February 1990 BULLETIN ASSOCIATION OF ART HISTORIANS Editor: Clare Pumfrey, 40 SillwoodRoad, Brighton BN1 2LE Tel: 0273 29433 Advertising Manager: Pamela Courtney, Albert House, Monnington -on-Wye, Hereford HR4 7NL Tel: 09817 344

From the editor CONFERENCE NEWS

The copy deadlines for the Bulletin COMPUTERS AND TEACHING IN THE in 1990 are: Issue 37 - 1 April HUMANITIES CONFERENCE (CATH 90) Issue 38 - 1 July Issue 39-1 October University of St Andrews, 2-5 April 1990

This is the third in a series of very successful of three pre-conference tutorial sessions conferences which have explored various which are specifically designed to CONTENTS aspects of the use of computer based introduce those who have not yet used technologies in teaching in higher education. computers in their teaching to a variety of Conference News 1 The theme of CATH 90 is 'From Rhetoric to different tools which can be used for this Reality'. The plenary sessions will deal purpose. The tutorials assume no previous with those vital matters necessary to knowledge of computing, and will help to Dublin Conference 2 integrate computer assisted teaching give novices in the field a background of successfully into the curricula of humanities understanding for the conference sessions, subjects in universities, polytechnics and as well as to provide guidance on the tools News Report 34 colleges: finding the resources, both they might wish to use when they decide to financial and human; achieving the move to computer assisted teaching in cooperation of computer science their own disciplines. Announcements 37 departments, computer centres and libraries CATH 90 is the only conference in the in running a computer based course; UK which encompasses all humanities acquiring hardware, software and data; and subjects, and provides a venue where those Stop Press 39 the effect of new course creation on the in different disciplines, and in different career development of the staff. A good part sectors of higher education can meet, of the conference will be taken up with discuss common problems and exchange Advertisements 40 workshops run by experts in their fields, experiences. In addition, the software fair including the directors of the Computers in and poster sessions will enable participants Teaching subject centres (Literature, to experience a wide range of hardware, Modern Languages, Music, History and software and courseware for computer Humanities). The workshops aim to provide aided courses in the humanities. up-to-date information on the tools and For further information, please contact techniques of computer based teaching in either Dr May Katzen (University of Bath), specific humanities subjects, and to enable or Dr Roy Dyckhoff, the Local Organiser, participants to discuss the benefits and Department of Computational Science, problems involved. University of St Andrews, Fife KY16 9SS, One innovation this year is the provision . CONFERENCE NEWS

DUBLIN CONFERENCE

Sixteenth Annual Conference Trinity College, Dublin, 23 - 26 March 1990

Regionalism: Challenging the Canon

TRAVEL AND ACCOMMODATION CONFERENCE TIMETABLE

Accommodation in Dublin is available in fare from Heathrow of £64 or an ordinary The conference will be divided into four categories (see below). Location of apex return of £74; the standard fare is £85 seventeen academic sessions of varying accommodation will be given, if requested, return. This fare structure is the same with lengths, not all of which will run with receipt of completed booking form British Airways, which only flies from concurrently. These academic sessions will and cheque. Otherwise, such information Heathrow. Aer Lingus apex prices from run over a period of three days with an will be given at registration. other British cities vary from £65 return to average choice of about eight papers at any 1. Hostel: shared (4 beds) accommodation £69 return. The apex and budget return fares one time. The final day of the conference in the city centre, fifteen minutes from with other airlines vary from £64 to £88. will be given over to guided trips within Trinity College. B & I Shipping Line departs twice daily and outside Dublin. Special-interest groups 2/3. Student Residences: in south Dublin from Holyhead, while Sealink leaves once a (universities, polytechnics and colleges, suburbs. A public bus and/or train service day from Liverpool. Both companies offer a museums and galleries, students, schools runs all day. deal of car, driver plus three passengers for and freelance) will meet on Sunday 4. Efforts are being made to provide Bed £139 return. morning, followed by the Association's and Breakfast accommodation within easy Students can take a special Nightrider AGM. reach of Trinity College. service by rail and boat. At the time of going An Art Book Fair will run at Trinity Sufficient accommodation has been to press the London to Dublin fare is £35.50 College on Friday 23 and Saturday 24 reserved, and delegates are advised that as return. This price is only avialable between March. This is being organised by Robert there is to be an international rugby match Mondays and Thursdays and is thus ideal Towers, 2 The Crescent, Monkstown, Co. in Dublin the weekend of the conference, for those wishing to be in Dublin from Dublin, . Tel: 0001-805930: Fax: prompt booking of this accommodation is Friday morning to Monday evening. 0001-806020. strongly recommended. Please book your reservations NOW! Early booking also applies to travel (Please remember that because the weekend arrangements. This is the responsibility of of the conference coincides with an the individual delegates. Travel to Dublin international rugby match in Dublin there from Britain is neither difficult nor will be a run on flights to Dublin.) expensive. Aer Lingus flies to Dublin from For information on Ireland please contact a variety of British airpoVts: Heathrow, The Irish Tourist Board, 150 New Bond Gatwick, Stanstead, Birmingham, Bristol, Street, London W1Y OAQ. Tel: 01 -493 3201. East Midlands, Edinburgh, Glasgow, Leeds- A Conference Booking Form is included Bradford, Liverpool, Manchester and with this issue of the Bulletin. For extra Newcastle; flies from Luton and copies of the Booking Form and general Leeds; Ryan Air flies from Luton, Liverpool enquiries please write to: Fintan Cullen, and Cardiff; Dan Air flies to Dublin from Department of the , Trinity Gatwick, and British Midlands have regular College, University of Dublin, Dublin 2. flights from Heathrow. Tel: 0001-772941, ex 1012/1995. Home: Aer Lingus offers a super apex return 0001-887240.

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FRIDAY 23 MARCH 09.00 -12.30 Registration 14.00 - 15.30 Opening Address by 18.30 Reception at the National Declan McGonagle, Gallery Organiser, Gallery of Ireland, hosted by The GPA Derry City Council. Irish Arts Review. 16.00 - 18.00 Academic Sessions 1. Three papers from the following sessions (numbered according to order listed in the Bulletin): Session 3: Institutionalisation of Art Session 6: North American Art Session 8: Gothic Workshops Session 9: Art Market Session 11: Popular Imagery Session 13: Minorities and Regions Session 14: Painting in Spain Session 15: Open Session

SATURDAY 24 MARCH 09.00 - 09.30 Registration 14.30 - 18.30 Academic Sessions 3. 19.00 State Reception at the Royal 09.30 - 13.00 Academic Sessions 2. Up to five papers from the following Hospital, Kilmainham, hosted by the Up to five papers from the following sessions: Government of the Republic of Ireland. sessions: Session 2: Word and Image Session 1: Reformation in the Regions Session 3: Vernacular Design Session 3: Institutionalisation of Art Session 6: North American Art Session 4: Italian Painting 1200- 1300 Session 7: Northern/Ireland Session 8: Gothic Workshops Session 10: post-1300 Session 9: Art Market Session "13: Minorities and Regions Session 10: Italian Art post-1300 Session 14: Painting in Spain Session 11: Popular Imagery Session 16: Regional Architecture 1700 Session 12: and the City -1850 Session 15: Open Session Session 17: Session 17: Insular Art

SUNDAY 25 MARCH 09.00 -10.00 Registration 14.00 - 16.30 Academic Sessions 4. 10.00-11.00 Special-interest Up to four papers from the following 17.00 - 18.45 Closing Address by groups sessions: Jonathan J G Alexander, Professor of 11.30-13.00 A AH Annual General Session 5: Vernacular Design the History of Art, New York University. Meeting Session 6: North American Art Marcia Pointon and Luke Gibbons will Session 7: Northern/Ireland respond to this address. Session 10: Italian Art post-13(H) 19.00 Reception at the House of Lords, Session 14: Painting in Spain The Bank of Ireland, hosted by Christie's. Session 16: Regional Architecture I7(X) - 1850

MONDAY 26 MARCH Guided Trips: 1. Dublin: morning walking tour, led by Roger Stalley, Trinity College, Dublin. 2. The Boyne Valley: whole day bus tour, led by Roger Stalley, Trinity College, Dublin. 3. Kilkenny and Cashel: whole day bus tour, led by Terry Barry, Trinity College, Dublin. 4. Irish Architecture: Palladianism to High Victorian Gothic: whole day bus tour, led by Alistair Rowan, University College, Dublin.

An updated Conference Timetable will be included in the Conference Folder to be collected at registration.

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ACADEMIC SESSIONS AND ABSTRACTS

The academic sessions will take place on this phenomenon in Switzerland has yet programmes, posters, journals, illustrated Friday afternoon, all day Saturday and again been undertaken. In this paper a general and children's books revelled in the on Sunday afternoon. As a new departure, view of the iconoclasm in Switzerland will rediscovery of and, in particular, there will be a closing plenary session. be presented. Rather than dwelling on delighted in ornamentation and Celtic Professor Jonathan J G Alexander will give religious art that has been destroyed, it is . Maclise, Yeats, O'Murnaghan, an address to be followed by two short worth considering what has survived. Why Carbery, Stokes, and MacCatmaoil were all responses and an open discussion. It is and how were certain important works of artists of the Celtic Revival, a movement hoped that this will allow for analysis of religious art from the Protestant regions which did much to foster pride in and how the different sessions developed the saved from destruction? Archival research awareness of older forms of Celtic Art-the conference theme. reveals few, and, at best, unclear Book of Kells, the Tara brooch, the The following abstracts (which represent explanations for such survivals. However, antiquarian prints of Petrie. This paper sets 75% of the final number) are not necessarily just as the Reformed regions of Switzerland out to identify the major emblems and listed in final order of delivery. It is hoped offered refuge to persecuted Protestants symbols which have survived up to the that papers will not exceed thirty minutes in throughout the period in question, present and which are now an accepted and length; each presentation will be followed strategically placed Catholic regions acceptable part of Irish national identity. by a ten-minute discussion. provided a safe haven for displaced religious Sources used will include magazines, art destined otherwise to be destroyed. illuminated addresses, educational and 1. Reformation in the Regions: Image children's books, and other illustrated works and Discord (b) David Brett (University of Ulster): such as Christmas cards and prayer books. (Saturday morning) The Plain Style, Protestant Iconoclasm and Convener: Helga Robinson-Hammerstein the History of Design (b) Lewis Johnson (Freelance Art (Trinity College, Dublin) The extent and the kind of iconoclasm is Historian, Sussex): Ireland in the News linked to the nature and extent of authority: This paper analyses certain (a) Daniel Donal Cahill (Neuchatel the more decentralised a religious group representations in the British media of recent University): Iconoclasm in Switzerland the more it is aniconic. This paper links the events of importance for Anglo-Irish Switzerland at the time of the growth of external iconoclasm with the politics. Newspapers, other publications Reformation offers an ideal example of growth of an 'image-less' concept of mental using photographs and television news share political and cultural . life, as developed in the curriculum and in not only a certain form of monocular Composed since 1513 of thirteen Cantons, memory-training. The consequences of this perspectival representation, but also a allies and subject territories, this country are seen in the 'plain style' of puritanism tendency to comment on those responds in a unique way to the Reformed and in the combination of a platonic representations with captions or voice-overs. v faith. Certain powerful Cantons such as ontology with a highly instrumental attitude A consideration of the relations between Zurich (1523), Berne (1528) and Basle to materials. image and word in these media suggests that (1529) chose early to adopt Protestantism this visual form both invites and resists as their state religion. This is also the case (c) Willibald Sauerlander (Munich): Fear translation into language, producing an for the allied city of Geneva (1526), which and Laughter in Late effect of ethical double bind: the image was to play such an important role in the claims the commentary and the commentary religious upheaval of the sixteenth century. (d) Helga Robinson-Hammerstein claims the image. This analysis of the The Swiss Cantons were, and still are, (Trinity College, Dublin): The Law and the representation of an event by the media will sovereign states, and most of them (Lucerne, Gospel be followed by a consideration of a series of Fribourg,Solothurnetc.) remain faithful to works by Rita Donagh, developed from a the Catholic . This religious 2. Word and Image photograph of a victim of a car-bomb complexity is clearly reflected in the (Saturday afternoon) explosion in Dublin in 1974. These works regional responses to religious art. In Convener: David Scott (Trinity College, will help illuminate the nature of the limits Protestant areas war was declared on sacred Dublin) of the news-orientated media. imagery, with the destruction of religious art and architecture: the iconoclasm. In (a) Pat Donlon (Director, National (c) Conor Joyce (Art Critic, London and contrast, the religious artistic heritage of Library of Ireland): Going round in circles: Dublin): The Hunt by Night: Derek Malum the Catholic regions remains intact. the Celtic Revival as depicted in the graphic- after Uc cello The iconoclasm - a tragic consequence arts in /re I and The emerging perspectivist space of of Reformation fervour - is a domain which, Ireland's search for a national identity at Uccello is the opaque area into which the until recently, has aroused little interest the turn of the century is nowhere so well representational clarity of Derek Mahon's among art historians. No single study of documented as in the graphic arts. Playbills, poem disappears. The circle in which image

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and words are caught, with the poem ending 3. Establishing the Canon: The Act of Union of 1801, the schools' position where perspectivism begins, knows no Institutionalisation of Art in society then changed significantly to its distinction between images, words, (Friday afternoon and Saturday morning) detriment. paintings, poems. Convener: Peter Funnell (London) This session will address the question of (b) Ilaria Bignamini (Paul Mellon Centre (d) Liam Kelly (University of Ulster): Art regionalism by examining the way in which for Studies in British Art, London): The and the Language Question: Words pressed art institutions - academies, exhibiting Rise of an Institutional System for the Arts against the Pane societies, and museums - can be seen either in Britain, 1692-1769 In recent years, Irish art has been more to reinforce, or to challenge, theoretical In my paper I concentrate on a few ambitious, conceptually and contextually, orthodoxies and established hierarchies of problems relating to the study of art than that of the previous generation. art. institutions in general, and summarise the Landscape painting, for example, which principal stages in the development of used to be a sensual, poetic response to the (a) John Turpin (National College of Art interacting institutions for the arts in Britain land, having its roots in the work of Jack B and Design, Dublin): The Social and during the period 1692 -1768, with special Yeats, and invested here and there with Intellectual Context of the Dublin Society's attention to a comparison between London, aspects of international modernism, has Schools of Drawing in Georgian Ireland Dublin, Glasgow, Edinburgh and been subverted. In Northern Ireland, in Drawing schools were firmly established Birmingham. particular, the 'New Landscape' is in Dublin during the 1740s and grew in The period 1670 to 1730 represents a landmined by ambiguity, inversions, strength and influence during the eighteenth turning-point as regards the growth of subversions and tensions. This paper will century. This was due to the particular modern professions and the expansion of examine the use of words and image with political, social and economic circumstances consumption in London. The same period particular reference to developments in Irish of Ireland. The wealthy nobility and gentry also represents a turning-point in the arts. art. The latter will be compared with the needed a wide range of quality manufactures Private art institutions were the vehicles of work of English artists who have exhibited for their houses in town and country. They the transformation. The earliest academy of in Ireland and who explore meanings and had ideals of political autonomy and art for which documentation has survived is feelings through the juxtaposition of image economic self-development within which dated c. 1673 and the earliest art club meeting and text. In this way, the literary bias of the schools of drawing had a role to play. at public taverns, 1689. The embryo of an much Irish art will be probed. Some of the gentry also appreciated institutional system in which the academy, continental art traditions, which they sought the auction house, the drawing-class and (e) David Scott (Lecturer in French and to foster in Ireland. These enlightenment the drawing school interacted can be dated Keeper, TCD Collection): The ideas of economic development and high from 1692 - 97. The establishment of a Semiotics of the Irish Postage Stamp artistic aspirations lay behind the Dublin strongly market-orientated academy, which This paper focuses on ways in which the Society's support of the drawing school of brought about the reorganisation of the arts interrelationship between word and image Robert West in 1746, which was the basis of along modern lines, dates from 1735. From can be used to create or promote images the subsequent evolution of the schools. the mid-1730s to the establishment of the incorporating messages readable both in The Society looked to France for the (1768) the focus in terms of Irish national identity or tradition Aesthetic models for the curriculum of its London was on the growth of the artist's and of a European or international idiom. schools of figure, landscape and , profession and initiatives which might foster The analysis of the semiotics of the Irish and architecture. The result of this education the expansion of the market for postage stamp displays in microcosm the can be seen in the emergence of an Irish contemporary . strategies adopted by a country seeking to school mainly of landscape painters. These The rise of interacting institutions for promote an identity acceptable both to a artists began in Dublin and usually the arts outside London shows how sense of its own historic past and to the completed their studies in . They important it is to take into account the wider modern world to which it also wishes inaugurated a tradition of Irish subjects whole national territory, and both the fine to relate. Reference will be made in within European stylistic conventions. The and the applied arts. Institutions established particular to the frequent recourse in schools' influence was also important for in Dublin, Glasgow, Edinburgh and contemporary Irish stamp design to artists the ornamental arts, architecture and Birmingham from 1731 contributed to and the artistic image and an attempt will be evident in the architectural discussions on art and industry, to the made to assess the role of artistic codes in expansion of the capital. The schools of circulation of new ideas (newer, in many the presentation of cultural messages in drawing were situated within a network of respects, than those in London) and they philatelic terms. political and social forces of Georgian undertook initiatives which had long-lasting Anglo-Ireland which sustained them. When consequences upon the art life of the capital these forces altered dramatically after the itself. 5 DUBLIN CONFERENCE

(c) Brian Allen (Paul Mellon Centre for This paper will concern discussion in the concerned more with the majesty of the Studies in British Art, London): The Society early 1800s as to where British art should whole than the identity and disposition of of Arts and the Society of Artists: exhibitions position itself within a European context. individual works. and politics c.1760 Should the British school of painting be The exception are a handful of little- This paper will attempt to show how assimilated further into the mainstream known engravings dating from 1802 - 3, some of the leading members of the St traditions and orthodoxes of continental the fragmentary remains of an ambitious Martin's Lane Academy infiltrated the painting, or should artists strive to retain a project to document the precise appearance Society of Arts, Manufactures and distinctive individual or national identity? of the entire museum. Using these Commerce in the later 1750s in an attempt These long-standing questions assume engravings of crucial installations of Italian to use the influence of the Society's art additional urgency in the early nineteenth paintings together with contemporary committee to help further their aims of century and are closely connected with the commentaries, I will examine the principles establishing an independent public academy increased establishment of art institutions underlying the organisation of this most of art. Initially this resulted in the setting up in that period. famous of museums and compare the history of the first public exhibition of the works of The paper will focus especially on the of art as represented on its walls with living British artists, held at the Society of writings of Prince Hoare, Secretary for competing art historical representations. Arts premises in the Strand in the Spring of Foreign Correspondence at the Royal This comparison underlines central 1760. Academy from 1799 to 1834. Hoare's preoccupations which continue to inform From the later 1740s a number of activities in this post can be seen as an art historical and museological practice to attempts had been made by both artists and attempt to shift the British art world from a this day. members of the Society of Dilettanti to peripheral to a central position in the establish an Academy but these had all international art scene. Throughout his (0 Linda Whiteley (Oxford): Independent failed, primarily because the patron- writings Hoare is insistent on the need for Exhibitions in Paris, 1S26 - 48 orientated Dilettanti refused to be involved British art to avoid individual or national Since its foundation in the mid in any body that they did not dominate. 'manner', and conceives the solution to this seventeenth century, the Salon had been the Many of the artists, particularly Hogarth, as existing in comprehensive reforms to the most important centre in Paris for the sale whose views about connoisseurs were well institutional structure of the art world, of pictures by living artists. Consequently known, were particularly against any union reforms which, as he envisions, will involve when, in the late eighteenth century, the that led to an Academy administered by the fullest interventions of government. thoughts of certain Paris picture dealers patrons. However, the artists were by no Contemporaries whose writings urged turned to the sale of modern art, they were means unanimous in their view of how any similar reforms will also be examined, as often led, by the example of their greatest proposed Academy should be constituted will those of commentators who questioned rival, to set up exhibiting societies. the theoretical premises of their views, and and this paper will show that Hogarth, for Such establishments were not popular who warned against the dangers of the rapid instance, found himself increasingly isolated with the administration of the Fine Arts, process of institutionalisation which the art from his fellow members of the St Martin's and in the late Restoration we can observe world of the period witnessed. Lane Academy. a situation comparable to that of the late An analysis of the first exhibition of 1780s, when the State organisation was 1760, and its aftermath will show that no (e) Andrew McClellan (Tufts University, ceasing to cater adequately for the needs of greater degree of harmony was achieved Boston): Hanging the Old Masters at the artists, and, once again the State appeared between the artists and the Society of Arts, Musee Napoleon to be more than anxious to re-impose its Manufactures and Commerce. Within a year It is widely known that the monopoly. Charles Paillet's exhibitions of the schism between these groups was museum under Napoleon (officially named modern pictures, held in 1826, 1829, 1831 irreconcilable, with a breakaway group, the Musee Napoleon in 1803) contained the and 1832 attained the status, in terms of who became known as first the Society of greatest collection of Old Master paintings press reviews, of an alternative Salon; the Arts, and soon afterwards as the and Greco-Roman ever effect of this was to stimulate artists and Incorporated Society of Artists, setting up a assembled under one roof. Much less is speculators alike to look for permanent rival exhibition to which most of the known, however, about how those works of solutions to problems of patronage. distinguished artists of the day (including art, particularly the paintings, were arranged The 1830s present little effective activity Hogarth, Gainsborough and Reynolds) sent in the museum. The obvious sources of in the form of independent societies for their works. information are of little help in this regard: promoting picture sales, though the striking the many catalogues tell us what was in the growth of provincial exhibiting (d) Peter Funnell (London): Centre or collection, but not how it was arranged; and organisations in this period allowed, even Periphery? The early nineteenth-century the views of the Grand Gallery that survive, for Paris artists, a measure of escape from British art world and its institutions notably those of Hubert Robert, are the monopoly of the Salon. At the same

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time, certain ideas germinating notably assess what they got from the teaching, and formal considerations which have, hitherto, among the young journalists of 1'Artiste, from the artistic life of Belgium. It will been associated purely with landscape some of whom were Fourierists, were to be examine the relationship between Paris and painters. developed in the 1840s. A number of Antwerp as 'finishing schools' for British associations were formed, often marked by and Irish artists. Finally, it will try to decide 4. Italian Painting: Centre and an element of opposition to government whether the influence of Antwerp was really Periphery, 1200-1300 policies, and systematically making use of as negligible as it has seemed to subsequent (Saturday morning only) art journalism to further their cause, with generations, and why it is so rarely increasing urgency in the last years of the mentioned. Convener: Julian Gardner (University of July Monarchy. Warwick) In spite of the extraordinarily prominent (h) Martin Postle (Institute of European role given to artists and their representatives Studies, London): 'Stuff for the (a) Paul Binski (Yale University): Italian in 1848, the new republic was unable to Draughtsman : the study of the model in influence in Northern , 1250-1300 provide any satisfactory patronage for c 1870 - 90) (b) Dillian Gordon (London, National artists. After 1851, the spreading availability The model was by the 1870s, with the Gallery): Painting in Umbria in the second of credit favoured the expansion of dealers' classical revival, guaranteed a central place half of the thirteenth century establishments, but the political within the Academy and the artist's studio. and didacticism of the old societies appears And yet by that time instruction in drawing (c) Robert Gibbs (University of Glasgow): to have vanished in the climate of from the living model was at a low ebb both Painting at Bologna 1250 - 1300 disillusionment brought about by the failure at the Royal Academy and at the Schools of of the Second Republic. Design at South Kensington. In 1871 Felix (d) Julian Gardner (University of Slade, partly in an attempt to remedy this Warwick): Rome: a lost centre? (g) Jeanne Sheehy (Oxford Polytechnic): deficiency, 'founded the Slade School of British and Irish Painting and the Antwerp Fine Art. Here exphasis was laid on drawing 5. The Search for Vernacular Academy in the Nineteenth Century direct from the living model - often with Expression in Design: late nineteenth and 'Britain is, or ought to be, grateful to short poses - without reference to classical early twentieth centuries Antwerp, for it is here that many of her sons, archetypes. By the turn of the century the (Saturday afternoon and Sunday afternoon) fleeing South Kensington and her system, model had regained its position as the focal Convener: Nicola Gordon Bowe (National have studied free of charge from time to point of academic training. College of Art and Design, Dublin) time... (The) number of those who chose This paper seeks to examine the International and its Antwerp in preference to Paris would development of the study of the living model application to all aspects of art and design at probably surprise many who think all during the first twenty years of the Slade. In the turn of the century has recently been foreign influence on British art must be addition to evaluating the impact of this attracting detailed study, theoretical French', wrote Alick Ritchie in The Studio revitalised system of training on the first evaluation and contextual reassessment. in 1893. generation of artists who attended the Slade, Political and ideological aspirations Nearly a hundred years later people still the paper will examine the evolution of new inspired by English Utopian design reform think that Paris was the only important ways of looking at the model against the and/or a desire for national cultural identity foreign influence on painting in these islands growth, during the same period, of the and political independence inspired a great in the late nineteenth and early twentieth 'mythology' of the model as a stereotype in deal of contemporary design, its education centuries. Yet from the 1860s until the genre painting. and exposition: architecture and the applied, 1890s artists flocked from England, Ireland, Finally, I wish to look at the evolution of decorative and graphic arts. The Scotland and to study at the Royal the study of the model beyond the confines of what would later be Academy of Fine Arts at Antwerp. Many of of both the Academy and the studio and expressed as more explicitly propagandist the leading artists from Great Britain and examine the emergence of 'plein air' painting was often disguised by an eclectic Ireland, among them George Clausen, Frank during the decade 1880 - 90 with particular mythology, or romanticised by a nostalgic, Bramley, Thomas Gotch, George du reference to Henry Scott Tuke and his circle. craft-based idealism. Nonetheless, Maurier, Edward Hornel, RAM Stevenson, Tuke, I believe, in his pioneering work in intriguing analogies emerge on both sides Walter Osborne, and Roderick O'Conor this area ought to be seen not merely as a of the Atlantic as vernacular forms of studied for a time at Antwerp. This paper localised phenomenon but as one of a expression were sought: Celtic, Norse, will explore their reasons for going there. number of figures - including Anders Zorn Slavonic, Magyar, Pueblo etc. Interlace was Were they really just fleeing the South in Sweden and Thomas Eakins in America by no means exclusive to Ireland; it was no Kensington system, or were there other - who were searching for a more meaningful coincidence that Ireland, Hungary and reasons for choosing Antwerp? It will try to manner of relating the study of the model to Russia experienced revolution within a few 7 DUBLIN CONFERENCE

years of each other. ornaments or structures? Is it possible to linen industry, embroidery became an Studies of the parallels, concerns and create a new style consciously? And how increasingly important source of income manifestations of the many and various far can it be based on former forms, for Ulster women. design issues between the established and ornaments or structures? Which period of Who was designing for these 'traditional' emerging European nations and American the stormy Hungarian history should be skills, and how was design accommodated states are to be found in the session. seen as a source for a future art and society? both to technique and to the production of How can it become part of European culture, work which was as characteristically Irish (a) Toshio Watanabe (Chelsea College of which is deeply national? How can it be part as the label 'traditional Irish needlework' Art and Design, London): Vernacular of the national culture which originated in implies? Did the women who produced the Expression or Western Style?: Josiah international movements? needlework contribute creatively beyond Conder and the beginning of modern This and other similar questions were at the level of constructing beautiful things to architectural design in Japan the centre of the stylistic debates between the specifications of others? After the restoration of the Meiji emperor the late 1860s and the 1920s and remain Patchwork is also a 'traditional' in 1868 the Japanese government faced the today. Many outstanding architects gave a needleskill, but whereas embroidery and formidable task of modernising the country. personal answer with their own works. In lace were generally produced for It needed to demonstrate internally that a this paper I try to summarise the most commercial purposes, patchwork was new era had dawned and that the age of important ways of explaining the role of the usually made for domestic use. Where and feudalism was over and externally that Japan vernacular, examining the international how did 'traditional' patchwork designs was the political and cultural equal of the connections - first of all the English and originate? Is it possible to trace influences Western nations. To further both these ends, Scandinavian - the ideological and social on and developments in patchwork design the Japanese government promoted a purely background, the practical research, the in the late nineteenth and early twentieth Western-style architecture and invited the connections with other fields of art. I will centuries and if so, is the idea of development British architect Josiah Conder to Japan to present the works of Frigyes Feszl, Odon fundamentally inappropriate to the concept provide it. He took up his post in 1877 and Lechner, Jeno Lechner, Bela Lajta, Istvan of tradition? is generally regarded as the father of modem Medgyaszay, Ede Wigand, Karoly Kos and J D Sedding appears to have thrown up architecture in Japan. Moric Pogany, amongst others. his hands in horror at the 'barbaric wriggles' However, the irony is that Conder's early of late nineteenth century embroidered designs in Japan are not exclusively Western (c) Linda Ballard (Ulster Folk Museum): designs inspired by early celtic art. but introduce Oriental motifs and show that Applied Art? Tradition and creativity in However, there is clear evidence that many he was searching for a vernacular expression Irish needleskills contemporary Irish textiles complied with in design which would suit Japan as an The study of Irish folk art has been his view that 'needlework is ... a pictorial Oriental nation. hampered by many factors, predominant art that requires a real artist to direct the This paper will try to explore the among which is the belief that Ireland does design, a real artist to ply the needle.' How theoretical origin of this conflict, particularly not have a visual tradition. This belief has the contribution to Irish heritage of such how some of the British Design theorists persists despite the publication of numerous artists been viewed, and is it time for a argued for Oriental vernacular expression books, both historical and technical, which reassessment? in Western-stype colonial architecture. The feature Irish patchwork, lace and writings of Conder's teachers, Thomas embroidery. These skills are frequently (d) Peter Cormack (William Morris Roger Smith and William Burgess, throw described as Trish traditional', and are Gallery, London): Re-creating a Tradition: new light on this aspect. clearly visual. Does the persistent belief in Christopher Whall and the Arts and Crafts the absence of Irish visual tradition mean Renascence of English stained glass (b) Gerle Janos (Budapest): Whqt is that the paradigm of Irish cultural identity A relatively neglected field of study national in architecture? Different has been unable to accommodate this idea, until recently, stained glass was arguably intrepretations of the use of vernacular or have these 'applied arts' seemed too the art form most profoundly affected by architecture from late romanticism to early insignificant to merit serious attention? the of the 1890s/ modernism in Hungary There is increasing evidence that the 1900s. In England its leading exponent was What makes a style national? Are there needleskills of Irish women were capitalised Christopher Whall (1849 - 1924), whose any national characteristics in architecture? on during the nineteenth and early twentieth work as artist-craftsman and as teacher had Are the bearers of such characteristics the centuries. In the early nineteenth century, an international influence on several styles of the heroic periods of the national much of the best Ayrshire embroidery was generations of glass-workers. Whall and history or the continuous features of folk- produced in Ireland. Embroidered and other his school rejected the imitative architecture? What can be considered as laces were also.of economic importance. medievalism of the Victorians and aimed representatives of the spirit of the people: Especially after the mechanisation of the instead to re-create the broken tradition of

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English stained glass, moulding a new who had been influenced by the vernacular - every area of the country had Mission- perception of the craft based primarily on buildings of their region. Henry Hobson style bungalows, horizontal Prairie houses, technique and materials rather than formal Richardson, Charles Follen McKim and and half-timbered cottages. models, and self-consciously devising a new John Calvin Stevens provided, in their stylistic and iconographic vocabulary. By Shingle Style buildings, models that Cutter (g) Marika Hausen (Helsinki): Search for awakening artists to the full potential of the was to reinterpret for a Northwest context. Finnish Form: Eliel Saarinen as national medium, Whall inspired the founding of The work of Kirtland Cutter in the image maker 'national' schools of stained glass in Scotland Northwest provides an intriguing case study Eliel Saarinen set up office with his and Ireland which in turn achieved of an attempt to generate cultural identity friends Armas Lindgren and Herman international recognition as manifestations in a region where vernacular building Gesellius in 1896, a joint effort which lasted of their countries' craft revivals. traditions had not already been established until 1905. Thereafter followed two years over a long period of time. Although Cutter with Gesellius, and from 190i 7 he was on (e) Henry C Matthews (Washington State also built in a wide variety of fashionable his own, until he left for the United States University): Kinland Cutter and the search styles, he continued his search for an in 1923. for a Northwest Vernacular appropriate response to the land into the The Gesellius, Lindgren, Saarinen office The exploration and settlement of the early twentieth century. In churches, hotels, almost at once became leaders in their field, American West in the nineteenth century houses and wilderness retreats, he winning the competition for the Finnish inspired artists and writers; their sublime celebrated the grandeur of the natural pavilion at the Paris Worlds Fair in 1900 as images and thrilling descriptions contributed environment. well as the competition for the Finnish to a heightened sense of American identity. National Museum in 1902. Both projects In contrast, Western architecture of the period (f) Wendy Kaplan (Glasgow Museums were important as embodiments of the initially failed to respond to the unique and Art Galleries): The Vernacular in 'national spirit'. General opinion was much qualities of the land. The first settlers, as they America, 1890 -1920: ideology and design concerned about 'Finnish form' and what it became successful, imported familiar The idea that every country should have was supposed to look like. The need for European styles that helped to proclaim their an architecture that reflected its own manifestative form at the time developed sophistication. particular history, geography, and climate out of the political resistance movement of One of the earliest architects of the was central to the Arts and Crafts the 1800s. Finland had belonged to Russia Northwest to explore a significant alternative movement. England had issued the call for from 1809 but efforts to integrate Finland to this attitude was Kirtland Cutter, who reviving the vernacular and no country (law, language) in the vast imperium came to Spokane Falls, in the Washington heeded it more fervently than the United became stronger towards the end of the Territory, in the late 1880s. Shortly after States. The goal was an 'organic' century. The struggle eventually ended with opening his practice there, he was acclaimed architecture - one where the 'honest' Finland becoming independent in 1917. for his design of the Idaho Building at the expression of structure and materials would Political pressure led to a flowering World's Columbian Exposition of 1893. replace stale academic conventions. culture, where the struggle for independence Using rough basalt, massive logs and hand- The British concept of the domestic was manifested in music (Sibelius) as well split cedar shingles he tried to evoke the vernacular had two manifestations in as in art, crafts and architecture. This experience of the pioneer and the wondrous America. One was the adaptation of coincided with a marked Scandinavian nature of the mountains and forests. Although indigenous British styles themselves - the interest in American granite architecture as the structure was, in reality, unlike anything Gothic, Tudor, and Queen Anne revivals. well as in British Art and Crafts and built in Idaho before, he won a medal at the The other was the doctrine of fidelity to continental jugend/. Finnish Chicago fair for the building that best place, which encouraged designers to look form around 1900 was thus both national 'expressed the character of the state erecting to the American landscape and past. and international, happily synthetic and it'. He succeeded in capturing the public Focusing on architecture, but with some strongly symbolic. Saarinen was one of the imagination by symbolising in built form the discussion of decorative arts as well, this main creators of this ambiguous 'style' not romance of the Northwest. paper will address the way the interpretation always easily defined. Kirtland Cutter had been educated as an of the vernacular varied widely in different artist in Europe. Unlike many Americans areas of the country. Design reformers on 6. Creating a History of North who studied there he rejected Beaux Arts the west coast looked to Spanish missions American Art and developed a sympathy for and their own balmy climate; in the Mid• (Friday afternoon, Saturday afternoon and the ideals of the Arts and Crafts Movement. west, the Prairie served as inspiration; the Sunday afternoon) Returning to the United States, steeped in east coast was most conscious of English Convener: Ronald R Bemier (University of Romanticism, he found inspiration in the precedent and the colonial past. These Maine) work of progressive East coast architects preferences, however, were not exclusive 9 DUBLIN CONFERENCE

(a) Alan Wallach (The College of William in lockstep with the major public crises of technological superiority of white and Mary, Williamsburg, Virginia): The the antebellum period - abolitionism in the civilisation over the inferiority of the Native : imperial visions, mid-1830s, feminist agitation in the 1840s, American. tourist rituals the annexation of Texas in 1844, two major Schreyvogel's Nearing the Fort (1902) Scholars have drawn connections economic panics, and the rise of urban and Going into Action (1913) exemplify between the work of such 'mainstream' reform. My paper will suggest not only a the 'savagery' of faceless Indians with their Hudson River School painters as Frederic narrative (highly condensed) of genre animalistic visages. Church, Albert Bierstadt and Thomas painting during this, its most active, period Contextualisation of such works in an Moran, and the belief in Manifest Destiny. in nineteenth-century America, but also a idealogical, cultural and biographical matrix They have done so primarily on the basis of reading of the circumstances in Western makes explicit these values. It assists in the artists' subject matter (the American societies in which genre painting has the exposing the reality that these paintings, West, Central and South America), the most vitality. despite their claim to experiential found in key works such as authenticity, were in fact created fantasies. Church's Niagara, and the unprecedented (c) J Gray Sweeney (Arizona State The works of Schreyvogel are the most (i.e, imperial) scale of such paintings as University): Deconstructing nationalistic- pronounced in this respect, as they were Bierstadt's The Rocky Mountains and values of romantic nostalgia in Western painted on the roof of his Hoboken, New Moran's Grand Canyon of the Yellowstone. American art and in 'Cowboy Artists of Jersey, apartment overlooking New York This paper, by contrast, analyses the ways America City. The patronage and popular audience in which Manifest Destiny was pictured. By the end of the nineteenth century the for these artists' works were an Eastern The paper argues that, beginning with paintings of Frederic S Remington, Charles seaboard urban bourgeois who had never Thomas Cole, recourse to what might be M Russell and Charles Schreyvogel were seen the West and who yearned for images called the 'panoptic sublime' resulted in the revered as popular icons of America of the new American empire in the West. production of visual codes in which the dominion over the western regions of North A century later the primary audience for viewer (subject) is constituted as possessor America; today the western paintings of the art of the cowboy artists which is self• or proprietor of the landscape, while the their artistic descendants, the 'Cowboy consciously based on the style and subjects power to appropriate (visually) is equated Artists of America' are promoted within the of Remington, Russell, and Schreyvogel is with notions (myths) of freedom. To make western regions of the United States as almost exclusively a western one. These this argument the paper explores the images of pride in an heroic national past. artists idealise and romanticise the heroic relations between touristic rituals, The purpose of this paper is to deconstruct individualism of the cowboy, and skirt representations of landscape and exhibition this inversion of value by exposing the role issues of racism in their often patronising practices. of nationalism and romantic nostalgia in the depiction of Native Americans. creation of works of art as conscious and narrative are the twin (b) Elizabeth Johns (University of anachronisms. The role of individualism foundations of this art with all its derivative Pennsylvania): Genre painting and the and political conservatism as idealogical meanings and anachronistic vision of claims of competitive equality in the underpinnings in this late twentieth century national identity. Selected examples of antebellum United States form of regional art is a secondary issue cowboy art by John Clymer, Brownel Genre painters designated relative power probed through an analysis of contemporary McGrew, Tom Ryan and others provide among social and regional types in the cowboy artists. examples of the machismo value structure antebellum United States. Working in New Careful analysis of paintings by and blatant appeal to jingoistic nationalism York, whose audiences were in the thick of Remington, Russell and Schreyvogel, characteristic of this popular regional art fierce national, economic and political especially in covert details, provides insight form. competition, they presented assessments of into the mechanisms by which these artists Yankees, Westerners, blacks, women, and communicated the values of racial and (d) Susan Noyes Piatt (University of the urban classes that in the years 1830 to cultural superiority of the dominant Anglo North Texas): Exploding the Myth: Thomas 1861 most clearly represented issues that civilisation over Native Americans. Craven and the criticism of Regionalism divided the sovereignty. Painters were Frederic Remington's A Dash for the Thomas Craven has long been virtually mute on the urban classes; on Timber (1889) and A Taint in the Wind considered as the central figure in the blacks and women, highly proscriptive; and (1907) are paradigmatic of the subtle criticism of Regionalism in the 1930s. As a on Yankees and Westerners rightly encoding of racist attitudes toward the result of a lack of scholarly interest in ambiguous. This phenomenon reveals the Indians by the artist, and the heroic Regionalism in general, as well as a lack of contribution of genre paintings to the intense idealisation of the cowboy. respect for Craven himself, he has been fight over hegemony among 'equals'.Artists Charles M Russell's The Redmans virtually dismissed as a serious critic of created their most intense images virtually Wireless (1916) images an assertion of the American art and his career has been only

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rarely and superficially examined. sought to establish a new authority in art form as well as their participation in Careful study of Craven's writings paired American art, one that was not dependent Indian art revival associations. A contextual with consideration of the larger social, on borrowed vocabularies and ideas. Also, 'reading' of their (Edgar L Hewitt, Mabel economic and political pressures of the like Greenberg, Craven alienated the art Dodge Luhan, Marsden Hartley) primitivist 1920s and early 1930s, reveal that Craven world by his personal style and exaggerated essays on, and criticism of Native American never formulated a regionalist stance in his language. art reveals the colonists' shared fear about criticism. The formation of the critical/ the increasing secularization that typified artistic concept of Regionalism and its (e) W Jackson Rushing (University of modern American life. Similarly, the stress application to the so-called 'midwestern Missouri-St Louis): Cultural in these texts on the Pueblo corn dance (i.e., triumvirate' of John Stuart Curry, Thomas in Context: avant-garde patronage and ritual propitiation of nature) establishes the Hart Benton and Grant Wood, is in fact, the criticism of Native American art at the question of nature versus culture as one of product of a Time magazine article in 1934, Santa Fe and Taos Colonies, 1915 - 30 the dichotomous tensions of early paired with terminology based on In 1915, the avant-garde art colonists at modernism. Likewise, implicit in the sociological, geographical and literary Sante Fe and Taos, New Mexico began an primitivist's fixation on the perceived primal, concepts that was adopted by the intense period of patronage of Native exotic, and vital aspects of Pueblo Indian government-sponsored art projects. American art. These two regional outposts life was an assertion of the moribund quality This paper examines the contribution of avant-garde culture maintained close of Western traditions, especially in art and that Thomas Craven made to American ties with New York, simultaneously religion. crtiticism, with a particular emphasis on representing an extension of its art world establishing more exactly his relationship and a critique of the modern urbanism it (f) Ruth L Bohan (University of Missouri- to the concept of Regionalism. Partially typified. The artists, literati, and St Louis): That Mystic Baffling Wonder : under the impetus of the philosophy of John anthropologists who populated and Marsden Hartley and Walt Whitman Dewey, Craven first urged that the interacted with these colonies had a Walt Whitman exerted a profound environment of the artist be allowed to romantic/racist perception of Native influence on the rise of early twentieth- affect the artistic expression. As Craven peoples and a preservationist approach to century modernism in the verbal and visual was increasingly affected by H R Mencken's their art, both of which were reflected in arts. His example helped artists, poets critics advocacy of the American scene, he their social activism and art criticism. and others establish new directions in their supported a specifically American aspect to Although they were motivated initially by work, ones they eagerly embraced as being art in America, at the same time that he the ethos of cultural primitivism, this was both inherently American and eminently began to denigrate, also in the sarcastic supplemented especially after the First appropriate to evoking the spirit, complexity style of Mencken, the influence of French World War, by a desire to isolate, identify, and vitality of twentieth-century life. culture in America. and promote distinctly Native American Marsden Hartley was among those whose Throughout his career Craven avidly values. As a result of these activities, art owed a profound debt to Whitman's and unwaveringly supported the career of important collections of historic mystical involvement with nature and his Thomas Hart Benton in a partnership that Southwestern Indian art were established, emphasis on the human self. This paper will can be compared to that of John Ruskin and and revivification of contemporary arts and explore the Whitmanic content of Hartley's J M W Turner or, in the context of his own crafts was instigated. During this period early Maine landscapes. It will evaluate the critical environment of the early twentieth institutions and organisations evolved that way his personal involvement with several century, Willard Huntington Wright and were devoted to preserving tribal culture Whitman intimates, together with his close his brother Stanton Macdonald-Wright. In and protecting the religious freedom of reading of Leaves of Grass and the parallels this latter commitment Craven came to be Native Americans. Acting individually, or he found between Whitman and Cezanne, identified as the critic who advocated in concert, the colonists encouraged quality underlay the physical and visual character midwestern Regionalism. In reality, Craven and authenticity in art production (i.e., of his early landscape manner. actually argued against Regionalism as a engaged in the 'salvage paradigm') by catch-all term or group style in a series of developing strong art markets for Indian (g) Ellen G Miles (National Portrait articles in Scribner's Magazine in the late crafts, both in New Mexico and New York. Gallery, Smithsonian Institution, 1930s. Perhaps most important for the history of Washington D.C.): Searching for an Craven's career as an art critic in America Native American art, these Santa Fe and American style in American colonial in the 1920s and 1930s can be compared, Taos patrons acted as the midwives to the painting particularly in the political and emotional birth of a new, non-ceremonial Indian Studies of American art have often backlash that accompanied and followed it, painting. attempted to identify stylistic characteristics to the career of Clement Greenberg in the This paper examines briefly the role of of American colonial painting that are 1950s and 1960s. Like Greenberg, Craven the colonists in the emergence of this hybrid uniquely American. This search has focused 11 1)1 'KLIN CONFERENCE

on differences in scale, characterisation, assumptions of the other. throughout their extensive North American technique or composition that exist between territories during the mid-1840s. His stated American and English eighteenth-century (i) Andrew Hemingway (University intention was to produce pictures of Indian portraits. The differences are then analysed College, London): 'Personalising the customs and other features of the landscape. as expressions of the cultures that made rainpipe': the critical mythology of Edward His accounts of his travels and his prolific them. But the comparison has been made Hopper output of sketches and oils resulting from with the wrong English paintings. Rather Edward Hopper is probably the best- the journey today form one of the mainstays than looking at works painted in London, known twentieth-century American painter of pre-Confederation Canadian Art. The for royal or aristocratic patrons, we need to of the period before the emergence of the paper considers how Kane's reliance on the compare colonial American portraits with so-called 'New York School'. His name is company might have affected the nature those painted in cities like Lancaster or almost synonymous with American-style and content of his oeuvre, particularly with Edinburgh. Not only will there be '': 'the leading realist of his regard to the western work. similarities of technique and composition. generation', and 'the Greatest American Father Nicolas Point, S J (1799 - 1868), There will also probably be similarities in Realist of the twentieth century' are among a French-born missionary, was living and the socio-economic level of the sitters, an the epithets bestowed on him. Yet although working in the Rocky Mountains at the time important factor in determining the final Hopper's status as a 'realist' was advanced of Kane's travels in the area. His illustrated appearance of a portrait. What has been by some critics in the 1920s and 1930s, it journal Recollections of the Rocky defined at times as a uniquely American was far from uncontested. To 'personalise Mountains, which remained unpublished style is in fact very much a part of the the rainpipe', as he described his aim, until 1967, provides an interesting contrast English portrait tradition. seemed a rather limited ambition to those to Kane's Wanderings of an Artist. Father critics who argued that 'realism' should Point's depictions of Indian life and customs involve more disquieting representations (h) Gerald Needham (York University, are examined and both texts are evaluated of the contemporary social order. In 1936, North Yorfc, Ontario): A Double as historical source material. Regionalism: Canadian artists faced with one such critic remarked acidly: 'Hopper Europe and New York has included four gables on his country house making the total number of shadows Canadian artists have traditionally gone 7. Northern Ireland: where does the four.' By comparison with other to Europe, especially Paris, to continue border lie? contemporary realisms, his art could look their artistic training (Paul Peel and James (Saturday afternoon and Sunday afternoon) innocuous or simply vapid. Morrice had considerable success there in Convener: Belinda Loftus (Dundnjm, Co the nineteenth and early twentieth centuries This paper will look at the role of the Down) respectively). They also looked to New Whitney Museum and of various kinds of York - David Milne in the early twentieth critical discourse in determining the status (a) Eileen Black (Ulster Museum, century - but it was only after the Second and meanings of Hopper's art. It will argue Belfast): Art and patronage in nineteenth- World War that the rise of the New York that Hopper's 'realism' was successful century Belfast School provided major competition from because it had connotations of some While Dublin had an active art world the United States. The situation was relatively uncontentious folklore about the from the mid-eighteenth century, with a especially complicated for Canadian artists American city and landscape, and that its plethora of exhibiting societies, Belfast had because of their love/hate relation with the success was linked with the occlusion of few resident artists and no exhibiting society USA, and artists continued to go to Paris some more challenging types of 'realist' until the short-lived Belfast Association of especially if they were Francophones. art. Artists, formed in 1836. However, the best of the Canadians Two art schools were established in acknowledged the achievements of artists (j) Peter Murray (Crawford Municipal Art Belfast during the second half of the in New York, and respond to them. Gallery. Cork): Doctrines of the Craft: some nineteenth century. The Government This paper investigates the work of two comparisons of the development of School of Design had an erratic life from painters, Paul Emile Borduas and Yves landscape painting in Ireland and in the 1849 to 1858, due to lack of practical support Gaucher, who went both to Paris and New United States during the nineteenth century by the Town Council and local York, and who faced the task of assimilating manufacturers. In contrast the School of two traditions without being either Art, established in 1870, flourished for thirty swallowed by them or by mangling them (k) Brian Lynch (Dublin): The Landscape years, with financial backing from both the together. Their work will be examined to of Vision, Text and Value: the case of Paul Town Council and local sponsors, and * try and identify not only the difficulties but Kane and Nicholas Point S J. considerable middle class and female also the advantages in being able to use Paul Kane (1810-71), was permitted by involvement. their knowledge of each centre to clarify the the Hudson Company, to travel Simultaneously, from the late 1860s.

12 important commercial galleries had begun This paper addresses itself to the the Mother Ireland figure from such related holding annual exhibitions and bringing symbolism of several of these societies, female emblems as Celtic goddesses. well-known paintings to Belfast. This trend among them the Orange Order, the Royal Christian saints, sheela-na-gigs" and accelerated during the last three decades of Black Institution, the Freemasons, the Odd banshees, the Virgin Mary, classical the century, with Rodman's especially to Fellows and the Free Gardeners, all of which Hibernia, the figure of Liberty, the harp- the fore with twice-yearly shows, one of were active in Ireland at the beginning of lady, nineteenth century colleens and which, a black-and-white exhibition, was this century, and some of which are Cathleen-ni-Houlihan will show how, at geared more to the modest purse. The first influential today. It is suggested that this various stages, this evolution was crucially organisation of the reorganised Belfast brotherhood tradition is one of the central linked to developments in female political Ramblers' Sketching Club, in the winter of strands in the popular culture of the last two imagery elsewhere in the Western world. 1885, helped bring more local before hundred or more years. It is a tradition Study of the fine art representations of the public. Unlike the earlier ill-fated which is both wholly international and Mother Ireland will bring out her exhibiting societies, the Ramblers flourished genuinely indigenous to Ireland. involvement with artistic and sociological in the more fertile soil of the 1880s and stereotypes of women widely current in became, in 1890, the Belfast Art Society. (c) Fionna Barber: Problematic Victims: Western Europe. Assessment of the This, in time, became an important part of representation of women in Northern apparently very different female emblems the city's artistic life. Ireland during the 1970s employed by Ulster loyalists, such as Ulster, Nevertheless the general picture that Between 1972 and 1973 the emigre F E Britannia and Faith, will help to set Mother emerges of Belfast in the nineteenth century McWilliam produced a series of bronze Ireland in context, as will a comparison of is of a city whose art institutions developed sculptures entitled 'Women of Belfast'; an her role to that of female political figures in far later than those in other Irish cities, such additional piece, 'Woman in Bomb Blast' France, Poland, Russia and Portugal. as Dublin, Cork and Limerick. This paper followed in 1974. This period also marked is intended to provoke discussion as to why the height of political violence in the north (e) Hugh G Rice: 'The Road to the West'. this should have been so. of Ireland, and McWilliam's sculptures have 1944-John Luke tended to be read either as universalised In The Road to the West John Luke (b) Tony Buckley: Uses of Folk Art: the icons of suffering, or for their formal content handles a West of Ireland subject-matter symbolism of some societies with secrets alone. This paper presents a radical re• with an apparent combination of Gaelic There has long been a tradition in Ireland, reading of McWilliam's sculptural series, tradition and an Irish identity of place as elsewhere in Europe, of forming more or in terms of its misrepresentation of the lived through associations in a way unusual for less secret brotherhoods for a wide variety experience of women in Belfast over this somebody from a Planter background. This of purposes. These organisations were often period; comparison will also be made with important commission for the tenth wedding copied from, and sometimes claimed an the paintings by Catherine McWilliams anniversary of the artist's distinguished origin in, the religious, chivalric, mercantile based around the lives of women in the friend and Ulster's most senior poet John and craft brotherhoods of the . Ardoyne area of North Belfast, which in Hewitt, then Assistant and Deputy Director Characteristically they had elaborately turn construct very different images of what of Belfast Museum and Art Gallery, formal meetings. They had several degrees it was to be female in a nationalist enclave establishes significant notions of cultural of membership with rituals of initiation. during the 1970s. Discussion of these two and sociological interest. These ideological They held annual processions. Members artists opens up wide questions about the reflections were being addressed by Hewitt often wore collars, aprons, chains, sashes relationship of native and emigre to politics, himself at the time in his promotion of and jewels. The organisations boasted an culture and gender in a region defined by regionalism as a cultural identifying factor. elaborate symbolism reflecting their high violence. John Luke combines the art critic Clive moral or political principles. Often this Bell's notion of 'significant form' in an symbolism, with its signs and passwords, (d) Belinda Loftus: Mother Ireland and antique oil and tempera medium, together was kept secret from outsiders. Despite Loyalist Ladies with social and historical considerations. their obvious similarities these groups had Mother Ireland is a potent emblem in In his cognitive and analytical approach to diverse and often conflicting purposes. Ireland today, featured in fine art and popular the request for a 'plain* painting the artist Some were pious, others political. Some imagery. She is quintessential^ a political represents notions of Celtic place which encouraged temperance; others had drink figure, symbolising separatist nationalism. produced an equilibrium that satisfied the as their prime focus. Such brotherhoods Yet both historically and today she is linked ecumenical Hewitt after nearly forty years include trade unions, boy scouts, insurance to a range of female imagery extending far acquaintance. The paper explores the clubs, medical societies and paramilitary beyond Irish politics. These links will be balance of these forces as represented in bodies. The brotherhood tradition is elucidated in various ways in this paper. The Road to the West. By this exploration therefore extraordinarily flexible. Analysis of the historical evolution of some key issues in the cultural relationships

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between regionalism and nationalism are mass media. pervasive in the study of medieval exposed. architecture. Do all new ideas necessarily 8. Regional Workshops in Gothic start in large buildings and then filter down (f) Bill Rolston (University of Ulster): Architecture and Sculpture to smaller ones or is it sometimes the other Yes, But is it Art? Political Murals In (Friday afternoon and Saturday morning) way around? What role do patrons play in Northern Ireland Convener: Roger Stalley (Trinity College, the transmission of ideas; i.e., do churches There are many reasons to disagree that Dublin) belonging to Christchurch Priory the political wall murals of Northern Ireland show the new ideas before churches with are works of art. They are often poorly (a) Eric Femie (): other affiliations? Do mason workshops executed, with the worst bordering on in Scotland and the stay put in a single area for years, doing embarrassing and the best rarely going notion of the periphery local work during slack, times at the beyond traditional and romantic figurative The centre and the periphery are constant cathedral, or do the teams move frequently painting. The painters are untrained in the concepts in the history of culture, whether over much greater distance? How, finally, techniques of painting and unaware of the they depend on economic factors, military do our conceptions of what is Romanesque history of art styles and movements. The power, ideas of taste or simple prejudice. or what is Gothic in style, not to mention themes represented in the murals are highly Equally, however, the unexpected occurs to what is progressive or retardataire in style, localised and tendentious, a characteristic challenge the canon, as with Shakespeare in reflect the actual totality of architectural strongly at odds with a standard view in the Europe or the sculpture of practice in a single, historically coherent, art world that good art must take up universal Ireland and England in the early Middle geographical locale? themes in a detached manner. 'Art' is thus Ages. distinguishable from 'propaganda', and the Ecclesiastical architecture in Scotland (c) Malcolm Thurlby (York University, murals are rejected by advocates of such a of the late twelfth and thirteenth centuries Toronto): Tradition versus innovation in distinction as propaganda, not art. illustrates on the one hand the radiating of Early Gothic Architecture in the West This conclusion of this presentation is standards of taste and modernity from the Country similar, albeit for different reasons from cultural centre to the south, and on the In his seminal article kA West Country those espoused in the art world. The murals other, in examples such as the abbeys of Group of Masons', Sir Harold Brakspear are not art; they are not intended to be art by and Dryburgh and the cathedral identified a series of motifs which serve to the painters who do not see themselves as of St Andrews, a clear demonstration that isolate a local style of early Gothic artists. They are meant to be works of this pattern is at best misleading. architecture in western Britain. Brakspear propaganda. As such, the message is all- argued that the earliest manifestations of important; all else - style, artistic worth, (b) Larry Hoey (University of Wisconsin- the school were to be detected at the durability, the characteristics regarded by Milwaukee): Greater churches and lesser Romanesque church at Malmesbury. the art world as essential to a work of art - churches in southeast England: 1150 - Although there can be no doubt as to the is deemed either unimportant, or at best 1250 importance of Malmesbury for the icing on the cake. The rebuilding of development of the school, the role of other However, this is not a reason to reject the in 1175 - 85 is generally taken as a seminal Romanesque monuments in the West murals out of hand. This presentation seeks event in the history of English medieval Country must not be overlooked. This to articulate their importance. They play a architecture. From Canterbury, it is said, paper will consider the impact of traditional vital role at the local level in the battle for springs the new work at Chichester, elements from West Country buildings, such hearts and minds of working class Rochester, , and, most important, as the at , Hereford, nationalists and unionists. They are thus a Lincoln, from which the new Gothic style Bristol and Exeter, on early Gothic works in crucial element in the well-established spreads throughout the Midlands and the the region including , propaganda war. Moreover, they serve as a North of Britain. But what is the reaction of Glastonbury Abbey and St David's window into the political consciousness of the builders and patrons of smaller churches Cathedral. the community which produced them, at in Kent and Sussex themselves to the new any one time revealing in their quantity, cathedral projects? Is there a 'revolution' (d) James D'Emilio (University of South quality and content the aspirations, fears in parish comparable to Florida, Tampa): The impact of the and overall ideology of the community. the one scholars see in great church on architectural decoration in Consequently, they cannot be ignored - architecture? Galicia, 1160-1230 either as a measure of local political ideology This paper will analyse the connections Between 1142 and 1190, seven or as a counter to the images of the North or lack of them between the cathedrals and in Galicia were founded by the presented from outside nationalist and smaller or medium-sized churches in the Cistercians of Clairvaux or directly affiliated unionist working class communities by the southeast in order to throw light on questions to that house. Major building projects were

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soon launched at each site, and the diverted resources from nearby villages and formulas. Such replicas recur in several Cistercians brought a new vocabulary of their own properties. buildings scattered over a large area, architectural design and decoration to the Middle-sized buildings some distance suggesting that they are the work of region. In fact, their activity played a major away served as the key points through which craftsmen - possibly foreigners - who role in the building boom in the Galician the new artistic vocabularies filtered to the carved the pieces in the Cistercian houses countryside during the reigns of the Leonese countryside. Such buildings were of themselves, and then, as itinerant kings, Fernando II and Alfonso IX (1157 — sufficient size and architectural complexity supervisors, supplied models and 1230). Geography, patronage, the scale of to warrant the calling of craftsmen with instructions for the largely local workforces buildings and the working practices of experiences not easily gained in the smaller assembled to carry out these middle-sized masons and sculptors all helped to structure structures of the Galician countryside. In projects. the artistic relationships between the abbeys addition, the projection of the artistic Once the artistic vocabulary of the and the churches of the countryside, and influence of the Cistercians to such sites Cistercians had arrived in middle-sized determine how local craftsmen received was but one sign of the prestige of the buildings throughout Galicia, geography as and transformed a foreign vocabulary of newcomers, their increasing hegemony over well as patronage determined its subsequent architectural decoration. older monastic foundations, and the success diffusion, for small churches sprang up At the abbeys themselves, some native of their alliances with the military orders around the middle-sized buildings, craftsmen were employed, but local and important noble households of Galicia. apparently benefiting from the quickening formulas of decoration were carefully Thus, patronage - though rarely that of the pace of construction. At these sites, evidence screened. Billeting, ubiquitous in the order itself - and scale were the most for direct participation by the craftsmen Romanesque churches of Galicia, was used decisive factors in directing the initial impact from the Cistercian abbeys is lacking, but only with great restraint, and the of the Cistercian buildings on the their new vocabulary and the secondhand Compostelan foliate capital, still widespread countryside. imitations of their capitals won wide use. In in the late twelfth century, was rigorously The imported plans, elevations and addition, some traditional forms, like barred from the abbeys, although neither systems of vaulting of the Cistercian houses billeting or figured capitals, quickly would have compromised Cistercian had few heirs in the Galician countryside reappeared in these smaller buildings, sobriety. At the same time, the Cistercians where even the most ambitious churches although they had been carefully restricted admitted some geometric motifs whose did not require the large vaulted spaces or in the middle-sized churches built under the ancient pedigree may have recommended complex sanctuaries common in the abbeys supervision of craftsmen from the abbeys. them despite their less frequent use in local themselves'. In adapting new architectural When local craftsmen took charge of the Romanesque churches. Behind these features to more modest settings, builders construction of these smaller churches, they choices, one may dimly discern the efforts followed a well-established practice of using returned to traditional forms and creatively of the newly arrived monks to identify devices like false galleries or arched facades blended the different artistic vocabularies themselves with the primitive monastic on single-nave churches to create an with which they had come into contact. In movements of the region and distance architecture of aspiration. Thus, the massive some instances, craftsmen who worked only themselves from the diocesan clergy, stepped buttresses at Incio or the fasle ribs as masons on the middle-sized buildings perhaps as part of a local dialogue on at Ramiras pay tribute to the achievements may have graduated to the carving of authentic monastism. of the new order, but hardly alter the sculpture at the smaller nearby sites. For the most part, the Cistercians sought traditional design of the rural churches. The most distinctive elements brought isolated sites for their abbeys, ostensibly to Decorative details provide more telling by the Cistercians might travel remove themselves from the world. At the clues to the relationships between the independently of any workshop connection. same time, the placement of their houses Cistercian houses and the countryside. Thus, craftsmen from Meira inspired the also served a worldly purpose, for the monks Types of capitals, ornamental motifs, carving of chevron, rare in Galicia, on portals exploited their location in the jurisdictional profiles of mouldings on and bases, at Sarria and Incio. Its appearance there, wastelands near diocesan boundaries to and a preference for geometric and foliate however, may have provided the visual consolidate sizeable estates and launch decor all signal the imprint of the Cistercians. model that explains its isolated use at ambitious economic ventures. Their artistic New models for capitals, with close links to Bembibre by artists who delighted in the impact, however, was felt most strongly mid-twelfth century work in Paris and the elaborate and often eccentric decoration of outside of their own possessions and beyond Oise valley, were introduced at Meira and the arches of portals, windows and the immediate environs of their monastaries. Melon and copied in the countryside. sanctuaries. Though unmoved by the In fact, the concentration of wealth and Typically, a few precise replicas of the new sobriety of Cistercian decor, these craftsmen layout demanded by the enormous building capitals appear in middle-sized churches seized upon this new way of adorning the projects at their own abbeys may have alongside capitals based on older, local and added it to their own repertory. prejudiced the surrounding countryside and models and freer imitations of the new Significantly, they adapted the moulding to

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the more familiar form of the cusped arch. Purbeck marble; and 4) Henry of Blois and there was little or no demand for Irish works The artistic influence of the Cistercians the notion of his artistic 'director'. These of art outside Ireland, whereas today the on the Galician countryside reveals the points relate to a working hypothesis, large auction-houses regularly title their complex organization of the rural workforce presented as part of a larger project to sale catalogues 'British and Irish Pictures' and the different ways in which features of explore the importance of Henry's patronage and there is one London gallery which design and decoration were transmitted and in art and architecture at Winchester. specialises in Irish art. A small landscape transformed. Patronage, geography and the by a twentieth-century Belfast painter (John scale of buildings played different roles in (0 • Lindy Grant (Courtauld Institute of Luke) was sold at auction this year for over determining how the new artistic currents Art, University of London): Gothic- £17,000. What has caused this shift? Is it reached the countryside. Craftsmen of architecture in 1150 - 1250: a simply fashion, is it market-manipulation, different backgrounds assembled and crisis of regional identity or has a recent spate of historical studies in dispersed for particular projects and In the late eleventh century, Normandy Irish art helped to cause a change in the assumed different roles at different sites. was probably the richest, certainly the most market? What parallels are found in other Behind the more easily attributable work of secure and dynamic area of France; in the regions, for example, Scotland or America? the carvers of capitals, one also glimpses second half of the twelfth century it was the It is hoped that art-historians from inside the directives of patrons or supervisors, and lynchpin of a vast power block which and outside the art trade will contribute to the presence of masons serving an included a third of modern France; in 1204, this section. apprenticeship that would bear fruit in the the sudden collapse of the Angevin Empire sculpture of more modest buildings. In reduced Normandy to what it has been ever (a) Martyn Anglesea (Ulster Museum, fact, these humble buildings often proved since, one of the French provinces. As the Belfast): Francis McCracken (1804 -63): to be those in which the accumulated layers star of Normandy and the Angevins waned, Provincial to Pre-Raphaelite of different traditions might be most freely that of the Capetian kings of France, and of Francis McCracken, a Belfast cotton mill blended to fashion original and unusual their principal city, Paris, moved into the manager, was one of the earliest industrial hybrids, the creative response of local ascendant. patrons of the English Pre-Raphaelite craftsmen to the different artistic Throughout these centuries there was an painters. Though he figures as a half-comic vocabularies to which they had been enormous amount of ecclesiastical character in most histories of the PRB, he exposed. architecture in Normandy, and this paper has not until now been studied from the focuses on Norman architecture in the half Belfast angle. Research has shown that (e) Yoshio Kusaba (California State century either side of 1204, and its McCracken was closely involved with the University, Chico): Henry of Blois and relationship with the architecture of the introduction of to Belfast twelfth-century Winchester: a case for Capetian He de France, to address problems in the 1830s and 1840s, in the organisation multiple sources of artistic contacts of 'provincialism' and regional schools, of the Society for the Promotion of the Fine It is a well-known fact that Henry of taking as its starting point the recent Arts, and in, the establishment of the Blois, Bishop of Winchester (1129 - 71) statement by Jean Bony that the early Government School of Design there. He and Abbot of Glastonbury (1126 - 71), was thirteenth-century architecture of Paris was was a patron of the young Dublin prodigy instrumental in forging the artistic activities just as provincial as that of contemporary Nicholas Joseph Crowley, and with his of mid-12th-century Winchester in Normandy. friend George Petrie seems to have colluded particular and England in a broader sense. to obtain RHA paintings at the cheapest However, no systematic study concentrates 9. The Art Market and Regionalism possible prices. Converted to Pre- on the complexity of artistic atmosphere at (Friday afternoon and Saturday morning) Raphaelite principles by reading Ruskin's Winchester in the time of Henry of Blois. Convener: Martyn Anglesea (Belfast, Ulster Modern Painters volume 2, McCracken Unique architectural ideas and high quality Museum) started a long correspondence with Hunt, sculptural production during the lifetime of The role of the dealer and the salerooms Brown, Rossetti, Deverell and others, Henry need to be understood in relation to in the history of art has tended to be building up a distinguished but short-lived the historical circumstances, his political underestimated by art-historians. Since collection, which was sold off at Christie's activities, as well as artistic contacts, which Gerald Reitlinger's classic The Economics by 1855. The failure of the cotton trade in suggest multiple sources of artistic ideas of Taste (1961 - 70), the area has received Belfast, and its displacement by linen, was present in Winchester. Some of the salient scant attention apart from studies of the art responsible for McCracken's financial points to be raised will be: 1) local styles, market by Geraldine Norman and others. collapse and his consequent parsimony in workshops, and 'antique' sources; 2) the This section aims to examine changes in the his dealings with artists. question of French influences, i.e., was the concepts of 'metropolitan' and 'provincial' Ile-de-France the only source of influence?; as reflected in the art market. Ireland is an (b) Maria Beston (University of ): 3) the introduction of the ever-popular interesting case in point. Fifteen years ago Alexander Reid (1854 - 1928) and the

16 Societe des Beaux-Arts in Glasgow, 1889 - had a distinct preference for Barbizon and which was considered by dealers to be the 1931 the Hague School, for Whistler and later for single most important influence on the New Alexander Reid's marketing enterprise , and it has been claimed York art market. The MOMA accomplished in Glasgow, the Societe des Beaux-Arts, that the Glasgow dealers Alexander Reid its task as a propagandist via its exhibition was opened in 1889 and closed in 1931. and Craibe Angus were influential in the schedules and by its revolutionary Reid was the first British dealer to show development of that taste. Finally, the publications. MOMA-organized touring and Impressionist importance of dealers for artists working exhibitions were largely responsible for paintings, making them at first better-known and selling their work in Glasgow is introducing Europeans to the actual works in Glasgow than in London. His was one of discussed and compared with the rival of post-war American painting. On a basic the first galleries in Britain, and certainly in attractions of London, Edinburgh and Paris. level the position of the United States as a Scotland, to display Japanese prints and The paper concludes with the equally world power reflected on the potential of artefact, and he was almost singlehandedly dramatic decline of the fine art dealer. New York as an art market. While American responsible for the Japonisme craze. He Alexander Reid's firm moved to London in collectors focused upon European art this was Whistler's Scottish agent and friend, the 1920s and by 1930 only a handful of benefited European art markets, particularly the reason Glasgow University has such a dealers remained in the city. The same Paris, but when they switched their attention large collection of Whistler's paintings and period saw the virtual eclipse of Glasgow as to American art this influenced the position personal belongings. Reid was also a great a centre of artistic pre-eminence and its of New York. supporter and promoter of the Glasgow reputation vanished almost as quickly as it Boys, introducing them to England, Europe had been established. (e) Dr Gertrude Prescott Nuding (Art and America. His friendship with, and Market correspondent, Apollo): 1 Coming sales to, William Burrell and many other (d) Dr Deirdre Robson: (London): The of Age': the emergence of regional markets Scottish industrialist-collectors are among New York art market in the 1940s and into the international arena the principal reasons why Glasgow's public 1950s: the shift from 'provincial to Within the last decade the market for collections have now inherited some of the 'metropolitan' Scottish and Irish art has experienced a finest works of art in the world. He was a The 1940s and 1950s is undoubtedly the rapid monetary rise accompanied by friend and business associate of Theo van period when the' New York art market growing international recognition. The Gogh and the only British sitter painted by effected the change from being a international appreciation of the modern Vincent van Gogh. 'provincial', minor art market to one of the regional fields has branched from well- world's premier art centres with respect to established regional roots formed early in (c) Dr Elizabeth Bird (University of modern art. How this was achieved, and the century and from the subsequent efforts Bristol): 'Plush', Flush and Bust: the rise what agencies effected the change, will be of a few devoted dealers catering to equally and fall of fine art dealing in Glasgow, 1870 examined in this paper. The most immediate devoted collectors, primarily private. What -1930 way of measuring this is in the physical has changed markedly in recent years is the At the turn of the century, in addition to composition of the market: in 1940 there degree to which Scottish and Irish artists being the 4Second City of the Empire', were some 70 galleries in total, of which figure in commercial gallery exhibitions Glasgow was establishing a growing perhaps a dozen specialised in modern art, and auction sales directed at international, reputation, especially in continental Europe, either European or American. By 1960 rather than purely regional audiences. as a centre of artistic experiment. This there were estimated to be some 275 in all. Further, in the contemporary field, Scottish paper traces the growth of fine art dealers in There was a parallel growth in the number artists increasingly are being proclaimed by the city and attempts to assess their of collectors - where in the 1940s the number observers in Britain and the United States significance in the process of art production. of Americans collecting modern art was as the new blood, and Glasgow and It looks first at the relationship between art tiny, two decades later greater prosperity Edinburgh cited as nuclei for diverse talents. dealing and the local economy, tracing the and increased appreciation of modern art To some observers, the internationalisation variety of origins - carver and glider, interior had encouraged a substantial increase in the of the market represents a mixed blessing. decorator, publisher and lithographer - of number of private collectors, while new While profits for sellers (both private and fine art dealers. Trade Directories list four markets such as corporate collecting had commercial) may be on the rise, the fine art dealers in 1895, and by 1905 this has appeared by the late 1950s. One would like international dispersal of quality works into grown to thirty-two. The reasons for this to argue in this paper that in the context of private collections may make it difficult for proliferation are discussed, linking it to a the changing status of New York as an art regional institutions in the future to form or rise in the demand for art and a growing market one cannot only talk of dealers as fill in their collections and for galleries and public interest in the lives and work of local responsible for the change. Equal auction houses to maintain the quality of artists. Next, the role of the dealer as importance must be ascribed to a public material they have hitherto offered. The tastemaker is analysed. Glasgow collectors institution, the Museum of Modern Art, development of the international market 17 DUBLIN CONFERENCE

will be viewed in terms of converging gallery which pursues a dissenting line in act on the artist's behalf? forces: regionalism and nationalism; the the changing conditions of today. This paper will be premised on the general inflationary nature of the art market; definitions of the different kinds of 'art the international search for 'cheap' (g) Brian McAvera (playwright and art market' and how these relate both to alternatives to the French Impressionists critic, Downpatrick): The art market and regionalism and internationalism, at which (which has also stimulated interest in, for regionalism: the marketing and promotion point the paper will attempt to analyse the instance, the modern Scandinavian and of artists in Northern Ireland and the Irish various factors which influence these Belgian 'schools'); the packaging efforts Republic markets, comparing the North and the of the market markers which have raised If the 'art market' is simply the market Republic in so doing. the field's public profile; and finally the for art at any given time in any given place, radical shift in taste, which has rejected the life would be simple. In Irish terms all that 10. Italian Art: centre versus province, 1960s embracement of hard-edge and would be needed would be an analysis of post 1300 and the concept of 'progress' as the major factors which affect the selling of (Saturday all day and Sunday afternoon) a criterion for aesthetic appreciation, and art-work, and thus a comparison between Convener: Catherine Whistler (The which espouses instead traditional or old- the North and the Republic in relation to Ashmolean Museum, Oxford) fashioned values, both in terms of subject those factors, e.g. the collecting policies/ and execution. The conservative nature of extent of finances for collecting, of the two (a) Jaynie Anderson (Ruskin School of this taste has led to a re-evaluation of Arts Councils, British Council, Department Drawing and Fine Art; University of painters, many of whom outlived the art- of Foreign Affairs (Cultural Division), Oxford): Cosme Tura and the Studiolo of historical appreciation of their day, and to Museums, Public and Commercial the Muses at Belfiore (Ferrara): an example the rise to fame of certain contemporary Galleries, Auction Houses, Private of sophisticated regional patronage artists. Collectors and Institutional Collectors. The first Renaissance studiolo was In addition one would need to enquire created by Leonello and Borso d'Este for (f) Bill McCormack (Dublin): The Oliver into government attitudes towards the their palace at Belfiore, Ferrara, in the Dowling Gallery in Dublin funding of the arts, the policies of various middle of the Quattrocento. It will be Founded in 1976, the Oliver Dowling artists' associations, and the political and recreated in the exhibition 'Cosme Tura e lo Gallery has become the focus of much that social factors which, historically, may have studio di Belfiore', to be held at the Museo is exciting and problematic in the exchanges predisposed certain attitudes to the arts. Poldi-Pezzoli, , in September 1990. between the world of Irish art and the 'art However, by definition, what is known Under D'Este patronage Ferrarese painting world' internationally. In the first eighteen as 'the art market' is an international context and manuscript illumination, especially in months, Dowling - who had been (the public thinks of Van Gogh's Tura's workshop, developed an innovative Exhibitions Officer with the Irish Arts Sunflowers). Put simply, there is the style and ambitious iconography, \ Council - showed only non-Irish work, marketing in terms of investment independent of the major centres of Italian notably that of Alan Green and Joel Fisher. commodities of established names, and there . The presence of Flemish The emergence of a body of Irish painting are the various ways in which contemporary artists in Ferrara encouraged unusual which is recognisably 'Oliver Dowling' art, especially that which has not as yet technical experimentation. Despite the proceeded through the exhibition of Michael gained a pedigree, is sold, or not sold. virtues of this regional school, it has often Craig-Martin and (later) Cecil King. Today, Is not regionalism which indicates locale been neglected by historians, and in the Dowling's list includes Michael Coleman, and small market inimical to the dictates of nineteenth century, when major Mary FitzGerald, Ciaran Lennon, T J Maher the 'art market'? Is the 'art market' a good Renaissance museums were created, it was (the latest recruit), Alistair Wilson etc. The thing? What is the relationship between the rarely appreciated. This has affected the gallery's critical success cannot be doubted. auction house market and that of the selling way Ferrarese art has been restored and More difficult is the relation between a of works by contemporary artists? What is studied. My paper will explore some of community in which artistic taste (sic) is the relationship between the international these issues based on the research for the notoriously provincial and a small number commodity market in names, and the local exhibition. of artists pursuing various different forms auction houses? Does the art market act of what can be loosely described as independently of the people who actually (b) Richard Cocke (University of East international modernism. The paper produce the work? Should there be Anglia): Tradition and innovation in explores aspects of this problem, with percentage schemes (as in the USSR and painting in Verona, 1520-52 reference to patrons and painters, Germany) and/or resale rights, and how Painting in Verona is dominated by two institutional agencies and individual would these relate to the market? Do market strands, that of the well-finished painting, collectors. The object is simply to provide pressures induce conformity of expectation, looking back to Mantegna, and the a tolerably detailed account of a commercial even in those institutions which supposedly antiquarian. In spite of Venice's dominant

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political role younger painters take up the Arezzo d'adozione', Giacomo Ceruti is best known innovations of Giulio Romano, whose style This paper will examine Marcillat's role for his sombre and compelling images of was supported by the bishop Gianmatteo in bringing the art of Papal Rome to Arezzo. the poor. The depiction of poverty is by no Giberti. Paolo Veronese, although It is my belief that Marcillat's patrons in means unusual in Italian painting, but Ceruti influenced by Central Italian style, fuses Arezzo wanted his work to demonstrate treated the subject with a remarkable this with a new awareness of Venetian that they were devout, discerning, au sensitivity which elevated it to a theory and practice, whilst continuing the courant, and not in the least provincial. recognisable genre in its own right. Working city's antiquarian tradition. Marcillat came to Rome in the first half in various north Italian cities, as both of Julius II's pontificate and worked for portraitist and genre painter, Ceruti attracted (c) Dr Mark Evans (National Museum of Julius in the Vatican stanze and Santa Maria several notable patrons including the Wales): Amico Aspertini between Rome del Popolo. He subsequently worked for Marshal von Schulenberg in Venice. He and Bologna Leo X and for Cardinal Passerini in Cortona, was, however, most closely associated with From Vasari to S J Freedberg, Amico before moving to Arezzo where he was the and it seems that his most innovative Aspertini (1474/5 - 1552) has been most important artist of the 1520s. and arresting images of the poor were characterised as an eccentric, provincial Marcillat's appeal to his Aretine patrons painted for patrons in that relatively artist. His three Roman sketchbooks have may have depended upon the cachet of provincial centre. aroused considerable interest amongst being an artist from the papal court (for to This paper will examine Ceruti's historians of classical sculpture during the imitate such men was to associate yourself depictions of beggars and the poor painted Renaissance, but have received little with them, as Marsilio Ficino reminded for Brescian patrons, particularly the attention in relation to his own paintings. Lorenzo de'Medici). Barbisoni and Avogardo families, and Aspertini's cultural horizons were unusually Marcillat's stained glass windows in the attempt to explain why these patrons broad: his work incorporates motifs derived Cathedral reflect the change from 'craft' to particularly responded to such unequivocal from recent North Italian and Tuscan 4art' and are thus a barometer for the images of poverty. Interestingly, although painters, antique monuments and imported 'modernisation' of taste in Arezzo. The Ceruti painted beggar scenes outside Brescia German engravings. In this respect, he Cathedral operai demonstrated their desire it was only in that city that he was known by bears comparison with his Bolognese for modernity by asking Marcillat to replace the nick-name 4II Pitocchetto', the painter contemporary Marcantonio Raimondi. a window just seven years' old with one of beggars. However, where Marcantonio was a copyist based on a famous panel by Signorelli. And Ceruti was practically unknown until of genius, Aspertini was the creator of a in his subsequent windows Marcillat plainly the 1920s and this paper will place in context unique style. Like his patrons the brings the art of Rome to the provinces, two paintings by Ceruti acquired for an Behtivoglio, expelled from Bologna by illuminating his role in the rapid Irish collection in 1893, Boy with a Dog and Julius II in 1506, he was the last dissemination of the most up to date style to Boy with a Basket of Vegetables in the representative of an autonomous tradition, the rest of Italy. Ulster Museum, Belfast. extinguished by the rising tide of Roman Above all, in the frescoes of the Cathedral influence. vault (commissioned from Marcillat in (g) Dr Diana Norman (The Open 1520), the opera can be seen to request the University): The Competing Claims of Rome (d) Dr Christa Gardner von Teuffel first copy of Michelangelo's Sistine Chapel and Naples: the case of Cardinal Oliviero (Coventry): From Fra Angelica to Giovanni ceiling. The implications for Aretine pride Carafa Bellini: the introduction of the Renaissance and that city's desire for will be In Italian Renaissance there pala in central Italy considered with reference to this imitation are two prevalent axioms: firstly, that the The spread of the Renaissance pala into of the papal chapel. An investigation of the 'central' developments in Renaissance art Umbria and the Marches is discussed. The influences at work upon Marcillat arose within an urban context; secondly, position of Giovanni Bellini's Pesaro (Michelangelo, Raphael, Sebastiano and these central developments occurred in Coronation within this tradition is assessed. Signorelli) allows us to form an impression certain specific cities. Thus, in the study of The works of Gozzoli at Montealco and of the immediate impact of the new Roman fifteenth-century Italian art, the palm is Carlo Crivelli at Ascoli Piceno and Fabriano style. As such this paper is a study in the awarded to Rome, with Venice as a major are also considered.The works of Gozzoli dissemination of romanismo before thei Sack competitor. By contrast, Naples and its art, at Montefalco and Carlo Crivelli at Ascoli of 1527. despite the city's size and spectacular Piceno and Fabriano are also considered. economic growth during these centuries, (f) Anne Millar (Ulster Museum, Belfast): receives scant attention and is consequently (e) Tom Henry (National Gallery, Poverty as Genre: Giacomo Ceruti (1698- accorded only 'provincial* status. London): Guillaume de Marcillat and the 1767) in Brescia This paper suggests firstly, that the modernisation of taste in the Cathedral, 'Nato milanese, ma bresciano patronage of Renaissance art furnishes an 19 DUBLIN CONFERENCE

important insight into why certain Italian to be associated with his studio was to be (d) John Hill (University of Ulster): cities rather than others are designated given access to mainstream tradition, Anglicising Los Angeles: the gangster genre centres for the development of Renaissance innovations and aesthetic ideas otherwise in British cinema art; and secondly, that the art patronage of unobtainable on the island. After his death a specific social group - Renaissance his successors continued to practise the (e) Linda R Krause (University of cardinals - offers an instructive instance workshop style, interpreting the master's Wisconsin, Milwaukee): Rethinking and test case for such claims. The activities legacy and developing their personal idioms. Regionalism of one particular late fifteenth-century cardinal - a major patron in Rome and (j) Dr Eileen Kane (University College, (f) Clive Dilnot (Harvard University): Naples - are examined in order to test the Dublin): Avignon and Rome: centre or Mackintosh, the Glasgow School of Art and prevailing assumption within province? conventionally conceived Renaissance art Not long after 1300, the Popes became history that, in terms of the production and resident at Avignon. There, their patronage (g) Luke Gibbons (Dublin City reception of art in the last decades of the helped to create the School of Avignon, University): Culture as Masquerade: fifteenth century, Rome began to attain a which embraces the fourteenth and fifteenth theatricality of the image in Irish political position of overwhelming predominance, centuries. The painters employed by the culture whilst Naples remained entirely peripheral. Popes were predominantly Italian, thus Avignon, centre of Christendom, was also a (h) Martin McLoone (University of (h) Clare Robertson (University of centre of Italian painting. Meanwhile, Rome Ulster): How television constructs art Reading): 'Ansioso di condursi a Roma : languished. There was hardly any artistic history/criticism Annibale Carraci from Bologna to Rome activity in the Eternal City from the time of This paper seeks to elucidate Annibale the establishment of the Papacy in Avignon 12. Modernism and the City: Joyce's Carracci's response to what he looked at until the return of Pope Martin V from Dublin and Beyond when he arrived in Rome to work for Constance in 1422. Only after that date did (Saturday morning only) Odoardo Farnese. Examination of the that new era truly begin which would preparatory drawings for the Farnese culminate in the peak of the High Convener: Brian Kennedy (Ulster Museum, Gallery sheds new light on not only the way Renaissance in the early decades of the Belfast) in which the 'programme' for the frescoes sixteenth century. evolved, but also the artist's assimilation of This paper will examine the development Papers in this session will address a Roman art and consequent modification of of the School of Avignon in the fourteenth number of issues, some of which are being his Bolognese experience. It will further be century. It will draw attention to the examined anew, others for the first time. argued that Annibale's contribution to the condition of Rome at that time and to the Looking back from the age of so-called iconography of the Gallery was greater than first flickerings of a pre-dawn in some 'Post-Modernism', what seemingly was the has usually been assumed. true nature of the 'experience' of Modernity frescoes painted there at the end of the as a cultural force in the city and beyond? fourteenth century. What is the legacy of its expression in (i) Joanne Wright (University of Europe, Britain and Ireland? Over and Nottingham): After Antonello: the Sicilian 11. Popular Imagery and Critical above Modernist rhetoric, the Irish workshop in the late fifteenth and early Regionalism experience was complicated by a search for sixteenth centuries (Friday afternoon and Saturday morning) national identity expressed through the Antonello established a thriving Convener: Luke Gibbons (Dublin City church, state and the avant-garde in a post- workshop in his native which, on University) revolutionary age. his death in February 1479, was inherited (a) Brian P Kennedy (National Gallery of by his son, Jacobello. Three other members (a) Jean Fisher (Goldsmiths' College, Ireland, Dublin): The Mad Hatter and the of the family, Antonio and Pietro de Saliba London): In Defence of Democracy: Long Fellow: James Joyce and Eamon De and Salvo d'Antonio either trained in the nativism and post-colonial subject Valera workshop or had close connections with it, James Joyce is renowned internationally and other Sicilian artists working in the last (b) Geff Chown (University of Northern as the greatest Irish writer. Eamon de quarter of the century had professional Illinois): Transnational Film Genre: Valera is without doubt, the outstanding dealings with the activities of the bottega. Australian, and American Westerns statesman of modern Irish history. This paper will discuss the way in which Independent Ireland was typified in Joyce's Antonello's art affected some of these (c) Tanya Kiang (Dublin City University): mind by the earnest and sober de Valera, followers. He was the only 15th Century and the Peripheiy: regionalism 'the spick spook spokesman of our Sicilian painter of international repute and within the pictorial frame specturesque silentiousness'. This paper 20 DUBLIN CONFERENCE

will suggest some important comparisons heaping the elements of its culture into an nature of Irish society, particularly in and contrasts between the Mad Hatter and 'inexplicable' or empty congruity which is relation to artistic matters and the response the Long Fellow, including their views on said to mirror the arbitrary nature of modern to Modernism shall be explored in this art. life. The question these works pose is context. whether this image of the disrupted city can (b) Martin I. Gaughan (South Glamorgan properly claim to represent the essential (e) Brian Cross (Limerick): Beauty and Institute of Higher Education): The character of modern experience, and should the West: the work of Sean Keating 1915 - Experience of Modernity at the Centre and therefore be accepted as the inescapable 25 the Periphery image of modernity, or whether an 'From which point of view? Of painting There is no problem in identifying alternative account is possible. Visual art or of Ireland? Or which Ireland - the small Ulysses as a modernist text; more of the period shares the same concerns, farm or the tea, wine or spirit merchants, problematic, however, may be the rejecting the city, and concluding that the Fitzwilliam Square or Crumlin, the Gaelic identification of the experience of modernity desired re-integration of the twenties has to League or the Palace Bar?' ('Painting in which is represented through its textual be sought outside it. The final part of the Ireland Today' Sean Keating, The Beli strategies. This paper will attempt to relate paper will focus on the work of Paul Nash. Dec. 1950). the experience of modernity (more Sean Keating's work stands today as an specifically that of the second industrial (d) Sighle Breathnac-Lynch (Dublin): The anomaly in Irish art history. Overlooked as revolution, contemporary with Joyce's text) Church and the Artist: practice and a novelty in conventional art-histories, to cultural modernism, focusing on the city patronage, 1922 -45 sneered at as establishment by would-be as the major condenser for those social One of the preoccupations of the newly modernists and as yet undiscovered by the energies produced and released. Joyce's independent Irish Free State was its quest literary post-modern set. Yet between 1915 representational map of Dublin will be for a distinctive national identity. The vast and 1935 Keating, from inside, provides us considered relative to contemporary urban majority of the population was staunchly with a vision of the newly emerging state representations (Futurist, Expressionist) and Roman Catholic and Catholicism became from pre-independence primitivisms to slightly later ones (Critical Realist, Neue an important badge of nationalism. post-independence technologies. Ritchie Sachlichkeit) indebted to his work - In the new state the Catholic Church was Robertson has ascribed nationalism to Doblin's Berlin Alexanderplatz or the major patron of the Arts and the modernisation, and if we can ascribe to Ruttmann's film Berlin: Symphony of a hierarchy, the clergy and catholic lay- Keating a recording of this modernisation, Great City. organisations, as well as individuals, sought surely then Keating's work of this period a wide range of religious products. The can be seen as a document of nationalism. (c) David Peters Corbett: The Modernist demand for religious art was served most Conventional Irish art histories have City: Eliot, Joyce and post-war British Art often by sculptors who produced a steady maintained that we have no political Whereas before 1914 there is ample supply of altars, statues, pulpits, baptismal tradition in the visual arts, that our evidence in both literature and the visual fonts and memorials. Some of this sculpture modernism came too late and our arts of a climate of opinion that was prepared was in a self-consciously Irish Catholic academicism was too emphatic. But on to accept and even celebrate the city, the idiom; relying exclusively on Irish materials, closer examination (something disruption of the First World War and the worked in an Trish' style by native conventional Irish art histories are short of) subsequent attempts at a reintegration of craftsmen. of Keating's work these generalisations British social life in the 1920s gave rise to I propose to make a comparative study come unstuck. This paper will be a sort of a more cynical view of urban experience. of religious sculpture from this period: renaming. This paper examines the idea of the city exploring the social, economic, political in two of the major works of literary and cultural factors which shaped its 13. Minorities and Regions modernism to appear in the twenties, Joyce's production, including the factor of style. In (Friday afternoon and Saturday afternoon) Dublin novel Ulysses, and Eliot's London particular I shall focus on the work of Albert Convener: Joan Fowler (National College poem. The Waste LaiuL and seeks to relate Power R H A, whose views on an Irish of Art and Design, Dublin) their reading of the cultural significance of coincided with those of some The session will examine representations the city to some important contemporary of his patrons as well as leading art critics of of Ireland as racist and sexist. To what concerns in the visual arts. Both Ulysses his day. extent do such representations relate to and The Waste Land proceed by The history of the church and the artist in experiences and representations of women perambulations around their respective these years is an interesting one. Much of in England? These issues will be explored cities, in the course of which the vision of the art produced is expressive of the high by a panel of women who work in Ireland the city as the summation of its culture is level of piety which existed in Ireland. It and England. rejected. The city is now seen as merely also reveals the essentially conservative

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(a) Ailbhe Smyth (Attic Press, Dublin): (d) Sabina Sharkey (London): The but by extension the oppression of women? Women are not a minority. Ireland is not a Iconography of Rape: colonisation, How does the female portrayal of Ireland region. But what does it mean to be a constraint and gender (Hibernia) differ from the female woman, Irish and engaged in creative work? In classical literature and in the early personification of Britain (Britannia)? This paper will attempt to outline how modern period the topos of rape was These questions will be examined in an the ideological and material conditions of frequently represented in texts and in the exploration of nineteenth- and twentieth- life in the complex, splintered and shifting plastic arts. The female body as a locus century visual representations of Ireland as entity which is 'modern Ireland' have both classicus of power struggle was a common a woman. affected and been challenged by the creative area of contestation between iconography and cultural practices of Irish women. and iconoclasm. Transgression of the social (f) Lubaina Himid (Rochdale Art Gallery) order, of the body politic and the founding (b) Anne Tallentire (St Martin's School of a new order were all embodied in a (g) Jill Morgan (Rochdale Art Gallery) of Art, London) narrative of rape. Through a presentation of her work Anne In English Elizabethan colonialist 14. Painting in Spain Tallentire will figure the issue of dislocation discourse the desired object was gendered, (Friday, Saturday and Sunday afternoons) and will question the relationship of self to as 'virgin' territory. These wild female Convener: Peter Cherry (London) place. Place that is defined and redefined lands relocated a male anxiety about female This is the first session of an AAH within a shifting and constantly fractured agency. The need to contain, constrain and conference devoted entirely to the neglected frame of reference. Her work has critically mark boundaries on the land was expressed field of Spanish art, and it should dispel investigated aspects of the powerful in terms of husbandry. Furthermore, the popular myths of Spanish culture being underlying ideologies that dominate the enterprise of rape was repeatedly urged as a dependent, backward and even provincial. particular culture she was born into in virtuous mode of colonialist expansion and Ten papers will explore painting from the Northern Ireland. She has examined the plantation. sixteenth to the eighteenth centuries and the construction of history and has raised This paper investigates how the racist- achievements of Spain's most famous questions about the relationship between colonialist paradigm is legitimised by the artists, El Greco, Velazquez and Goya. A culture and territory. sexual model upon which it is founded, in a recurrent theme will be the complex Here she will continue to argue for the range of Elizabethan, nineteenth-century relationship between Spain and artistic recognition of a radical Irish women's art and contemporary texts relating to Ireland. centres of her empire, particularly those in practice that attempts to resolve the inherent It also considers whether the continued use Italy, Flanders and the New World. Lo contradictions and complexities of identity of such figures as Mother Ireland and her Spagnoletto (Ribera) was the most famous and that resists the boundaries of oppressive ailing offspring may collude with, reproduce Spanish emigrant: El Greco heads the list of definitions and distorted representations. and continue to legitimise the ideology it illustrious immigrant artists. Spain imported aims to overthrow. foreign paintings on a grand scale and the (c) Alice Maher (Artist, Cork) royal collections were phenomenal in size Alice Maher is a visual artist working in (e) Anne Crilly (Derry) and scope. Particular attention will be paid many different media. Her most recent Ireland, as a colonised entity, has been to the patronage of Philip II and Philip IV work was an installation titled Tryst, largely represented in Irish culture as a and their roles in the development of native exhibited at Limerick, Cork and Belfast. woman and this is most clearly seen in the 'Spanish' painting. A study of artistic Much of her work takes as its theme the 'Mother Ireland' image. These images of a thought in Spain will illustrate Spaniards' legacy of Catholicism and its attendant certain type of woman, passive and conception of their own art, and two papers iconography to a visually inexperienced dependent on her'sons' or'lover' to regain on the subject of taste will help to clarify community. In particular, this involves her land or avenge her honour, have been current perceptions of Spanish painting in what it means to have been raised as an Irish used by the Nationalist Movement in Ireland Britain and Ireland. Catholic woman. Her more recent work and also by propagandists in Britain to suit also explores the meaning of 'rurality' and their own purposes. (a) Rosemarie Mulcahy (Dublin): The how the experience of an Irish Catholic Have these idealised and passive Escorial and the emergence of naturalism country woman differs essentially from that 'national images' in association with the in Spanish painting of her urban counterpart. rise of Mariolatry in the late nineteenth The emergence of naturalism in Spanish Her presentation during Minorities and century, unduly influenced the behaviour painting is a subject about which there is a Regions will take the form of a slide show expected of Irishwomen - as articulated in continuing debate. There have been two and talk illustrating how she has examined the Irish Constitution? Does the main lines ©f discussion, one arguing that these themes through visnal art practice. personification of Ireland as a woman not CaravaggiG and the gave an only highlight the oppression of the country important impetus to the development of

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naturalism or tenebrism, the other seeing Maurice will focus on the textual sources painting during the reign of Philip IV (1621 this development as being autonomous in and the philosophical and spiritual ideas - 65) in the light of this remark. The period character and a deep expression of the which led El Greco to subordinate the act of saw the emergence of great Spanish painters Spanish manner of apprehending reality. martyrdom to a disputa on its significance and a shift away from traditional dependence This paper explores a third possibility, - a form of exhortation which was to prove upon imported talent. Velazquez' co• namely, that while Spanish painters had a anathema to the king. Fundamental to the existence with the older Italian royal painters tendency towards naturalism, it was the discussion will be a consideration of the Vicente Carducho and Eugenio Caxes will collections of Philip II and his particular different attitudes of painter and king to the be considered. A reassessment will be taste and requirements in religious art that image of the Christian . undertaken of the simplistic view of fostered this tendency, which was to come opposing stylistic camps; 'progressive' to fruition in the early seventeenth century. (c) Edward J. Sullivan: Spain, the Last Spanish naturalism versus Italian idealistic Frontier ...? The case of the New World painting. Another way of looking at things (b) David Davies: El Greco and Philip II colonies might be in terms of broad areas of This paper will involve a discussion of The seventeenth and eighteenth centuries specialisation at court, with Spaniards El Greco's two paintings, Adoration of the witnessed the rise of numerous local schools painting portraits, Italians history painting Name of Jesus, (also known as the Allegory of painting in the New World colonies of and Flemings genre. of the Holy League), one version of which Spain. Among these, Mexico City, Bogota (Escorial) was probably either and Cuzco were among the most outstanding (e) Enriqueta Frankfort: Velazquez as commissioned by or presented to Philip II, cities for the production of art. In the Connoisseur and the Martyrdom of St Maurice, which earliest beginnings of the Spanish A study of the role of Velazquez as was commissioned for a side altar in the domination of the Americas, only Spanish- connoisseur of painting and sculpture and basilica of the Escorial, but which was born artists were allowed to work for the the part he played as the King's adviser and rejected by the king. Church or State. Later, however, these agent in the formation and display of Philip Attention will be drawn to the association strictures were relaxed and mestizos joined IV's monumental collection. of the Adoration of the Name of Jesus with the ranks of religious painters, portraitists campaigns waged against the infidel, as etc. While it cannot be denied that much (f) Gabriele Finaldi: Ribera's treatment manifested in sermons, the liturgy and, colonial painting displays a strong of the 1 Apollo and Marsyas' theme significantly, an early sixteenth-century dependence on the lessons learned from The subject was painted twice by Ribera Netherlandish painting which was both an Spain, each region managed to manifest its and inspired similar interpretations of the iconographical and compositional precedent independent spirit in the development of theme by other artists. The subtle for El Greco's treatment of the subject. themes (eg. that of the castas in eighteenth- differences between the picture in Naples, Since the victory of the Holy League over century Mexican art), iconographic patterns painted for the Flemish merchant Gaspar the Turks at Lepanto was commemorated (such as the depiction of local saints or local Roomer, and the Brussels painting, executed annually in the Cathedral of Toledo, the pilgrimage sites) and even styles (such as for an unknown patron, will be analysed. possible Toledan connection with the other the distinctive use of literally 'local' colour Their place in the context of seventeenth version (National Gallery, London), will in Peru) of painting that differed from century Neopolitan mythological painting also be examined. European modes of representation. This and their relation to literary treatments of In the context of Philip Us desire to paper attempts to investigate key aspects of the theme will be discussed. defend the Catholic Church against the the relationship between some of the more infidel and heretic, there will be a discussion artistically advanced colonies and the (g) Tonia Raquejo: The influence of of other images, such as Titian's Allegory of 'mother country' in the realm of painting in eighteenth-century British aesthetics in Religion succoured by Spain and Allegory order to focus on the aesthetic differences Spain. of Lepanto, both of which were painted for and similarities between the 'Old' World This paper studies the influence of British the Spanish King. Concerning the former, and the 'New'. aesthetics in eighteenth- and early reference will be made to a celebrated letter nineteenth-century theory of art in Spain, written by Pius V to Philip in which he (d) Peter Cherry (London): 'Spain is a with special reference to Joseph Addison's exhorted the King to defend the Church merciful mother to strangers and cruel step• 'Pleasures of the Imagination' (1712) and against the threat of the Turks by joining mother to her own children': patronage Edmund Burke's Inquiry into the Ideas of forces with the Papacy and Venice to form and prejudice at the court of Philip IV the Beautiful and the Sublime (1757). In the a Holy League. This letter, which moved Jusepe de Ribera pronounced his 1760s The Spectator, probably Addison's Philip deeply, possibly inspired him to damning reflection on the Spanish artistic most influential work, inspired the ideas commission Titian's painting. scene from the comfort of voluntary exile in defended in El Pensador (1762 - 67) by The study of the Martyrdom of Saint Naples. This paper will examine court Clavijo y Fajardo and El Censor (1768) by 23 DUBLIN CONFERENCE

Melendez Valdes. Addison's ideas about independence. Ruskin and the downfall ofMurillo nature as being more sublime than any Goya was certainly one of those artists John Ruskin (1819-1900) was Victorian work of art provoked in Spain a discussion whose work reflected these patterns. In his Britain's most influential art critic and about the purpose of art. The question, in etchings he made no copies of work by arbiter of taste; his impact on art simple terms, amounted to: should art other artists after 1779. Within his three historiography extended across continents imitate nature or should art improve it great series his preoccupation with and into our own century. Ruskin's writings according to an ideal beauty? In 1789 originality becomes more and more marked. spanned a period which saw a radical change Jovellanos defended Velazquez' Links with imported conventions and print in British reception of Spanish art and of 'naturalistic' style which was somewhat traditions can certainly be found in the one artist in particular, Murillo. This paper depreciated by those who followed Mengs' Caprichos and The Disasters of War, as will seek to examine Ruskin's complex classical view of painting; while in the well as in the earlier Velazquez series. The reaction to the work of that artist and how it same year Ignacio Luzan published the Tauromaquia, on the other hand, joins more evolved and was integrated into the critic's second edition of his Poetica where, specifically Spanish subject-matter to a highly personal aesthetic. It will discuss the following Addison's essay, he established more personal perspective, and the effects of Ruskin's belief in the morality of three different sources of imagination, two Disparates could be considered to sharpen art and of his religious, political and social of which are seen in a Goya engraving. that approach further still. Critics who fail opinions on his receptivity to Spanish art. Munarriz' Spanish version of 'Pleasures of to recognise the difference in the Disparates, Finally the paper will seek to show how the Imagination' (1804) shows how much continue to look for unifying concepts and Ruskin's opinions shaped and still typify Addison's thought was already accepted 'classical' coherence. But it may be time to present-day British attitudes to Spanish and also interpreted from a more romantic abandon the hunt for a key to unlock the painting and culture. perspective, probably as a result of Burke' s series as a whole, emphasising instead the work which was translated into Spanish a Disparates' rich variety. 15. Open Session few years later by Juan de la Dehesa. (Friday afternoon and Saturday morning) (i) Hilary Macartney: 'Superstition and Convener: Slavka Sverakova (University (h) Nigel Glendinning: Difference in Idolatry': anti-Catholicism in nineteenth- of Ulster) Goya's Caprichos century British attitudes to Spanish art In the eighteenth century, Spain passed The nineteenth century saw several peaks (a) Nina Athanassoglou-Kallmyer through an acute phase of cultural of anti-Catholic feeling in Britain. Often (University of Delaware): A Political and dependence on other European countries. specifically anti-clerical and closely linked Artistic Manifesto for Cezanne It was no longer the powerful political force to 'the Irish question', the propaganda also Earlier and more recent scholarship on in Europe which it had been in the Golden frequently cited Spanish Catholicism and Cezanne has emphasised the literary Age. The Bourbon monarchs, up to and horror stories of the Inquisition as dire sources, unconscious motivations, and N including Charles III, patronised artists and warnings of the dangers of Catholicism. painstaking aesthetic quest that underlie the architects from France and Italy for This paper examines how the currency of artist's youthful works from the Paris years, preference; and their centralising policies such literature and attitudes affected between 1861 and 1872. Accordingly, the tended to enforce regional conformity in writings on Spanish art. 'Tolerant' writers prevailing view of young Cezanne is that of cultural matters too. Nowhere is Spain's constructed sophisticated arguments, trying an impulsive and somewhat confused cultural indebtedness more apparent than in to persuade their readers that they bohemian caught in a continuous process of the print, for that was an artistic field in themselves condemned the Spanish Church self-improvement (sometimes called which Spain had virtually no indigenous as corrupt and manipulative, while at the 'sublimation'), both as a person and as an tradition. Artists had to be sent abroad to same time asking them to admire the artist. acquire the requisite technical skills, which religious art which was its product. Writers My paper challenges this view by arguing they could then pass on to others. Traditional of general histories of art often found the in favour of deliberateness and self- approaches and subject-matter - copies of objectionable nature of Spanish religious consciousness in early Cezanne. By famous paintings, portraits and religious art much more intrusive and evidence of a focusing on two of Cezanne's most images - dominated production. Yet artists merely literal imagination. Accordingly, representative early works, the Portrait of in Spain basically despised work that they consigned the Spanish school to a Achille Emperaire (1866-67) and Portrait involved copying others. From the sixteenth place well below the ideal beauty and of Louis-Auguste Cezanne, father of the century onwards, those who cared about universal appeal of the Italian school. artist, reading V Evenement (1866), which, their artistic and social status avoided as I will suggest, may have been conceived imitation and put a premium on originality. (j) Xanthe Brooke: 'More corruption as pendants. I will in fact propose that far Furthermore, the sense of national decline of knowledge may be traced to him than to from being the result of idle bohemianism sometimes stimulated a spirit of any man who ever touched the canvas : and artistic experimentation, Cezanne's

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early artistic persona and work may have influenced a school of Cantonese artists - a designed networks of geometrical form. been the carefully contrived products of rare instance of the mutual interpenetration Figures and heads as well as pictorial conscious rebelliousness directed jointly of Chinese and European cultures. environments are constructed on these against the politically oppressive rule of the networks, and the networks themselves are Second Empire and the aesthetic (d) John W Nixon (University of Ulster): arranged in accordance with geometrical dictatorship exerted by the art establishment. Structural rationalism in Francis Bacon s 'armatures' based on, among other The latter, for Cezanne, comprised not only Paintings J959-1979 compositional conventions, the Golden the Academy and the Salon, but also the 41 want a very ordered image but I want Section and rotated square. embourgeoise members of the avant-garde it to come about by chance.' (Bacon, 1966). congregating around Manet at the cafe Bacon in numerous statements has (e) Slavka Sverakova (University of Guerbois. described how his openness to 'chance' Ulster): Two theoretical models of a work By raising the issue of intentionality in encompasses both the iconographic and the of art: J Mukarovsky (1891-1967) and K early Cezanne, this paper ultimately aims at formal components of his peculiar kind of Teige (1900-1951) establishing a continuity between the Paris surreal, and mimetic, 'abstract In 1964 a reprint of Teige's Art Market 'irrational' Cezanne and the later, '. His principal criticism of and in 1966 a new edition of Mukarovsky's 'reformed', cerebral painter of Aix-en- the Surrealists, that, in practice, they tended Studies in Aesthetics both presented two Provence, thereby revising our current dual to limit the role of chance to the texts, first written in 1936. Teige included perception of the artist. iconographic, goes some way towards a passage on Mukarovsky's book in a text explaining what is for a mimetic painter a completed in Tele in August of that year. (b) Antje von Graevenitz (Koln and highly unusual working method - his Both models contain a sociological Amsterdam Universities): Architecture that practice, for instance, of working without perspective, both perceive the value of a Speaks: buildings for ritual and display preparatory drawings or sketches, of using work of art as its history. Teige attempted The proposition that architecture may very large'brushes, rags and thrown paint to develop lesser known passages in become a sign for a ritual will be examined (on at least one occasion, apparently, by the Deutsche Ideologic to the point of in relation to two samples. A body of bucketful). However, whilst the 'chance' anticipating the position formulated later buildings in English Gardens of the 18th component of Bacon's work is intriguing by J Beuys. Mukarovsky developed a Century will be compared, with particular (the great mass of comment in the literature specific branch of structuralism (Prague attention to buildings at the World relates to it), it has tended in a sense to Linguistic Circle) when he investigated the Exhibition in New York 1939-40. deflect attention from the variously and relationships among aesthetic function, persistently expressed desire for 'order'. aesthetic norm and aesthetic value. (c) Patrick Connor: George Chinnery in Wherein lies the 'order' - and, specifically, a formal order - in this, it is suggested, the East (f) Michael Taylor (Queen's University, symbiotic relationship? And would such Having begun his career in London and Belfast): Analogy between Science and Art 'order', if revealed, shed light on other Dublin as a flamboyant but essentially This paper examines possible analogies aspects of Bacon's peculiar work and orthodox portrait-painter, George Chinnery between evolutionary theories in biology working practice - for instance, his 'rigid' sailed eastward in 1802, and spent the and the development of photography. Do adherence, from the early 1960s on, to only remaining 50 years of his life in India and different selection pressures forge different two sizes of canvas, his growing use of on the China coast. This paper considers populations of photographs? Do we obtain conspicuous geometrical forms, his the phenomenon of an artist who, cut off intraspecific competition in photography? tendency to work without either the presence from the changing fashions of European The model which promises most success of a model (in the case of portraits) or the painting, was instead influenced bx the combines the theory of punctuated equilibria benefit of preparatory drawings and/or special circumstances - geographical, and the Lamarque's theory of persistence of sketches? economic and socio-political - in which he species. lived. Ever mindful of the charge that the Whereas his predecessors in India had exponent of such analysis tends to read (g) J F Conway (Edwalton, Nottingham• tended to celebrate the power and prosperity something into rather than abstract shire): Medical Art History of the European colonists, Chinnery made a something from the material in question, This branch of the main discipline seeks particular study of Indians and Indian life; Bacon's paintings in this paper will be to solve appropriate art historical problems when in 1825 he moved on to Canton and subjected to geometrical compositional by examining works of art in the light of the Macao, his contact with the Chinese analysis. It will be shown that, 'accidental'/ artist's clinical condition at the time of their inhabitants fostered in Chinnery a style of 'instinctual' though Bacon's paint execution. The paper explores the practical draughtsmanship akin to Chinese application is in some respects, it is also problems encountered by a number of artists calligraphy. His oil painting in turn organised on inconspicuous, highly whose physical health was compromised,

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the limitations these problems imposed following year. Partly due to his deep demonstrates both the aspirations and the upon their working practices and the manner grounding in Greek literature and history, limitations of Irish architectural design at in which these constraints influenced the however, it was the Doric temples of the mid-century. The ambition which final appearance of their work. that impressed him above all. These led enabled Aheron to muster two hundred The visible effects of their arthropathies Berkeley to conclude that kthe old Romans subscribers for his treatise over the course on the works of Renoir and Dufy are were inferior to the Greeks, and that the of a decade was, it seems, never fulfilled. examined and the manner in which these moderns fall infinitely short of both in the What evidence survives for his architectural effects were variously influenced by the grandeur and simplicity of taste'. In this he career suggests an extremely limited prevailing therapeutic practices of their was truly in advance of his contemporaries, practice and a man deeply frustrated by the different generations is explored. Paul even of the interesting John Breval, who repeated preferment of foreign architects Klee's scleroderma is seen as a determining illustrated the temples for the first time in for both public and domestic commissions. factor in the appearance of his later output 1738. The 'uncommon skill in architecture' A sharp note of patriotism in Aheron's later and consideration of Monet's work of the which Berkeley was proud to have acquired writings seems less a heart-felt assertion of 1920s in relation to the development and during his four years in Italy, manifested provincial superiority than a thin disguise treatment of his ocular cataracts suggests a itself both in his philosophical writings - for bitter personal disappointment. reappraisal of the dates ascribed to some of especially in the anti-Shaftesburian his output. Consideration is finally given to Alciphron - and in what is perhaps the first (d) Edward McParland (Trinity College, the influence a pituitary tumour exerted on example of Palladianism in America, the Dublin): Eclecticism: the provincials the colour of Wyndham Lewis' 1937 red Ionic doorcase of the house he built for advantage portraits. himself on Rhode Island. He also designed The two greatest architects resident in a University town for his Bermuda project Ireland in the eighteenth century were 16. Regional Architecture in Britain, (unfortunately never carried out) and was pdward Pearce and James Gandon. Each Ireland and Continental Europe 1700 - closely involved in ways that are still obscure was an architect of European consequence, 1850 in the building and design of Speaker and each adopted an unexpected attitude to (Saturday afternoon and Sunday afternoon) Connolly's house at Castletown, Co Kildare. the architecture of the past and of the present. Convener: Alistair Rowan (University Pearce was an accomplished neo-Palladian College, Dublin) (b) Joseph McDonnell (University revolutionary; at the same time his work College, Dublin): The Lafrancini brothers owes much to Vanbrugh. Gandon was an (a) Edward Chaney (Lincoln College, and Irish eighteenth-century plasterwork accomplished neo-classicist; at the same Oxford): Architectural Taste and the Grand time his work owes much to Wren. In other Tour: George Berkeley's evolving canon (c) Christine Casey (Assistant Editor, The words, each architect, abreast of The little-known travel journals of Buildings of Ireland): John Aheron: a contemporary fashions, was referring - in George Berkeley, philosopher and Fellow pattern book for Irish architecture work of the highest quality - to figures of Trinity College, offer new insights into John Aheron's General Treatise of whose works were, in the eyes of more early eighteenth-century taste. Consulting Architecture of 1754 was the most ambitious doctrinaire contemporaries, discredited. them in conjunction with his letters and architectural publication to emerge from The same attitude can be discerned in related evidence we can study the Ireland in the eighteenth century. An Francis Johnston in the early nineteenth development of his art-historical expertise eccentric hybrid of European and British century. His unembarrassed reliance on and plot the evolution of a highly gifted theory and design, the book illuminates Gibbs is unexpected at a time of Greek amateur's taste with a rare degree of both the eclecticism and the idiosyncrasy of revivalism, yet in no sense compromises precision. Despite being a member of Lord Irish architecture during the early Georgian the quality of his work. Burlington's circle, and an admirer of the period. Aheron, a man driven by a Was such eclecticism possible at the early Talladian' buildings in Oxford and burgeoning ambition, completed two highest levels among the avant-garde at the elsewhere, thanks to his travels Berkeley laboriously handwritten treatises in centre of fashion? Is Pearce's and soon proved capable of appreciating a far preparation for the printed work. These Gandon's and Johnston's, both something wider range of styles. In Rome he greatly folio volumes, remarkable as feats of which enhances their buildings, and a admired Bernini, and the informality of the draughtsmanship, are the most striking characteristically provincial advantage? gardens; while in Lecce (to which no other evidence of Aheron's eccentricity: both traveller in the period had ventured) he manuscripts are meticulously executed in (e) Adrian Le Harivel (National Gallery responded enthusiastically to its pen and ink to simulate the printed characters of Ireland): Fischer von Erlach, Chambers extraordinary brand of provincial Baroque. and copper plates of a published work. The and Schinkel: three interpreters of the It is now clear that he visited the Veneto in history of this remarkable project, which Antique pleasure villa 1719, prior to returning to Florence the consumed half of Aheron's career, Three major pleasure buildings, in

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i

different parts of Europe, have been restored (0 Dana Arnold (Westfield College, the way in which the architects of Leeds in the last five years. Each is partly inspired London): Paestum and the baseless Doric carried out their professional duties, rather by the memory of luxurious villas built order than with the stylistic characteristics of the from the late first century AD around the This paper aims to examine the question buildings they designed. The paper will Bay of Naples and its Islands. These were of regionalism in architecture through one therefore attempt to show - in relation to a intimate retreats from the city rather than set of architectural principles and their use major provincial centre - the way in which extensive country palaces or working farms and reinterpretation throughout Europe. In the nineteenth century heralded a significant prefiguring Palladio. Historically celebrated this instance the rediscovery of Paestum in development in the practice of architecture on account of their owners, John Evelyn the mid-eighteenth century and the as the old eighteenth-century concept of the was able as early as 1645 to take a guided subsequent acceptance of the baseless Doric builder/architect was gradually superseded tour of the locality and the area remained a order is examined. by the notion of an independent 'profession'. popular tourist location well into the Paestum is considered in the light of the London-trained architects who choose to nineteenth century. following concepts: firstly, the different settle in Leeds are important in this Engelhartstetten, designed by Johann initial reactions to the ruins. This provides development and their relationship to the Fischer von Erlach about 1693 as a hunting a useful opportunity to compare the reactions local men will be considered. lodge on the Danube plain, is a type of small of lesser-known architects, sent by wealthy The paper will also examine the extent pleasure building (lustgebaude) which is patrons to record the ruins, to the sometimes of any rational which dictated the central to his work. Here the owner, Ernst more sophisticated opinions of better known employment of a London rather than a Starhemberg, defender of Vienna against scholars; secondly, the way in which the locally based practice; the different patterns the Turks, could entertain on a lavish scale ruins are recorded and ideas transmitted. of employment of architects between the in an intimate building. Its style derives Here, the difference between straight residents of Leeds, and the land-owning equally from classical nymphaea and from copying and fanciful reinterpretation is families who lived near to, but outside, the Italian and French Baroque patterns. considered in relationship to the question of town; the scope of 'professional' activities The Casino at Marino near Dublin, regional practice; thirdly, the way in which (i.e. the extent to which Leeds architects designed by Sir William Chambers and the architectural principles are used is practices as surveyors or estate agents); the built between 1758 and 1776, is both an examined. This, together with such factors division between those buildings designed outstanding neo-classical pleasure building as the influence of the patron and the function by architects and those which continued to and a reworking of the Palladian villa. Lord may provide some clues as to why the same be produced by builders or craftsmen; and Charlemont, who owned it, relished source is reinterpreted in many different the role of the Commissioners for Antiquity and built the casino as a more ways. administering the 1818 Church Building intimate place for private assemblies than Drawings and models are considered as Act in the establishment of more either his town house in Dublin (also well as buildings. The nature of these and professional standards of practice. Though designed by Chambers) or the adjacent the level of understanding and interpretation some of these issues may appear to deal Donneycarney House. The setting of this they display may also help in the appraisal with material which is essentially parochial, unique structure, with a hidden lake and of the question of regionalism in it is intended that this paper should be seen follies, is preserved in many paintings and architecture. as a case-study and thus take on a wider prints. The discussion is largely confined to significance in relation to professional The Schinkelpavilion in Berlin, built to examples in England and Paris, although practice in other provincial centres at this designs of K F Schinkel between 1824 and references are made to architects and time. 1825, was commissioned by King Frederick buildings from other European countries. William III as a replica of the villa he had It is intended to challenge the traditional (h) Douglas Stewart (University of stayed in at Naples. As with the two earlier view of the regional nature of Greek Revival Kingston, Ontario, Canada): An original structures, the pavilion served as a retreat architecture, and to show instead that many 'provincial' architect: George Brown of from court life, in this case from the of the differences in perception and Belfast and the Canadas Charlottenburg Palace. Schinkel went interpretation have their basis in different George Brown is virtually unknown as further to create a more antique building. aesthetic ideas which do not necessarily an architect, either in his country of origin He revisited in order to make relate to geographical area. or in his adopted land. Canada, where he replicas of Antique furnishings and painted worked from 1830. Much of his work has grotesque, and also incorporated neo• (g) Christopher Webster (Staffordshire been destroyed by fire or later development classical sculpture into the ensemble. The Polytechnic): The architectural profession and ironically what are probably Brown's building has been restored according to an in Leeds 1800 - 1850: a case study in finest surviving buildings are to be found in inventory of 1826 and the landscape setting provincial practice Kingston. Ontario, today a small remote by the river Spree has been recreated. This paper is concerned principally with city but. from 1841 to 1844. the capital of

27 DUBLIN CONFERENCE

the newly united provinces of Upper and change. Detail that is archaeologically Believed to be Irish, these brooches are Lower Canada (now Ontario and Quebec) accurate is now required and while the alien in structure, pin technology, decorative and then perhaps the largest single province publications of James Murphy, John Britton technique, some terminal designs, most within the British Empire. and the elder Pugin supply this need, motifs and overall aesthetics. These features George Brown's Kingston buildings questions as to the historical probability of apparently derive from Scandinavian and include a Presbyterian manse, Rockwood a design begin to affect design. Is William Pictish circles; Irish elements are confined Villa, two round-cornered commercial Wilkins's Dalmeny House, West Lothian, to some terminal designs. It is therefore buildings, the first branch of the Bank of in the right style for Scotland? Can suggested that these brooches were Montreal, several funeral monuments, the WilliamBurn's Blairquhan legitimately be manufactured in Ireland by the Scandinavian portico and narthex of St George's Cathedral built in Ayrshire, 'in the true taste of Henry settlers who may have adopted the Pictish and the City Hall, originally a multi-purpose Vlir? Is the Morrison's Luttrelstown in an features en route to Ireland. structure which was perhaps the largest of appropriate style for an Irish or is the its kind in North America. In Quebec city, later Clontarf Castle, by the same firm, not (c) Professor G D S Henderson Brown designed Benmore Villa and several preferable because its sources are more (University of Cambridge): Insular Art and town houses while his later work in Montreal Irish? By the 1830s regionalism - or European Exchange added another villa - Terra Nova - and nationalism - makes itself felt in much of Insular art and Carolingian art are neither Molson's Bank as well as Rosemount, the the neo- of Scotland of them monolithic, and it is not all that easy Merchants Exchange and several grand and Ireland. to find in their output fair equivalents for terraces, all of which have now gone. comparison. However, this paper looks for While aspects of Brown's work recall 17. Insular Art points where Insular and Carolingian artists international architects such as Soane and (Saturday all day and Sunday afternoon) appear to be mutually dependent, or to be in Ledoux there is also a recognisably Irish Convener: Jonathan J G Alexander (New a common pool of activity, and attempts to element displayed in his fondness for the York University) assess where the first initiatives really lie. 'Wyatt' window, the use of tunnels and of Carolingian artists are well known for their triumphal arches of a Gandonian character, (a) Michael Ryan (National Museum of skill in making facsimiles of earlier works. while the Irish tower house lurks behind Ireland, Dublin): Irish Fine Art Metalwork The possible implications of this for the other compositions. There is, too, a personal, 6th-9th centuries: changing patterns preservation of insular examples will be original quality - massive, blocky and Since 1980 new discoveries of early discussed. Whether the facsimile tendency majestic - well suited to the local Kingston Irish metalwork have made necessary a also flourished in the British Isles will be limestone and to the triumphal character of complete re-assessment of the field. The reconsidered, in the light of literary and an heroic society just emerging from its new finds include both ecclesiastical visual evidence. In reviewing illuminated pioneer stage. metalwork, such as the Derrynaflan Hoard, books, related sculpture and metalwork will possible church door handles and fittings, be kept in mind. (i) Alistair Rowan (University College, and also personal ornaments and other Dublin): The Scottish and Irish response to equipment. Recent excavations have (d) Carol Fair (University of Tennessee): Gothic revival norms revealed further metalworking sites which Liturgical influences on the decoration of The Revival of Gothic architecture in have potential to shed a great deal of light the Book of Kells Britain and Ireland seems to owe its origin on the organisation of craft in Ireland in the Scholarly consensus has recognised the to metropolitan perceptions: a sophisticated Early Medieval Period. The range of new probable liturgical function of the Book of response to the notion of a rude ancient techniques and new motifs revealed in fresh Kells as a made for display style and a desire, in the capital, to preserve discoveries have important implications for upon the altar and from which gospel the 'historic monuments' of the national the study of works of art in other media such lections were read during the liturgy. past. Eighteenth-century Gothick as as sculpture and manuscript painting. This Following the studies of Patrick McGurk, popularised by the buildings of William paper attempts to describe in outline the modern scholars have also recognised the Kent and Langley's Gothic Architecture nature and significance of the recent finds likelihood of liturgical influence upon the Improved spreads widely throughout the in the centuries spanning the period roughly tradition of emphasis of certain texts in British Isles and regional variants are almost from the foundation of Iona in the sixth Insular gospel manuscripts and upon the unknown. The pattern is provided by down to the deposition of coin-dated Viking iconography of the full-page images in the London publications and the forms reflect Age silver hoards in the early tenth. Book of Kells. only the vaguest notions of and The unusual iconography of the Picturesque taste. (b) Pippin Michelli (University of East manuscript's illustrations and its selection As the revival proceeds and critics require Anglia): Silver Bossed Penannular of incipits for full-page emphasis can be greater authenticity, the nature of the sources Brooches: immigration charted? explained by consideration of the book

28 within the broad context of early western of Irish, Anglo-Saxon, and Pictish cultural its place in the development of Insular Art. liturgies. Such a study reveals the influence elements in the formation of Insular art, and The carved stone shrine now in the St of an early non-Roman lection system upon offer an historian's point of view on the Andrews Cathedral Museum, Fife, with its the selection of emphasised incipits matter. vigorous representation of David rending presented by the Book of Kells. Non- the jaws of the lion and its landscaped Roman lection systems also provide the key (f) Carol Neuman de Vegvar (Ohio hunting scene reminiscent of the Sassanian to the iconography of the two full-page Wesleyan University): The Hexham Vines: 'lion-hunt' silver dishes, has long been illustrations, the depictions of the sources and methods of transmission recognised as one of the most remarkable Temptation and 'Arrest' of Christ. The The eighth-century crosses from monuments of north-west Europe in the illustrations present iconography based Hexham are unique among early Anglo- Early Middle Ages. The form, decoration upon the liturgy of specific feast days and Saxon stone crosses for the delicacy and and iconography of the Sarcophagus can be their Old and lections. intricacy of their ornament, particularly a shown to be dictated by well-defined social Further, this influence of lections was acted characteristic figure-eight vinescroll motif. and cultural forces within Pictland at the upon by the figures and images provided by The question of the origin of this motif and end of the eighth century. Its artistic interpretations of these biblical texts, the technique used in carving it is critical, components, on the other hand, relate transforming biblical narrative events and for the answer may shed light on the broader directly to those displayed in contemporary verbal images into multi-levelled, issues of the origins of Anglo-Saxon stone sculpture and manuscripts of the Midlands interpretive visual images. Each illustration sculpture. and Southern England. The paper will expresses the significance of a liturgical A strong resemblance is evident in a show that far from being an eccentric, albeit feast, in terms of the feast's lections and comparison of the Hexham vines, especially accomplished, piece, the Sarcophagus, in a liturgy, which would have been the context those on the Spital Cross (Cramp, Corpus I, number of respects, is one of the most in which the illustration was viewed. Hexham 2) and the sixth-century Visigothic ambitious and coherent surviving The question of the kind of audience to pilasters with relief ornament later expressions of mature Insular art. whom the illustrations would have been incorporated into the entrance of the cistern displayed remains difficult to answer. of the Alcazar at Merida. This resemblance (h) Douglas G Maclean (Tufts University, However, the character of the manuscript's is technical as well as stylistic and reveals a Boston): St Johns Cross, Iona and the decoration and its complex iconography closer kinship between the Anglo-Saxon Social Hierarchy of its Makers suggest that it was made for use in an and the Visigothic vine motifs than can be A sculptural workshop at Iona created Insular monastic foundation involved in detected between either of these and their the first freestanding stone crosses in the pastoral concerns. Aspects of the decoration possible Coptic or Byzantine prototypes or Gaelic world between the mid-eighth and may refer specifically to the deacon, who their contemporary and later analogues in early ninth century, the same period in would have read from the book during the Italy. which the Iona scriptorium made the Book liturgy and who would have explained the Trade connections between the British of Kells, although the sculptors were meaning of gospel text and liturgical feast Isles and Spain had long historical roots members of a secular hierarchy, unlike the to those listening. already in the period before the conversion monks working in the scriptorium. An of the Anglo-Saxons, and provide a possible early-eighth century Gaelic legal text on (e) Daibhi O Cronin (University College, conduit of importation for the Merida vine. social status, Uraicecht Becc\ sheds new Galway): An historian s view of Insular However, the technical similarities between light on the problems of the hierarchy within Painting the Merida vine and the Hexham reliefs the sculptural workshop. Developments in the last ten years in the suggest that the motif travelled not via The Iona sculptors fitted together their area of Insular palaeography have led to a models or pounces but via an itinerant master first two crosses in a carpentry technique refinement of the techniques which can be or workshop of Visigothic stonecarvers more appropriate to earlier wooden crosses, used by art historians to date and localise active in Anglo-Saxon England in the eighth a technical hesitation usually attributed to illuminated gospel books and related century. The absence of evidence of technological insecurity. St Oran's cross manuscripts. These new findings have, continuity of these techniques in Mozarabic consisted of three pieces of locally quarried however, been assimilated only in part; Spain, and recent scholarship on Visigothic stone which proved prone to flaking. St there are implications which have yet to be influence in relief sculpture in early John's cross was subsequently carved from fully appreciated, and the purpose of this Lombard Italy, suggest an artistic diaspora more suitable stone quarried on the Argyll paper will be to reiterate some of the of which Britain was not the only mainland. Its eight parts included the four arguments which can be brought to bear on beneficiary. quadrants of an open central ring, making it the subject by historians, and offer some the first stone 'Celtic' cross. A workshop new evidence as well. The paper will discuss (g) Dr Isabel Henderson (University of capable of quarrying stone on the mainland some of the problems posed by the interplay Cambridge): The St Andrews Sarcophagus: and shipping it to the Island of Iona must

29 DUBLIN CONFERENCE

have been well organised, but the sculptors' creation could well be explained by the European terms the compositions are often reluctance to abandon carpentry High-King Maelsechlainn (846-862), unorthodox, full of contractions and construction may indicate that the erector of the Kinnitty cross, wanting to puzzling aberrations. In several cases carpenters' social status was threatened make his mark after his take-over of Ossory analogies with Carolingian art can be better when they turned their skill to , in 859. This hypothesis, if correct, would explained by the existence of common roots a craft not covered in the original text of envisage the high-relief Scripture crosses in the Early Christian era. The crucial Uraicecht Becc, although later of the Midlands as being primary and central, change that took place in the ninth century commentaries on it expand the status of and the Ossory crosses (often with stiffer, was not the import of new Christian images carpenters to include masons as well. flat-relief figures) as being secondary and from abroad, but the widespread desire to Uraicecht Becc uses the word saer to peripheral, and might necessitate re• express existing ideas and images in stone. describe a carpenter and accords him the consideration of the dating of metalwork Before looking to the Carolingian same aristocratic status held by other and manuscripts bearing comparable renovation for explanations, it is important artisans. Gaelic nobility entailed the ornament. to consider the extent to which the crosses possession of clients and the text depicts the were an expression of Irish spiritual relief carver as a commoner dependent upon (j) Roger Stalley (Trinity College, traditions. • the patronage of a master who was Dublin): The Carolingian contribution to apparently responsible for setting up the early Irish art (k) Catherine Karkow (Cornell cross, but not for carving it. The Iona In recent years much emphasis has been University): The Church and the Shrine: workshop achieved a technical revolution placed on Carolingian art as a source for the architecture and art in the early medieval by forsaking wooden for stone crosses, but iconography of the Irish scripture crosses. period probably maintained its internal hierarchy This is a fairly characteristic attempt to This paper will trace the formal during a period of social instability until the explain so-called 'peripheral' developments development of insular shrines in relation new medium of stone was accommodated by reference to one of the major cultural both to their continental counterparts and to within Gaelic society, thus giving rise to the centres of Christian Europe. However the native ecclesiastical architectural forms to later commentaries on Uraicecht Becc, argument that the iconography of the crosses demonstrate two things: firstly, that the which describe a saer as one who works in depended on programmes introduced from insular shrines are not mere copies of either wood or stone. the Carolingian world presents many continental shrines, but combine both difficulties. The number of figural crosses, continental and insular influences to produce (i) Peter Harbison (Bord Failte Eireann, together with their diverse iconography, a uniquely insular monument; and, secondly, Dublin): The High King Maelsechlainris implies that the models used were already that the insular ecclesiastical architecture High Crosses - in Ossory? widely scattered among the Irish from which they are derived was itself The High Crosses of Western Ossory monasteries when the crosses were carved. much more influential than has generally (' Ahenny group'), normally ascribed to the Moreover analysis of individual panels been recognised, playing an important role eighth century, have iconographical subjects suggests that the scenes depicted already in the development of Romanesque which correspond to those on Irish Scripture had a substantial history in Ireland before architecture both within the insular world Crosses no earlier than the ninth. Their they were exploited by the stone carvers. In and beyond.

CONFERENCE NEWS

CONFERENCE - PRELIMINARY NOTICE AND CALL FOR PAPERS

THE AGE OF MIGRATING IDEAS: Angels', a major exhibition of early summary on subjects relating either to the Early Medieval Art in Britain north of medieval insular metalwork in the National medieval art of northern Britain or relating the Humber (2nd International Museums of Scotland, Chambers Street, to the contents of the exhibition 'The Work Conference on 'Insular Art') Edinburgh. The conference is the second in of Angels', no later than 16th April 1990, National Museums of Scotland, a series on the theme of 'Insular' Art and to: John Higgitt, (Dept of Fine Art), Edinburgh follows the very successful conference on University of Edinburgh, 19 George Square, Thursday 3rd - Sunday 6th January 1991 'Irish Insular Art' organised by the Royal Edinburgh EH8 9LD. Irish Academy in the University of Cork in For further details, which will be A conference is to be held in Edinburgh 1985. available in due course, contact John Higgitt to mark the showing of 'The Work of Please send offers of papers with a brief at the address above. 30 CONFERENCE NEWS

Sixteenth Colloquium in 19th Century French studies University of Oklahoma 11th - 13th October 1990

Provisional list of topics to be covered: 4. Images and representations: race and anarchism, nationalism. 1. Interdisciplinary Cultural History: racism, colonialism, clash of French and Those interested in participating should emphasis on the way one discipline, art indigenous cultures, style and fashion, send a Vi page abstract or session proposal to form, or creative activity may be a source of museums, sainthood, the crafts, Dr Keith Busby, Chairman of the comment or reflection on another. representations of time, etiquette, reading Department of Modern Languages, 2. The application of science and and literacy, military and officer corps, Literatures and Linguistics before 15 March scientific method in the nineteenth tourism. 1990. century: literature, criticism, pedagogy, 5. The perception and representation madness, public hygiene, city planning, by contemporaries, of the great esthetic industrial management, applied technology, movements, cultural ideals, and political environment. ideologies: romanticism, naturalism, 3. Current trends in criticism (as applied realism, symbolism, wagnerism, anti- to nineteenth century studies). clericalism, darwinism, marxian socialism,

'Les Ateliers des Interpretes - A European Workshop of Young Art Historians

In 1987, four art history students from to contribute articles to 4Les ateliers des participate. Each participant should France, Germany and Switzerland decided interpretes \ contribute to one of the three workshops, by to organise a European meeting in order to Our second meeting was held in May preparing a statement on one of the questions get to know students from different 1989 in Avignon on the topic of sculpture. prepared by the organisers, by July 1990, countries, to discuss job prospects and the Guest speakers informed us on conservation and by writing a short essay for 4Les ateliers situation of art historians in society. Our of monuments, tourism, computerised des interpretes'. Local experts as well as first meeting was held at the 'Zentralinstitut documentation service, as well as the art artists and photographers will join our fur Kunstgeschichte' in Munich in June historians and the art critics' attitude towards meeting. 1988. After a keynote speech on the art sculpture. The main part was contributed to So far students from Austria, Denmark, historian's responsibility towards society by the students in four workshops on France, Germany, Greece, Italy, Portugal by Willibald Sauerliinder, former director different topics, such as guided , art and Switzerland have participated. The of the 'Zentralinstitut', several experts and literature, sculpture interpretation, and meetings have been supported by a private provided information on their experience in sculpture, as seen by an artist, an art critic Swiss patron, and the 'Deutsch- museum management, economics, teaching, and an art historian. The results of this Franzosisches Jugendwerk'. museology and restoration. Highlights of second meeting are to be published in the The organisers are: Jean-Loup Korzilius 4 the meeting were two group interpretation- second issue of Les ateliers des interpretes'. (Paris), Martina Sitt (Salzburg and exercises - by all the participants - of The third meeting is planned for Freiburg), Philip Ursprung (Berlin), paintings at the museum, an unique occasion September 1990 in Ferrara on the topic of Matthias Waschek (Paris). Information, to compare the range of analysing traditions photography. Three workshops are to be contributions to the meeting in Ferrara 1990 from different European countries. The held: 1. Photography and monument- and the ordering of kLes ateliers des results of the first meeting were published restoration; 2. The sociological aspects of interpretes, No 2, 1989' (Price: DM 10,-) in 1988 in the first issue of our own annual photography; 3. Photography as a medium from: Philip Ursprung, c/o Hahn, Johann- 4 review, Les ateliers des interpretes', for the artist: a comparison of the Sigismund-Str. 7, D-1000 Berlin 31. Tel. founded on that occasion in order to establish development from Atget to our time. 030/892 72 26; or, Matthias Waschek, 3, a platform especially for art history students. Everybody who is interested - art rue Myrha, F-75018 Paris. 01/42 52 81 83. Everybody interested in art history is invited historian or not - is kindly invited to

31 CONFERENCE NEWS

THE ALBACINI CASTS IN EDINBURGH

A Colloquium organised by the of Scotland at 6.30 pm on 27th March. Accommodation in Edinburgh departments of Classics and Fine Art of the University of Edinburgh* in association with Programme of Papers Edinburgh has a very large number of hotels the National Galleries of Scotland, will take and guest houses with rooms at reasonable place in the New Senate Hall, in the Old Tuesday 27th March prices: a complete list can be obtained from College, University of Edinburgh from 27th 9.30-10.00 Registration and Welcome the Tourist Information Centre, which also - 28th March 1990 10.00-10.50 Helen Smailes: A History of operates a booking service. If you would In 1760 the Board of Trustees for the Statue Gallery at the Trustees' Academy like a copy of the Accommodation Register, Manufactures and Fisheries in Scotland in Edinburgh and the Acquisition of the or to use the Booking Service, please write founded a Drawing Academy for the Albacini Casts after the Antique to: The City of Edinburgh Advance improvement of applied design. This 10.50-11.15 Coffee Reservations Department, Waverley Academy, the first publicly funded art 11.15-12.05 Glenys Davies: The Albacini Market, 3, Princes Street, Edinburgh EH3 school in Britain, gradually acquired a bias Busts: Identifying the Originals 2QP, Scotland. Tel: 031-557 2727. towards fine art, and from 1798 the Trustees 12.05-1.00 Susan Walker: 'Bearded If you wish to use the booking service began to purchase plaster casts for teaching Man'- Greek Influence on the Roman Image you must enclose a £1 registration fee purposes. In 1838 the Trustees purchased I. 00-2.00 Lunch (payable to The City of Edinburgh'), and 255 casts of antique portrait busts from the 2.00-2.50 Nancy T de Grummond: should indicate what kind of Roman sculptor Filippo Albacini. This was Portraits of Augustus and his Family in the accommodation you require, and the regarded as an acquisition of supreme Albacini Collection maximum price you are prepared to pay. importance. 2.50-3.30 Discussion Rooms will also be available from 26th In 1904 the Trustees' cast collection was 3.30-4.00 Tea March in the University Residence, Pollock dispersed. While the bulk of the figure 4.00-4.50 Timothy Clifford: The Halls. The cost will be approx. £17.50 per sculpture was transferred to the new Plaster-Shops of the Neo-Classical Period night for bed and breakfast. Rooms may be Edinburgh College of Art, the Albacini in Britain reserved by writing to: Reservations, casts remained the property of the Board of 4.50-5.45 Nicholas Penny: The Pollock Halls, 18 Holyrood Park Road, Trustees of the National Galleries of Chantrey Plasters in the Ashmolean Edinburgh EH165AY. (Tel: 031-667 1971). Scotland (which replaced the Board of Museum: a Cautionary Tale Trustees for Manufactures). About half of 6.30-8.00 Reception at the National the casts have survived and are being Gallery of Scotland Conference fee and cost of meals catalogued and identified. A selection is displayed in the National Gallery of Wednesday 28th March On both days of the Colloquium we shall Scotland. 10.00-10.50 Seymour Howard: Wants provide tea, coffee and a light buffet lunch. The aim of the 1990 Colloquium is to and Ways with Ancient Busts The fee for the Colloquium, which includes place the Albacini Collection in various 10.50-11.15 Coffee the cost of these meals and the registration broad contexts: antique portraiture and II. 15-12.05 Gerard Vaughan: Albacini fee, is £35. A reduced fee of £20 will be classical iconography, the history of taste and some English Patrons charged to students and senior citizens. and collecting, the manufacture of casts and 12.05-1.00 Ed Southworth: The Ince To register with the Colloquium please their use in the teaching of fine art. Blundell Collection: Collecting Behaviour complete the form opposite and send it with Registration for the Colloquium will take in the Eighteenth Century a deposit of £15 to: Dr Glenys Davies place in the New Senate Hall on the first 1.00-2.00 Lunch (Albacini Colloquium), Department of morning. 2.00-2.50 Jane Fejfer: Roman Portraits Classics, University of Edinburgh, The The organisers gratefully acknowledge and the Eighteenth-Century View David Hume Tower, George Square, a grant from the Henry Moore Trust. 2.50- 3.30 Discussion Edinburgh EH8 9JX, Scotland. There will be a small exhibition of a 3.30-4.00 Tea Cheques/Eurocheques etc. should be selection of the Albacini casts to coincide 4.00-4.50 Ian Jenkins: The Museum as made payable to: Edinburgh Albacini with the Colloquium in the Talbot Rice Art Drawing School Colloquium. The balance of the fee can be Centre. This is located above the New Senate 4.50-5.45 Lindsay Errington: paid at the Colloquium, but if you prefer the Hall, and tea, coffee and lunch will be Subversion in the Sculpture Gallery: an full amount can be paid in advance (this will served here during the Colloquium. Further Educational Experiment at the Trustees' help to avoid administrative congestion casts are on display on the staircases of the Academy during the conference). National Gallery of Scotland. 5.45-6.00 Discussion and close of All those attending the Colloquium are Colloquium invited to a reception at the National Gallery

32 CONFERENCE NEWS

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ARTS INDUSTRIES AND EDUCATION - A ONE DAY CONFERENCE Tuesday, 27 February 1990, Regent's College, London NW1

The theme of the conference is 'Arts for arts employers to learn more about working practices between the arts Industries and Education Partnerships'. The changes in education and for educationists industries and education. notion of 'school/industry partnership' has to build closer contact with the arts sector. Places are limited to 180 and are likely to become an established and significant The day is essentially about examining the be in high demand so early booking is feature in education. However, until now, mutual benefits of closer liaison. essential. The conference fee includes pre- there has been no sustained involvement by The conference speakers, including the and post-conference materials, plus lunch. the arts sector. Our conference definition of Minister for the Arts, the Rt Hon Richard the 'arts industries' is deliberately very broad, Luce MP, will highlight the benefits of covering the performing, visual, media and partnership; this will be developed further For further details, please contact: Adrian allied arts in both the commercial and in the afternoon's seminar sessions. The day Chappell, Education Officer, Arts Industries subsidised sectors. will conclude with a proposal to create a and Education Conference, Greater London The conference presents an opportunity network to sustain and encourage further Arts, 9 White Lion Street, London N1 9PD.

33 Picturing People

Exhibitions have their fates too. 'Picturing parts of figures. I am still worried that this confronting viewers and readers with, say, People' was intended to be Britain's first form of words could be taken to suggest a the autobiographical naturalism of Spencer major show to go to China, to Beijing and a particular tendency or movement, especially and the photograph-based semi-realism of couple of other centres, in recognition of the movement dreamed up by critics at the Boyd and Evans, or the magical little icon the Republic's openness to the world and start of the 1980s and paraded by them as of a head by Craigie Aitchison and a brilliant her appetite for close cultural as well as the long-awaited rescue of the damsel Art and essentially lighthearted full-length economic contacts. The British Council from the lair of the dragon Abstraction. portrait by of Lord Radcliffe- would see to its organisation. 1 proposed As shown and recatalogued, 'Picturing Maud in full unceremonial Civil Service that we should send not just another show of People' asserts the continuity of British rig. Each exhibit is illustrated in colour in our newest or most famous or most figurative painting of several sorts, from the catalogue and has its own commentary, fashionable artists as though competing for portraits to various sorts and levels of intended to encourage comparative looking some sort of international art cup, but rather narrative. It includes splendid examples of and thinking. The famous and the much less an exhibition which would introduce the recent work by young painters, notably known get the same attention. Thus David British to the Chinese via recent art images. Eileen Cooper, Amanda Faulkner, Ken Redfern's Work is discussed and explained I drew up my lists of desiderata on that Currie, Peter Howson and Andrzej as an up-dated version of Ford Madox basis, putting down individuals and Jackowski. But it also includes Stanley Brown's and there is a reproduction of categories it would be good to represent. Spencer - as portraitist and as painter of Madox Brown's picture to help one get the The introductory text I wrote for the Biblical subjects in terms of his own life - point of Redfern's. Richard Hamilton's catalogue commented freely on the UK in a and Carel Weight, in some ways his disciple, brilliant 3-D photographic self-potrtrait, period of great changes. as well as Carel Weight's troublesome Palindrome, is commented on in terms of Then came the events of Tianenmen student, David Hockney. It includes its production, technically and as an image Square and the new wall of China. The Hockney, not only as the Pop painter of the made as a contribution to an international British Council bestirred itself to find other early '60s (he is partnered in this respect by set on the theme of the mirror, but I also venues for such an exhibition in more or Peter Blake and Allen Jones), but also as the allowed myself some more speculative less the same part of the world. Hong Kong, man with the Polaroid camera who builds (pun!) thoughts on the invisible mirror and which has an arts festival in February, had up a portrait by collaging a flock of separate on the way Hamilton's index finger meets been included in the planned tour as the shots in a fashion he considers Cubistic, the image. finishing post. It now became the second there is also the Hockney of just yesterday, It is a rich exhibition, entertaining as location in a series of three: 'Picturing making deliciously fresh paintings of his well as weighty. It seemed to go down very People' opened in Kuala Lumpur early last friends. It includes what some would think well in Kuala Lumpur, and was evidently of December and is on its way to Hong Kong the cool and quasi-academic side of British interest both to local artists and to a wide as I write to open in late January; a showing, figure painting in the painstaking work of range of the general public. Some of the in Singapore, has just had to be cancelled Coldstream and Uglow, as well as the less exhibits might be thought 'difficult' in the for local reasons and the show may end up temperate, certainly more painterly work of sense that they are not self-evidently in Africa instead. Auerbach and Kossoff. Currie's and descriptive - Auerbach, Jones, Bruce The new programme called for a Howson's work has markedly political and McLean; others are 'easy' - Currie^Anthony. somewhat smaller exhibition and a social messages; Faulkner's can be called Green, Boyd and Evans - but my experience differently focused one. Much of the feminist and so can a fascinating painting- has been that problems of this sort largely catalogue had to be rewritten; some loans cum-assemblage by Rose Garrard though it disappear if an exhibition is generally were cancelled by owners who had been is also much else; Alexander Moffat's cheering and if the emphasis is on what attracted by the thought of a major occasion discursive portrait of Hugh McDiarmid pictures are about rather than on style. in China and were less charmed by what reports in some detail on the great Scots The whole thing has been a lot of work, was proposed; the gallery spaces were not writer's political and cultural work. And so some of it on my part, a great deal of it on the generally as generous as those booked in on: about 60 works by about 50 artists, part of my British Council collaborator, China. But many of the exhibits originally portraits of a direct sort, poetic or Anne Elliot. The National Portrait Gallery chosen remain and the title, found for its argumentative portraiture where much more has lent generously, as has the Arts Council; second version, emphasises content. Of than likeness is given priority, and a broad artists, municipal galleries and private course, we had to provide a subtitle as well, range of narrative pictures, from Spencer's collectors have generally been helpful. I since we were delivering pictures of people history paintings to the profound and still wish the thing could have gone to done in one country on a particular resonant poetic inventions of Jackowski. China as originally planned but I am happy period.Thus we have 'British figurative art The hanging (in Kuala Lumpur) and the with it as it is and it seems others are too. since 1945' - which is correct if you accept really rather fine catalogue invited that 'figurative' here means figures and consideration of purpose and method by Norbert Lynton January 1990 34 NEWS REPORT New Appointment CRITICAL CURATORSHIPS

The Department of Art History in The The centre for Extra-Mural Studies, University of St Andrews is playing an Birkbeck College, and Art and Society increasingly prominent role in the training of organised a one-day seminar called-'Critical staff for galleries, museums, and Curatorships', which was held at the City organisations involved in conservation and University in the Barbican on 23 November heritage. The enormously increased public 1989, and was attended by over eighty pressures on all heritage and leisure pursuits people. Those who attended included has radically changed the training needs for students on the Arts Administration courses staff. In response to these needs, Dr Ian at the City University, students on other Carradice has joined the Department from museum courses, museum and gallery the Department of Coins and Medals at the professionals, and university and to teach the postgraduate polytechnic lecturers. courses in Gallery/Museum Studies and The intentions of the seminar were to National Trust for Scotland Studies. The increase curators' awareness of their own two-year courses, leading to an M Litt, constructive and critical powers, and their involve a year of studies in the University on responsibility to potential audiences; to both art historical and vocational topics and encourage consideration of the relationship a year preparing a thesis in association with between exhibition models and the changing one of the Scottish collections, or, in the case political, economic and social climate; and of the National Trust course, on attachment to discuss the meanings, both implicit and to the National Trust for Scotland. explicit, that exhibitions may have. The Dr Carradice is no stranger to St Andrews. seminar was intended to provide a focus for Having graduated in Ancient and Medieval the practice and implications of curatorship History and Archaeology at Liverpool Dr lan Carradice in Britain today, and to stimulate and University in 1973, he completed his PhD at generate future seminars or courses. the University of St Andrews, writing a Greece, Rome, Carthage and Persia. He is The day was deliberately over-ambitious thesis on the Roman Emperor Domitian, author of several books and numerous in its scope, to highlight the need for more which was later published. While a post• articles in these fields, including: Coinage detailed discussions of a variety of aspects graduate student at St Andrews he wrote a and Finances in the reign of Domitian, of curatorship. The morning session published catalogue of part of the Royal Coinage in the Greek World (with M Price) considered the creative and critical Scottish Museum's collection of Roman and Ancient Greek Portrait Coins. He has contributions of curators of temporary coins. He left St Andrews in 1977 for a also published work on other antiquities exhibitions in general, possible future position in the British Museum's Department and is an expert on the subject of Treasure exhibition models, and the function served of Coins and Medals. His initial appointment Trove. He is a Fellow of the Society of by complementary education programmes. was as Research Assistant with special Antiquaries and of the Society of Fred Orton, from Leeds University, began responsibilities for education. He later Antiquaries of Scotland; he has served on the panel discussion by examining two worked as assistant curator of ancient the Council of the Royal Numismatic models in terms of their founding and policy, coinages and, from 1987, as Curator of the Society, and is at present Secretary of the their principles and the implications for coinages of the ancient Near East. UK Numismatic Trust and of the British future curatorship - MoMA in New York, In his twelve years at the British Museum, Academy's Sylloge Nummorum and MASS MOCA, due to open in North Ian Carradice worked on many gallery Graecorum Committee. Adams, Massachusetts, in 1991. He was displays for the Departments of Coins and His aim in St Andrews is to develop and not optimistic about the future of curatorship Medals, Greek and Roman Antiquities and promote the courses so that they will meet as a profession, and something of the same Western Asiatic Antiquities, and on special the new requirements for professional staff despondency was evident too in the second exhibitions, notably Money (1986). He also in the fields of galleries, museums and presentation, by Joanna Drew, Director of organised seminars and other meetings, conservation. Exhibitions of the South Bank Board. She including the 10th International Numismatic discussed the South Bank's financial Congress, held in London 1986. He has problems, and their reactive approach to lectured widely in Britain and abroad, and in exhibition making. The final talk of the 1987 he was visiting scholar at the American morning was given by Simon Ritchie, Numismatic Society's Summer School in Assistant Director of the Gulbenkian New York. His research interests have Foundation, and outlined the terms of the focused mainly on the coinages of ancient foundation's forthcoming report on the

35 NEWS REPORT V&A and AAH meeting discrepancy experienced by young people The meeting of the Executive of the AAH, continuing importance of object-based between their own cultural forms and those on 22 September was hosted by the studies as the particular contribution that on view in exhibitions and galleries. Museum, and was preceded by a working museums could make to the wider academic The afternoon session began with a panel lunch. The Association was represented world. He looked forward to the time when discussion on the making of exhibitions of by its officers (Chair, Secretary and the Research Department would be able to non- Euro-American art. Annie Coombes Treasurer) and officers of its professional provide opportunities in the form of of Birkbeck College considered the sub-committees (Museums, Schools, fellowships to enable visiting scholars to implications of some of the differences and Polytechnics and Colleges, Universities work on the collections and he pointed out similarities between two exhibitions, 'Lost and Freelance); the Museum was that various staff exchanges, notably with Magic Kingdoms' at the Museum of represented by the Director, Assistant the University of Sussex, were already in Mankind, and 'Les Magiciens de la terre', Director for Collections, Head of place. purportedly the first 'global' exhibition of Presentation and Marketing, Head of Finally, Joe Earle described, from the contemporary art, which was shown in Paris Research, and the Tutor in charge of the point of view of the Marketing Department, in the summer of 1989. Shakka Dedi, MA course. the crucial contribution that the new Head director of the Black-Art Gallery, outlined The Director and senior staff present of Education would be making to re-open the reasons for the foundation of his gallery outlined the evolving plans for the the Museum's historic links with schools. and its exhibition policies, particularly its Museum. John Murdoch gave an account The Head of Education would in fact work close community links. Finally, Guy Brett of progress with the staff restructuring, to the Director, and his first task would be to discussed his own experiences over many emphasizing that the Museum's overriding reactivate the sense among the Museum's years in proposing and mounting exhibitions priorities are the care of the collections and staff that education was fundamental to of work of non-European origins, and some the provision of access to them. Under the every aspect of their work. This meant that of the difficulties encountered. new arrangements each collection, defined education would not be regarded as an Workshop sessions on four themes for good conservation reasons by its afterthought, but should form part of the followed: 'Censorship: explicit or implicit', material or technical base, would be headed basic concept of every display through its led by Lola Young of Middlesex by a Curator. The Curators would be realisation and beyond. Polytechnic, who chaired the afternoon eminent scholars with long experience of During the course of the ensuing panel; 'Vacant Spaces: Challenging racism the care of collections and a real vocation discussion it became clear that the through curatorial practice', led by Annie for the task of managing both objects and Association and the Museum could play Coombes; 'Exhibition models/exhibition expert staff. They would have, as part of mutually constructive roles in a number of practices', led by Shakka Dedi; and 'Is a their job description a requirement to work crucial areas (particularly education, staff genuine internationalism possible in towards improved public access to the exchanges and research) and that there was exhibitions?', led by Guy Brett. Discussion collections, through the provision of a a clear need to establish a dialogue between was lively in all groups, and it was generally study room in which lay visitors or teachers professional art historians in all areas of felt that they were most successful. and students could be brought face to face activity and the Museum's administration. The concerns of the speakers were very with objects; and could handle them where It has been agreed to establish a consultative varied, and it was useful to bring together possible and consult books or members of group comprising representatives of the often disparate views. Those attending also staff. The Collections would naturally Executive and the professional sub• represented a wide variety of positions, as continue to be the principal arena of object- committee of the AAH, and of the senior was reflected in the range of questions, based scholarship in the Museum and management team in the Museum. many of which were concerned with basic would, for the present, absorb the majority of staff. The new Research Department assumptions about curatorship, such as the Martin Kemp Elizabeth Esteve-Coll would largely, as a consequence, be need to maintain on-going programmes of Chair AAH Director V&A temporary exhibitions. The workshops initially restricted to work on specific projects, on exhibitions, on major gallery revealed the need for further opportunities 26.10.89 and more time to be devoted to following up re-displays and on publications. In some of the issues raised by the day, addition, the V&A/RCA Joint MA course particularly regarding the exhibition of work would be run from the Research from outside the European/North American Department, thus emphasising its mainstream. connections with the intellectual life of the Museum as a whole.

Kathy Adler Tony Radcliffe expanded on the Birkbeck College Sara Selwood programme that the Research Department Art and Society would be developing and he stressed the

36 SUB-COMMITTEE REPORT

POLYTECHNICS AND COLLEGES SUB-COMMITTEE

Regional Workshop held at Leeds Access Courses to higher education (sic) Second Round Institutions Boost the Polytechnic, Wednesday 15 November A framework of national arrangements for Inititative 1989,2.00 - 4.00 pm recognition (2) Enterprise in Higher Education. (Contacts The first of the Sub-Committee's Workshops Procedures for the approval of Authorised October 1989) received reports from polytechnics outlining Validating Agencies and an invitation to effects of local implementations of policies apply (Committee of Vice-Chancellors and 4. Leeds Polvtechnic. Faculty of concerning Access Courses, cultural Principals, April 1989) Design and the Environment minorities, socially / educationally The access effect (sic) (Development The Modularisation of Art and Design. disadvantaged students, modularisation, Services Project Report 20, May 1989) 1988/99. *(Copy to Convener only) the credit accumulation transfer scheme, Going Modular (Information Services some changes resulting from incorporation Discussion Paper 2, March 1989) 5. Leeds Polvtechnic and a problem of scale in enterprise PASS: Polytechnic Associate Students initiatives. 2. CNN A, SEEC, CHEAD Scheme Credit accumulation and transfer in Art and Copies available from the publishers, Documents distributed to members, Design. Report of a joint CNAA, SEEC, except*. included: CHEAD Seminar held on 12 June 1987 at Council for National Academic Awards, 1. CNAA publications the City of London Polytechnic 344-354 Gray's Inn Road, London. WC1X Research and related activities in Art and 8 BP Design 3. Training Agency The Training Agency, Moorfoot, Sheffield. (Committee for Art and Design, May 1989) Enterprise in Higher Education. Guidance SI 4PQ Access Courses to Higher Education: for Applicants December 1988 Leeds Polytechnic, Calverly Street, Leeds. dimensions of quality assurance. An Supplementary Notes of Guidance LSI 3HE overview. (Development Services Briefing December 1988 9, March 1989) Information Bulletin No 3 J M Cook. Convener

ANNOUNCEMENTS

HAVE YOU RENEWED YOUR SUBSCRIPTION?

Membership of the Association runs for the calender year (1st January to 31st December) and as announced in the November 1989 issue of the BULLETIN, the 1990 rates Overseas Members (all categories) are:- Europe £30 USA/Rest of World £34($58.00*) UK Ordinary Member £26 (*Note: The dollar rate is not a straight translation from Student Membership with Art History £ 21 sterling. We have to allow a small margin to cover air-mailing Student Member without Art History £5 of the Bulletin and the extra bank charges we incur in connection (Students please supply a photocopy of your student card) with dollar cheques.) Unwaged Member with Art History £21 A standing order form was included with the November Unwaged Member without Art History £5 Bulletin. Will those paying by cheque please send their (Unwaged members please supply photocopy of your UB40) subscription to:- Joint Members £30 Pamela Courtney. Director of Administration and Publicity, Life Member's subscription to Art History £ 16 Albert House. Monnington-on-Wye. Hereford HR4 7NL.

37 ANNOUNCEMENTS IMPORTANT - SCHOLARSHIP FUND FOR SOUTH AFRICAN STUDENTS

Members have expressed a strong desire Please complete the form below and send it with your contribution to myself, or to act positively with respect to South give it to an officer of the Association at the Dublin Conference, or send it to the Africa (see Bulletin 33) and it is to be new Treasurer (to be elected at the AGM in Dublin). All contributions should hoped that we can now turn that wish be received by 1st May 1990. into reality. The Executive asks in the strongest terms for your support. Name: As a first step, the Executive is establishing a fund to award scholarships Address: for such students to visit Britain and to participate in one of our conferences. We invite donations to this fund with a view to asking the first recipients to attend the London Conference in 1991. I enclose a cheque for the sum of: It is our intention to investigate the raising of longer-term funds if the initial scheme (Please send cheque to the new Treasurer (as from April 1990) is successful. or Prof M Kemp, Department of Art History, University of St Andrews, Fife, Scotland KYI69AL.) MARTIN KEMP Chair

ARLIS/UK AND EIRE: UNION LIST OF MICROFORMS ON ART, DESIGN AND RELATED SUBJECTS

A survey of microform sets in art, design Arts Library and the library of the Central location. and architecture (exluding single Institute for Art History in Munich. ARLIS will then encourage its member monographs and serials) reveals that fewer Cost is clearly a deterrent to purchase, libraries, and particularly the National Art than half the items are held by the 54 U K art but also this material is not well publicised Library and the British Library, to acquire libraries responding to the questionnaire. through normal bibliographical channels. these sets as a priority. Microform offers the art historian The Union List, by bringing together what We are very keen to hear from any A AH increased resources, making possible the is available, makes it easier for art historians member who would like to be involved in reproduction and storage of large collections to identify material which they would find advising us in this selection process. Please of visual and textual materials. It is most useful for research, as well as enabling contact Gillian Varley, National Art Library, particularly useful for those collections held them to refer their students to libraries Victoria and Albert Museum, South outside the UK and in less easily accessible already holding the collections they need to Kensington, London SW7 2RL (tel: 01-938 locations. The original publications are consult. 8307 or 01-938 8315). difficult if not impossible to borrow on The British Library's Standing The ARLIS Union List of Microforms interloan for researchers to consult. Committee on Art Documentation has on Art, Design and Related Subjects (ISBN The ARLIS Union List gives locations welcomed the survey and endorsed ARLIS 0 9501063 64), published 1988, includes a for many of the microform research in its attempts to ensure that practical action listing of published sets together with a collections it lists. However, there are still follows from publication of the Union List. short subject index, and details of suppliers many important items which are not held in As part of the process of determining how and of libraries holding copies of particular this country. These range from the microfilm best to improve coverage and availability of items. The Union List is obtainable from of the Bibliotheque Nationale's woodcuts these materials Beth Houghton, Chair of Pat Christie, ARLIS Circulation Manager, by Gustave Dore and the colour fiche of the ARLIS/UK and EIRE, has approached the Epsom School of Art and Design Library, paintings in the Kunsthistorisches Museum, Chairman of the Association of Art Ashley Road, Epsom, KT18 5BE, Vienna, to the publications of the Venice Historians to solicit help in identifying the price £5 (£4 to ARLIS/UK and EIRE Biennale from 1895 to 1977, and the card most important microfilm sets, members). catalogues of the Havard University Fine concentrating on those which have no

38 ANNOUNCEMENTS

Crisis hits Students' Group Freelance Group

The voice of undergraduate and research Call for a new start The Sub-Committee plans to hold an initial students within the Association has fallen workshop in order to explore issues relevant silent with the virtual collapse of the At the Executive meeting in London on 18 to freelance practice. This will offer Students' Sub-committee of the Assocation. December 1989, Chair Martin Kemp urged possibilities both for the exchange of views The group, formerly chaired by Brian student members of the AAH not to miss and for establishing contact with other O'Callaghan and with a committee the opportunity of having their say in the members. This will take place in London on membership including Louise Durning, affairs of the Association. He called for a Saturday in Autumn 1990. Martin Kauffman, Barbara Zeitler and undergraduate and research students willing All completed forms so far received Simon Miller (an elected member of the to participate in a new students' group, have been processed and the first requests Executive Committee 1988 -91), was until which can be fully relaunched at the Dublin from employers have been received. If you 1989 one of the most active groups in the Conference in March, to contact him or the have not yet filled in your form, please do Association and was responsible for Hon. Secretary. so. Further forms are available from Deirdre organising several one-day conferences - Robson, 10 Davisville Road, London W12 on exhibitions such as The Image Multiplied Please write to the Chair or Hon. 9SJ. and The Age of Chivalry and on Careers - as Secretary at the addresses published in Freelancers, as well as their full time well as publishing Art History in Action. the Bulletin . Please give your name, colleagues, often take study tours abroad. The sub-committee Chair is a member of college, term-time address and phone An increasing number of incidents have the full Executive Committee which meets number, and say whether you are been reported which have arisen from five times a year and which runs the undergraduate or postgraduate. It would harrassment by local guides, sometimes Association. also be helpful to indicate whether you resulting in fines being imposed by the will be at the Dublin Conference. police. It is proposed to research the position as far as possible. The Sub-Committee would like to receive any information about incidents that have occurred. Please write to Clare Ford-Wille. 1A Bowerdean Street, London SW63TN.

STOP PRESS ! STOP PRESS ! STOP PRESS ! STOP PRESS!

Dublin Conference March 1990

Those who wish to attend the State Reception organised for the evening of Saturday 24 March should make their bookings as soon as possible. Names of those attending have to be supplied in advance for security reasons.

39 ADVERTISEMENTS

FRIENDS OF THE COURTAULD INSTITUTE

CRAWFORD ARTS BURSARY FOR TEACHERS AND CENTRE MUSEUM CURATORS THE WILD BODY

The Portfolio of 15 Drawings Two bursaries of £ 1,200 are offered by the Friends pf the Within Wyndham Lewis' Work Courtauld Institute to teachers of the history of art, and to art 1912-1919 museum curators, employed in the UK outside Greater London, to enable them to use the research resources of the Exhibition open from 6 April - 6 May 1990 Institute and other facilities in London for a period of two months. If necessary, this may be split up into two or three shorter periods to accommodate work schedules. CRAWFORD ARTS Applications outlining candidates' research or CENTRE cataloguing programme should be sent to the Director, Courtauld Institute of Art, Somerset House, Strand, 93 North Street London WC2R ORN by 1 March 1990. St Andrews KYI69AL (0334)74610

Mon - Sat 10am - 5pm Sun 2 -5 pm Admission Free

L. VAN TENDELOO ART BOOKS

19th and 20th Century Illustrated Books and Prints; Fine Printing, Art Reference Works and Photography

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