andrew Hemingway, Dep• Saturday 3 April Measure'; 'Creating Curators: Curating artment of History of Art, University Imperial War Museum: Party and jazz Creators'. College London, Gower Street, London band. 'Ideas and Issues': panels, talks and WC1E 6BT; William Vaughan, Dep• Sunday 4 April discussion on the Tate's future; the role of artment of History of Art, Birkbeck College, Tate Gallery: Party, cabaret and band. the art history library; new directions in art Malet Street, London WC1E 7HX. history. SPECIAL INTEREST GROUPS 'Gallery Sessions': workshops on the The aim of this session is to provide a These will be held on Friday 2 April, 'Visualising Masculinities' display; forum for comparative analysis of how the 9.30-11.00 am. spatiality and the Robert Ryman exhibition; different paths of development taken by The Schools Group will meet on gallery texts; Turner and display; Andre's bourgeois societies in the crucial phase of Saturday 3 April, 3.30-5.30 pm. The title 'Bricks' revisited. formation 1790-1850, affected artistic of this session is 'Ivory Towers and the 'Events': performances by Brian Catling practices and institutions in individual states Chalk Face'. and others; music; readings; film and (Britain, France, Germany and the US).

4 CONFERENCE NEWS

Speakers as follows: Despite many challenges, the story of art is College London, Gower Street, London still the story of individual artists. The WC1E6BT. Opening address - speaker to be label 'Anonymous* or 'Unknown' often confirmed. consigns objects to a lower financial and How much influence does conservation, Alan Wallach (College of William & scholarly scale, removing them from the and the findings that result from it, have on Mary) Long-term Visions, Short-term standard range of art historical inquiries. the way we perceive, interpret and display Failures: Art Institutions in the United Discovering the personality behind a picture works of fine and decorative art? Equally, States, 1800-1860. returns it to prominence. how much are the practice and ethics of Looking at a spread of pre-eighteenth conservation influenced by associated Patricia Hills (Boston University) The century theoretical texts, papers in this disciplines such as art history and criticism, American Art-Union as Patron for session will consider the question of how curator ship and art dealing. Expansionist Ideology in the 1840s. and why authorship became the primary We will also consider the role of framing Angela Miller (Washington University, criteria for cataloguing, arranging and and presenting in the same context, as an St Louis) Landscape Aesthetics and Middle evaluating works of art. Other speakers important manipulator of perception. Class Attitudes in the United States in the will explore the strategies artists themselves Speakers will include: Paul Mitchell, 1840s and 1850s. used to ensure that collaborative or Jacob Simon, John Larson, Derek Pullen, workshop productions emerged under a Clare Meredith, Aviva Burnstock, Neil Dian Kriz (Brown University) The single name. The session will end with MacGregor, Lucia Scalesi, Joyce Cosmopolitan Gentleman or the Native papers asking how the primacy of Townsend. Genius? Representing Englishness in authorship has affected our understanding Landscape Painting cl 790-1820. of periods and types of art where the 4 Conservation and its Discontents: Ann Pullan The British Institution and evidence for distinct personalities does not The Restoration of Historic Buildings in Middle Class Taste, 1805-20. match our current preconceptions of artistic Europe identity. Tom Gretton (University College Speakers will include: Convener: Bruce Boucher, Department of London) Art and Progress: Uses of the History of Art, University College London, Word 'Art' in the Evidence of the 1835-36 Francois Quiviger (The Warburg Gower Street, London WC1E 6BT. Parliamentary Select Committee on the Institute, University of London) Bellori Schools of Design. and Poussin. The conservation of historic buildings and Richard Wrigley (Thames Valley Charles Ford (University College, monuments is a popular subject, but University) The Class of '89: Cultural London) Karl van Mander. confusion exists over the techniques and Constructions of Bourgeois Identity in the objectives of those who work in this field. Ruth Webb (King's College, London ) Aftermath of the French Revolution. This session will examine the problems Pots with Personality. connected with the restoration of historic Adrian Rifkin (University of Leeds) John Eisner (The Courtauld Institute, buildings on a European scale, both from Criticism and the Art of Writing in France London) Blame it all on Pliny. the point of view of historians of art and in the Early Nineteenth Century. architecture and of conservators. Among Liz James (The Courtauld Institute, Werner Busch (Free University, Berlin) the topics considered will be the different London) and Charles Barker (The Warburg (title to be confirmed). treatment of interiors and exteriors of Institute, London) Art Without Authorship buildings, the problem of infilling, and in Byzantium. Two more papers on British and German reconstruction of historic buildings in themes with titles and speakers yet to be Elizabeth Alice Honig (Tufts University, Central Europe after the war. confirmed. Mass.) Mediated Value: Exchange Speakers as follows: Practices in Gerard Dou 's Grocery Shop. Gerhard Glaser (Institut fur Denk- 2 Authorship and Anonymity malpflege, Dresden) Rebuilding the 3 Conservation and its Consequences Dresden Schloss (to be confirmed). Conveners: Evelyn Welch, Department of History of Art, Birkbeck College, Malet Richard Haslam The Villa Saraceno at Conveners: Rica Jones, Conservation Street, London WC1E 7HX; Charles Ford, Finale. Department, Tate Gallery, Millbank, Department of History of Art, University London SW1P 4RG; Libby Sheldon, College London, Gower Street, London James Simpson (Simpson & Brown) Department of Art History, University Georgian Buildings in Edinburgh. WC1E6BT.

5 CONFERENCE NEWS

Konstantin Kalinowski (Muzeum History in South African Galleries and Marsha Meskimmon (Harlaxton Narodowego w Poznaniu, Poznan) The Museums. College) Subjectivity in the 'New Restoration of Polish Cities. Objectivity'. The Self-Portraits of Women Anna Contadini (Victoria & Albert Artists in the Weimar Republic. Jonathan Glancey (The Independent) Museum, London) Islam in European The Question of Infilling (to be confirmed). 'Collections. Karen Stanworth (University of Sussex) The Re-Presentation of Edward Onslow: 5 Displays of Identity: Museums and 6 Documenting the Face? The Portrait Imaging a Family History. the Making of Histories as Historical Artefact Sue Wragg, (Nene College) Some Reflections on Ingres' Portraits. Convener: John Murdoch, Assistant Conveners: Shearer West, University of Director, Collections, Victoria and Albert Leicester, University Road, Leicester LE1 Paul Barlow (University of Sunderland) Museum, South Kensington, London S W7 7RH; Karen Hearn, Tate Gallery, Millbank, Carlyle and the Mythology of the Portrait 2RL. London SW1P4RG. (title to be confirmed).

This session will explore the creation of This session will examine the use of 7 Englishness and English Art identities for nation states, peoples, or portraits by historians of all kinds. It will individuals, through the collection and consider what portraits can reveal about Conveners: Barry Curtis and Steve display of significant objects in museums. history and historical identity, as well as Johnstone, School of Historical & Related Speakers as follows: the methodological problems raised by Studies, Middlesex University, Cat Hill, their appropriation as 'documents'. The Barnet, Herts EN4 8HT. Daniel Cahill (Universite de Neufchatel) session will not be confined to a particular Cantonal Identities in Switzerland post period or methodology, and papers will Papers will address the 'peculiarity' of 1815/1848. represent a wide range of specialist interests English visual culture - histories, practices, Jennifer Gordon MOM A and American and theoretical concerns. institutions, centres and margins. 'English' World Leadership Post-1945. Speakers as follows: imaging will be explored in relation to its contradictions - empirical/visionary, Katelin Keserii (University of Lotvos Sighle Bhreathnach-Lynch (University everyday/exotic, picturesque/sublime - Lorand, Budapest) Museum Architecture College, Dublin) Six Political Portraits: A its resistance to ideology, and its trans• and Hungarian Nationhood. Sculpted Legacy of Modern Irish History. formations of the 'foreign'. Particular Giles Waterfield (Dulwich Picture Peter Burke (University of Cambridge) attention will be devoted to the ways in Gallery, London) Taxonomy, Catalogues The Portrait as a Historical Phenomenon. which diaspora and minority cultures have and Nationality c!800. reformulated the visible and visual in John Coleman (Trinity College, Dublin) anthropological and personal/politically Robert Anderson (British Museum, Patrons of Reynolds (title to be confirmed). informed images. London) Display of Industrial Arts in Joan Crossley (University of Leicester) The strand will speculate on how the Scotland in the mid-Nineteenth Century. Breeding and Marriage: Seventeenth- past in the present has determined the visual Kathy Adler (Birkbeck College, Century Betrothal Portraiture. economy of Englishness and assess the London) Manet and the Display of Olympia. significance of emergent configurations Helen Hills (University of Keele) and their relation to 'the Market', New Portraits of Sicilian Nuns in the Seventeenth John Mack (Museum of Mankind, Technologies, Europe. 'World Culture', Century (title to be confirmed). London) Imaging Madagascar (title to be Tourism and 'Fun'. confirmed). Alex Kidson (Walker Art Gallery, Speakers as follows: Gordon Fyfe (University of Keele) A Liverpool) English Portraits and Politics Dr Andrew Causey (University of Trojan Horse at the Tate: Art Museums in the Early Nineteenth Century (title to be Manchester) Pevsner and the Picturesque. and State Formation. confirmed). Richard Weight (University College Craig Clunas (Victoria and Albert Phillip Lindley (University of Leicester) London) Fresh Eyes: Eastern European Museum, London) Oriental Antiquities and La Belle Stuart's Parrot. Intellectual Emigres and the Reformulation Far Eastern Art. Stephen Lloyd (University of Oxford) of English National Identity. Elizabeth Rankin (University of The Construction of Fashionable Identity: Witwatersrand) Reclaiming Black Art Richard Cosway and the Prince of Wales.

6 CONFERENCE NEWS

Claire Pajaczkowska (Middlesex authors such as Freud, Barthes, Derrida Lindy Grant Hear the Status Symbols University) The Aura of Aristocracy: and Damisch in order to go beyond the Clash: The Fall of the Architectually English Art in a Post-Freudian Culture. obvious point that beauty is a historically Overmighty Subject. constructed notion. In taking into account Lyndsey Stonebridge (Kingston Marzena Chodor Imitatio Mariae: The the fact that judgements of beauty are University) On Adrian Stokes and Marion Discourse of Female Virtue in Early inevitably gender-based, it also seeks to Milner: Psychoanalytic Interventions in Netherlandish Annunciations. open up the theoretical issues which are Art History. entailed by the removal of beauty from the Martin Kauffmann Ideal Kingship and Michael Kitson (Paul Mellon Centre) natural to the cultural sphere. Paris, who Courtly Decorum in Thirteenth- and The Role of Drawing Manuals in Seven• gave the apple to the Goddess of Beauty Fourteenth-Century France. teenth Century England. and rejected the worldly power offered to Veronica Sekules Domestic Interior him by her competitors, was also the Steven Johnstone (Winchester School Decoration for Women (title to be legendary instigator of the Trojan War. of Art) The Eccentrics Magazine: confirmed). Judgement is etymologically related to Eccentricity, the Picturesque and English crisis, and beauty has an unsettling, Jill Caskey Merchants and Patronage Character. ambivalent aspect which neither philosophy in Southern Italy (title to be confirmed). Frank Mort, Peter Thompson, Valerie nor psychoanalysis has quite succeeded in Swales (Portsmouth University) Business dispelling. 10 Metaphor and Power and the Boardroom: National Identity in Economic Discourse and Design in British 9 Issues of Medieval Decorum Conveners: Tamar Garb and Briony Fer, Art, 1945-64. University College London, Gower Street, Convener: Paul Binski, History of Art London WC1 6BT. Bill Schwarz (University of East Department, University of Manchester, London) (title to be confirmed). Manchester M13 9PL. This session will be concerned with the Raphael Samuel (Ruskin College, ways in which visual representation relates Oxford) The Origins of the Idea of 'Old This session will consider notions of social to questions of sexual difference and the English'. and aesthetic constraint in the medieval mechanics of power. We are concerned period, with reference to behaviour, dress, with the processes by which representation Patrick Wright (title to be confirmed). architecture and ethics. both gives form to meaning and deforms it. Claire Lofting (Kent Institute of Art & It will explore the development of social If a state prior to representation can be Design) Identity, Modernism and English- and aesthetic constraints, paying particular symbolised by the pre-Oedipal moment, a ness in Documentary Film. attention to the cultural construction of fantasy of plenitude which pre-dates 'conspicuous consumption' in the high separation, then is representation always a Lola Young (Middlesex University) in medieval period. Central to the session form of violation, a post-Oedipal enacting conversation with Ingrid Pollard Photo• will be the following topics: tradition and of existing power relations? graphy, Ethnicity and English Landscape. language of appraisal of medieval archi• How might the re-writing of the Oedipal David Mellor (University of Sussex) tecture in the Romanesque and Gothic scenario in recent feminist theory affect The Berserk Hard Edge: The London periods; forms of display engendered our understanding of representation and its Avant Garde 1957-62. through costume and commemoration; symbolic origins? courtly advice literature modifying Speakers will include: Nicole Ward Barry Curtis (Middlesex University) The behaviour, and the gendered character of Jouve, Margaret Iversen, Bracha Moment of Brutalism: The Techno- that behaviour; heraldry; and the ethical Lichtenberg-Ettinger, Mark Cousins, Mary Primitive Two-Step in 1950'sRevisionary and political nature of royal, courtly, or Jacobus, David Lomas, Briony Fer. Modern. chivalric display. Speakers as follows: 11 Mythologies of the Artist 8 Genealogy of Beauty Michael A Michael The Uses of Convener: Virginia Button, Tate Gallery, Convener: Stephen Bann, University of Heralding in Gothic Art cl250-1350 (title Millbank, London SW1P 4RG. Kent at Canterbury, The University, to be confirmed). Canterbury, Kent CT2 7NX. Kay Staniland Image, Status and Dress An international scope is proposed for in the Middle Ages (title to be confirmed). discussions of formations of artistic identity This session seeks to use insights from since 1600, with particular reference to

7 CONFERENCE NEWS

formal training, the complex development enlightened men and women of the late historically constructed and reproduced of 'art worlds' and theories of self and eighteenth and early nineteenth centuries within public and private domains and how creativity. in Europe and its colonies. it has featured as central to debates on Speakers as follows: Speakers as follows: gender, race and nationhood. Papers will analyse a whole range of related topics Frances Borzello (Camden Press) An Joan Coutu (University College, such as the ways in which codes of Innocent Amusement: Formal Training London) Philanthropy and Propaganda in manliness are/were reproduced, the and the Identity of Women Artists in the the Name of Liberty. 18th Century. connections between 'masculinities' and Tania Tribe (University of Essex ) The social/artistic domination and power, and Nina Lubbren (University of Cam• Mulatto as Artist and Model in Colonial issues related to the (self) representation of bridge) The Artist in Nature: Artists 'Rural Brazil. homosexual identities. In all cases, this Colonies in Europe. session seeks to unmask 'masculinity' and David Bindman (University College, 'maleness' not as sets of'natural' or'fixed' Paul Edwards (University of Cambridge) London) Sentiment and Liberalism in late co-ordinates, but rather as a series of tenuous Wyndham Lewis from Bohemia to the Eighteenth-Century British Painting. and changing boundaries which form part Underground: The Artist as Enemy. Emma Barker (Courtauld Institute, of a more complex interconnexion of Fiona Bradley (The Courtauld Institute, London) 'Le Cri de la Nature': The imagined and experienced 'masculine' University of London) From Doubling to Victimisation of Unmarried Mothers in identifications and perceptions. Desdoublement: Gala in Dali. Eighteenth-Century France. Speakers will include: Simon Faulkner (Metropolitan Katie Scott (Courtauld Institute, Amelia Jones (University of California, University of Manchester) 'New London) The Calas Affair Violating the Riverside) Playing the Phallus: Male Generation' Sculpture: Period, Canon Rights of Protestants (to be confirmed). Artists Perform their Masculinities. and Artist. Helen Weston (University College, Wendy Frith (Bradford and Ilkley Lynda Nead (Birkbeck College, London) Girodet's Belley: Representing Community College and University of London) Seductive Canvases: The Artist, the Right to Represent. Leeds) Men, Women andHerveys: Notions Style and Creativity. of Effeminacy in Eighteenth-Century Valerie Mainz (University of Leeds) England. Simon Blond The Problem of France and the Jews, 1750-1810: Image Originality. and Representation. Marcia Pointon (University of Manchester) A Latter-day Siegfried: Ian Botham at the Jill Morgan (Rochdale Art Gallery) 13 Visualising Masculinites: Inter• National Portrait Gallery. Waving on the Shore: The Myth of the rogating the Codings of the "Masculine' Margins. Fiona Barker (University of Ulster at Belfast) T-Shirts, Masculinity and Abstract Maud Suiter (Manchester Metropolitan Convener: Andrew Stephenson, Oxford Expressionism. University) Three Coins in the Fountain: Polytechnic, Gipsy Lane, Headington, Expatriate women artists in Rome c!860: Oxford 0X3 DBP. Ben Highmore (Winchester School of Race, Class and Sexual Identity. Art) Everyday Warhols: Heuristic Much recent writing has scrutinised Adventures in the Age of Mechanical Carol Gibson-Wood (University of 'masculinity' and its social and cultural Reproduction. Victoria, Canada) Portraiture and Self- constructions and argued for a plurality of Definition in the Art of Jonathan John Gange (Kent Institute of Art and 'masculine' identities. It has considered Richardson. Design) Masculinities and Contemporary the ways in which the myths of Art Practice. 'masculinity' have been reworked and 12 Representing Human Rights reproduced, and the vested interests which Oriana Baddeley (Camberwell College they have served. of Arts) Machismo and Masquerade: Convener: Helen Weston, Department of This session seeks to critically examine Masculinity in Contemporary Latin History of Art, University College London, the divergent, often competing ways in American Art. Gower Street, London WC1 6BT. which 'masculinities' and male bodies have A panel discussion will conclude this been imaged and coded within visual culture session. This session aims to highlight some of the at different historical moments. It will campaigns fought for recognition of identity question how 'maleness' has been and for the right to representation by

8 CONFERENCE NEWS

14 'When' is Art History? power of critical and historical accounts of Speakers include: art? At the very least the impulse to define Jan Avgikos (Artforum) Convener: Michael Corns, Department of various modes of art history and criticism History of Art, University College London, as 'merely' literary presupposes a line of Mary D Garrard (American University, Gower Street, London WC1E 6BT. intellectual development antagonistic to Washington, DC). the alleged 'liberatory' impact on such Isabelle Graw (Editor, Texte zur Kunsi). Art criticism and, by implication, certain practices of recent critical theory. modes of exposition in the history of art We invite contributors to address a Charles Harrison (Open University). have been called a 'literary sub-genre'. variety of methodological issues facing the Cornelia Lauf (critic). How art critics and art historians respond contemporary practice of criticism and to such a challenge reveals something of history of art including, but not limited to: Robert Nickas (curator and critic). the nature of their ambitions for their speculation on conditions of adequacy for respective practices. But is the criticism critical or historical discourse in art; Maureen O'Paley (Interim Art). warranted? Does it mesh with real and explication of the historical development Catherine Quelox (historian and critic). profound doubts about the cognitive and and response to recent influential models; epistemological status of the criticism and and evaluation and elaboration of the John Roberts (critic). history of art? Or, is this challenge merely cognitive and epistemological claims of Paul Wood (Open University). an attempt to promote a misguided and specific modes of contemporary critical untenable position on the explanatory and historical discourse.

LUXURY A symposium 26-27 March 1993 Lower Gallery, Sainsbury Centre for Visual Arts, University ofEast Anglia, Norwich, NR4 7TJ

Luxu can be translated as sensuality, are never far from the surface. Luxury has Prof Edward S Harwood splendour or pomp, whilst its derivative lost its symbolic and ethical bite as a social Luxurious Hermits luxuria is harsher, meaning riot, excess or contention. Mr Sandy Heslop extravagance. Luxury as a term of This symposium will present debates on Romanesque relics and luxury commendation is a recent development in luxury in Europe, Asia and Africa in the Western European languages and cultures. last thousand years. The speakers will Dr Neil McWilliam To talk of luxury hotels and travel or 'de• consider both the usages and meanings of French utopianism and luxury luxe' goods of all sorts is simply understood luxury in their specialist areas, as well as Dr Cesare Poppi as an innocuous term of inducement. focusing on objects and behaviour Valuables, circulation and exchange in Comfort or superior quality is luxury or particularly relevant. The event should be Subsaharan Africa luxurious in the modern market. Luxury is both informative and enjoyable. a bonus; it is a consequence of prosperity The speakers include: Dr Roy Porter with no tinge of being corruptive. Dr Malcolm Baker On the issues of luxury in 18th-century Historically, from the Ancient Greeks England Garden Sculpture as luxuries to about the period of the Napoleonic Wars, opposition to luxury was not an attempt to Dr Craig Clunas Further speakers, topics and definitive prevent the accumulation of material Considering land as luxury in Ming titles of papers to be announced in a final prospectus, which will be available in late wealth, but rather to regulate it. The China language of controversy has changed, and November 1992 to those who have formally the closest modern equivalent is political Dr Catherine Edwards or informally notified Dr David Thomson debate about taxation, in which issues of Ancient Roman social status and luxury or Mrs Francine Hunt at the address above privilege, justice and even justifiable envy of their wish to attend.

9 CONFERENCE NEWS COMPUTERS AND THE HISTORY OF ART Computers, Art History and Education 17-18 December 1992 Birkbeck College, University of London, Malet Stret, London WC1 The Annual Conference of CHArt

The theme of the conference will be education and schools. There will also be For further details, please contact: Computers in Education, with special demonstrations of, amongst other things, Secretary of CHArt reference to their application in projects recent museum projects and educational Robert Senecal relating to the History of Art. There will be software. The Library, Goldsmiths' College speakers talking about proj ects from a wide The conference is open to all, with a Lewi sham Way range of organisations, including museums special concessionary rate for CHArt London SE14 6NQ and art galleries, institutions of higher members. Telephone 071 692 7171 ext. 2261

OPEN FORUM

important that the Association should basis to gain advertising for the journal. A double concern contribute to reshaping it. But there is no Norman Franklin agreed in view of my hint in the report that the nominees to the experience in advertising (I qualified as a To the Editor UFC's panel will have any more than Member of the Institute of Practitioners in executive functions. Could their position Advertising in 1963), my extensive contacts Two items in the May Bulletin have be clarified for us? I'm afraid I hear the with art book publishers and the fact that I especially disturbed me. The first is the distant crunch of hush-puppies. had time available to do the job properly. article by Theo Cowdell, 'Towards a When the journal moved to Blackwell's Strategy for the Association of Art Yours faithfully in 1987, Rene Olivieri, Journals Marketing Historians', which argues, on the one hand, Manager, made a point of saying that he that the Executive Committee of the AAH John Gage hoped I would continue as Advertising has at present too passive a role as 'a (Department of History of Art Manager for AAH, in their employ. reporting forum', and on the other that the University of Cambridge) Towards the end of 1991,1 discovered membership should have a greater say in July 1992 by accident that the Chair had plans to policy-making. The battery of source- replace me at Blackwell's. I wrote first to references from the social sciences suggests Martin and later to EC members, stating either (as I suspect) that the essay is a send- categorically that I wished to continue in up of some of the idiocies of managerial the job. I believed that my record of language and methods, or (as I fear) an success over 14 years and the contribution attempt to make of the AAH a tightly A letter from advertising revenue had made to journal defined bureaucratic institution which can Pamela Courtney finances made this the most logical choice. talk to other bureaucracies in their own There was never any agreement with me terms. To the Editor that my services should be dispensed with. This fear was heightened by another Instead I had a letter from Martin saying: item: Nigel Llewellyn's report that the I would like to put on record my version of 'We have no wish to elbow you aside AAH has submitted a list of nominees to the events described in the section headed without the making of an alternative assist the University funding Council in its 'Director of Publicity and Administration' agreement which is acceptable to you.. .You 1992 Research Assessment Exercise. Does in the Chair's Report 1991-1992, as will understand that the decision is this mean that the Association endorses published in the August issue of the Bulletin. Blackwell's and that the Association itself that Exercise, or simply that it is' delighted' The job of Advertising Manager fox Art has no direct responsibility for the to have some say in how it should be History was never part of my job as DP A appointment of someone to work on Art conducted. I imagine that most members for the Association. In 1979, with History.' of the AAH are aware that the Exercise, as agreement from the then Chair, John White, I also received a letter from Rene it stands, is seriously damaging to research I approached Routledge with the pro• Olivieri, now MD at Blackwell's, saying in the humanities, and in this sense it is position that they employ me on a free-lance that although arrangements regarding my

10 OPEN FORUM

work on Art History was with them, 4 it is was going for a grand slam. It was not his scientific method. Social art historians are not possible for us to insist on its continuing intention to create a new subdivision of art seeking to do the reverse: discredit the if the Association wishes otherwise'. history but to create a total discipline.1 method that produces the canon, while I don't believe that it is in the At Leeds in 1992, he was assessing just retaining the results. Association's best interests to add this to how far the social history of art had fulfilled I am not arguing for the acceptance of a Kate's many A AH duties. those early ambitions and asking the stable canon embodying eternal values. questions that were the most uncomfortable The canon is of course in a state of continual Pamela Courtney to ask. In particular he put his finger on one evolution, though not towards a better or August 1992 of the most sensitive spots: that old question more correct canon. Artists retain their of the canon. place in the canon because we continue to It has always been one of the obvious be affected by their work in a way that we Martin Kemp replies weaknesses of the social history of art that feel is a significant experience. It is a Having read Pamela Courtney's letter, I it is parasitic on the canon produced by the relationship therefore having two poles. wish to stand by my report in Bulletin 46. evaluating process that it seeks to discredit. One is unchanging, that of the art object, At the 1991 annual meeting with It is confronted therefore with two the other is ourself, the spectator/observer. Blackwell's I raised the possibility, on alternatives: either to show that art history Our personal identity is determined by behalf of the Executive, of reuniting the can be studied without a canon, or to the interaction between our experience and post of Director of Publicity and Admin• produce new principles of evaluations our inherited characteristics. Experience istration with the job of Advertising which would enable a new canon to be includes that of our biographical, social, Manager for Art History. Thereafter the produced. political and aesthetic environment, from matter was in the hands of Blackwell's, as In fact we find that social art historians birth to the present. It is this that is Executive minutes and correspondence will not only use a canon but that it is the same responsible for the instability of the canon, confirm. canon as everyone else uses. In the early ensuring that it will always change from days it was confidently expected that a generation to generation. Part of that Martin Kemp solution to this problem would evolve, but experience is common to the members of Chair 1989-92 it hasn't. This was recognised in Clark's any generation, and produces a measure of address, but I didn't hear the subject consensus in the changes that take place. mentioned again. When an artist's work is significant for He tried to excuse his position by us in this way we want to write about him/ suggesting that it was something that was her, include the artist's work in exhibitions OK to live with on the grounds that a that we curate etc. Then the artist's position TJ Clark and the similar position existed in science. In fact, in the canon is maintained or enhanced. Canon Problem however, science and art work in such When no attention is paid to an artist's different ways that they are not strictly work over a period time the artist slowly I might be in the minority in finding TJ comparable. descends in ranking in the canon and may Clark's opening address to the 1992 Leeds It is true that scientific education uses a eventually drop out or occupy a minor Conference to be one of its most interesting canon of theories and experiments, many position. parts. I found in it a straightforwardness of which have been discredited or Perhaps the greatest single influence for and integrity that very much increased the superseded. The purpose of this canon, change on the canon is the practice of respect in which I already held him. As however, is to provide a paradigm of recent and contemporary artists. You only pointed out in the May issue of the Bulletin scientific method, a culture in which the have to look at the effect on the canon of the (Praxitella), Clark's address seemed young scientist is trained as to what art produced in the 1980s to see how potent intended to open up debate about the current phenomena are suitable for scientific study and swift is the change that this can bring state of the social history of art. Such and what methods are acceptable to the about. We look at the art of the past always debate, however, was cut short by the failure scientific community. in the light of the art of each succeeding of the PA system. I would like therefore to In art the use made of the canon differs generation of artists. In this way the canon take up one point raised by Professor Clark from that of science in a number of ways. is always being modified, always being which was not to my knowledge discussed The difference that is important here is that made relevant to the age in which we live. in the later academic sessions. the underlying philosophy and methods of The influence of the theories of art In 1974 Clark's agenda was nothing less science have not changed. It is the historians is much less potent a source of that the 'disintegration' of art history as it experimental results and the hypotheses change, with occasional exceptions. One was then studied. He made it clear that he derived from them that are superseded, not of these is the work of feminist art historians

11 OPEN FORUM

who are in the process of reassessing the preferred period. The prospect of a field can carry on without troubling to think any importance of so many female artists. where they can really have some impact on more about it. For the architect, however, There is a second argument implicit in the canon while it is being formed is not it is different. Every now and again the Clark's remarks which I want to take up. one that they find tempting. This is not knowledge of the weakness inherent in his This is, that however much the process of really surprising, as they have neither the edifice returns like a promise unfulfilled. evaluation is questionable, it has already sanction, theoretical basis, nor experience It is not sufficient to say, as Terry taken place at a time when social art of evaluation. One of my most cherished Eagleton has: 'If Marxism has maintained historians were not around to intervene. memories of the Leeds conference is of a a certain silence about aesthetic value it The present canon is in place, the artists in young research student who proudly may well be because the material conditions it are the common currency of the art declared that he had been taught to examine which would make such discourse fully community. Social art historians have no written texts not to look at objects. Faced possible do not as yet exist'.2 Without option therefore but to accept this historical with a contemporary work of art he wouldn't such discourse the social history of art fact and continue to make use of the canon have known how to react. How could he if remains vulnerable, and despite its as the only practical possibility. nothing had yet been written about the enormous success, its credibility will If this argument were really valid, object? remain at risk. however, we would find social art historians In practice, however, evaluation of prominent in the field of recent and contemporary art is carried out by artists, Simon Blond contemporary art, eager to intervene in the dealers, critics and curators, so the absence process of evaluation. The canon of the of social art historians is not really an 1 TJ Clark 'The Conditions of Artistic Creation' 1980s has still not solidified, while that of embarrassment. Times Literary Supplement, 24 May 1974, pp 561-2 the 1990s is still being formed. Where is The gap is nevertheless there, however, 2 Terry Eagleton, Criticism and Ideology: a Study the input from social art historians who and continues to be a point of weakness in in Marxist Literary Theory, London, New Left Books, protest that the canon is already in place? the essential foundations of TJ Clark's 1976 In fact we find that this is not their structure. Most of the users of the building

ANNOUNCEMENTS

Letter to all AAH and decision making of committee meetings. A Mirror of student members We are hoping soon to have available a s Nature: Careers Booklet aimed at our student Dear Student members Dutch Paintings from the Also we hope to organise a one-day Collection of Mr and Mrs This letter is to expand on the somewhat conference in late summer 1993. More brief letter which appeared in August's information will be given when available. Edward William Carter Bulletin. To quickly recap (for those who What I personally want to achieve is 22 October 1992-17 January 1993 missed it!) we brave few who are already closer links between students from different Los Angeles County Museum of Art on the Students Subcommittee want the institutions, with both academic and This exhibition will feature 36 master• ideas, opinions and suggestions of the practical art backgrounds. pieces from this renowned collection of student members of the AAH. Students seventeenth-century Dutch painting, make up a substantial proportion of the Ruth Brompton including six major works acquired in Association and it is only by letting us Chair, Student Subcommittee the last decade. The collection is noted know your views and aspirations that we Staffordshire University for its focus on landscape and still life, as well as for the exceptional quality and can make our collective voice heard. History of Art & Design condition of each work. Actual members of the Students Flaxman Building Subcommittee are still a bit sparse. So we College Road The exhibition includes works by are looking for energetic, enthusiastic Stoke-on-Trent Avercamp, Bosschaert and Cuyp, the people who are willing to help with the Staffordshire most recent acquisitions being by Kalf, hard work of organising forthcoming events Peeters, Jan van Goyen and Salomon and participating in the general discussions van Ruysdael.

12 ANNOUNCEMENTS

Competition to A letter from the Orthodox Church in Zagreb (Croatia) and the bombing of the Orthodox monastery Design a new Poster Serbian Art Blagovestenje at Zitomislici (Bosnia and for the AAH Historian Association Herzegovina)? What sense does infor• mation about the destroyed monuments in Student members of the AAH are invited to Readers of the Bulletin may recall that the the Croatian territory gained by arbitrary submit a design for a new poster to advertise Executive wrote to the Yugoslavian rule convey if the true sense of the events the Association's activities. These posters Ambassador in December 1991 encour• has been separated from the information are distributed widely throughout History aging all parties to respect the cultural which is supposed to convey it. What of Art & Design departments and elsewhere heritage of that country (see Issue 44, p Universe is to be built on information which in the UK and abroad. 3 7). We have now received the following deliberately conceals the true sense? About letter from the Serbian AAH who ask two hundred cultural and historical The prize whether the destruction of monuments and monuments and more than a thousand The designer of the winning entry will be artefacts should be documented in the artefacts of the Orthodox tradition have awarded £100 in cash, plus books to the Bulletin. We await your response. been destroyed or are in the process of value of £ 100, to be donated by Thames & destruction. Hudson. Nigel Llewellyn One of the ways to respond to the The prize will be awarded and selected conscientious objection is to recover these entries will be displayed during the Annual To the members of the AAH monuments and artefacts from oblivion, Conference at the Tate Gallery, 2-4 April It is the belief of the Serbian Art Historian from anonymity. We accept our share of 1993. Association that the moral and professional responsibility for abandoning them. Now obligation of art historians is to be Specifications the targets of vandalistic destruction, these conscientious towards cultural and The design must be suitable for both A4 monuments are suffering, in Baudrillard's historical monuments and artefacts, and A3, using no more than two colours on terms, an anonymous death. a single coloured paper. It must incorporate regardless of the tradition within which For that reason we ask for you to find the logo of the AAH (see page 1 of the they evolved. We, however, do not share space in your publication to present Bulletin), the title Association of Art the delusion that drum-beating, would-be documents about the monuments existing Historians, the words Registered Charity care can save a single work fromdemolitio n on the territory of ex-Yugoslavia, No. 282579 and the following text: and destruction. The kind of care we are pointing to is, perhaps, exemplified by the monuments which are still the targets of The Association of Art Historians military operations. The documentation represents the interests of art and design statement that we 'exist in the Universe with an overflow of information, but lacking includes photos before and after the historians in all aspects of the discipline destruction, and a brief annotation about including: art, design, architecture, film sense' (JeanBaudrillard). That information has lost its sense is evident in the process of the monuments themselves. It also includes and media, cultural studies and documentation about the monuments that its selectivity and its post festum principle. conservation. are, we hope, never to be destroyed. And Members are active in museums and Such care thus discloses itself fully: it is not a true care but an instrument by means of finally, our documentation covers the galleries, publishing, teaching, research monuments on the territory which the and environmental work. which no consequent argumentation is needed in order to stigmatise those current information, devoid of all sense, Special subscription rates are available establishes as regions no longer belonging to students and the unwaged. Annual responsible for the destruction of cultural and historical monuments and artefacts. to those who have invested all their spiritual subscription includes the Association's potential, labour, and, ultimately, their journal Art History and the newsletter, We, therefore, do not reserve the right to capital. This is the only way to enable the the Bulletin (both quarterly). be the sole messengers of the truth and to general public to judge the events in point out the guilty for the vandalistic acts. How to enter question and to gain insight into the whole But we also decline the right to speak the matter. And what is most important, the Write to Kate Woodhead, Dog & Partridge truth to those who furnish the already monuments and artefacts - no longer House, Byley, Cheshire, C W10 9NJ for the overburdened Universe with the new but anonymous to the general public - would rules and further details. Entries should empty information which separates it from be given a chance to resist the possible reach her no later than St. Valentine's Day, the events (terrifying in themselves) and destructive acts in the future. 14 February 1993. their true sense. What explanation might The Association would like to thank be offered for the recent vandalistic Zoran Gavric, Chairman, Thames & Hudson for their support for this destruction of the Museum of the Serbian Serbian Art Historian Association project.

13 ANNOUNCEMENTS

Executive Honorary General Survey of Committee Secretaryship of the Members Nominations AAH Dear Members At the last AGM, held at this year's Nominations are invited for election to Nominations are invited for election to conference in Leeds, I gave my first public the three places on the Executive the post of Honorary Secretary of the report as Director of Administration and Committee of the Association of Art Association of Art Historians, which will Publicity. The gist of my report was that, Historians which will fall vacant at the fall vacant at the 1993 AGM. Nominations although my major task is dealing with 1993 AGM. Nominations should include should include the names of a proposer subscriptions, enquiries, publicity and the names of a proposer and a seconder, and a seconder, both of whom must be general administrative matters, what I liked both of whom must be current members current members of the Association, the best about my new job was contact with of the Association, the written consent of written consent of the nominee, who must members and that I wanted members to see the nominee, who must also be a member also be a member of the Association, and me as their representative on the AAH of the Association, and a brief c.v. of the a brief c.v. of the nominee. executive committee. nominee. To do this well I need more details of the membership: where you work, what Please send nominations to: qualifications you have, what your The Honorary Secretary, Elizabeth Miller professional interests are, what you think Prints, Drawings and Paintings Collection about conferences etc. The membership of Victoria and Albert Museum the Association is steadily increasing; we South Kensington, London SW7 2RL all want this to continue and the executive to reach her not later than Friday 19 February 1993. wants to respond to the needs of the members. Please help by returning the general survey along with your renewal form. Would Life Members also fill in Paintings and their Context IV both forms. It will take some time to Rembrandt's Girl at a Window process all the information but regular reports will appear in Bulletin. 3 February - 25 April 1993 Comments and further suggestions will Dulwich Picture Gallery be very welcome. Thank you for your help and good wishes for Christmas and New Rembrandt's Girl at a Window is the Curator of the National Gallery), and Sophie Year. centrepiece of an exhibition to be held at Polender (Consultant Conservator at Dulwich early next year which will examine Dulwich). Ann Sumner (Keeper at Dulwich Kate Woodhead the myths that have grown up around the Picture Gallery) is the organiser of the painting and the works it has inspired. exhibition and will contribute an essay on The Dulwich Rembrandt will be shown the influence the paintings had on Guidelines for the with a carefully selected group of associated eighteenth and nineteenth century British Professional Practice paintings. These will include Rembrandt's artists. Kitchen Maid from the Nationalmuseum The exhibition is the fourth in the series of Art History in Stockholm, as well as other paintings of Paintings and their Context to be held at young girls by his pupils, copies of the Dulwich. It may be of interest to AAH members to Dulwich picture by British artists of the For further details contact Kate Knowles know that the 'Guidelines for the eighteenth and nineteenth centuries, and (Press Officer) on 081 969 0320 or Kate Professional Practice of Art History' are examples of popular art which reflect the Bomford (Gallery Assistant) on 081 693 published in the International Journal of wide-spread diffusion of the image on 5254. Cultural Property no. 1 vol. 1, 1992. calendars, diaries, etc. The catalogue will include essays by M. Roscam Abbing (Rembrandthuis, Amsterdam), Christopher Borwn (Chief

14 ANNOUNCEMENTS

New Kirchner Part-time Lecturers Wanted Museum

A new museum dedicated to the life and The Centre for Extra-Mural Studies, We require enthusiasm and a com• works of expressionist painter Ernst Birkbeck College, University ofLondon, mitment to the teaching of adult students, Kirchner is to open in September in the invites applications to join its panel of and would prefer evidence of appropriate Swiss resort of Davos. Thanks to the gift of part-time lecturers. We offer courses in teaching experience. We are committed more than 400 original works, 160 books the History of Art throughout Greater to an Equal Opportunities policy. of sketches and an important library of London, and will begin planning our documents, the museum will boast the programme for the 1993/4 academic For an application form, or for further largest Kirchner collection in the world, year in January 1993. details, contact: including examples from all of Kirchner's We are looking particularly for part- Kathy Adler creative periods, particularly of the so- time lecturers able to teach our Senior Lecturer in History of Art called Davos Period (1917-1938). Introduction to the History of Art and Centre for Extra-Mural Studies The museum opens of 6 September 1992, for specialists in the nineteenth century. and will be open every day except Monday from 2-6p.m. Admission charges: Adults - SFR 7.00, children under 16 and students - SFR 4.00 ADVERTISMENT Help for Polish scholars At the recent CIHA International Congress •••••• I was approached by Polish scholars who find their research severely restricted through a lack of art history books in their libraries. Could AAH members please help by sending spare books to: — the system that Dr Jerzy Domaslowski helps you Store, Instytut Historii Sztuki Protect & Find your photographs Adam Mickiewicz University ul. Marchlewskiego 124-126 • ARCHIVAL PROTECTION - our photo filing 61-874 Poznan pages are made from polypropylene — a Poland chemically inert material that guarantees safe Any individual or institution who might be long term protection. willing to supply a new book to Poznan • WIDE RANGE — we offer pages to fit in either University library please contact: filing cabinet or ring binder for every size of Dr Brigitte Corley transparency, negative or print, from 35mm up to A4. 51 Middleway London NW11 6SH • EASE OF USE - with a labelled filing cabinet for requested titles. system you can find any slide at once — and over 14,000 slides fit in just one average filing cabinet. FREE SAMPLE PACK on request Nicholas Hunter Limited Unit 8, Oxford Business Centre, Oxford OX1 1TB Tel. 0865 727292. Fax 0865 200051

15 EXECUTIVE COMMITTEE

Executive Committee 1992-1993

Chair: Elected 1991 Freelance subcommittee: Dr Nigel Llewellyn Fran Hannah Clare Ford-Wille School of European Studies Dr Deirdre Robson 1A Bowerdean Street University of Sussex Dr Charles Saumarez Smith London Falmer SW6 3TN Brighton BN1 9QN Elected 1992 Tel: 0273 606755 x2014 Robert Gibbs Artists' Papers Register Professor Toshio Watanabe Dr Rowan Watson Hon Secretary: Angela Weight Special Collections Elizabeth Miller National Art Library Prints Drawings and Paintings CHAIRS OF SUBCOMMITTEES Victoria and Albert Museum Collection London Victoria and Albert Museum Schools subcommittee: SW7 2RL South Kensington Howard Hollands London SW7 2RL 16 Canonbury Road Art Galleries and Museums Tel: 071 938 8612/8500 Enfield Subcommittee Working Party Middlesex Elizabeth Miller Hon Treasurer: EN1 3LN Charles Saumarez Smith Dr Theo Cowdell ' Angela Weight 47 Kenwood Park Road Students subcommittee: Sheffield Ruth Brompton 1993 London Conference S7 1NE History of Art and Design Conveners Tel: 0742 554099 Staffordshire University Professor David Bindman Flaxman Building Richard Humphreys Director of Publicity and College Road Administration: Stoke-on-Trent 1993 London Conference Kate Woodhead Staffordshire Administrator Dog and Partridge House Sylvia Lahav Byley Polytechnics, Colleges and Cheshire Universities CW10 9NJ Joint Chairs: Tel: 0606 835517 Gillian Elinor Department of Art and Design Assistant Treasurer: Peter Crocker Polytechnic of East London Greengate House Editor of Art History: Greengate Street Professor Marcia Pointon London E13 Editor of Bulletin: Clare Pumfrey Tel: 081 590 7722

1989-92 AAH Chair, Ex-officio: Professor William Vaughan Professor Martin Kemp Department of History of Art Birkbeck College Elected/Co-opted 1990 43 Gordon Square Lesley Kerman London Liam Kelly WC1H 0PD Sarat Maharaj Tel: 071 631 6127

This issue edited by Jannet King. Electronic layout by Matt Black dtp, Brighton. Printed by The College Hill Press Ltd, Worthing. ISSN 03079163