February 1995 BULLETIN ASSOCIATION OF ART HISTORIANS Registered Charity No. 282579 Editor: Jannet King, 48 Stafford Road, Brighton BN1 5PF For information on advertising and membership: Kate Woodhead, Dog and Partridge House, By ley, Cheshire CW10 9NJ Tel: 0606 835517 Fax: 0606 834799 NEWS REPORTS IMAGES COPYRIGHT AND REPRODUCTION FEES

With every day that passes it is becoming Tackling the problem improving communications between clearer that scholars hoping to publish When I took over as Chair of the Association, publishers and authors of art books about illustrated texts are working under increasing I had hoped to be able to tackle this problem, contracts and the like difficulties. The specialist and even the but it is only now, as my term of office national press have run stories on litigation comes to a close, that enough heat has been improving the annual AAH Book Fair, under the Copyright Act and the problem generated by the issue to get things moving. both for the exhibitors and the conference with respect to slide libraries has recently First, I can report what many of you will been covered at some length in the Bulletin. already know, that our fellow organisations delegates Art historians especially are caught in a are also starting to lobby on this matter. the effects of Research Selectivity on the vicious pincer. On one side are the museums Prominent amongst them are the Society of editing and production schedules of the and galleries, who have responded to cuts Architectural Historians, who have convened publishing houses in public sector funding by maximising their a contact group and are collecting opinions. graduate employment in the trade. income and have all too often authorised Dr Colin Cunningham, the current Chair of Nigel Llewellyn huge rises in reproduction fees. On the other the Society, would be very happy to hear January 1995 side are institutional pressures, such as from any members of the Association who Research Selectivity, which place such an have a particular view to put. (He may be onus on scholars to publish. Some publishers written to at: 124 Milton Road, Cambridge, seem aware of these pressures and, sadly, CB4 1LD.) seem willing to exploit the situation. We Over the coming months, the Association Congratulations... have all heard stories of academics, many itself will be applying pressure in two ways: .. .to Professor Eric Fernie, past Treasurer of them junior colleagues seeking a first first, by raising the issue at our Publishers and long-term supporter of the permanent job or tenure of contract and Consultative Group, which will be convened Association, on his New Year's Honour. therefore desperate to publish, forced to to allow matters of mutual interest to be Eric was awarded the OBE for his service accept the financial responsibility for tabled by members of the Association with as Chairman of the Ancient Monuments reproduction fees of obtaining the requisite representatives of the art publishers, and Commission (Scotland). reproductions. Substantial sums are second, by direct contact with the museums At the same time it was announced that apparently being spent by such scholars and galleries, where we have many friends. against hoped-for royalties. (Incidentally, I Professor Erika Langmuir, Head of would encourage all prospective authors to I would also hope that the Publishers Education at the National Gallery, equip themselves with a copy of the Consultative Group might be an appropriate London had been awarded the CBE. Association's Guidelines on Professional forum at which to raise some other issues Congratulations to both. Practice.) of mutual interest, such as: NEWS REPORTS ARTEFACT Meetings of the Art Meeting for At the beginning of last year the Schools Galleries and Freelances Subcommittee, under its Chair, Elizabeth Museums Group On 8 December 1994 a group of A AH Allen, launched the first issue of ARTEFACT freelances met for a supper party at Lichfield - a newsletter aimed at school teachers. Two Since my last report, the Art Galleries and House, Athenian Stuart's 1763 mansion on issues were published in 1994, with a further Museums group has met on three further St James Square. Drawn in part by the three planned for this year. The newsletter occasions: in Southampton, at the John opportunity to meet colleagues as well as to is distributed through teachers' evenings, Hansard Gallery, and in London, at the Tate see the magnificent, recently restored, rooms INSET courses and via museums and other Gallery and the National Gallery. Each visit rarely open to the public, over 40 freelances institutions. set its own agenda and used the meeting to made the trip to London. The intention is to provide a forum for the discuss particular issues relating to its own Brigitte Corley, the Chair of the Freelance exchange of ideas and information about gallery or museum policy, exhibition Subcommittee, welcomed everyone and the teaching of art in schools, and a means programmes or future planning. spoke briefly about the activities of the for teachers to establish contact with each At the John Hansard Gallery, the group committee, especially the forthcoming other. ARTEFACT publicises opportunities was introduced to the exhibition Photo- Freelance Register. The Register, in galley for teachers to attend courses, teachers' Reclamation: New Art from Russia by form, proved quite popular that evening as evenings, in-service training and study days. curator, Brandon Taylor, and organiser, everyone eagerly sought out their own entry. The Schools Subcommittee has also arranged Stephen Foster. At the Tate, Sandy Nairne, Over wine, glazed chicken and vegetable a series of regional meetings at which Director of Public and Regional Services, lasagne, conversations were animated as teachers can discuss art historical issues, gave an extremely interesting talk about the freelances discussed all of the issues that had focusing on a local museum or gallery. Tate Gallery of British Art and the proposed brought them together. The dining room A new feature will be critical book lists Tate Gallery of Modern Art at Bankside. reverberated with talk of fees and DACS, on specific themes. Anyone willing to draw He talked at some length about problems of good and bad employers and problems of up a list of books, articles or chapters suitable space at Millbank, the need for a new gallery copyright, etc. for secondary level should contact Elizabeth of modern art, the consideration given to a Over dessert and coffee, everyone agreed Allen at the address on the back page. new site and the subsequent architectural that the chance to meet, identify and network competition. Later in the year, at the National with fellow professionals had been a great Portrait Gallery, Charles Saumarez Smith success. Many freelances made plans to gave an illuminating historical account of the meet again at the London Conference. Bulletin Deadlines Museum, his first year as director and his The copy deadline for the Bulletin is the plans for the future. The talk was followed Tru Helms beginning of the month prior to by visits to the library and archive, publication: accompanied by the curators, Peter Funnell 1 January for the February issue and Jonathan Franklin. 1 April for the May issue I should like to extend my thanks to all Research Selectivity v 1 July for the August issue those members of the Art Galleries and 1 October for the November issue. Museums group who have attended these In order to cut down on typesetting meetings, and in particular to those who Exercise costs, I am trying to supply as much of have given their precious time to talk to us Members of the Association are asked to the copy as possible on disk. Any article and the opportunity of gaining an insight into write to the Chair, giving the name of over a page of manuscript long should the workings of their institution. senior colleagues in the profession with therefore be sent to me on disk, if Now, more than ever, there is a a proven research record who would possible, with accompanying hard copy. fundamental need for those of us who work have the support of the AAH membership (Disks will be returned.) in museums and art galleries to talk to one as members of the Research Selectivity The typesetter and I work on IBM another and to be more aware of the workings Panel for the History of Art, Architecture PCs, but the typesetter can convert from and philosophy of our own and other and Design. Consideration should be AppleMac disks. Please save your files institutions. I hope very much that visits given to constituting a panal of eight as Text only' or 'ASCII', if possible. such as these will continue to be part of the members, with due regard for gender, a (Shorter items, such as conference details group's programme for the coming year. spread of expertise across historical and short announcements, I am happy to periods and media, and a geographical retype.) Sylvia Lahav spread of institutional affiliation. Please write to me (in confidence) With thanks immediately. Jannet King Nigel Llewellyn Editor, Bulletin 2 CONFERENCE REPORTS WHISTLER IN LONDON An International Conference 2-3 December 1994, Tate Gallery, London This event, organised by Andrew Brighton 1878 Ruskin trial was not a new departure Whistler was a superb manipulator of the of the Educational Department of the Tate but a manifestation of the previous 15 years' market. There was some discussion after Gallery, created a most stimulating forum for critical debate, in which the formlessness the paper about the enormous number of discussion. The debate ranged widely, but and decorative nature of Whistler's art and states of his prints (the later ones in two major issues recurred in many papers his musical titles were already central issues. particular), many of them virtually becoming and discussions. The first centred on Ronald Anderson looked at the critical unique monoprints. In marketing terms this Whistler's aesthetics and the second on response during Whistler's last ten years practice makes good economic sense, but Whistler's position within contemporary and pointed out the importance of two critics, then, as Lochnan pointed out, Whistler was Victorian Society. Compared with these, the RAM Stevenson and D S MacColl, who responding to the second revival of etching issue of stylistic shifts in Whistler's oeuvre aligned Whistler with Old Masters such as in Paris, when tone, something difficult to played a lesser role, though closer attention Velasquez. Apart from these, however, the achieve uniformly in every printing, became to the late works of the 1880s and 1890s was overall critical response from the art media fashionable. Artistic and marketing intentions discernible. For example, Anna Gruetzner of the time remained negative. During the seem intertwined here. Linda Merrill, on Robins' rich paper focused on Whistler's concluding panel discussion there was the other hand, contrasted two major patrons painting trip to St Ives in winter 1883, where general agreement that the situation has of Whistler, F R Leyland and C L Freer, he painted watercolours and small oil changed little over the years and the very low stressing the difference in the way they landscapes on panel. This represented his level of critical response by the media to the exercised their financial patronage. essentially new venture of painting direct Tate retrospective was lamented. This from nature to preserve his immediate situation contrasted markedly with the Whistler as 'Other' perceptual response. Gruetzner Robins' popularity of the exhibition with the public A riveting paper was presented by Costas paper also employed Helmholtz's theory of and the quality of debate at this conference. Douzinas on aesthetics and the law. Sir John perception rather than that of colour to Holker, in attacking Whistler at the Ruskin analyse some of the St Ives pictures. Whistler and Victorian society trial, described feeble-minded women The second major issue which emerged admiring Whistler's paintings. Douzinas Whistler's aesthetics during the course of this conference was traced this misogyny back to the iconophobic At the beginning of the conference, Whistler's position within contemporary ideas of the Reformation, which became Whistler's aesthetics were explored by three Victorian society. There were extensive the basis for common law. He enumerated conservators: Sarah Walden, Stephen discussions on the economic aspects of many pairs of opposite concepts, such as Hackney and Joyce Townsend. What Whistler's activities. Patricia De Montfort female imagery versus masculine logic, emerged was Whistler's struggle between examined the precise circumstances of the sensuality versus materiality, word versus aesthetic intention and technical publication of The Gentle Art of Making image, spirit versus body, which is echoed experimentation, with Walden pointing out Enemies and demonstrated the immense in the contrasting pairs of extravagant and that Whistler's notorious habit of scraping care with which he packaged this book. foreign Whistler and solid, austere and paintings again and again was that of an (This did not mean, however, that he English Ruskin. In this context Whistler etcher. presented it as a luxury publication, since he becomes a legal 'Other' many times over There was also much debate during the used paper boards, not leather, and readily because of the nature of his painting and his two days on the importance of Whistler's available typefaces.) Robin Spencer used person. Douzinas, however, also pointed out writings as an expression of his aesthetics. much of Whistler's adversary Ruskin's that the ambivalent outcome of the trial Nigel Thorp, from the Centre for Whistler argument of intrinsic versus market value, showed that by this time there was a crisis Studies at the University of Glasgow, who quoting the diplomatic answer of the dealer in the theory of common law. is very active in making Whistler's writings Griffith in dealing with Turner's Swiss Whistler as an effeminate 'Other' was accessible, surprisingly underplayed their watercolours that they were worth more but further explored by Andrew Stephenson, significance, whereas Katharine Lochnan, he couldn't get more. Spencer made us aware whose paper was refreshing and provocative. doyenne of Whistler prints, dropped a that Ruskin's belief that art's true (intrinsic) He situated Whistler within the discourse of bombshell by maintaining that Whistler's value does not change with fashion is Victorian masculinity and illustrated the writings and theory are more important than surprisingly close to Whistler's aesthetics, point by contrasting Degas'tough-guy stance his art in the long run. as propounded in his 10 O'Clock Lecture. and the privileging of masculine drawing by Another issue much discussed was how Katharine Lochnan's paper plunged critics such as Duret with Whistler's Whistler's aesthetic intentions were received straight into what she termed The Gentle emasculation because of the centrality of by others. Victoria Walsh argued that the Art of Marketing Prints'. She showed that colour in his paintings. Stephenson's 3 CONFERENCE REPORTS

discussion, however, made one aware that imagery, which consists of over 400 debate on Whistler's Japonisme by Whistler is a slippery customer within this depictions by about 100 artists, making provocatively declaring that late Whistler discourse and cannot be pinned down in too Whistler the most portrayed artist of the experienced a Zen Buddhist satori (sudden simplistic a manner. Victorian period. As Denker points out, it was enlightenment). She supported her argument The issue of Victorian paternalistic values not just the individual elements, such as his by quoting the explanation of Zen in was also raised by Tim Barringer, who tuft of white hair, the straw hat or the Murray's Handbook to Japan of 1881. This argued that the ethos of hard work monocle, which were important, but the reviewer agrees with much of what she said propounded by Samuel Smiles and supported overall distinctiveness of his image. Here and is grateful for this new insight, but feels by Whistler's father contrasted with the again, Whistler the superb publicist comes the points she referred to, including Murray's notion of genius which Whistler himself to the fore. explanation, are Zen-influenced cultural followed. Here again, simplistic characteristics of Japan and not necessarily categorisation is dangerous, for Barringer Cultural exchange satori itself. , pointed out that Whistler's studio was After such a rich diet, it may be churlish to unusually workmanlike and hinted at the grumble, but an important aspect of Whistler One thing which became clear after these two connection between the Thames set, in which Studies was rather underplayed at this days was that Whistler was certainly not the artist celebrates the otherness of the conference, namely that of cultural exchange. isolated as an artist, but was heavily involved figures of workmen, and Mayhew's Admittedly this conference was about with the national and international art world. publications on the labourers and the poor Whistler in London, but still the context of The conference itself was also a forum for of London. cultural exchange is essential to the scholars from many parts of Britain and the understanding of Whistler. There were, USA and it showed the fascinating diversity Images of Whistler however, two papers which did raise issues of current Whistler studies. The image of Whistler for the conference relating to this. Anne Koval's paper on participants became more and more complex Whistler and naturalistic photography Toshio Watanabe as the proceedings went on, but a glimpse discussed Whistler's influence on American Chelsea College of Art and Design of the actual image of the artist that photography and showed some startlingly The London Institute confronted the Victorian public was Whistlerian images, achieved during the December 1994 discussed by Eric Denker. He introduced printing process. The aforementioned paper us to an astonishing array of Whistler by Anna Gruetzner Robins expanded the CHArt Conference 1994 24-5 November Birkbeck College The rapid development of computing in by the ESRC was demonstrated. This was had introduced them as hypertext, enabling support of art history - both teaching and to provide an indexing and sorting service explanations and asides to be accessed at a research - was discussed and demonstrated. for social science academics. The project, click of a mouse. The opportunities for electronic networking SOSIG, has been running for two years now, It was suggested that a similar project be in research and teaching, with data rapidly led by Nicky Ferguson, an ESRC Visiting undertaken for art history, and that this be and cheaply, transferable was of great interest Fellow at University of Bristol. It provides intitiated by the AAH, with CHArt and the to the delegates, who numbered a wide range of information, accessible Design History Society. This is to be approximately 100 on Thursday. through a 'home-page' which will also take considered by the Executive Committee. An item of value to us all was provided contributions. by Trish Cashen of Glasgow University, A recent success in making information Claire Donovan who demonstrated the variety of art-history- available to social scientists was the related catalogues, data sets, and availability of the minutes of the meeting conversations via the network on curriculum between the Chancellor and the President of development that are available. In addition, the Bank of England. As transcriptions of an interesting project, initiated and funded these meetings are so boring, the project 4 LONDON CONFERENCE LONDON CONFERENCE 1995 OBJECTS, HISTORIES AND INTERPRETATIONS Victoria and Albert Museum 7-9 April 1995 The term 'object' within current art historical practice can convey a variety of meanings. By including it in the title we hope to encourage discussion of a range of approaches and issues. These might range from the investigation of material evidence - so registering the location of the conference within a museum - to psychoanalytical theory and social and anthropological interpretations. The term 'objects' is intended to cover the fine and decorative arts, design and media such as film and photography. In interpreting objects we seek to take account of the institutional and intellectual context in which they exist and the ways in which that context has shaped their histories. The conference will examine the arts throughout the world, including Asia, Africa and the Americas, as well as Western Europe. Conference Convener: Dr Elizabeth McKellar, Head of Higher Education. Conference Administrator: Iain Cartwright, Victoria and Albert Museum, South Kensington, London SW7 2RL. Tel: 0171 938 8445; Fax: 0171 938 8445 or 938 8635.

Academic Sessions At the entrance to the National Art Library General Information These will take place at the Lycee Francaise, there will be a display about the History of Delegates are advised that the following Cromwell Road on each day of the the Library and its buildings. constitutes a provisional timetable which conference. Delegates are requested to Outside the entrance to the New may be subject to alterations. Please check register at the museum prior to attending Restaurant there will be a display entitled: details in the conference brochure, which can these. 'Mugs'; challenging the cup and saucer as be obtained upon registration. the hot beverage container, this display looks Plenary Sessions at mugs and the messages they proclaim Booking Form These will take place in the lecture theatre through a myriad of designs. This is enclosed in this Bulletin. Early of the Royal Geographical Society, booking is recommended. Kensington Gore on the Friday and the Special Events Saturday evening. Details to be announced. There will be a number of special events Conference Fees associated with the conference, including Please note that conference fees should be Receptions gallery talks, handling sessions and multi• paid by 31 March 1995 as delegates paying These will be held in the museum on the media demonstrations. Places for these later than that or on the day will be subject Friday evening and Saturday evening. events are limited and delegates are advised to an additional £10 late-booking fee. to check the conference noticeboard for Conference fees include morning coffee, AAH Business further details. Delegates should book a buffet lunch and afternoon tea. The Annual General Meeting will take place place on arrival in order to avoid dis• at 11am on Sunday 9 April in the V&A appointment. Refreshments Lecture Theatre. These will be served in the North Court of The Student Group will run a session Transport the museum (see timetable). 'Researching Contemporary Art' and a talk By road: Cromwell Road is on the main A4 by Brigitte Corley on the Freelance Register route into London from the west. By London Registration on Friday 7 April. Underground: South Kensington Station The registration desk will be located in the The Special Interest Groups meetings (Piccadilly, District and Circle lines). By exhibition courts of the museum. It will be will be held on the morning of Sunday 9 bus: buses CI, 14 and 74 stop outside the open from 9.30 am daily and staffed April. museum. By foot: just 10 minutes walk continuously throughout the conference. from Harrods or Hyde Park. Exhibitions Badges In the 20th Century Gallery there will be a Parking Delegates are requested to wear their badges special display called 'The Book and There is no parking available on the museum at all times; these will be colour-coded for Beyond', which will concentrate on items premises and little on-street parking in the each day of the conference. that experiment with, or extend, the area. A special arrangement has been traditional book format. Electronic negotiated for delegates to use the NJA car Student Helpers publications (CD ROMs, videodiscs and park in North Terrace, Brompton Road. There will be a group of student helpers 'floppy'books) will be exhibited alongside Please contact John Blake or Barry Covey assigned to the conference. art books, children's books and more traditional publications. direct on 0171 589 9815 for further details. 5 PROVISIONAL TIMETABLE

FRIDAY 7 APRIL Raphael and the Raphaelesque 9.30 Registration/coffee (V&A) Imperial Eyes 11.00 Academic sessions (Lycee) Art Photography What Happened to It? Nationalism, Politeness and Commerce Defining Dress Academic Outcasts? Ornament in Architecture, Design and The Sculpted Object the Applied Arts Queering the Gaze Imperial Eyes Histories in Art Pilgrimage, Relics and Souvenirs Psychological Aesthetics Predictions 13.15 Lunch (V&A) The Sculpted Object Handling Sessions (limited places) The Making of the Applied Arts 14.45 Academic Sessions (Lycee) Collection What Happened to It? Histories in Art Defining Dress When an Object, History and Before Vasari Conservation Meet Signs of Art and Commerce Historicizing the Boundaries Raphael and the Raphaelesque AAH Student Group: Researching Imperial Eyes Contemporary Art Art Photography 13.15 Lunch (V&A) Nationalism, Politeness and Commerce Handling sessions (limited places) Academic Outcasts? 14.45 Academic sessions (Lycee) The Sculpted Object What Happened to It? Queering the Gaze Defining Dress Histories in Art Ornament Psychological Aesthetics Raphael and the Raphaelesque 17.00 Tea (V&A) Imperial Eyes 17.45 Plenary Session 2 (Royal Geographical Art Photography Society) Pilgrimage, Relics and Souvenirs 19.00 Reception (V&A) Predictions The Sculpted Object SUNDAY 9 APRIL The Making of the Applied Arts 9.30 Registration (V&A) Collection 9.30-10.30 AAH Special Interest Groups (V&A) Histories in Art 10.30-11.00 Coffee When an Object, History and 11.00-12.30 AAH AGM (V&A) Conservation Meet 11.00-12.00 Gallery Session I (limited places) Historicizing the Boundaries 11.00-13.15 Defining Dress: In the store with the AAH Student Group (Freelance objects (V&A) (limited places) Register) Gallery Session II (V&A) (limited places) 17.00 Tea (V&A) 13.15 Lunch (V&A) 17.45 Plenary Session 1 (Royal Geographical 14.15 Academic Sessions (Lycee) Society) Defining Dress 19.00 Reception (V&A) Signs of Art and Commerce Imperial Eyes SATURDAY 8 APRIL Art Photography 9.30 Registration/coffee (V&A) Nationalism, Politeness and Commerce 11.00 Academic Sessions Academic Outcasts? What Happened to It? Queering the Gaze Defining Dress Psychological Aesthetics Before Vasari Signs of Art and Commerce 16.30 Tea (V&A) Ornament Close of Conference

6 LONDON CONFERENCE

Accommodation Speakers: Sarah Kane (The Bowes cross culturally, we aim to promote a wider Delegates should contact: City University Museum, Barnard Castle, Co. Durham): understanding of dress as object and of its Accommodation Service at Northampton Metamorphosis and Stasis - The life history role in economic, social and cultural life. Hall (opposite the Barbican), tel: 0171 628 of a silver swan; Helen Clifford (Ashmolean Speakers: Patricia Allerton (PhD Student, 2953, or Finsbury Residences (near the Museum, Oxford): Fact and Fiction: Case European University Institute, Florence): Angel tube), tel: 0171 477 8811, to arrange studies of Oxford plate, 1400-1800; John Clothes as Articles of Exchange in Early accommodation. Hanson (Courtauld Institute of Art, London Modern Venice; Janet Arnold (Freelance): University): Reading the Byzantine Casket 'Dashing Amazons': The development of Art History Book Fair in Sens like a Book; Mark Haworth-Booth women's riding dress from the 16th to the This will be held in conjunction with the (Prints, Drawings and Paintings Collection, 20th century; Juliet Ash (Ravensbourne conference in the exhibition courts. It will Victoria and Albert Museum); Camille College of Art): The Aesthetics of Absence be open all three days of the conference for Silvy's River Scene, France (1858); Lindsay (Clothes in the absence of people); delegates and members of the public to view Shen (University of Wales, Aberystwyth): A Christopher Breward (Royal College of Art): a wide range of new and established books, Charles Rennie Mackintosh Chair: A 'The Case of the Hidden Consumer' as well as computer software. The Fair offers biography of reception; Richard H Davis Economics morality and the construction a marvellous opportunity to browse and buy, (Yale University): Tipu's Tiger and its of fashionable masculinity 1840-1900; Pam examine the latest publications or add to Communities of Response; Verity Wilson Cook (University of East Anglia): Changing collections. Entry will be free of charge. (Far Eastern Collection, Victoria and Albert Places: National identity in Gainsborough For further information contact: Liz Museum): Studio and Soiree: Chinese dress costume drama; Tim Edwards (University Newlands, Tel/Fax: 0171 266 7211. in Europe and America, 1850 to the present of Leicester): Pump up the Postmodern: day; Nancy Parezo (Arizona State Museum, Images of menswear and masculinity in University of Arizona, Tucson): The contemporary society; Jo Entwhistle Academic Sessions American Indian Style Show: From dress to (University of North London): Fashioning costume to haute-courture; Pamela M Lee the Self: Dress as everyday practice; Alicia What Happened to It? Exploring the (Harvard University): GordonMatta-Clark's Foster (PhD Student, University of Life Histories of Artefacts Splitting: The life and death and life of an Manchester): Gwen John's Shopping List: Convener: Verity Wilson, Far Eastern America home; Nigel Whiteley (Lancaster The bon marche and the spectacle of the Collection, Victoria and Albert Museum. University, Lancaster): An Expendable Ikon woman artist in Paris; Anna Jackson (V&A): of the 1980s: The Ross RE5050 radio; Clothing Culture in Edo Period Japan; Reina Where and when does an artefact begin its Debbora Battaglia (Mount Holyoke College, Lewis and Katrina Rolley (Freelances): (A) 'life', who made it for whom, and what did Massachusetts): Do Objects Have Individual Dressing the Dyke: Lesbian looks and it represent for the succession of people who Histories? A critical examination from lesbians looking; Richard Martin owned it? Maybe it was discarded, sold, postcolonial New Guinea; Robert S Nelson (Metropolitan Museum, New York): The exhibited or used in circumstances vastly (University of Chicago): From Medieval Last American Dream: The United States in different from those pertaining at the Byzantium to Renaissance Europe: Greek contemporary menswear imagination; beginning of its 'life'. illuminated manuscripts in social exchange. Aileen Ribeiro (Courtauld Institute): M uses In his essay The Cultural Biography of Igor Kopytoff (University of Pennsylvania) and Mythology: The representation of Things: Commoditization as Process' Igor will be acting as discussant to this panel. classical dress in British 18th-century female Kopytoff puts forward the thesis that the portraiture; Lou Taylor (University of range of different types of biographies that Defining Dress Brighton): Gender Wool and Dress: An anthropologists use to build up a profile of Conveners: Elizabeth Wilson, Faculty of investigation into the gender-specific use of a given society can be just as fruitfully Environmental and Social Studies, University woollen cloth in the dress of fashionable applied to things as to people. Similar of North London; Amy de la Haye, Textiles British women in the 1860-1900 period, questions, he argues, can be asked about and Dress Collection, Victoria and Albert with specific reference to its use in tailored artefacts as about human beings, and the Museum. clothes; Carol Tulloch (Freelance): That resulting answers can 'make salient what Little Magic Touch: The role of accessories might otherwise remain obscure'. In this session we wish to explore the rich in black female dress; Cordelia Warr The papers will explore Kopytoff's model diversity of work being undertaken in this (Freelance): Depictions of Dress and of a 'life history' by applying it to a broad area, which perhaps, more than most, lends Regulations Concerning Dress: The Poor range of artefacts. itself to such varied interpretation. By Clares and the Second Order of Saint considering dress historically (from the Dominic in Italy during the 13th and 14th Medieval period to the present day) and centuries. 7 LONDON CONFERENCE

In the store with the objects (practical Ornament in Architecture, Design and as ornament both for architecture and the sessions, limited places): Avril Hart (V&A): the Applied Arts applied arts, and innovation within the Mantuas of the 17th and 18th centuries; Conveners: Dr Maurice Howard, School of calligraphic tradition. Valerie Mendes (V&A): Mannequins and Cultural and Community Studies, University 3 Architecture, ornament, and innovation. Meaning: An exploration of the relationships of Sussex; Dr Anna Contadini, Dept of The leading role played by architecture and between dress and its method of display; History of Art, Trinity College, University architects in the development of ornament Amy de la Haye (V&A) and Elizabeth of Dublin; Michael Snodin, Prints, Drawings in the applied arts, has been particularly Wilson (University of North London): The and Paintings Collection, Victoria and Albert important in moments of style change. This Street style Exhibition at the V&A: The Museum. has been particularly evident in international sourcing and representation of the clothing. style movements in the last 150 years. The In European culture, the separation of papers under this topic will seek to Before Vasari. Approaches to the Study of structure and ornament, first discussed by concentrate on two key areas: firstly on the Art History before 1500 Alberti, defines one of the chief arguments period of intense design interchange between Convener: Dr M A Michael, Christie's about the role of ornament itself: are Europe and America in the period Education. otherwise neutral objects invested with 1870-1930, and secondly on issues meaning by ornament, or can ornament on surrounding the 4innovations' of There is a perception among those interested the surface of objects draw out and explain postmodernism, in particular comparing in art before 1500 that it has been viewed meanings inherent within structure? How do them with the revivals of the last century. by those studying later periods as a dim and European and non-European approaches to Speakers: Dr Sylvia Auld (Edinburgh distant past to which the theoretical ornament compare and contrast? By re• University): Arabesques and Interlace: The approaches of 'modern' art history have yet examining three areas of key importance in knotty problem of some late 15thcentury to be fully applied. The difficulties in this debate, it is hoped that issues of Islamic metalwork; Philippa Vaughan understanding art before 1500 may well be transmission and of decorum in different (London University): Decoration as the product of a post-Vasarian view of the contexts can be explored. Transformation: 17th-century Mughal world, which even those committed to new architecture; Michael Bath (University of approaches in the modern period 1 The grotesque, moresque and arabesque Strathclyde): Alexander Seton's Painted unconsciously re-affirm through their in 16th-century Europe. The application of Gallery: Emblem and ornament in the ignorance of the issues and the current fantastic ornament during this period can be Scottish Renaissance; Sasha Roberts debates in Ancient, Medieval and early seen as a complex interaction of a purposely (London): Grotesque and Ornament in Renaissance Art. Does the study of art before revived antique style, with influences from English Renaissance Furnishing and 1500 really represent an ivory tower where the Middle East. Issues of transmission, Tapestries; Lauren S Weingarden (Florida refugees from the theoretical debate can through the print market and traffic in goods, State University): Ruskin, Sullivan and the escape? It will be the purpose of this session are therefore especially important. In Poetics of Architectural Ornament; Milena to suggest that theoretical issues have always addition, scholars of literature have helped Lamarova (Museum of Decorative Arts, been at the centre of debate in the study of historians of the visual arts explore the Prague): Czech Architecture and Design art before 1500. possibility that the presence of fantastic from Cubism to National Decorativism; Speakers: Professor Eric Fernie ornament may suggest a wish to embody, and Gillian Nay lor (Royal College of Art): Good (University of Edinburgh): Analysis, therefore identify and disempower, the Design - The Problem of Decoration. Synthesis and Culture in the Study of unspoken and terrible which lies beneath Medieval Architecture; Dr Paul Crossley the surface of everyday visual reality. Signs of Art and Commerce: Questions of (Courtauld Institute of Art): 'The Man from Print Inner Space'. Meditation and movement in 2 Ornament in Islamic Art and Architecture. Convener: Dr Jeremy Aynsley, Research the Medieval Church; Dr Sandy Heslop Papers under this topic will deal with the Department, Victoria and Albert Museum. (University of East Anglia): The Origins of transmission of ornament from the Islamic Heraldry Consumerism and mis• lands to Europe during the period of design This strand is concerned with an appropriation; Professor Martin Kemp change from the 15th to the 17th centuries; understanding of the term 'print culture', (University of St Andrews): There's Always the significance of ornament in Islamic its shifts and changes since the turn of the Something New in Something Old; Dr Claire architecture, during the same period, with twentieth century. Papers draw on recent Donovan (Southampton Institute of Higher particular reference to the differences in research concerning the collection, display Education); C M Kauffmann (Courtauld attitude towards ornament and decoration in and interpretation of objects of fine art, Institute of Art): Elkanah's Gift: An Islamic as opposed to European architecture; graphic design and typography. Particular anthropological footnote to the Bury Bible. and, in contemporary art, calligraphy taken emphasis is placed on the contribution of 8 LONDON CONFERENCE

print towards the commercial character of function and reputation as an inventor of will be the display of objects, in particular visual language, both within systems of fine exemplary narratives. in museums, but also in private collections, art and the structures of graphic The session will include a section devoted and the documentation and interpretation communication. While some papers interpret to Raphael's tapestry cartoons, and the of these objects across a range of texts labels, discrete sets of objects, other papers move technical and historical issues arising from catalogues, books, periodicals, and reviews. to consider the wider critical strategies or the current programme of conservation and A theme will be the impact of colonial contexts available to the historian in documentation of the cartoons taking place discourse and racial theories on the understanding the character and meanings at the V&A. understanding and interpretation of objects. of print. Speakers: Jeremy Wood (Oxford Brooks Papers are invited which examine the Speakers: Christopher Burke (University University): Raphael Copies and Exemplary appropriation of colonial imagery and motifs of Reading): Paul Renner and German Picture Galleries in Mid-18th century by artists and craftsmen of the imperial Typography, 1900-1950; John Hewitt London; Carol Gibson-Wood (University nation, and discuss the use of materials (Manchester Metropolitan University): An of Victoria, Canada): 'Such Stupendous Work imported from the colonies for the production Art for Commerce or Commercial Art? of Art': Jonathan Richardson and the of art objects. Poster design in England in the 1930s; Raphael Cartoons; Janis C Bell (Kenyon Speakers: Jeanne Cannizzo (University of Gerard Mermoz (Coventry University): College): Raphael's Lowest Grade: The Edinburgh): Dr Livingstone Collects; Tom Beyond Functionalism: Towards a semiology critical reception of Raphael's colouring in Flynn (University of Sussex): Taming the of typography; Rick Poynor (Editor, Eye Roger de Piles' 'Balance des Peintres': Tusk: Belgian decorative arts and the magazine, London): Typographical Towards Sharon Fermor (Victoria and Albert promotion of ivory as a colonial commodity a graphic design criticism; Angelika Sachini Museum): The Conservation and at the 1897 Brussels International (Aristotle University of Thessaloniki): Examination of the Raphael Tapestry Exhibition; Nicholas Mirzoeff (University Fighting with Paper Arms: Prints and posters Cartoons; Tom Campbell (Metropolitan of Wisconsin-Madison): Photography at the in Greece, 1940-1949; Frederic Schwartz Museum, New York): Henry VIH's Tapestry Heart of Darkness: Herbert Lang's Congo (University College London): Signs of the Set after Raphael's Acts of the Apostles; photographs (1909-15); Eilean Hooper- Times: Peter Behrens, the AEG and the Wendy Hefford (Victoria and Albert Greenhill (University of Leicester): Makereti Trademark. Robin Reisenfeld (Dickinson Museum): English Tapestry and Raphael's - Transculturation and autoethnography in College, Pennysylvannia): Cultural Cartoons: Appreciation and interpretation the contact zone; Ngapine Allen (University Nationalism, Brucke and the German in the 17th and early 18th centuries; Carmen of Canterbury, New Zealand): Maori Vision Woodcut: The formation of a collective Bambach Cappel (Fordham University, New and the Imperialist Gaze; Karen Stanworth identity; Jeremy Aynsley (Research York): Raphael's Cartoon for 'La Belle (York University, Toronto): A Picture of Department, V&A): Rendering the Jardiniere': Problems of structure, technique Quebec: Artefacts, identify, and nationhood Commodity: The industrial prospectus in and function; Arnold Nesselrath (Biblioteca in British North America; Brian Durrans Germany, 1905-1935; Pat Gilmour Hertzianna, Rome): Art Historical Findings (Museum of Mankind): Ethnographic (University of East London): High Art, Low during the Restoration of the Stanza della Exhibitions and Colonial Style; Tim Art and Artists 'Print. Segnatura: The School of Athens. Discussion Barringer (Victoria and Albert Museum): to be chaired by Professor John Shearman The South Kensington Museum and the Raphael and the Raphaelesque from the (Harvard University). Colonial Project; Deborah Swallow (Victoria Renaissance to the 19th Century: and Albert Museum): Colonial Architecture, Paintings, Drawings and Designs Imperial Eyes: Reading6 Colonial'Objects International Exhibitions and Official Convener: Dr Sharon Fermor, Prints, Conveners: Dr Tim Barringer, Research Patronage of the Indian Artisan: A gateway Drawings and Paintings collection, Victoria Department, V & A; Tom Flynn, School of from Gwalior in the Victoria and Albert and Albert Museum. Cultural and Community Studies, Arts Museum; Catherine Pagani (University of Building, University of Sussex. Alabama): Chinese Material Culture and This session will look particularly at four British Perceptions of China in the Early to aspects of Raphael's activity and influence, This session juxtaposes two key issues in the Mid-19th Century; Rachel E C Layton (The his working practice, with particular study of colonialism in relation to the arts Carnegie Museum of Art, Pittsburgh): Peter reference to the use of drawings and cartoons; and material culture: representations of Bentzon, a 'Mustice' Silversmith in his approach to composition and design, colonial and proto-colonial cultures from Philadelphia and St Croix, 1783-1850; including the use of colour; the adaptation visual and verbal reports made in the field, Richard Hearn: Technical Ekphrasis and of his designs in objects of different media, and the presentation and interpretation of Material: Imperial self-consciousness in including prints, textiles and ceramics, from objects removed from the peripheries of early 19th-century British watercolours; the Renaissance to the 19th century; his empire and displayed at its centre. At issue Karen Kettering (Getty Center for the History

9 LONDON CONFERENCE

of Art and the Humanities): Domesticating University): Photographing the Museum: of London): Innovation and the transfer of Uzbeks: Orientalism and colonialism in Postmodern photography. skill in the London Goldsmiths Trade Soviet decorative arts of the twenties and 1650-1750; Tessa Murdoch and John Styles thirties; David Bate (Surrey Institute of Art Nationalism, Politeness and Commerce: (V&A): Displaying English Art and Design, and Design): Black Object, White Subject; English Art and Design 16601760 1660-1760. Nima Poovaya Smith (Cartwright Hall Conveners: John Styles, Research Bradford) (title to be confirmed). Department, V&A; Tessa Murdoch, Pilgrimage, Relics and Souvenirs Furniture and Woodwork Collection, V&A. Conveners: Marian Campbell, Metal work Art Photography and the Art Museum This session arises out of the work currently Section and John Guy, Indian Section, Conveners: Mark Haworth-Booth and Chris being undertaken to redisplay the Victoria Victoria and Albert Museum. Titterington, Prints, Drawings and Paintings and Albert Museum's three galleries dealing Collection, Victoria and Albert Museum. with British art and design between 1675 and Many religions have in common a reverence 1760. The museum's British Art and Design for places or objects deemed sacred by their The theme of this session is the meaning of galleries aim to provide a general overview historical associations, actual or symbolic. art photography in the context of the art of design and the decorative and fine arts Sacred places and relics became the focus museum. The theme has been chosen from the end of the Middle Ages to the start of devotion and it was necessary to see a site because the Victoria and Albert Museum, of the 20th century. A primary concern in or a relic in person in order to share in its which holds the national collection of the art redisplaying the late 17th and 18th century spiritual benefits. Sacred sites were marked of photography, is planning to open a British Art and Design galleries has been to by works or architecture, relics were encased Photography Gallery in 1998. The ensure that they engage with the new in costly and luxurious materials, while Photography Gallery is intended to serve approaches to the material culture of the votive offerings and pilgrim souvenirs were the academic as well as the general audience. period that have emerged over the last 20 produced in a variety of forms. This session Among the topics to be addressed are the years. The session will explore a range of will explore aspects of pilgrimage in both relationship between the medium publicly new approaches in order to arrive at an western and eastern cultures, with particular announced in 1839 and prior visual media, evaluation of the current state of research in focus on the period 1100-1500. the relationship of art photography to the field. It will focus, in particular, on Europe (Chair: Marian Campbell); Dr commercial applications, the uses of questions of style and taste as they relate to Martin Henig (Institute of Archaeology, photography in postmodern art strategies, as design and the decorative arts. What was Oxford): Silver Shrines for Diana: Roman documentary truth and cultured lie. specifically British about stylistic precedents for Mediaeval shrines and Speakers: Chris Titterington (V&A): After developments in the period? Why was reliquaries; Dr Virginia Glenn (National Before Photography; Joel Snyder (University imitation, adaptation and enhancement of Museum of Scotland): St Louis of France's x)f Chicago): Moving Beyond the Visible: foreign products, both European and Asian, Relic Collection; Dr Paul Binski (University Photography, visibility, and visualization; so important? To what extent was there a shift of Manchester): Shrines for Non-cults: The Roger Taylor (National Museum of in the sources of cultural authority away case of St Edward; Dr Lindy Grant Photography, Film and Television): Paper to from the royal Court to wealthy private (Courtauld Institute): Sugerand the Saints: Paper: Defining the territory; Britt Salvesen patrons and to those aesthetic entrepreneurs Pilgrimages at St Denis; Dr John Eisner (University of Chicago): A Multi- who marketed high design goods, polite (Courtauld Institute): Bobbio and Dimensional Problem: Stereoscopy and the entertainment and cultural criticism? How Walsingham a case study. museum; Helen Barlow: The Mirror of did the rise of the culture of politeness affect The Islamic World and India (Chair: Consciousness': A reading of the the character, use and meaning of artefacts? John Guy); Dr Anna Contadini (Trinity photography of Lady Hawarden; Jeff Rosen Speakers: John Brewer (European College, University of Dublin): Islamic Rock (Columbia College, Chicago): Julia University Institute, Florence) Changing Crystals and Christian Reliquaries; Dr Margaret Cameron's Orientalist Myths; Places: The court, the city and English Jennifer Scarce (Royal Museum of Valerie Holman: Photographing Art: The culture; Mark Hallet (York University): Edinburgh):Talismanic souvenirs in the impact ofAlinari, Braun and Skira; Anne Allegorizing Graphic Culture: The medley Islamic Context; John Guy (Victoria and Hammond (Editor, History of Photography): print in early eighteenth-century London', Albert Museum): Relics, Reliquaries and The Evolution of the Autochrome; Mike Lawrence Klein (University of Nevada, Las Souvenirs in Buddhist India; Dr Anna Weaver (University of Oxford, Editor, Vegas): Gentility and Conversation in Dallapiccola (University of Edinburgh): History of Photography): From the Symbol England 1600-1715; Elizabeth McKellar Pilgrimage Sites of Hindu India. to the Cipher; Stephen Bann (University of (V&A): Design for mass-produced housing Kent): Family Portraits: Introducing Patrick in Late 17th-century London: David Mitchell Feigenbaum; Mark Durden (Staffordshire (Centre for Metropolitan History, University 10 Academic Outcasts? Art Practices on the Chambers (University of Manchester): From Council: The end of Value or a tabula rasa?; Margins of Academies, 1600-1900 Chemistry to Oratory: Etching criticism and Paul Greenhalgh: The Taxonomy and Conveners: Malcolm Baker, Research the quest for academic status. Hierarchy of Pleasure; Rob Stone: Pevsner's Department, Victoria and Albert Museum; Angel. Richard Wrigley, Oxford Brooks University. Predictions After the End of Value Convener: Paul Greenhalgh, Research The Sculpted Object 1400-1700: The general process whereby art academies Department, Victoria and Albert Museum. Expansive Projections and Penetrating in the 17th and 18th centuries were created Insights so as to define them as liberal arts institutions There can be little doubt that cultural Conveners: Stuart Currie (Birkbeck College; is well-known. Far less attention has been institutions have so far failed to come to Peta Evelyn, Sculpture Department, Victoria given, however, to the way in which terms with the full implication of the collapse and Albert Museum. academies established their identity by of value. The collection, presentation and excluding those types of art practice which teaching of art and design has been rendered This session seeks to provide a forum for the were deemed to be incompatible with their problematical by the philosophical examination and re-evaluation of the pivotal own elite ideals. Art historians have tended undermining of stable systems of appraisal, role played by sculpture as a stimulus to to go along with academic rhetoric, and treat and on the level of individuals, both creativity in other artistic fields during the outsiders as peripheral artists, practitioners historians and practitioners have gone period 1400-1700. It intends to focus of minor genres, or merely representatives through insuperable difficulties because of attention upon the multi-dimensional of an alliance between inept visual forms of the displacement of the idea of normative suggestiveness of sculpted imagery and to popular culture and entrepreneurism. This formal value. This would seem to apply not encourage expansive projections from, and session will explore the margins and only to those movements and objects which penetrating insights into, the wide-ranging underside of academic institutional history accepted the formalism of the modernist creative possibilities offered by the three- by focusing on: conflicts regarding the project, but also to later, avowedly relativist, dimensional image across the era of the professional status of various media in developments. Renaissance and into that of the Baroque. relation to academic ideals (eg theatrical The main purpose of this session is to Whether regarding sculpture as paradigm, painting, miniature painting, prints etc); the encourage experimental theory. The role of prototype, or prestigious emblem; decorative nature of the art world outside the Academy; value, its future revival or complete folly, intellectual accessory, or even fantastic discussions in theory and criticism of the replacement, may be a starting point. It is invention; the session wishes to facilitate negotiation of academic thresholds. intended that the papers be millenial, and that traditional and unorthodox points of view. Speakers: Sheila McTighe (Columbia this be expressed in one of two ways: Thus, imaginative re-evaluations of University): Abraham Bosse and the 1 Through discussion of the next probable sculpture's continued potential as a vehicle Perspective Controversy in the Academie phases of practice in the visual arts, or for forging new expressive directions are Royale; Katie Scott (Courtauld Institute): 2 By outlining the next major theoretical called for. These may involve reassessments Inventing in the Author in Early Modern developments, and their implications both of bold technical innovations or sensitive France; Malcolm Baker (V&A): Ivory on for producers and consumers of visual advances in the manipulation of materials; the Margins: Academic attitudes to small- culture. reconsideration of the representation of the scale sculpture in the early 18th century; Papers might focus on an earlier period, sculpted object via graphic interpretations Katherine Coombs (V&A): 'A thing apart... not before 1945, in order to create a context or portrayals in paint, as well as the medium's which excelleth all other painting for the present discussions. Particularly of capacity for projection into medals, ceramics, whatsoever': From splendid isolation to interest are papers which propose to discuss architecture, or other design-related areas. marginalisation ? A closer look at miniature the relevance to art and design history of Speakers: Gerhard Bissell: A 'Dialogue' painting; Paul Staiti (Mount Holyoke developments in other disciplines. The between Sculptor and Architect. Two statues College, Massachusetts): John Singleton session will include a workshop component of S Filippo Neri in the Antamori Chapel; Copley, An American Ex-Centric; Tony in which the speakers will actively exchange Antonia Bostrom (Courtauld Institute): Halliday (Courtauld Institute): Academic views. Michelangelo, Daniele da Volterra and the Outsiders at the Paris Salons of the Speakers: Peter Dormer: Value Equestrian Monument for Henry II of Revolution; Sarah Richards (Lecturer): 'A Judgements and Decision Making; Diane France; Stuart Currie (Birkbeck College): True Siberia': Art in service to commerce; Hill: Predictions about the Endlessness of Concerning the Sculptural Content of Colin Trott (University of Sunderland): Value; Simon Faulkner: Learning to Love Bronzino's Portraits; Peta Evelyn (Victoria Thresholds, Margins and Legitimations: The Evaluation: Value and Institutional Contexts; and Albert Museum): The Decoration of Royal Academy and the professionalisation Professor Jonathan Woodham: Cultural Italian Bells and Mortars; Anthony Radcliffe of painting in early Victorian Britain; Emma Values, Design History and the Design (Keeper Emeritus, Victoria and Albert 11 LONDON CONFERENCE

Museum): Andrea Riccio and the Applied Speakers: Timothy J McNiven (Ohio State to attempt any wide ranging analysis of the Arts in Padua in the Sixteenth Century; Luke University): The Kouros as Sex Object; collection as it existed in 1899 therefore to Syson (British Museum): Learning from the Randall Rhodes (Buffalo State College): lay the foundations for further research Medal: Likeness and commemoration in Caravaggio's Fruit with Fruit; Todd Smith several specific aspects of it will be examined. fifteenth-century Italian portraiture; Lucy (The Kinsey Institute): The Early American Speakers: Oliver Watson: The formation Whittaker (Christ Church Picture Gallery, Queer Nation; Jennifer Doyle (Duke of the glass collection; Marjorie Trusted: Oxford): Tintoretto's Drawings of Sculpture; University): Cutting up Bodies: The John Charles Robinson and the Early Geraldine A Johnson (University College vicissitudes of gender in the work of Thomas Acquisitions of Spanish Sculpture; Rupert London): Art or Artefact: Madonna and Eakins; Nicholas Jagger (University of Faulkner and Anna Jackson: Japan and its Child Reliefs in the Early Renaissance; Leeds): Von Gloeden, Imagined Places and Representation at South Kensington; Ann Alison Wright (University College): Lived Spaces; Shelley Kowalski (University Eatwell: 'Every Cloud has a Silver Lining ': Dimensional Tension in the Work of Antonio of Oregon): The Image that Dare not Speak The role of the loan in the development of Pollaiuolo', David Ekserdjian (Christie's): its Name: Homoerotics in new deal the metalwork collection; Linda Parry: The The Presentation of Everyday Life in photography; Michael Plante (Tulane Role of William Morris in the Formation of Renaissance Bronzes, Drawings, and Prints; University): Buried in the Text: Robert the Textile Collection; Carolyn Sargentsen: Norbert Jopek (Victoria and Albert Indiana and the construction of queer The Acquisition of the Jones Collection. Museum): Two German Monuments: identity; Gavin Butt (Central Saint Martins Histories and interpretations; Antje Schmitt College of Art and Design): Towards a Gay Histories in Art and the Making of the (Warburg Institute): Sculpture versus Male Rhetoric: Queer readings of artistic Past Painting: The iconographic programme of authorship in Cold War America. Panel Conveners: Michael Douglas Scott (Birkbeck the Luneburg Council Chamber. discussion. College) and Valerie Mainz (University of Leeds). Queering the Gaze The Making of the Applied Arts Collection Convener: James Steward, Curator, of the South Kensington Museum This session will not focus upon images University Art Museum, University of Convener: Dr Clive Wainwright, Research from the past and their value as historical California at Berkeley, 2625 Durant Avenue, Department, Victoria and Albert Museum. evidence as in Haskell's History and Its Berkeley. Images (New Haven and London, 1993), Following the large influx of modern but upon images of "the past and conceptions From antiquity to the nudes of Michelangelo, manufactures from the 1851 exhibition into of history in narrative art from the from Ingres' bathers to the photographs of the Museum of Manufactures at Renaissance to the modern period. Whether Lynes and Mapplethorpe, sensually explicit Marlborough House, modern objects from the legendary Golden Age to classical 'male and female figures have directly continued to be acquired, but the acquisition mythology, biblical and ancient history, engaged the gaze of the viewer. Such figures of ancient objects soon began to play a more Arthurian lore, hagiography, the chronical often suggest signs of sensual/sexual feeling, and more important part. At this date and also and modern reportage, the past could be and seem to seek a rapport with the viewer. following the move to South Kensington used to provide moral exempla, to legitimate While such images have traditionally formed the collection however did not grow regimes and to consolidate collective identity. the focus of gay/homoerotic interpretive smoothly or indeed logically because in the We shall be dealing with changes in strategies, what does it mean for a viewer to interests of building it quickly several large historiography, with narrative techniques in engage with a same-sex represented figure? mixed private collections were purchased en pictorial representation and with processes What has this engagement with the object bloc. The study of the nature and the of selection in the imaginative construction meant in the past? What does it mean now, character of this growth and the curatorial of the past. with the emergence of Queer Studies as a strategy which drove it is only just beginning Speakers: Tony Hughes (University of potent field within the academy? How can to be understood. Leeds): Can Sculptures Tell a Story?; Tom Queer Studies expand investigation beyond Both the objects themselves and the Nichols (University of Aberdeen): Imaging the homoerotic? documentation which accompanies them the Myth of Venice: The role of history This session seeks to explore the rise of survive in such profusion that discerning painting in the construction of Venetian a Queer aesthetic on two levels: the projection any pattern is a complex process. Not only Renaissance identity; Helen Langdon backwards of Queer interpretive strategies did the laying of the foundation stone of the (London): Claude and Arcadia: Time and onto art made before the rise of the modern Victoria and Albert Museum in May 1899 timelessness; Helen Weston (University gay movement; and analysis of contemporary signal a change of name as the new parts of College London): 1791: The past in service art in which both maker and critic are the building were completed, the collection of the present, Pascal Dupuy (Universite de working in awareness of Queer perspectives. was completely reorganised. It is premature Rouen/IRED): The English Satirical Prints 12 •

LONDON CONFERENCE

and the History of France during the Maine): Evolutionary Forces in Art History; It is often the case that treatment by a Revolution: Caricatures and public opinion; Norman Freeman (University of Bristol); conservator is not essential to the physical Will Vaughan (Birkbeck College): The How Schoolchildren Change the Way they stability of an object but aesthetic and Nazarenes and the Medieval Tradition; Think about Pictures; W Ray Crozier environmental considerations may demand Claudine Mitchell (University of Leeds): (University of Wales, Cardiff): The Artistic some physical intervention. For example, a Narrating History/Constructing History: Career: Psychological Perspectives on discoloured varnish may interfere with the On the function of history painting in mid- Creativeness; Halla Beloff (University of 'reading' of a painting but it is not necessarily 19 th century France; Sighle Edinburgh): Fabric and Fascination: de causing the object to deteriorate, or a painting Bhreathnach-Lynch (Dublin): The Easter Clerambault's photographs of veiled woman; may have to undergo lining to withstand the Rising 1916: Constructing a canon in art and Andrew S Winston (University of Guelph): rigours of loan. The process of conservation artefacts; Nancy Jachec (Birkbeck College): The Comforts of Home: Psychological provides an opportunity for reassessment The Recuperation of International aesthetics and sentimental art; Gerald C not only of the condition of an object but of Modernism and its Implications for Cupchik (University of Toronto): Whose materials and techniques of manufacture Historical Painting at the End of the Cold Interpretation is it Anyway?; Paul Locher leading to better understanding of our War; David Green (University of Brighton): (Montclair State College): Using Eye collections. From History Painting to the History of Movement to Study how Compositional Papers to be presented cover a range of Painting; Peter Seddon (University of Balance Influences the Perceptual Analysis topics including definitions of damage, a Brighton): The Last Things: From and Aesthetic Judgements of paintings; I C consideration of the decision-making eschatology to ecology, and the practice of Manus (University College London): processes in approaches to treatments and depicting history. Balance, Structure and Composition in a look at collaborative ventures, all of which Painting: Experimental approaches; lead to new understandings and the Psychological Aesthetics: Contemporary Shulamith Kreitler (Tel Aviv University): discoveries made in the process. Trends and Issues Art and Life: How does art affect the Speakers: Jonathan Ashley-Smith (V&A): Convener: Dr W R Crozier, School of spectator's behaviour? Definitions of Damage; Alison Richmond Education, University of Wales College of (V&A): Critical Decisions in the Cardiff. When an Object, History and Conservation of an Old Master Drawing; Conservation Meet New Perspectives, Old Anne Godden Amos (V&A): 'Conservation' Discussion of psychological responses to Dilemmas versus 'Interpretation'- Sacred oriental art objects frequently concentrates on Convener: Lucia Scalisi, Senior Conservator textiles; Stephen Rickerby (Freelance psychoanalysis to the neglect of of Paintings, Victoria and Albert Museum. Conservator): Outside Museum Walls: The psychological aesthetics, a branch of conservation of in situ mural painting: psychology that has developed a large body Objects and collections have histories which Richard Cook and Timothy Stevens (V&A): of research applying a range of psychological are more than the sum of their parts. This What is a Surface?: Surfaces on 18th- and theories and methods to issues in aesthetics. session looks at aspects of decision-making 19th-century sculpture at the V&A; Ron The discipline of empirical aesthetics is as in conservation through case histories which Parkinson and Lucia Scalisi: Conservation old as scientific psychology itself, and its have provoked dilemmas in the field. There and Curatorship. origins can be traced to the last century and will also be a presentation of new work Fechner's studies of museum visitors' being undertaken to help resolve some of the Historicizing the Boundaries between the reactions to the Holbein Madonna and his issues encountered as we question the way Fine and Decorative Arts investigation of the aesthetic properties of we care for and interpret works of art. Conveners: Karen Kettering, Scholars' the golden section. Current approaches draw Conservation practice is usually achieved Department, Getty Center for the History of upon a number of paradigms, including by consensus, where soundly based Art and the Humanities, 401 Wiltshire Blvd., gestalt psychology and Gibson's theory of assessments are made before action is taken. Suite 700, Santa Monica, CA 90405 USA visual perception, as well as the insights of Liaison between curator and conservator is and Nancy Owen, Department of Art History, psychoanalysis, but the principal stimulation essential when criteria for display, loan and Northwestern University, Kresge 254, 1859 to research has been provided by the work storage all place different emphasis on the Sheridan Road, Evanston, IL 60208, USA. of the late Daniel Berlyne, who offered a perception of an object's condition. Where comprehensive theory of aesthetic responses the environmental factors of display are Modernist art historical and museological to a range of art forms and designed objects detrimental to the life of the object or when discourse have traditionally defined the more generally, a theory that was firmly a spiritual context may be best observed, decorative arts as intellectually less complex embedded in psychological principles. conflicts and dilemma are not easily than the fine arts. Recognising that this has Speakers: Colin Martindale (University of assuaged. not always been the case, this panel seeks

13 LONDON CONFERENCE

to interrogate the historical and theoretical use of fine art to market decorative art borders between the fine and decorative arts objects, and the relation of the decorative arts AAH Student Group: Researching as well as the timing and rhetoric of this split. to ethnographic discourse. Contemporary Art The critical marginalisation of the Speakers: John Hallmark Neff (School Convener: Pauline de Souza, Student ornamental and the decorative contributed of the Art Institute of Chicago, USA): Group Chair to the positioning of the production of a Matisse, La Decoration, and Modern Art; number of cultures as ethnographic or Janice Helland (Concordia University, Speakers: John Glaves-Smith anthropological artefacts rather than works Canada): The Studios of Frances and (Staffordshire University); Insiders and of fine art. Critical writing has also reiterated Margaret Macdonald; Graham M McLaren Outsiders: The art historian and a feminisation of the decorative arts, in part (Staffordshire University): Home Hobby or contemporary art; Sarah Wilson due to the preponderance of women as both Professional Vocation?: The struggle for (Courtauld Institute): Truth and producers and the intended consumers of the future in the Victorian china painting Prevarications: Old Stalinist traditions such works in the modern period. Finally, community; Wendy R Salmond (Chapman and oral history; plus: Brigitte Corley the conjunction of the decorative arts and the University, USA), From Good Works to (Chair of Freelance Group) on the bourgeois home produced a number of Works of Art: Elena Polenova and the place forthcoming Freelance Register. uninvestigated objects which served to render of the decorative arts in fin-de-siecle Russia; images of the exotic or colonial Other, Anthony Burton (Bethnal Green Museum of palatable for consumption in the domestic Childhood): Playtime for Art History? sphere. The conveners are seeking a wide Placing the study of toys in the intellectual variety of papers that will address questions universe; Isabella Frank (Bard Graduate such as the history of the decorative arts Center for Studies in the Decorative Arts, within museums of all varieties, the USA): Riegl's Concept of Style in the gendering of decoration and ornament, Decorative and the Fine Arts. decorative art production by Tine' artists, the AGM ANNUAL GENERAL MEETING Minutes of the 20th Annual General Meeting held at the University of Central England at Birmingham on 10 April 1994

Attendance: 1 Executive apologies: Ruth Brompton, the activities of the EC during the year, Executive present: Nigel Llewellyn (Chair), Deirdre Robson, Rowan Watson, Robin which had been regularly reported in Claire Donovan (Hon Secretary), Theo Simon. Bulletin. Instead it raised again the need to Cowdell (Hon Treasurer), Peter Crocker consider the future of the Association, and (Asst. Treasurer), Kate Woodhead (Publicity 2 Minutes: The minutes of the 19th Annual its role in support of its broad constituency and Administration), Elizabeth Allen, General Meeting held at the Tate Gallery on of membership. In presenting the report, the Brigitte Corley, Mark Evans, Robert Gibbs, 4 April 1993 were agreed and signed. Chair proposed that it was intended that the John House, Sylvia Lahav, Elizabeth meeting should have an open opportunity to McKellar, George Noszlopy, Marcia Pointon, 3 Matters arising: There were no matters discuss these and other items after the formal Charles Saumarez Smith, Pauline de Souza, arising from the minutes, which would not business was concluded. The report was William Vaughan, Toshio Watanabe, Angela arise under separate items. accepted. Weight. 4 Chair's Report: The Chair's written 5 Honorary Secretary's Report: The Members: The meeting was attended by report had been publicly posted up at the Honorary Secretary's written report ha# d approximately 70 members. Conference. It did not lay out the detail of been publicly posted up at the Conference, 14 AGM

together with details of the nominations for Treasurers and four Chairs: Dennis Fair, provide much more detailed information on election to the EC. The meeting thanked the Marcia Pointon, Martin Kemp and Nigel the membership. Those who had contributed three members of the Executive Committee Llewellyn. He presented the Association to the Student Support Fund were thanked who had concluded their terms of office, with a photograph album containing a for enabling some students to attend the Fran Hannah, Deirdre Robson and Charles cumulative record of AAH Annual Conference this year. The report was Saumarez Smith. Conferences. accepted. Theo Cowdell had resigned the ex-officio The Honorary Treasurer presented the post of Honorary Treasurer, after four years accounts for 1993-4. These showed the 8 Report from the Editor of Bulletin: of service. A nomination for Peter Baitup had higher than usual expenses of the 1993 The written report from the Editor of Bulletin been received to fill this post. This conference, due mainly to the hire of the had been publicly posted up at the nomination had been unanimously accepted marquee. The increase in membership fees Conference. New arrangements for by the EC, and was confirmed by the general coming into effect for 1994 after a static distribution were reported. Toshio Watanabe meeting. period would help to cover a general increase had taken up the role of Associate Editor, John House and Theo Cowdell were in outgoings. assisting Jannet King in producing additional proposed by Nigel Llewellyn as tellers for If the Association wishes to*represent its material for Bulletin, of broad interest, the election to the EC, seconded by John members' interests more broadly, it will including reports from conferences. The Steer. The result of the paper ballot count was need to generate more income, and the report was accepted. announced: that Dawn Ades, Helen Smailes mechanism for this must be considered over and Craig Clunas were all elected for a full the next few years. The Treasurer thanked 9 Report from the Editor of Art History: term of three years; and Robin Simon (who the organisers of the Portraiture Conference The written report from the Editor of Art had served as a co-opted member 1993^) at Manchester which had made a small profit, History had been publicly posted up at the and George Noszlopy (who had served as the and the organisers of the Thesis Prize, which Conference. The report covered the period Conference organiser in 1993-4) were both had offered good value for the small 1 July 1992, when Marcia Pointon had taken elected for a two-year term. This brought the expenditure incurred. Work was in progress over the editorship, to 23 January 1993, and EC to full strength. to diminish the liability of the Association provided detail of the organisation and No nominations had yet been received for VAT. The formation of the trading personnel involved in the production of the for the Chair of the Association, to take over company, Pitchfactor Limited, was noted, journal. The new figures from Blackwell's at the AGM in 1995, in succession to Nigel which would handle fund-raising activities. (to the end of 1992) represent an increase Llewellyn. It was proposed that a further Peter Crocker urged all members to ensure in subscriptions of 5% to over 2000. The notice should be published in Bulletin, to that any standing orders with National experiment of producing special issues, with request nominations to be submitted, with Westminster bank were updated, and funds both ISSN and ISBN numbers, had led to a postal ballot to be held in the event of tranferred to the Yorkshire Bank, which now additional copies being sold. The policy more than one nomination. Proposed: Nigel holds the account. He reported that there would be reviewed by the Editorial Board Llewellyn, seconded: Michael Podro, Dennis continued to be a considerable number of in May. Fair. outdated standing orders, which were annually paid, despite the fact that the 10 Report from the Chair of the British 6 Honorary Treasurer's Report: The individuals concerned had been informed. National Committee of CIHA (Comite written report from the Honorary Treasurer The accounts for the year ending 31 International d'Histoire d'Art): The written had been publicly posted up at the December 1993, showing a closing balance report from the Chair of the British National Conference .The Honorary Treasurer reported of £7,761, were presented. A proposal to Committee of CIHA had been publicly that, in addition to his own resignation, the accept the accounts was received from posted up at the Conference.The British Assistant Treasurer for many years, Peter Francis Ames-Lewis, seconded by Dennis Committee had operated under its new Crocker, was also retiring. Peter was warmly Fair, unanimously accepted. constitution for a year, and had elected Julian thanked for his long years of voluntary Gardner as Honorary Secretary. The service to the Association, and presented 7 Director of Publicity and organiser for the London CIHA Congress in with an illuminated address, with a tankard, Administration's Report: Approximately 2000 will be selected during 1994. Two and with an invitation to him to attend the 400 new members had been recorded during vacancies remain on the Committee (one as Prague Colloquium in September, the year, with the overall membership a result of the resignation of Dennis Farr, who accompanied by his wife, as guests of the growing by approximately 100 per year. has been elected as an honorary member). Association. He responded with thanks, and The membership overseas was also Paul Binski is proposed by Julian Gardner recalled the privilege it had been to serve as extending. A new computerised database is and Dennis Farr; Joanna Woodall is proposed Assistant Treasurer alongside three being established, with the capacity to by Lisa Tickner and Tag Gronberg. Both 15 AGM

candidates were unanimously elected. The university level was discussed, particularly post-graduate education relating to museum, report was accepted. as a result of the static nature of examination gallery and related studies (Teresa Gleadowe boards, and their narrow view of what and Richard Humphreys on joint MA course 11 Subcommittees constitutes art history. The introduction of Royal College/Middlesex University/Tate All subcommittees had submitted written GNVQ in art and design raised further Gallery). Guest speakers will be invited to reports, which had been publicly posted up questions concerning the type of art history lead meetings during the coming year, during the Conference. such students will be offered. It was agreed including some to be held at out-of-London that further contact between the various galleries and museums. The itinerary for Freelance bodies and the Association would be of these meetings would be published in The subcommittee of 12 meets regularly, benefit, and the Schools subcommittee was Bulletin. Sylvia Lahav was thanked for the and considers many topical issues, chief encouraged to develop a strategy. A number successful programme of meetings. The among them the updating of the Register of of events in addition to those organised by report was accepted. Freelance Art and Design Historians. This the subcommittee were noted, including an has been available only as a listing, and it annual two-day event at the University of Universities and Colleges is now to be published. The ambition to Essex, and a conference at the University of A number of activities were reported, establish a slide library in London, to replace Brighton on the 'processes of teaching and including information-gathering about the service formerly offered by the V&A learning in art history', scheduled for autumn European links with HE establishments, the National Art Slide Library, has been a major 1994. The report was accepted. funding of art and design history following issue for the freelance subcommittee. the findings of the Research Assessment Copyright problems have also been a concern Students exercise, developments in relation to research for the freelance subcommittee, both in The student group has organised a number issues, the nature of art history as taught at relation to the making and keeping of slides, of meetings for student members of the further education colleges. The usually and the fees charged for copyright for Association, which have been valuable, annual questionnaire to departments teaching reproduction of images in scholarly articles although attendance is inevitably restricted art history has been delayed, due to the and books. The subcommittee invites more due to the costs of travel. The compilation increasing complication of the provision of freelance members to make contact, and is of a list of museums and galleries willing to art history in institutions of Higher Education particularly keen for someone to join the offer student placements has proved valuable. now included as part of this subcommittee. subcommittee to organise social events. The Careers Booklet is to be published The questionnaire will be revised and sent Brigitte Corley was thanked for her work as shortly. The Student Support Fund has been out. All institutions are urged to ensure that Chair. The report was accepted. set up, and has gained contributions enabling their departmental contacts are included on students to attend the Conference. the list, available at the Conference. A revised ^Schools This was the last report from the current entry has been sent to the National The subcommittee reports a number of new Chair, Ruth Brompton, and she was formally Westminster Student Guide, to identify Art initiatives, including regional meetings for and warmly thanked for her work, bringing History as a discipline separate from Fine teachers of art history, gaining representation the students subcommittee into a lively state. Art. The thesis prize competition has been on Examination Boards for art history, The new Chair is Pauline de Souza, who has run for the second year, and awards made, furthering the British School at Rome bursary been a very active secretary to the presented at the start of the Conference by for a school-teacher and the Nicholas Cann subcommittee, organising many of its events. the chair of the Association. The National Travel Award for school students. This year The report was accepted. Art Slide Library, and issues of copyright had seen the launch of ARTEFACT, a have also been on the agenda of discussions newsletter for school teachers. The meeting Art Galleries and Museums undertaken through the subcommittee. Will welcomed this initiative and the opportunity The subcommittee was in its first year after Vaughan had chaired the NASL working it offered for disseminating information to being re-formed. A number of meetings had group, and although at present it appeared teachers of art history. Art history does not been held, organised by the new Chair, Sylvia that no further progress was possible, the have a high academic profile in schools and Lahav, and the format of future meetings group remained in contact. Will Vaughan colleges, and in many cases is offered by established. After meetings concerned to was thanked for his work on this group, as isolated art historians, who work in a studio define the shared focus of the subcommittee were Catherine Parry-Wingfield and Brigitte art department. The importance for the meetings, speakers were invited to speak to Corley, who had represented the Freelance Association of supporting the increasing the group on a variety of matters, including subcommittee. teaching of art history in schools was performance indicators (Michael Podro, affirmed by the meeting. The disparity Essex University, and Mary Beale, the between art historv at 'A' level and at Government Arts Collection Fund), and

16 AGM

prove valuable in a number of ways, both to Society) is a private commercial organisation, The Artists Papers Register Project the association and the publishers which has secured the management of The project, to establish a survey of themselves. It was suggested that this would copyright on the works of artists, for their unpublished manuscript material in be valuable in relation to the Book Fair, to benefit and that of the artists'estates. DACS repositories in the British Isles, relating to the Thesis Prizes, to reproduction rights and is now intending to set up a scheme to license artists of every kind, had failed to find copyright, which constitute rather different slide libraries, and to apply to the Secretary sponsorship in its original format. interests from the majority of the of State (the President of the Board of Trade). Discussions were in hand with Richard Verdi membership. It was agreed that this matter The proposal is for a package whereby the of the Barber Institute of Fine Arts of would be considered by the EC, and a institution pays a standard fee, a start-up Birmingham University and the University proposal would be brought to the next Annual fee set through an assessment of the number Librarian to set up the project, on a more General Meeting. It was noted that the EC of slides held in the collection in limited scale. Resources will still be needed is empowered to set up sub-committees. contravention of the new law, and an annual to get it underway, and sponsorship will be Dennis Farr raised the problem of fee levied pro rata for each slide made from sought, once the new project format has been Canova's Three Graces, and proposed that published material. set up. The Chair of the subcommittee, the Association should formulate a Motion The AAH has been consulted from the Rowan Watson, was hoping to find a of protest to the Government, which has beginning of the scheme, as has ARLIS. replacement Chair. failed to confirm the stop on an export licence The AAH has raised a number of questions, 12 Conferences for this starred work of art. The Motion: to do with the breadth of acceptance of this London 1995 The Association of Art Historians deplores scheme world-wide, the scale of costs and The 1995 Conference will be held at the the decision of the Secretary of State for bureaucracy to be set, the process of V&A from 7-9 April 1995. The Conference National Heritage to limit the export stop distribution of monies to copyright holders, convener is Dr Elizabeth McKellar, of the on the Canova sculpture, the Three Graces, but has yet to receive answers on these Education Department. Its title is Objects, beyond August 1994. This is a pre-eminent matters. Histories and Interpretations. Full starred work of art and, should it be It was noted that in most cases publishers information will be published in Bulletin. allowed to leave the United Kingdom, it are willing to agree to single slides being would be the only starred object to have made for educational purposes, if they are 1996 been lost. The Association of Art the copyright holders, although the An informal proposal has been received Historians calls on HM Government to complexity of copyright means that this is from the University of Northumbria at fund its acquisition as a matter of the not often the case. Newcastle, which the EC has considered, and greatest urgency. The international nature of the copyright has invited a formal detailed proposal. Paul The motion was proposed by Dennis Fair; problem and the need to keep informed Usherwood reported that as this will be the seconded by Mark Evans, and passed about the way other countries are managing year of the Visual Arts in Tyneside there unanimously. the difficulties was noted. should be considerable local interest, and, The observation was made that this with a number of institutions involved in The formal business of the Annual General problem is at the heart of everything that we art and design history, a theme of broad Meeting was now complete. The Meeting do, as professional art historians. It was interest should be agreed upon shortly. The turned to general issues raised through the agreed that it was time to adopt a co• meeting accepted this proposal with interest. Chair's report, and from the floor. ordinated approach, and a more aggressive stance, not to allow the initiative to pass to 1995: The Visual Culture of Art and Copyright a commercial enterprise which intended to profit from the situation. Science: the Renaissance to the present The Copyright issue - since the 1988 Act - Martin Kemp reported on the collaboration had been a regular feature of the discussion The meeting wished the Association to between the AAH, the British Society for the of the Association. A change in the law - an seek further clarification, including the status History of Science and the Committee for amendment to the Act - must be the ultimate of the organisation. It was noted that the the Public Understanding of Science goal, but legal advice taken early on had Arts Council contribute to the funding of (COPUS) to mount an exhibition at the indicated that this was unlikely to be DACS, and that this should be investigated, Royal Society in July 1995 on this theme. successful. Institutions, particularly those but the distinction was clear between the Details of this would be published in Bulletin. work undertaken by DACS on behalf of engaged in teaching art history and artists and designers, and the proposed maintaining a slide library, have recognised licensing of slides for teaching purposes. 13 Any Other Business: A proposal was the problem, and slide libraries have suffered made by Robert Gibbs that a publishers' The meeting was reminded of the breadth in all areas as a result. of the problem, including in the future other special interest group be set up, which could DACS (Designers and Artists Copyright 17 AGM

forms of visual media, including film, video, related copyright difficulties. It was noted of the Association, raised in the 'Way digitised images. The proposals from DACS, that the EC are also concerned with the Forward'discussions of the preceding year, as understood at present, were considered not increasing level of copyright fees for would continue to be considered by the EC to be comprehensive enough, nor to offer the reproduction, even now in scholarly works, during the year. security from potential prosecutions that and would be endeavouring to make any institutional slide library would require. representations to collections on behalf of The meeting unanimously thanked the Chair The EC would continue to pursue the academic authors and publishers. for the work he had undertaken on behalf of matter, and asked all members to contribute Other issues raised by the Chair, including all members during 1993-4. The meeting information of value to the Chair on this or following up matters concerning the future was closed.

PROPOSED CHANGES TO AAH CONSTITUTION

At the Annual General Meeting in 1994, the members back. We need to launch an effective Any revisions to the Constitution must be Chair spoke of a number of changes that the sponsorship campaign. But these measures published in Bulletin before the Annual Executive Committee would be considering need time, and this is a commodity in short General Meeting, at which it will be put to during the year. Among them was a need to supply among the Executive. the vote. There are a number of matters define more clearly the accessibility of the Discussions at the Executive Committee on which have required the constitution to be Association to the whole range of potential these matters have led to a number of modified at this time, and the opportunity has members, to encourage those established proposals, which will be discussed at the been taken to clarify its layout. The proposed professional art historians who are not AGM in April. One proposal is that the revised Constitution is set out below. members to join, and to welcome those who Association should elect a President. The Amendments relating to the introduction of have a vigorous interest in art history, but President would not be responsible for the the President are printed in bold. All without a professional role as an 'art day-to-day running of the Association, which members should be in possession of a current historian \ would continue to be the responsibility of the Constitution, but copies may be obtained In addition, the Chair spoke of the need for Chair as at present, supported by the other from the Director of Publicity and the AAH to continue its role in support of all officers. The President would be an ex-officio Administration, Kate Woodhead, who would those involved in art history - whether as member of the Executive Committee, and be grateful if you would send a stamped teachers, university lecturers, researchers, she or he would be expected to undertake a addressed envelope with any such request. curators, freelancers, or students. This extends range of public duties on behalf of the The matter will be discussed at the AGM to matters such as publishing, reproduction Association, the Executive and the profession on Sunday 9 April, 1995, which all members copyright, professional guidelines and generally. The President would be a senior are entitled to attend free (whether or not member of the profession, and would support conferences. That this broad agenda for the attending the Annual Conference). (See the position of the AAH as the principal Association requires further support is self- Announcements for further details.) Any association for all those engaged in art history. evident. This support is necessary both from member wishing to express a view is invited people and further funding. We will need to This proposal would, if approved, need to to write to the Honorary Secretary in continue to increase our membership, to be included in the Constitution of the advance of the meeting. encourage new members in and former Association.

18 Constitution of the Association of Art Historians Draft Revised Version

1 The name of the Association shall be the Association of Art 11 The Executive Committee shall consist of Officers who shall Historians (AAH). be the Chair, the Honorary Treasurer and the Honorary Secretary, nine elected members, ex officio members and up to six co-opted 2 The Association is a Charity whose aim is to advance the education members. The President, the editor of the Bulletin and the editor of the public by the study of Art History and by publishing or of Art History shall be ex-officio members of the EC. otherwise publicising the results of this study. 12 The President shall be elected by the same procedures as the 3 Membership is open to professional art historians and researchers elected members of the EC; the election of the President shall in the field, and to all those involved in the study, teaching and not coincide with the installation of a new Chair. The person propagation of art history and those with an active interest in and holding this office shall be subject to re-election at the AGM every commitment to the subject. three years and shall normally serve for no more than six years. His or her primary formal function shall be to chair the General 4 All members shall be entitled to attend, speak and vote at General Meetings of the Association; in addition he or she shall represent Meetings, and to stand for office in the Association. the Association and its interests in whatever way is appropriate, in consultation with the Chair and the EC. 5 All members shall receive a membership card and a copy of the Constitution. 13 The Honorary Treasurer and the Honorary Secretary shall be elected by the EC and shall normally be present or past members 6 The Association reserves the right to deny or withhold membership of the EC. There shall be no term on the office of Honorary Treasurer from anyone who, in the opinion of the Executive Committee, is or Honorary Secretary, but persons holding these offices shall be likely to bring the Association into disrepute. Appeals against subject to re-election at the AGM every three years. expulsion or exclusion may be made in writing to the Executive Committee, whose decision shall be final. 14 The EC shall have the authority to create standing sub-committees and working parties from among the membership. All acts and 7 All members shall pay an annual subscription, due on 1 st January. proceedings of any such subcommittee or working party shall be Rates of subscription shall be proposed by the Executive Committee reported back to the EC. Subcommittees shall elect their own Chair, and ratified at the Annual General Meeting (AGM). The audited who will be an ex-officio member of the EC. accounts of the Association (and of any wholly owned subsidiary company of the Association) shall be presented at the AGM. 15 The EC shall also have the power to co-opt no more than six persons to fill vacancies on the EC, or to provide representation for 8 The management of the Association shall be in the hands of an interest sections among the membership that would otherwise lack Executive Committee (EC). The EC shall meet as often as necessary adequate representation. The Chair of the British National Committee for the transaction of business, and the meetings shall be called by of CIHA shall also be a co-opted member of the EC. Members co- the Honorary Secretary with the authority of the Chair, or at the opted to fill vacancies may submit themselves for election to the written request of three members of the Committee. Its proceedings EC at the next AGM. shall be presented for approval in a written report to the AGM. 16 Other persons associated with the work of the Association may 9 The Chair shall be elected for a period of three years after which be invited to attend meetings of the EC, without voting rights. he or she shall not be eligible for re-election for a period of three years, but shall be a supernumerary member of the EC for the year 17 No member other than the Honorary Secretary, the Honorary after ceasing to be Chair. Treasurer or the President, the ex-officio members and the Chair of the British National Committee of CIHA shall serve on the 10 The Chair shall be elected by postal ballot of the membership Executive Committee for more than five years, after which one year to be conducted by the Electoral Reform Society or by a Committee shall elapse before he or she is eligible for further service. of five members of the Association appointed for this purpose by the EC. Nominations in writing (duly seconded by two members 18 The EC shall elect from among itself a vice-Chair. In the event and with the agreement of the nominee) shall be with the Honorary of the death or resignation of the Chair, the vice-Chair shall Secretary not later than the AGM one year in advance of the immediately take office as Acting Chair and agree with the Executive retirement of the current Chair. Notification of the timetable for Committee a time-table for electing a new Chair. election to the Chair shall be given in writing to the membership.

19 AGM

19 All officers, elected members, ex-officio members and co-opted 27 An Extraordinary General Meeting (EGM) may be called by the members of the EC shall have an equal vote at the meetings of the EC provided the membership is given thirty days notice in writing. EC. In the event of a tie, the Chair shall have a casting vote in all An EGM may also be called by any member of the Association, matters. In addition the EC may conduct a postal vote on any major supported by signatures of twenty-four members; such a meeting matter. The quorum for an EC meeting shall be seven. shall take place within eight weeks of the Honorary Secretary receiving the request, and the membership shall be given thirty 20 Any paid officer of the Association, shall attend the meetings days notice in writing. of the EC but have no vote. 28 The quorum for the AGM or an EGM shall be forty members. 21 Any property belonging to the Association may be vested in the names of not more than four nor fewer than two trustees appointed 29 In the event of the Association ceasing to exist any funds by the EC. The funds of the Association may be invested as the EC remaining shall be given as a final General Meeting shall direct, to shall in their absolute discretion think fit as if they were the beneficial a charitable or learned society having similar aims. owners thereof. Standing Orders for the Conduct of AAH General Meetings 22 General meetings of the Association shall be the final authority for matters concerning the Association. There shall be an Annual 1 Order of business General Meeting at which reports shall be made of the activities of the Association and new members of the EC shall be elected. 1 Apologies Members shall be given 30 days notice of the date, place and agenda ii Minutes of the previous AGM of the AGM. iii Address by the President iv Chair's Report 23 Nominations for membership of the EC (duly seconded and with v Membership report for previous year the candidate's consent, and a brief statement of his or her background vi Honorary Secretary's Report and interests) shall be invited from the membership before the vii Honorary Treasurer's report AGM. Nominations must be sent in writing to the Honorary Secretary viii Report from the Editor of the Bulletin at least twenty-one days before the AGM. ix Report from the Editor of Art History x Reports from subcommittees, and formal hand-over to new 24 Motions affecting the management and Constitution of the representatives Association must be sent in writing to the Honorary Secretary at xi Report from British Chair of CIHA least twenty-one days before the AGM. However, proposed xii Motions ^amendments to the Constitution may not be brought to the vote unless xii AOB they have been previously published in the Bulletin of the Association. Any amendment to the Constitution must be passed by a two-thirds 2 After a motion has been moved and seconded the Chair (President) majority. Matters other than those affecting the Constitution may shall call for any amendments to be moved, seconded, discussed be raised at the meeting itself, with the prior consent of the Chair. and voted upon, before moving to the substantive motion for discussion and vote. No member shall normally speak more than 25 In the event of a tie, the Chair (President) shall have a casting once on any motion, with the exception of the mover exercising the vote in all matters at General Meetings. right of reply. 26 No amendment made to Clauses 2,24,29 shall take effect until 3 The decision of the Chair (President) shall be final. If this the written approval of the Charity Commissioners or other authority decision is challenged, this issue shall be taken as the first item of having charitable jurisdiction has been obtained; and no alteration business at the next General Meeting. shall be made which would cause the Association to cease to be a charity in law.

20 Post-Graduate Research Supervisors' Scottish Symposium Contemporary Art 2.00 pm, 8 March 1995 10.00 am-4.00 pm, Saturday 13 May 1995 Glasgow University School of Theoretical and Historical Studies in Art and Design Organised by Katharine University of Central England in Birmingham Schopflin, President of the ThiOrganiseds symposium isby designe AAHd toUniversities support the andFo rColleges further details Subcommittee, please contac t Fine Art Society at Glasgow supervisors of post-graduate research Professor Kenneth Quickenden, School of degrees. With new regulations being Theoretical and Historical Studies in Art University, and Pauline de introduced by funding bodies, and an and Design, Department of Art, Birmingham Souza, Chair, AAH Student increasing emphasis on completion rates, Institute of Art and Design, Corporation and on training for research, the symposium Street, Gosta Green, Birmingham B4 7DX. Group will include talks from those experienced in Tel: 0121 331 5880. To book a place, please research, and offer the opportunity for send a cheque, made out to the AAH, for Speakers as follows: Duncan Macmillan workshop discussion. £15.00. This includes coffee, lunch and tea. (Talbot Rice Centre); Andrew Nairne (Visual Arts Director, Scottish Arts Council): The New Art in Scotland', Sandy Stoddaret Vandals & Enthusiasts (artist): Official Modernist Art, Absolutism of the British Construction: The Role of The Victorian Fabrication of the Middle Ages Neo-Classicism in the Disillusion of Britain', Nicola White (Director, Centre for Saturday, 11 March 1995 Contemporary Arts). Lecture Theatre, Victoria & Albert Museum The seminar is open to all AAH members. For more information, please contact: This symposium will take a broad look at the Inga Bryden on the reinvention of the Pauline de Souza, 13 Guildford Street, subject of the Victorians' reinvention of the Arthurian myth in the Victorian period; Chris Stoke-on-Trent, ST4 2EP. Middle Ages. It complements a display of Miele on Victorian attitudes to architectural the Victorians' use of illuminated antiquity; Rowan Watson on the nineteenth- manuscripts that will be in the Henry Cole century view of the medieval illuminator; Wing at the same time. The symposium will Michael Camille on the current postmodern be of interest both to historians of the reinvention of the Middle Ages. The Nation State and nineteenth century and medievalists. For more information, please contact the Speakers include: Chris Brooks on the Education Department, Victoria & Albert political and ideological realignment of the Museum, South Kensington, London SW7 Cultural Gothic Revival in the mid-1830s and 1840s; 2RL. Tel: 071 938 8638. Management Conference Details 2.00pm-6.00 pm,Wednesday To ensure that the Bulletin provides as wide a coverage of conferences and calls for papers as possible, please could you make sure you send details of any conference you 22 March 1995 are organising to the Editor. Raman Selden Centre It would also be helpful if AAH members could encourage non-AAH conference University of Sunderland organisers at their institutions to do the same. Many thanks. Speakers: Jonathan Harris, Bill Schwartz, Eilean Hooper-Greenhill. Jannet King For further information, contact: Dr Colin Editor, Bulletin. Trodd, School of Arts, Design & Communications, Ashburne House, 21 Backhouse Park. Tel: 091 515 2131. CONFERENCE NEWS

Libraries of the Future Managing Culture in IFLA General Conference a Time of Transition 20-26 August 1995 Proposed conference at the Istanbul Soros Center for Call for Papers Contemporary Arts, Prague The International Federation of Library Any proposal for a paper should include In the past five years there have been radical Associations and Institutions is holding its the following information: author's name, social and economic changes in the Czech 61st general conference in Istanbul. The Art institutional affiliation, address, telephone Republic, resulting in changes in the structure Libraries Section proposes to hold a one-day and fax number, email address (professional), of ownership. Changes in legislation have workshop and an open session during the address, telephone and fax number led to the establishment of a democractic civil conference. The special themes will be: (personal), brief biographical information, society. These have had a serious impact on • Islamic Collections in Turkey and title of paper, original language version, cultural institutions, faced now with new Elsewhere translated version, audiovisual or other problems and dilemmas. Unlike the spheres • Libraries of the Future: The impact of equipment required. of politics and business, cultural institutions modern technology, such as imaging, on Please send proposals to: have yet to make any substantial changes in art librarianship. Jan van der Wateren their statutory and legislative organisation, You are invited to take part in this meeting Chairman, IFLA Section of Art Libraries their ways of financing and managing and by delivering a paper or by recommending c/o National Art Library their approach to the public. speakers to lecture on either of the two Victoria & Albert Museum It is clear that in order to function and themes. (As it is not possible to provide South Kensington develop successfully, these cultural translations of lectures centrally, prospective London SW7 2RL. institutions need to reassess their ways of contributors will be required to provide a Tel: 071 938 8303; Fax: 071 938 8275; managing and to redefine their role in the translation into at least one other language email: 100316.3515@COMPUSERVE. new society. It may be that they can learn if at all possible.) COM. from the experience and expertise of those faced with similar problems in economically developed countries. The conference aims to establish a forum for the presentation and discussion of these \ issues, bringing together representatives of Collecting India Czech cultural institutions with foreign and Czech experts to discuss key issues of 24 March 1995 management for cultural institutions in University of East Anglia (Norwich) countries undergoing economic transition. We would like to invite European and A one-day symposium organised by the American professionals from the field of School of World Art Studies and Museology cultural management - both practical and theoretical - to introduce to the Czech Speakers will consider the history of Studies) and others, yet to be confirmed. audience the variety of cultural networks collecting from India by individuals and Tickets: £10.00; concessions £7.00. and structures which exist in highly institutions from the 17th century to the Tickets include admission to the Howard developed countries. present day, with discussion focusing on the Hodgkin collection of Indian miniatures, For further information or offers of papers, aesthetic and ideological issues which which will be on display in the Sainsbury contact Ladislav Kesner jr and Pavla Niklova underpin the representation of India in Centre for the Visual Arts from 7 February at: Soros Centre, Staromestske Nam. 22, Europe. until 24 April 1995. 110 01 Praha 1, Czech Republic. Tel: (42 2) Lecturers to include: Robert Skelton For further details contact: Clare Harris, 24 22 74 56; Fax: (42 2) 24 22 74 51; email: (previously Head of the Indian Section, School of World Art and Museology, SCCAPRG@ECN. GN. APC. ORG. V&A), Richard Blurton (British Museum), University of East Anglia, Norwich NR4 Brian Durrans (Museum of Mankind), Chris 7TJ. Tel: 0603 592463; Fax: 0603 259290. Pinney (School of Oriental and African 22 CONFERENCE NEWS

Visual Culture of Art and Science from the David Jones Artist and Poet Renaissance to the Present A Centenary Conference 12-14 July 1995 20-21 April 1995 The Royal Society University of Warwick Organised jointly by the AAH and the Committee on the Public David Jones (1895-1974), the most Understanding of Science (COPUS) distinguished British painter-poet since William Blake, believed that sign-making The purpose of the meeting is to promote because it shows science as an integral part was a crucial human activity, and one that greater understanding of the changing of the culture of our time. was increasingly threatened. The aim of this boundaries and interactions between what Speakers will include: William Ashworth, conference is to comprehend Jones's sign- contemporaries called art (or craft) and Michael Baxandall, Allan Chapman, Sophie making 4 at the turn of a civilization'. Scholars natural philosophy/science in the period Forgan, Stephen J Gould, Helen Haste, Tim from a range of disciplines, as well as poets from about 1400 to the present day. The Hunkin, Martin Kemp, G M Prescott- and artists, will discuss his engravings, meeting will specifically examine the visual Nuding, Eileen Reeves, Martin Rudwick, watercolours, poems and prose. culture through which both artistic and Larry Schaaf, Albert van Helden and other Speakers: Bernard Bergonzi, Simon Brett, scientific endeavours found their expression. distinguished art historians, historians of Jacques Darras, Thomas Dilworth, Kathleen It will encompass the full range of visual science, artists and scientists. Henderson Staudt, Paul Hills, Peter Larkin, media, including the printed book and Further details and registration form from: Edward Larrissy, Simon Lewty, Oswyn architecture. RSHS Executive Secretary, Wing Murray, Thomas R Whitaker. In today's terms, this is an interdisciplinary Commander G Bennett, 31 High Street, For further information, please write to study of scholarly concern to the AAH and Stanford in the Vale, Faringdon, Oxfordshire Marian Franklin, European Humanities the RSHS, and of concern to COPUS SN7 8LH. Research Centre, Room H104, University of Warwick, Coventry CV4 7AL. Sculpture and European Exchanges in the History of Art Photography Saturday 18 March 1995 16-17 June 1995 City Campus, University College London University of Humberside, Hull

Call for Papers Following the questionnaire on European For further information please contact: The Department of History of Art at exchanges which was circulated to Dr Penny Dunford University College London is sponsoring a departments last year, a conference is being Head of Research conference which will explore the held to address the issues which emerged. School of Media relationship of sculpture and photography. These include practical considerations, such University of Humberside Speakers will discuss the impact as finding partner institutions, Higher George Street photography has had on the study of Education systems, assessment, the impact Hull HU1 3BW. sculpture, as well as the important role of modularisation and computability of Tel: 0482 440550 ext2143; played by images of sculpture in the history curricula. Fax: 0482 227988. of photography. The speakers are experienced in dealing Proposals for papers on these or related with student exchanges for both studio- themes should be sent by 15 March 1995 to: based and theoretical programmes and we Geraldine Johnson, Department of History hope that the programme will be of interest of Art, University College London, London to many people who are in the early stages WC1E 6BT. Fax: 071 916 5939. of exchanges or wishing to develop one. 23 ART HISTORIANS AT WORK RICHARD J SMITH Freelance Researcher became an art historian by accident. I Margaret Carpenter has taken over a large has previously attempted a biography. Much walked into Sotheby's one day in part of that life. I am writing a biography, valuable material disappeared to the West INovember 1990 to view Constable's The and compiling a catalogue of her prolific Indies around the turn of the century. Lock, but I didn't have £11 million with me output - over 1,000 pictures, by my Carpenter has some interesting family at the time. Instead, my eye was caught by reckoning, most of which are still 'lost'. connections - but not Andrew Geddes, as is a portrait of two children and a dog by an The cataloguing alone is extremely time- commonly supposed - and I have had my artist whose name meant nothing to me at consuming. In many cases I only have a share of luck, as when I was led to the all. I walked round the gallery several times, surname in her Account Book, with a fee and disguised autobiography of her sister Harriet but kept coming back to this picture - at the a year, from which I have to try to identify Collins. Often one thing leads to another in auction it became mine. the client, and that may mean going into quite an uncanny but logical way. the biography and family background of several families with the same name. Because Fruitful diversions the Account Book lists who paid rather than It is very easy, as in any field of research, to who sat, it is important to know the structure wander up inviting pathways and be tempted of a family and the ages of the members, to forget one's primary task; but there can especially when it comes to children or be rewards. The May family of Richmond wedding portraits. Many of Carpenter's (Surrey) and Hale Park (Hampshire) were clients were from the nobility or landed early patrons of Carpenter, and the MS gentry, so it is often possible to trace the material relating to them led me to study the family down to the present day, and then see 'British Factory' in 18th-century Lisbon. I if they still have the pictures. However, many kept telling myself it was all a red herring names defy the finest toothcomb, and I have - until I found that several other clients were a list of over 650 different surnames to tease friends of the Mays from their Lisbon days. out of the reference books. I am grateful to Likewise, my research into Carpenter's the staff of the many libraries, record offices father-in-law, James Carpenter, bookseller, and galleries which I use, especially the art dealer and patron of Bonington, has National Portrait Gallery Archive and the provided some fascinating material that will Witt Library. Without relief carers, too, for interest art historians in a different context. my wife, I would not be able to make the Margaret Carpenter is an elusive character. outside visits that I need. Considering the success she enjoyed during Margaret Sarah Carpenter: The Young Artist her lifetime and the numbers of people who (1829), oil on canvas, 108 x 84 cm. Detective work must have known her, it seems extraordinary \ I started researching, partly to try to identify The whole process is one giant jigsaw puzzle, that so few of her contemporaries mentioned the children, and partly to find out something but when another portrait comes to light the her in their diaries, letters or journals. Perhaps about the artist, Margaret Sarah Carpenter excitement makes all the hard work it was her personality, or just the old prejudice (1703-1872). From the basic reference worthwhile. Often an informed hunch can against women artists. The fact that she entries, I was intrigued to know how a young lead me to a picture whose owner has no idea earned more than her husband throughout woman of twenty, born and brought up in of the identity of the artist - or even most of her career went totally against the the Salisbury area, could move to London sometimes of the sitter - and it is extremely conventions of the time. Occasionally the in 1813 and become established as a satisfying to enlighten them. On one occasion curtains open and we see her at work, as with professional portrait painter within a year; earlier this year I found six large oil portraits her portrait of Byron's daughter Ada, the and then go on to have an extremely in one house - I was in Paradise! Countess of Lovelace; the almost daily successful career lasting over 50 years, as Margaret Carpenter's bicentenary was in correspondence between the sitter and her well as marrying and having eight children. 1993 and I did much of the curating for the mother is still preserved. The more I learned about her, the more exhibition at Salisbury Museum. The To me as a biographer, the shortage of extraordinary she seemed, both as a woman publicity from that has resulted in a great deal written material makes my job more difficult; and as an artist. of interest and quite a number of newly but the advantage of portraying an artist I have always been interested in paintings discovered pictures. whose work can be documented, is that she and history, especially local and family Searching out Carpenter's own story and can also speak through her work. history, and my enforced 'retirement'when that of her family has been difficult because my wife became severely disabled has of the comparative lack of primary source Richard J Smith enabled me to open a new chapter in my life. material - probably the reason why no one August 1994 24 PROFILE STRAWBERRY HILL

trawberry Hill, Horace Walpole's Gothick Castle, has recently reopened Sto the public. It is a building which never fails to surprise visitors, even those who come to it for the first time thinking they already know it well from photographs and descriptions. Part of its interest lies in the unexpected and in its sense of fun - Walpole described it as a toy, a plaything, a gingerbread castle - and also in the fact that no building could ever have been better documented. Walpole wrote about 10,000 letters during his lifetime describing the great events taking place around him: everything from the Gordon riots to the Boston tea party. He also discussed with his friends the progress of his own building programme. The building records, a sale catalogue and an inventory completed and updated by Walpole himself, combine to complete the picture. Today, the original cottage, Chopped Straw Hall, built in 1698, can still be seen, together with recently discovered additions of the 1720s, and buildings added by Walpole between 1748-9 (when he bought the house after first renting it) and 1791 (when he completed Glass after building his 'New Offices' to house the Heemskerck Strawberry Hill Press). The exterior exemplifies 'Sharawaggi'- a word he coined to describe the lack of Netherlandish glass for the sum of 36 and its role as a centre for Victorian political symmetry he considered indispensable in a guineas. About half these roundels are still debate. private villa because it would prevent the in the House, and are of the highest quality. From Easter to October the house is open owner from becoming bored with it. The Also present is 18th-century glass by Peckitt every Sunday for individuals to join guided interior continually amazes the 20th-century and Pearson and some 16th-century glass tours which leave every half hour starting at visitor, with fireplaces designed by John 'reworked' at Walpole's request by Price in 2pm, and last about IV2 hours. Strawberry Chute and Richard Bentley, both of whom the 18th century. It is mostly positioned so Hill is also open every day throughout the used the canopied tombs in the great Gothic that Walpole and his guests could examine year, by appointment, to groups of 10 or cathedrals as their source. These were known it closely, and this is still possible for visitors more. Tickets cost £3.50, or £3 for to Walpole and his friends through today. Roundels depicting the story of The concessions. Ring 081 744 1932 to book. engravings which they found in Dart's Prodigal Son, engraved from Heemskerck's A programme of specialist lectures is also Westminster (1742) or Sandford's Kings of plates, jostle pieces showing grasshoppers, available, on the roundels, for example, England (1707). More reworking of Gothic birds, pedlars. We even know from his either at Strawberry Hill before the tour, or tracery can be seen in the Hall, the Library, correspondence which pieces Walpole at a different venue in advance of a proposed the Long Gallery and the Holbein Chamber, disliked and why! visit. Specialist tours can also be arranged in some instances replicating in wood stone The furniture was sold in the 19th century on the glass, decorative arts, architecture buildings no longer standing, and giving the by the Waldegrave family before Frances, etc for no additional fee. Refreshments are visitor a very fair idea of the original. Countess Waldegrave, decided to live in the also available, including (in season) cream For Walpole 'gloomth' (gloom and house and extend the buildings. The Victorian teas and strawberries! warmth) was necessary to create the Gothic addition is in keeping with the atmosphere of a Gothic building and for fairytale spirit of the 18th century, but also Anna Chalcraft this he acquired 450 pieces of Flemish and reflects the powerful position of the owner Tour Co-ordinator

25 WORLD ART STUDIES Taking the history out of art? In view of the disucussion relating to the help explain the sociology of aesthetics and socio-biological basis of art was given more teaching of world art in recent issues of the systems of exchange and value. The broadly attention, we would at the very least develop Bulletin, the Dean of the School of World Art linguistic models of semiology and a broadly based concept of function against Studies and Museology at UEA was asked structuralism have also been usefully adapted which background to see particular to contribute his views and experience on this for the visual arts, especially but not behaviour in particular circumstances. What issue. exclusively for the analysis of imagery. But, has tended to happen instead is that an as it looks at present, we are still in the overscrupulous fear of generalisation has The notion that visual art has a history which process of demolishing one edifice (art marginalised the attempts made by is worth recording is restricted to a few history as it was), and plundering materials behaviourists to influence the ways in which cultures, principally the Hellenistic, the from it and from elsewhere to build art historians view art. Chinese, and some of the others that took something else, the shape and articulation Put simply then, world art studies is an those two as their models. In part this is of which is unfortunately still far from clear. attempt to see the wood, not just a selected because it was in those places that a concept It is far from being an ideal strategy if the few of the trees. Achieving that end, or even of history itself, of the progress and result is intended to be harmonious and well moving towards it, is still very difficult. The development of individuals and institutions integrated! necessary expertise is widely scattered. But through linear time was, for various reasons, that is only part of the problem, for even if structurally important. But clearly, too, 'art' An overall vision it were simply a matter of making new had to loom large enough as an activity to An alternative to seeing what can be built appointments to art history departments merit any inclusion, even if very minor, in from the available pieces is, of course, to (would that were easy!) which brought other history. Yet image making, bodily adornment, develop an overall vision of what we would disciplines into physical proximity, it would and the configuration of buildings, to name like the study of art to do and to be and then not guarantee an integrated approach to the only a few categories of human visual to tailor our planning to the production of material. There are many colleges and display, are virtually ubiquitous and highly the right machine with the right image. It has universities in Britain and elsewhere where significant. to be acknowledged at the outset that this Pre-Columbian art or history of costume is Within the traditional hierarchies of art process is wildly idealistic. Pragmatism can, taught alongside the (European) Renaissance history in this century a pecking order has and doubtless will, come later. or even art theory without any kind of existed which has emphasised the association At their widest, world art studies (for synthesis or overview emerging. None the between high Art, and that art which has want of a better term) are seeking to less, it is clearly very helpful to have close independent documentation. It is the encompass three things. The first is to place at hand colleagues with widely different existence of written information which seems the analysis of all categories of human visual backgrounds, interests and expectations who to make a history of art possible. It has display and image making on a comparable are concerned to reach a broad understanding followed that art which has little or no footing. The aim is to take a multicultural of what is, after all, a distinctive and hugely independent written source material has and antihierarchical approach. The second important characteristic of human culture. received much less attention; and attention is that in examining the behaviour of our is validation. History and Art have thus been species the discipline should be conscious The importance of history locked together in a mutually reinforcing of the broader context of the display But where does that leave history? It seems embrace. strategies and visual communication of the to me to be vital to the project. To begin with, Of course, in the last two or three decades rest of animal creation. That is to say, in it is only for those cultures from which we that hegemonic view has taken some very striving to understand what differentiates have the detailed historical information that significant knocks, from feminism and the one human culture from another, it is it is possible to explore the effect of social historians of art, but its legacy is still important to have clearly in mind what unites immediate circumstances on the behaviour all around us. Despite the attempts at us and differentiates us from birds, insects, of those commissioning, producing and deconstructing the history of art, and at reptiles, other mammals, etc. Finally, in the performing. It allows some sort of balance broadening the materials and the process of achieving the first two aims, there to be struck between the micro-historical methodologies in our study of visual is a need to bring environmental and and macro-cultural contexts. Another crucial creativity and display, we are still a long biological concerns to bear on art. If there role for the historical component in the study way from having formulated a discipline was anything like the body of literature on of art is in the overall equation of variables. which is capable of comprehending 4art'. the geography of art (by which I do not For example, pre-historic archaeologists Significant constructive moves have been mean nationality, which is quite another have often worked on the principle that a taken, for example the increasing integration matter) that exists on the history of art, our major shift in material culture results from of broadly anthropological approaches into whole perception of this human activity invasion or colonisation when, in fact, there the study of art, perhaps particularly as they would be quite different. And if the general may be other variables which explain such 26 OPEN FORUM

shifts. Or, conversely, that a lack of change of human behaviour flies in the face of both looked at in this way, either in lectures, or in material culture implies a politically logic and experience. Indeed, one can argue seminars, or both, include 'Cities and 'uneventful' history. It is only when historical that it is the different configurations of basic societies'; The art of the body, the body in information is there to be assessed that any consistencies of behaviour that give rise to art'; and 'Death and ritual'. We have also general assumptions of these kinds can be the specificities of the moment. World art introduced changes at Masters level. This tested. studies is seeking to identify at least some year a comparative course examines the arts There is a well-founded suspicion of of the foundations on which the interlinked of Himalayan Buddhism and medieval generalisation among historians, of great incidents which have so long been the stuff Western Christianity. A new three-year theories and explanations which appear to of studying art are constructed. undergraduate programme called Anthro• transcend the pragmatics of the moment. pology, Archaeology and Art History However, to deny any consistency to patterns World Art Studies at East Anglia compares the methodologies the three So much for the 4 vision thing'. The strategies disciplines have traditionally brought to bear Figure, Bering Sea, Inuit (Ivory, h 16.5 cm). for realising any of these ideals are another on the study of material culture, with a view The Robert & Lisa Sainsbury Collection, matter, and that is where pragmatism to producing a synthesis of them. In this UEA, Norwich. Photo: James Austin. becomes inevitable. It is slightly over two regard our expanding Museum Studies sector years since the art historians and is also crucial, since the fields of collecting, anthropologists of art at the University of displaying and interpreting cultures have East Anglia decided to change the name of been so critical in constructing our views of their School to World Art Studies and human progress, civilisation, and all those Museology. It was not undertaken lightly and other loaded concepts which have helped to not without some misgivings. For although consolidate our perceptions of Western we are lucky in having faculty specialising political and economic dominance. in the arts of Africa, Oceania and the It is early days yet, and the means we are Americas (largely based in the Sainsbury using may not be the best. They are certainly Research Unit), our coverage of Asia at that not the only conceivable ways of breaking time was negligible, and we knew that many the Eurocentric and hierarchical people would assume that world art studies implied world coverage. Since then we have strangleholds which have tended to close made our first permanent appointment for off art history. Among those other strategies Asia - Clare Harris, a specialist in Tibetan in prospect are, for example, an intensive art - and we will very soon have a second programme of faculty exchanges with other post, so some of those misgivings are being parts of the world to compare how the subject allayed. However, changing our established is studied elsewhere, or the foundation of an approaches has also been important for equally multicultural library with the source beginning to deliver any of the aims that material for comparative analysis. Finally, the ideal of world art studies presupposes. in four years time, we intend to review and We are trying to achieve this in a number of assess these experiments in an international ways. One is by inviting specialists in other conference, 'World Art Studies, a new fields with an interest in art, biologists and discipline?' In the meantime, our progress psychologists for example, to give research and direction depend very much on the seminars to faculty and research students. A responses to these ideas and initiatives of second is by organising a percentage of our everyone else who is studying and teaching and lecturing thematically rather researching into visual culture. than by chronology, region, or medium. Effectively, this means comparative art T A Heslop history. Themes which have so far been University of East Anglia, Norwich January 1995

27 ANNOUNCEMENTS

21st Annual Executive Committee Executive Open General Meeting Nominations Meeting 10.30 am-3.30 pm, 11.00 am, Sunday Nominations are invited for election to 4 March 1995 9 April 1995 the three places on the AAH Executive Imperial War Museum Lecture Theatre which will fall vacant at the 1995 AGM. Nomination forms are available from the Victoria and Albert Museum Honorary Secretary. The Executive Committee invites all Nominations require the name of the members of the AAH to take part in an open Open to all AAH members. Please proposer and seconder, both of whom meeting, designed to provide an opportunity bring your membership card with you. must be current members of the for members to learn more about the work Any enquiries should be addressed Association. The written consent of the of the Association, and to give the EC the to the Hon Secretary, Claire Donovan, nominee, with a brief c.v., should be opportunity to hear the views of the at the address on the back cover. included. membership. The agenda will include reports Nominations should be sent to the from the officers and subcommittees, and Agenda Honorary Secretary, Dr Claire Donovan latest news on Conference and Association 1 Apologies (for address see back cover). activities. But chiefly the agenda is open to 2 Minutes of the previous AGM Nominations should be received by you, to provide us with your views on the 3 Chair's Report Monday 27 February 1995. role of the Association and its future, to 4 Membership report for previous year Please telephone 0703 319653, or 0962 raise issues of concern to practitioners of art 5 Honorary Secretary's Report 863884 (evenings) for an informal history, and to propose initiatives for the 6 Honorary Treasurer's report discussion of the role. AAH to consider. 7 Report from the Editor of the The meeting follows that of 23 February Bulletin 1994, which was fully reported in Bulletin 8 Report from the Editor of Art History 53, May 1994, page 7. 9 Reports from subcommittees, and Special Interest All members are welcome. Please bring formal hand-over to new your membership card. Any non-members representatives Group Meetings wishing to join are also welcome, of course, 10 Report from British Chair of CIHA 9.30-10.30 am and may join on the door. 11 Motions Sunday, 9 April It would help the organisation of the event 12 AOB if you would let the Honorary Secretary, Victoria and Albert Museum Claire Donovan, know of your intention to attend. (See back page for address and New Chair for Members are reminded that the annual telephone number.) meetings of each of the subcommittees Student Group - Freelance, Student, Art Galleries and Pauline de Souza will be stepping down Museums, Universities and Colleges - Art & Spatial Politics from her position as Chair of the will be held during the London Student Group in April. Any student Conference. Deanna Petherbridge wishing to take over as Student Group Members are welcome to attend these Chair should prepare a brief statement meetings, where issues specifically Art & Spatial Politics, a lecture given at the of the way in which they see the Student relating to each group will be discussed 1994 Birmingham Conference, has been Group developing. This should be sent and events planned for the coming year. published by The Centre for the Study of to Pauline de Souza (see back cover Non-conference delegates wishing to Sculpture. To obtain a copy, send £1 plus 25p for address) by 31 March. All attend should report at the Conference postage to: Penelope Curtis, The Centre for submissions will be discussed by the Reception Desk in the exhibition courts the Study of Sculpture, The Henry Moore Student Subcommittee at the London for details of where the meetings are Institute, 74 The Headrow, Leeds, LS1 3 AA. Conference (9 April 1995) and a new being held. Please bring your Chair voted in. membership card with you.

28 ANNOUNCEMENTS

A Catalogue of Research Queries Student Support Marees Gesellschaft Richard Lindner (1901-78, American, Fund and Ganymed Press b Germany). Judith Zilczer seeks paintings, watercolours and/or archival material for a This fund has been set up to enable the Facsimiles major exhibition of Lindner's painting, AAH to subsidise students attending the Ann Baer scheduled for June 1996 at the Hirshhorn annual conference. Members are asked Museum. Of particular interest is oil painting to make a donation, when sending in This catalogue gives detailed descriptions of NO, 1966, formerly in the collection of Mary their conference or membership fee. the facsimiles of drawings and watercolours McFadden. Persons with information about So far over £500 has been received. by well-known artists, published in the 1920s this or other works, please contact: Dr Judith This will subsidise the conference fees by the Marees Gesellschaft of Munich, and Zilczer, Curator of Paintings, Hirshhorn of at least 22 students attending this of those published in the 1950s by Ganymed Museum and Sculpture Garden, year's conference. Press London Ltd. Independence Avenue and 7th Street, SW, But we need more! If you have yet to The purpose of the catalogue is to try and Washington DC 20560. Tel: 202 357 3230; pay your membership or conference fee, prevent these facsimiles from being mistaken Fax: 202 786 2682. please consider supporting this fund. for originals. The author has donated copies Many thanks to the Department of Prints and Drawings Artists working in Portsmouth 1770-1870. Kate Woodhead and the Student in the British Museum and to the Art Library I am making a documentary survey of such Subcommittee of the Victoria & Albert Museum, but artists that includes visiting as well as anybody wishing to purchase a copy should resident painters and would be grateful for write to: Ann Baer, 31 Albert Road, any information regarding the whereabouts Richmond, Surrey, TW10 6DJ. (Price: of papers and primary printed sources. New Interpretations of £50.00, plus postage: £2.35 (UK), £3.30 Nigel Surrey, Bridge House, 38 Cross Street, Venetian Renaissance (Europe), £6.65 (USA and Canada). Sudbury, Suffolk CO 10 6DL. Painting The Department of History of Art at Feminism and the Aesthetics of Difference Birkbeck College announces the publication September 1995 of this title, the latest in its series of desktop- produced books. This volume is based on a Organised by Falmouth College of Arts and Institute of series of public lectures delivered at Birkbeck College in Summer 1993, and includes nine Romance Studies, University of London essays by specialists in Venetian Renaissance Call for Papers art, including Jill Dunkerton, Charles Hope, Peter Humfrey, Mauro Lucco and Mary Proposals for papers are invited for this • Identification, (self) definition and Rogers. one-day joint conference. The following reading/interpretation/looking Other books in the series still in print are: broad categories are offered as general • Dress, the body and surface-depth Nine Lectures on Leonardo da Vinci (1990), indicators, but contributions that deal Decorum in Renaissance Narrative Art with the intersections of race (including • Contextual approaches to aesthetics; (1992) and Mantegna and 15th-century whiteness) and gender are particularly methodologies. Court Culture (1993). All these books are welcome: Please send proposals to: Dr Penny available at £8.00 (including p&p) from: • Binarism, reaction and containment; Florence, Reader in Cultural Theory and The Secretary, Department of History of race, gender and diversity Feminism, Falmouth College of Arts, Art, Birkbeck College, 43 Gordon Square, • Aesthetic experience and the social Woodlane, Falmouth, Cornwall TR11 London, WC1H0PD. (action, intervention, integration) 4RA. Tel: 01326 211077; Fax 01326 • Women, aesthetics and money 211205.

29 ANNOUNCEMENTS

OPEN UNIVERSITY BROADCASTS, 1995 Art, Architecture and Design A353 ART IN FIFTEENTH-CENTURY ITALY A205 CULTURE AND BELIEF IN EUROPE 1450-1600 BBC2 0735 Tuesday, repeated BBC2 0715 Saturdays, repeated 0645 following Tuesday (except where shown 0710 Wednesdays otherwise) 25/2 & 1/3 Pilgrimage: the shrine at Loreto 0855 4/2 (Sat)& 14/2 Panel Painting 4/3 & 8/3 Maarten van Heemskerck, Humanism and painting in 7/3 & 14/3 Florence Part 1 Northern Europe 21/3 & 28/3 Florence Part 2 18/3 & 22/3 Christopher Plantin, polyglot printer of Antwerp 11/4 & 25/4 The Sassetti Chapel, Santa Trinita 25/3 & 29/3 Venice and Antwerp 1: the cities compared 16/5 & 23/5 San Marco: a Dominican Priory 1/4 & 5/4 Venice and Antwerp 2: forms of religion 6/6 & 13/6 Santo Spirito: a Renaissance Church 29/4 & 3/5 Discovering sixteenth-century Strasbourg 20/6 & 27/6 Pienza: a Renaissance city 3/6 & 7/6 The University of Salamanca 11/7 to 18/7 Ferrara: Planning the ideal city 17/6 & 21/6 Seville: the edge of empire 8/8 & 15/8 San Francesco Rimini: 'II Tempio Malatestiano' 24/6 & 28/6 Ottoman supremacy: The Sulemaniye, Istanbul 22/8 & 29/8 Mantegna: 'The Triumph of Caesar' 1/7 & 5/7 Seville: gateway to the Indies 12/9 & 19/9 Santa Maria dei Miracoli: Venice 15/7 & 19/7 Pieter Bruegel and popular culture 0855 30/9 (Sat) & 3/10 Palazzo Venezia, Rome: a Cardinal's Palace 22/7 & 26/7 El Escorial: palace, monastery and mausoleum 29/7 & 2/8 Fontainebleau: the changing image of kingship A354 ART, SOCIETY AND RELIGION IN SIENA, FLORENCE AND 9/9 & 13/9 Hard wick Hall: power and architecture PADUA (NEW COURSE) 16/9 & 20/9 Shropshire in the sixteenth century BBC2 0820 Sundays 19/2 Siena Cathedral A206 THE ENLIGHTENMENT 19/3 The Palazzo Pubblico BBC2 0755 Sundays, repeated 9/4 Duccio, The Rucellai Madonna 0735 Wednesdays 14/5 Giotto's Arena Chapel 19/2 & 22/2 Frederick the Great and 'Sans Souci' 11/6 Orsanmichele 9/4 & 12/4 Classical sculpture of the Enlightenment 9/7 The Baptistery, Padua 23/4 & 26/4 Angelica Kauffman RA and the choice of painting 6/8 Rinuccini Chape 30/4 & 3/5 Kedleston Hall 3/9 Spanish Chapel 30/7 & 2/8 Poetry and landscape 3/9 & 6/9 Chardin and the still-life A316 MODERN ART: PRACTICES AND DEBATES 17/9 & 20/9 Nature displayed BBC2 2400 Tuesdays 21/2 Manet A220 PRINCES AND PEOPLES: FRANCE AND THE BRITISH ISLE! 28/2 Paris: Spectacle of modernity 1620-1714 (NEW COURSE) 7/3 Musee d'Orsay BBC2 2400 Mondays (except where shown otherwise) 21/3 The impressionist surface 20/5 (Sat) 1125 Royal Palaces: Images of Power 28/3 Berthe Morisot: an interview with Kathleen Adler 27/5 (Sat) 1100 Houses of the Grandees 4/4 Rodin 19/6 The Industrial Countryside 25/4 Bathers by Cezanne and Renoir: Modernism and the 26/6 Defensible House of the Gentry nude 17/7 Towns and Patronage 2/5 Colonial encounter 24/7 The Soldier's Trade 9/5 Picasso's collages 1912-13; the problem of 14/8 Control in the Community interpretation 21/8 Learning and Patronage 23/5 On pictures and paintings 30/5 Mondrian A102 AN ARTS FOUNDATION COURSE 6/6 Matisse and the problem of expression BBC2 0830 Saturdays, repeated 20/6 Le Corbusier: The Villa la Roche 0645 Wednesdays 27/6 Film montage: the projection of modernity 22/4 & 26/4 The Albert Memorial • 4/7 Max Ernst and the surrealist revolution 29/4 & 3/5 Cragside: An Introduction to Architecture 18/7 Picasso's Guernica 6/5 & 10/5 Constable: The Leaping Horse 25/7 The Museum of Modern Art, New York 8/7 & 12/7 Victorian Views of the Art of the Past 1/8 Public murals in New York 15/7 & 19/7 The Leathart Collection 15/8 Greenberg on Pollock 22/7 & 26/7 Stand by Your Banner! 22/8 T.J. Clark and Michael Fried in conversation about 26/8 & 30/8 The New Museum at South Kensington Jackson Pollock 23/9 & 27/9 The Melbury Road Set 29/8 Greenberg on art criticism 12/9 Flag Radio 3 FM 0630 Mondays, repeated 19/9 Art and the left Radio 4 LW 2120 Sundays 26/9 Smithson and Serra: beyond Modernism? 24/4 & 30/4 Professor Sir Ernst Gombrich on Art History 8/5 & 14/5 Professor Sir Ernst Gombrich on Art and Illusion Radio 3 FM 0630 Wednesday, repeated Radio 4 LW 2100 Sundays It is quite permissible to record OU programmes for your own use, but you 15/2 & 19/2 Salons and academic training may not record a programme causing it to be seen or heard by others, 15/3 & 19/3 Pissarro and the politics of perception recorded or sold. This infringes the Copyright, Designs and Patent Act 1988 12/4 & 23/4 The art market and the avant garde and any others Acts restricted by that Act. Educational institutions wishing to 17/5 & 28/5 Art and semiotics record Open University programmes should apply for an off-air recording 14/6 & 18/6 Marxism and art licence to: OUEE Ltd, 12 Cofferidge Close, Stony Stratford, Milton Keynes, 12/7 & 23/7 The feminist spectator MK11 1BY. Programmes may also be purchased for educational/training 9/8 & 20/8 Kitsch and the avant garde purposes from the same address. For details of OU courses, please write to 6/9 & 10/9 An interview with Terry Atkinson and Eduardo the Central Enquiry Service, The Open University, PO Box 200, Milton Paolozzi: Modernism and British art after the Second Keynes MK7 6YZ. World War NB All transmission dates are subject to change. Please check daily newspapers or broadcast listings magazines for details. ADVERTISEMENTS

E. W. Usher Scholarship in Sculpture

Applications are invited for the E. W. Usher i i 1 Scholarship in Sculpture from art historians who have recently completed (or who are expecting to complete) a Master's Degree. University of Cambridge Summer School in Art History The scholarship, tenable for a period of two years, 9 - 29 July 1995 is intended to permit a scholar to undertake research for the degree of Ph.D. Proposals on any An opportunity for intensive study in Cambridge, setting British art in its European context. topic pertaining to sculpture will be considered. Three weeks, thematically arranged: Supervision is offered in the Department of History of Art by scholars with expertise ranging from Classicism, Romanticism and Modernism. Antiquity to the present day. Major plenary lecture series and three specialist-taught courses chosen from a range of 15, including: Gainsborough The scholarship consists of an award of The 18th-century garden in England and Europe Palladio and Palladianism in England and America £3,000 per annum plus registration fees. Romantic colour: colour in 19th-century British art Turner: tradition, innovation and influence Further details are available from The dual art of William Blake Studying art: theory and practice Post-war British art Postgraduate Officer, British and Continental 20th-century architecture Department of History Of Art, University of Manchester, Details from: International Division, Madingley Hall, Madingley, Cambridge CB3 8AQ, England. THE UNIVERSITY Manchester, Ml 3 9PL. Tel: 01954 210636 or Fax: 01954 210677 of MANCHESTER Tel: Int'l (44) 1954 210636 or Fax: (44) 1954 210677

Art Libraries UK & IRELAND Society With the co-operation of AVAIL Conserving the Culture: The Challenge to Art, Architecture and Design Librarians Dublin & Belfast 29 June-2 July 1995

The programme for this, the 26th annual ARLIS/UK & Ireland conference, addresses issues of strategic importance to all visual arts librarians, curators and archivists. The theme will be of interest to colleagues in museum and national libraries and archives and is especially timely for those in the UK in higher education institutions who are putting in for Follet funding for the conservation of their special collections, and also for those in public libraries, the value of whose collections has been recognised in the draft report of the ASLIB Survey of Public Libraries.

For full details of the conference, together with costs and booking forms write to Louise Thicker at the University of Brighton (Tel: 01273 571820), Elizabeth Kirwan at the National Library of Ireland (Tel: 00 353 1 661 88 11) or in writing to Sonia French, Administrator ARLIS/UK & Ireland, at 18 College Road, Bromsgrove, Worcs. B60 2NE, UK.

31 EXECUTIVE COMMITTEE

Executive Committee 1995

Chair (Until 9 April 1995): Elected 1992 Freelance Nigel Llewellyn Robert Gibbs Brigitte Corley School of European Studies (University of Glasgow) 51 Middleway University of Sussex London NW11 6SH Brighton BN1 9QN Angela Weight Tel: 0181 455 4783 Tel: 01273 606755 (Imperial War Museum) Universities and Colleges Chair (From 9 April 1995): Associate Editor of Bulletin William Vaughan Anthea Callen Toshio Watanabe Department of History of Art History of Art Department Chelsea College of Art and Design Birkbeck College University of Warwick Manresa Road, London SW3 6LS 43 Gordon Square Coventry Tel: 0171 352 3655 London CV4 7AL Fax: 0171 352 8721 WC1H0PD Tel: 01203 523436 Tel: 0171 631 6127 Elected 1993 Hon Secretary: Student Claire Donovan Mark Evans Pauline de Souza Media Arts Division (National Museum of Wales, 13 Guildford Street Southampton Institute Cardiff) Stoke-on-Trent East Park Terrace Elected 1994 for 2 years Staffs ST4 2EP Southampton S09 4WW Robin Simon Tel: 01782 414036 Tel: 01703 319083/319653 (Apollo) Artists' Papers Register Hon Treasurer: George Noszlopy Jonathan Franklin Peter Baitup (Birmingham Institute of Art and (National Portrait Gallery) 6 Kenelm Gardens Design) Cheltenham Art Galleries and Museums Gloucester GL5 0JW Elected 1994 Sylvia Lahav Tel: 01242 239023 Dawn Ades Education Dept (University of Essex) Tate Gallery Director of Publicity and Millbank Administration: Craig Clunas London SW1P4RG Kate Woodhead Tel: 0171 887 8000 Dog and Partridge House (Victoria and Albert Museum) Byley 1995 London Conference Convener Cheshire Helen Smailes CW109NJ Elizabeth McKellar Tel: 01606 835517 (National Gallery of Scotland) Head of Higher Education Fax: 01606 834799 Ex-officio member Victoria and Albert Museum John House South Kensington Editor of Art History: (Chair of the British National London SW7 2RL Marcia Pointon Committee of CIHA) Administrator (University of Manchester) (Courtauld Institute of Art) Iain Cartwright CHAIRS OF SUBCOMMITTEES AAH Conference Office Editor of Bulletin: Schools Victoria and Albert Museum Jannet King Elizabeth Allen London SW7 2RL See front page for address. 10 Dukes Avenue Tel and Fax: 0171 938 8445; Tel and Fax: 01273 509653 London N10 2PT Fax only: 0172 938 8635.

Typeset by Roger Harmar Typography, Hove. Printed by The College Hill Press Ltd, Worthing. ISSN 03079163 32