2010/11
2011
20
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Letter from the President 3
HBA AWARDS
CALL for Publication Grant
HBA– CAA New York 2011
HBA Minor Session
HBA Business Meeting and Young
Scholars Presentations
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5
HBA Major Session
HBA Off-site
HBA membership
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HBA Online and Facebook!
HBA officers
Board Members
Members at Large
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Ex-Officio 11
Reviews of recent publications and exhbitions
Artistic Circles: Design and
Decoration in the Aesthetic Movement reviewed by Antoine Capet 12
The Edwardian Sense: Art, Design, and Performance in Britain 1901-1910 reviewed by Peter Stansky 14
Endless Forms: Charles Darwin,
Natural Science, and the Visual Arts reviewed by Agnes Haigh Widder 16
London, Modernism, and 1914 reviewed by Samuel Shaw 19
Portraiture and Social Identity in
Eighteenth Century Rome and John
Singer Sargent: Venetian Figures and Landscapes 1898-1913:
Complete Paintings, Volume VI reviewed by Lyrica Taylor 21
Richard Norman Shaw reviewed by Alice Beckwith 25
Calls: conferences, fellowships, publications 28
Exhibitions 56
HBA calls for reviews 62
Keep in touch 63

Dear HBA Members,
We have an exciting series of events scheduled for CAA (New York) this year and
I look forward to seeing many of you there. On Thursday, February 10, Imogen
Hart and Catherine Roach will host a short session entitled Seeing through the
Medium. On Friday, February 11, once again our Business Meeting will feature presentations by young scholars, kindly arranged by Colette Crossman. Tim
Barringer and Jason Rosenfeld will present Radical Neo on Saturday, February 12.
In addition, Peter Trippi has arranged an off-site event at The Bard Graduate
Center for Wednesday afternoon.
As this will be my last Newsletter as President I want to take the opportunity to thank all of the Board members who have contributed to the health of the organization, making my job a distinct pleasure. In particular, I want to thank
Peter Trippi, Colette Crossman and Craig Hanson with whom I have worked quite closely on the executive committee over the past year. Thanks also to
Jennifer Way for her work on this Newsletter; Renate Dohmen for agreeing to take on the travel and publications grants; and Elizabeth Honig for volunteering to manage the Book Prize.
With all best wishes for a Happy New Year,
Margaretta
Margaretta S Frederick
President, Board of Directors, Historians of British Art
Chief Curator and Curator, Bancroft Collection, Delaware Art Museum
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The Historians of British Art invites applications for its 2011 publication grant.
The society will award up to $500 to offset publication costs of or to support additional research for a journal article or book manuscript in the field of British art or visual culture that has been accepted by a publisher. Applicants must be current members of HBA.
To apply, send a 500-word project description, publication information (name of journal or press and projected publication date), budget, and CV to Renate
Dohmen, Chair Publication Grant, brd4231@louisiana.edu
. The deadline is
January 31, 2011.
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HBA at CAA
Wednesday, February 9, 3:00-5:00pm
All HBA members are warmly invited to gather on Wednesday, February 9, from
3 to 5 pm, at the Bard Graduate Center for Studies in the Decorative Arts, Design
History, and Material Culture ( www.bgc.bard.edu
). BGC’s founder and director,
Dr. Susan Weber, will welcome us for tea and informally discuss her exhibition
William Kent, 1686-1748: Designing Georgian Britain, which is scheduled to open at
BGC in 2013 before it moves on to the V&A. Dr. Weber is already well known to many of us for her pioneering exhibitions and publications on such British figures as E.W. Godwin, Thomas Hope, and William Beckford. While at BGC, HBA participants will also be able to view the exhibitions Cloisonné: Chinese Enamels from
the Yuan, Ming and Qing Dynasties and Objects of Exchange: Social and Material
Transformation on the Late Nineteenth-Century Northwest Coast.
Details: BGC is located at 18 West 86th Street (between Columbus Avenue and
Central Park West). This location is only four stops from the New York Hilton, via the D local subway; a one-block walk is necessary on either end of the subway journey. Participation is completely free, but requires advance registration via email to Peter Trippi at ptrippi@aol.com
before February 1. Guests are welcome, but must also be preregistered.
Thursday, February 10, 12:30-2:00pm
Sutton Parlor South
HBA Minor Session: Seeing through the Medium
Co-Chairs: Imogen Hart, Catherine Roach
A central but challenging question for art history is how objects have been viewed historically. This issue, like most of the questions faced by the discipline, is usually addressed in terms of individual media. Yet how might the study of the historical reception and interpretation of objects complicate current academic divisions by media? The scholarship on British art testifies to the breadth of British artistic production, yet histories that focus on different media do not always speak to one another, with the result that an integrated picture of the arts of a period often proves elusive. While a specialist understanding of specific media may be essential to a thorough study of the process and experience of making, a broader, more inclusive approach may be more appropriate to a study of reception and the ways in which contemporaries engaged with objects. Recent scholarly interventions
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such as the Henry Moore Institute and J. Paul Getty Museum’s exhibition and catalogue Taking Shape: Finding Sculpture in the Decorative Arts and Caroline Arscott’s book William Morris and Burne-Jones: Interlacings offer models of how art historians might engage in cross-media analysis. This panel presents papers focusing on
British art that cut across current scholarly divisions, especially between the “fine” and “decorative” arts, and address the question of reception.
“Ta'ziyeh: the perception and reception of late-18th-century north Indian ephemeral shrines”
Holly Shaffer, Yale University
“Ciné-texts: the permeability of modern art, film and snap-shot cultures in 1920s
London”
Andrew Stephenson, University of East London
“Dissolution, disillusion, and deflation: Damien Hirst's double act”
Elyse Speaks, University of Notre Dame
Friday, February 11, 7:30-9:00am
The Hilton, Bryant Suite, 2 nd Floor
HBA Business Meeting, including Young Scholars Presentations
As part of its annual Business Meeting, the Historians of British Art will host a special panel of Young Scholars’ Works in Progress. Three 15-minute presentations will be followed by informal audience discussion. The following presenters and topics are scheduled:
“ ‘British Asignats’: Satirical Representation and the Politicization of Paper
Currency in 1797”
Amanda Lahikainen, PhD Candidate, Brown University
“Artistic Scientists and Scientific Artists at the British Royal Academy 1860-1900”
Keren Hammerschlag, Post-Doctoral Fellow, Centre for the Humanities and
Health, King’s College London
“British Literary Periodicals Transform the Female Form in Turn-of-the-Century
Glasgow”
Emily V. Davis, PhD Candidate, Virginia Commonwealth University
All are welcome to join us for these presentations and contribute to the discussion following.
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Saturday, February 12, 9:30am-noon
Bryant Suite
HBA Major session: Radical Neo
Co-Chairs: Jason Rosenfeld, Distinguished Chair and Associate Professor of Art
History, Marymount Manhattan College, New York
Tim Barringer, Paul Mellon Professor of the History of Art, Yale University
British art has been at its most compelling when mobilizing the past to critique or reformulate current practices. From eighteenth century neo-classicism through the Gothic revival, Pre-Raphaelites, Arts and Crafts Movement, Primitivism and
Neo-Romanticism, the resurgence of interest in a cultural moment in the past, and its related visual style, formed the basis for radical new creativity.
“The Elephanta in the Room: Indian Antiquity and British Antiquarianism in the
Late 18th-century”
Zirwat Chowdhury, Northwestern University
“Manifesting the Rule: Designing for Monasticism in Victorian Oxford”
Ayla Lepine, Courtauld Institute of Art
“Domestic Dreams and Utopian Idylls: Medieval Dress in the Work of William
Reynolds-Stephens”
Katherine Faulkner, Courtauld Institute of Art
“Unseen Landscapes: Paul Nash and the Geography of History”
Lee Hallman, City University of New York
Mark A. Cheetham, University of Toronto
“Yinka Shonibare’s Enlightenment: Revising British Art for the 21st Century”
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HBA online
Website www.historiansofbritishart.org
User name member name
Password London
Facebook!
Join our Facebook group by searching Historians of British Art or find us at www.facebook.com/group.php?gid=59663381317
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BOARD MEMBERS July 2009-July 2011
President
Margaretta Frederick,
Chief Curator, Bancroft Collection
Delaware Art Museum
2301 Kentmere Parkway
Wilmington, DE 19806
302.351.8518 mfrederick@delart.org
First Vice-President
Peter Trippi, Editor, Fine Art Connoisseur Magazine (and)
President, Projects in 19th-Century Art, Inc.
780 Riverside Drive, Apt. 10F
New York, NY 10032
Ptrippi@aol.com
cell 917.968.4476
Second Vice-President
Colette Crossman, Second Vice-President
Administrator of Art & Programs, Blanton Museum of Art
The University of Texas at Austin
MLK at Congress
Austin, Texas 78701 colettecrossman@yahoo.com
Treasurer/Membership Chair
Craig Hanson, Treasurer
Assistant Professor of Art History
Calvin College
3201 Burton Street SE
Grand Rapids, MI 49546
Office: 616.526.7544 chanson@calvin.edu
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MEMBERS AT LARGE
Alice Beckwith
Professor of Art History
Providence College
Providence, R.I. 02918
OR
35 Boston Neck Road
Wickford, RI 02852
Term expires July 2011
Juilee Decker
Associate Professor of Art History
Editor, Collections: A Journal for
Museum and Archives Professionals
Chair, Art Department
Georgetown College
400 E. College
Georgetown, KY 40324
Term expires July 2013
Renate Dohmen
Chair of the Travel and Publication
Grants Committee
Assistant Professor in Art History
Visual Arts Department
University of Louisiana at Lafayette
421 East Lewis Street
PO Box 43850
Lafayette LA 70504
Term expires July 2014
David Getsy
Assistant Professor of 19th and early
20th-Century Art
Dept of Art History, Theory, &
Criticism, School of the Art Institute of Chicago
112 S. Michigan Avenue
Chicago, IL 60603
Term expires July 2013
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Anne Helmreich
(Past President 2001-2003)
Associate Professor
Department of Art History and Art
Case Western Reserve University
10900 Euclid Avenue
Cleveland, Ohio 44106-7110
Term expires July 2011
Elizabeth Honig
Book Prize Committee Chair
Associate Professor, European Art,
1400-1700
History of Art Department
University of California, Berkeley
416 Doe Library #6020
Berkeley, CA 94720
Term expires July 2013
Richard Hutton
(Past President 2007-2009)
2105 N Street, NW
Washington, DC 20037
Term expires July 2013
Kimberly Rhodes
(Past President 2005-2007)
Associate Professor of Art History
Department of Art History
Dorothy Young Arts Center
Drew University
Madison, NJ 07940
Term expires July 2011
Wendy Wassyng Roworth
Professor of Art History and
Women's Studies
Chair, Department of Art
University of Rhode Island
105 Upper College Road - Suite 1
Kingston, RI 02881-0820
Term expires July 2011

Gayle Seymour
Professor of Art History
Associate Dean
College of Fine Arts and
Communication
University of Central Arkansas
Conway, AR 72035
Term expires July 2013
EX-OFFICIO (NO TERM)
Association of Art Historians
Representative
Evelyn Welch
Professor of Renaissance Studies
Queen Mary, University of London
Mile End Road
London E1 4NS
UK
Tel: 020.7882.7486
Fax: 020.7882.3357
E.Welch@qmul.ac.uk
Student Representative
Brittany Hudak
Case Western Reserve University brittanyhudak@gmail.com
Jennifer Way
Newsletter Editor
Associate Professor of Art History
College of Visual Arts and Design
University of North Texas
P.O. Box 305100
Denton, TX 76203-5100
Term expires July 2013
Paul Mellon Centre Representative
Martin Postle
Assistant Director for Academic
Activities
The Paul Mellon Centre for Studies in British Art
16 Bedford Square
London WC1B 3JA
UK martin.postle@paul-melloncentre.ac.uk
Yale Centre for British Art
Representative
Lisa Ford
Associate Head of Research
Yale Center for British Art
PO Box 208280
New Haven, CT 06520-8280
203.432.9805 or 203.432.7192
Lisa.ford@yale.edu
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Artistic Circles: Design and Decoration in the Aesthetic Movement by
Charlotte Gere. London: V&A Publishing (Distributed in North America by
Harry N. Abrams, Inc., New York), 2010. ISBN-10: 1851776028. ISBN-13: 978-
1851776023. 240 pages.
Reviewed by Antoine Capet
Charlotte Gere is of course a respected figure of Victorian Art Studies, well known for her long list of distinguished publications on the subject – and only a scholar with her stature could undertake the difficult task which she set herself in tackling a theme whose complexity she perfectly describes:
The Art Movement – with its outcome, ‘Aestheticism’ – was a logical development of Reformed Gothic, blended with japonisme and a further eclectic range of sources from Ancient Egypt, Moorish Spain, Chinese,
Indian and Persian art, and English eighteeenth-century styles in various guises, a free style in architecture and domestic decoration. (p. 16)
The wide spectrum of the activities covered is best exemplified by her comprehensive ‘Cast of Characters’: five very useful pages (pp. 220-224) with closely-printed short biographies of the protagonists, on three columns – ranging from ‘Maurice Bingham Adams (1849-1933), architect and writer’ to ‘Marie
Zambaco (1843-1914), model and sculptor cousin of the Ionides family’. Some
Historians of British Art will be familiar with the name, others not – for the latter,
Gere includes two members of the family, Alexander (1810-90) and his son
Constantine (1833-1900). Naturally, all the great artists are there: Ashbee, Burne-
Jones, Crane, De Morgan, Hunt, Landseer, Leighton, Lewis, Mackintosh, Millais,
William Morris, Rossetti, Ruskin, Philip Webb – many, not unexpectedly, being recurring names in the text proper.
Arguably, the reason for being of the book is indirectly given when Gere writes that ‘[w]ere it not for the architectural legacy of the artist’s houses, very much less might be understood about the Victorian social revolution in relation to the arts’
(p. 30). Accordingly, her first chapter discusses the ambiguous position of sociallysuccessful Royal Academicians like Millais (who received a Baronetcy) and
Leighton (the first British artist to be elevated to the Peerage – admittedly on his deathbed): ostensibly not outside the élite circles (how could they be with such
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social recognition?), but not quite inside. The book provides a perfect illustration
(in the literal sense) of this complex context of class rivalry running along with class solidarity among the political, commercial and artistic upper strata of
Victorian society: a magnificent two-page spread (in full color, as all reproductions of paintings) with H. Jamyn Brooks’s Private View of the Old Masters Exhibition at the
Royal Academy (1889), on which Gladstone, Leighton and Millais are at the center of three separate groups (Plate 26). A detail given on Plate 115 shows that Millais’ entourage includes prominent financiers (and wealthy collectors) like Baron
Ferdinand de Rothschild.
The book then largely concentrates on these artists’ houses (including of course their showcase studios): as status-symbols, as we would now say (that is, as tokens of their social ambitions and attempted integration into high society), but also as objective indicators and subjective statements on their aesthetic conceptions. The scene is set in fact right from the beginning, with a superb full-page reproduction of ‘Sir J.E. Millais’s House’ by F.G. Kitton, which appeared in The Art Annual
(1885), facing the opening of the first chapter (Plate 3). A comprehensive middle section focuses on six copiously-illustrated case studies: ‘George Frederic Watts,
Frederic Leighton and the Holland Park Colony in Kensington’, ‘William Morris and the “Palace of Art”: Red House and the Two Kelmscotts’, ‘Dante Gabriel
Rossetti, James McNeill Whistler and Others in Chelsea’, ‘Edward Burne-Jones and The Grange in Fulham’, ‘Regent’s Park and St John’s Wood: Lawrence Alma-
Tadema, James Tissot and Friends’, ‘ “Sweet Hampstead”: Northern Retreat’.
Here of course the incredibly complex diversity of the Victorian artistic milieu appears in all its ramifications – one only has to compare two contemporary watercolors: ‘G. Aitchison, presentation drawing for Leighton House Arab Hall
(1879)’ (Plate 7) and ‘E.W. Godwin, proposed design for the front elevation of the house and studio for Frank Miles (about 1878)’ (Plate 173).
The book ends on a fascinating short section, which makes however for dismal reading: what has become of these ‘Palaces of Art’. A number survive, but the
Blitz was not the main culprit in the destruction of some fine examples – it was the property development mania, with its love of ‘modern’ tower blocks, which seized the latter-day Philistines who controlled the local authorities in the 1960s. A final irony emerges from its conclusion: just as it was largely a quest for distinction
(in Bourdieu’s sense) which led to the building of these remarkable houses and studios, the same quest might ensure their preservation and survival today and tomorrow as unique places to dwell in, when in London, for super-rich pop stars and film-makers.
Gere’s text is probably too ambitious for ‘freshers’, but it should be standard reading for advanced students in all Art Colleges and University Departments offering Modern British Art History courses. The quality trade binding, with durably sewn (not glued) quires suggests that the V&A rightly had the University and Public Library market in mind, while the 214 illustrations and fine end papers
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with Pomegranate, the well-known William Morris design, would also make Artistic
Circles a welcome present for an enlightened amateur.
Antoine Capet is a Professor of British Studies at the University of Rouen. In addition to his other publications, including that he is the 'Britain since 1914' Section Editor of the Royal
Historical Society Bibliography and sits on the Editorial Committee of Twentieth Century
British History, he has written several reviews for the Historians of British Art Newsletter
and he also publishes reviews regularly in Cercles, and for both the H-Museum and H-
Albion sections of H-Net. antoine.capet@univ-rouen.fr
The Edwardian Sense: Art, Design, and Performance in Britain 1901-1910,
Studies in British Art edited by Morna O’Neill and Michael Hatt. New Haven:
Yale University Press, 2010. ISBN-10: 0300163355, ISBN-13: 978-0300163353.
336 pages.
Reviewed by Peter Stansky
In 1924 partially seriously and partially tongue-in-cheek Virginia Woolf remarked in her essay Mr. Bennett and Mrs. Brown that ‘on or about December 1910 human character changed.” Although she didn’t discuss in particular the famous indeed notorious exhibition that Roger Fry had curated, Manet and the Post-Impressionists, at the Grafton Gallery in London that year, it was a major reason for her remark. She herself tended to take art somewhat less seriously than did her sister Vanessa and her husband Clive Bell and Fry himself, much as she admired them (and ultimately she would write Fry’s biography). But she did feel that the exhibition was part of an important development: the advent of “modernism.” She contrasted it to what she saw as Edwardian realism, as found in the writings of Arnold Bennett, H.G.
Wells and John Galsworthy. They were authors who had come to the fore during the Edwardian period. The paradox of the situation was in fact they were
“progressive” writers who were presenting new sorts of novels. In 1910 H.G.
Wells had published The History of Mr. Polly, the story of a character rather similar to that of Leonard Bast to be found in E.M. Forster’s Howards End, also published in 1910. Wells in fact depicted in a far livelier way and with a richer inner life, someone, like Leonard, at the very bottom of the middle class. Nevertheless,
Woolf contended that those such as Wells couldn’t penetrate to the inner essence of their characters, couldn’t reach the true “reality” as would Eliot, Lawrence,
Joyce, herself in the years to come. Arnold Bennett despite his recorded sympathy for the Fry exhibition, so too would fail, she believed, to go below the surface in
Clayhanger, his very successful novel of the year. John Galsworthy’s publication of
1910, the play Justice, was a spirited and effective attack on the criminal justice system.
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This important collection of essays brings into question Virginia Woolf’s famous assertion. It is a study of British art in manifest ways (although there is virtually nothing about architecture) of the brief Edwardian years (1901-1910) the reign, after his waiting so long in the wings, of Edward VII. It frames the discussion somewhat inaccurately historically, using George Dangerfield’s The Strange Death of
Liberal England, his study of the years 1910-1914, the first four years of Georgian
England. His book is brilliantly written and is still well worth reading despite being published in 1935. It does support the position, contrary to that argued here, that there was an important break in 1910. Rather these essays argue effectively that the Edwardian period, as most periods are generally boringly called, was a time of transition. It possessed to a degree both lingering Victorian assumptions and new ideas identified with the Edwardians. Britain was becoming, perhaps reluctantly, more democratic. The Liberal party came into power, with a considerable majority, in 1906 and under the leadership of Winston Churchill and David Lloyd
George, passed progressive social legislation. It was not until 1910 that there was a period of much more confrontational politics terminated domestically by the greater violence of the outbreak of the First World War.
The essays here are divided into three sections: “Spectacle,” “Setting” and “Place.”
In Spectacle, Tom Gunning, Bronwen Edwards and Angus Trumble write about the filming of the coronation of Edward VII. It included simulated scenes within
Westminster Abbey created by the great French filmmaker Georges Méliès. In the same group an extremely illuminating piece by Deborah Sugg Ryan discusses the great popularity and proliferation of pageants during the period. Such events, possibly involving thousands as both participants and audience, were
“democratic.” They reached out to the multitude, involving them in what was in most cases “Our Island Story.” But the story itself was told in celebratory, noncritical and conservative ways. There was a need to co-opt the working class public, now that its males had the vote. In that essay, and David Gilbert’s on sport and the development of White City, the intriguing and under-studied figure of the
Hungarian dancer turned entrepreneur, Imre Kiralfy, appears as the impresario who brings displays to the wider public. Lynda Nead’s fine essay on space, motion and transport in the period completes the section.
In “Setting” three short essays consider William Nicholson’s painting The Conder
Room (1910), the image deriving its name from the art work by Charles Conder reflected in the mirror in the work with the figures of the art collector Pickford
Waller and his daughter Sybil looking into the middle distance and not paying attention to anything in the room, including the other person. It is a transitional work. Similar points are made in Christopher Breward’s strong essay on costumes and stage sets of the time. They had an emphasis on Edwardian realism and elegance shorn of Victorian clutter. The same spirit of what one might call paradoxically opulent austerity, as compared to the Victorians, characterizes the interiors of the time discussed by Christopher Reed.
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The “Place” section also opens with three short essays on a shared topic: Anne
Helmreich, Gillian Beer and Martina Droth on Sir George Frampton statue of
Peter Pan (1911), paid for by James Barrie, erected in Kensington Gardens. It was distinctly different from Victorian work, but certainly not modern. Perhaps the most powerful essays in the collection are those in this section by Tim Barringer and Andrew Stephenson. Both emphasize the ways in which the Edwardian period was more forward looking than Virginia Woolf’s aphorism had suggested.
Barringer with his deep knowledge of art and music has richly elaborated the richness of the complexities to be found in Sir Edward Elgar, far from the stereotype he is frequently taken to be. Stephenson points out how much
European art was on view in London, even before the famous Fry exhibition. And yet, as he mentions in a footnote, there was not a Paris-London exhibition in Paris as part of the recent series marking the connections between Paris and other
European capitals. As he points out, there was the great influence on the
Continent of the British Arts & Crafts practitioners. One might argue that they were more influential abroad than at home. Britain has always had a “problematic” relationship with advanced artistic movements. But for complicated reasons connected with class and structure, the Continent tend to leap ahead and Britain is delegated to play “catch-up.” The collection concludes with Morna O’Neill on “A
Political History of Decoration, 1901-1910.” This valuable volume makes important, new and imaginative points about a broad spectrum of Edwardian art and enables us to understand the period in a far better way.
Peter Stansky is the Frances and Charles Field Professor of History, Emeritus, at Stanford
University. His publications include William Morris (1983), Redesigning the World,
William Morris, the 1880s, and the Arts and Crafts(1985), On or About December
1910: Early Bloomsbury and its Intimate World (1996), London's Burning, with
William Abrahams (1994), and The First Day of the Blitz (2007). stansky@stanford.edu
Endless Forms: Charles Darwin, Natural Science, and the Visual Arts edited by Diana Donald and Jane Munro. Cambridge and New Haven: Fitzwilliam
Museum and Yale Center for British Art, in association with Yale University
Press, 2009. ISBN-10: 0300148267, ISBN-13: 978-0300148268. 344 pages.
Reviewed by Agnes Haigh Widder
Endless Forms… is the book accompanying an exhibit of the same name created and mounted by the Fitzwilliam Museum, Cambridge, and the Yale Center for
British Art, New Haven, in 2009. This exhibit was at the Yale Center for British
Art February 12-May 3, 2009, and at the Fitzwilliam Museum June 16-Oct. 4,
2009. The show has been widely and favorably reviewed in many publications,
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including the New York Times, March 3, 2009, Burlington Magazine, October, 2009, and Apollo, December, 2009. This book is not an exhibition catalog per se as it includes only a ten page “Checklist of Exhibits” at the back, not a full catalogue of works shown. This list is arranged by chapter of the book, with sub-arrangement by artist name. Entries provide title of work, medium, dimensions, ownership, and plate number in the text.
The exhibit celebrated the bicentennial of the life of Charles Darwin, 1809-1882, and the sesquicentennial of the publication of his On the Origin of Species by Means of
Natural Selection, or the Preservation of Favoured Races in the Struggle for Life, which came out in 1859. Endless Forms… is the first book to examine in detail the effect of
Darwin’s ideas about evolution on the visual arts during his own lifetime and since. The book is an anthology of articles by individual scholars, not previously published, that reveal how Darwin’s ideas about evolution, the history of the earth, natural selection, survival of the fittest, mate selection, inheritance of traits, and so forth, began to show up in painting, sculpture, book illustration, Natural histories, photography, zoology books, landscape and geological history works,
French art, fashion, cartoons, and periodicals.
Part of the Introduction is a twenty page chapter on Darwin the man and his home life at Down House, Kent, which is a lovely way of beginning, by ushering the reader into his home; it was his research base, as he often used his own and other people’s children, pets, and garden plants as research subjects. His wife,
Emma, was a year his senior and the daughter of one of his uncles. They had seven children, three dying young. Portraits and photographs of the family and the house are wonderful. Down House was re-restored and re-interpreted in
1996-1997 by English Heritage. Julius Bryant was the chief curator of English
Heritage during this time period and he wrote this portion of the book under review here.
Other authors in the volume include Rebecca Bedell, co-editor Diana Donald, Jan
Eric Olsen, Nicola Gauld, David Bindman, Elizabeth Edwards, Julia Voss,
Jonathan Smith, co-editor Jane Munro, and Richard Kendall. They are academics and museum curators, one is a periodical editor for Frankfurter Allgemeine Zeitung, and one was a research associate for the exhibit. They are affiliated with Wellesley
College, Manchester Metropolitan University, University of Copenhagen,
University of the Arts London, University of Michigan Dearborn, Fitzwilliam
Museum, and Clark Art Institute. Those that teach are professors of art, art history, art and design, and English. Most have written books on related subjects.
Endless Forms…’s three goals are to show the deep and extensive influence
Darwin’s ideas had on visual arts, to deal with the connections between those ideas and theory and practice of art in the 19 th century, and to trace in detail the traditions of imagery that contributed to Darwin’s own mental formation and to the scope of his influence on the 19 th century. The book has three parts.
Darwinian Theory and Picturing the Natural World has chapters by Bedell,
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Donald, Donald and Olsen, and Gauld. These lay out how Darwin’s work changed portrayal of the natural world. The natural world, Darwin said, was a place of constant struggle, for survival for both people and animals. This upset the long held notion that humans were executing a divinely inspired history here on earth. Fatalism and descent are themes instead. More connections and hierarchies between animals appeared in illustrations of science books for family reading and in natural history museum exhibits, as well as in writings for science professionals. Animals in illustrations became less static and less detached from each other. The influence of Darwin’s views on the history and development of the earth came out in paintings, illustrations, and other visual interpretations of the land and landscape.
The second part of the book is Descent of Humankind: Animal Ancestry, Cultural
Evolution, and Racial Theory. It contains chapters by Bindman, Edwards,
Donald, and Voss. These one, emphasize portrayal of the natural world as descent, rather than ascent. Two, they show the influence of scientific thought on cartoons. Three they show race as an integral aspect of evolutionary theory.
Four, they show the use of photography to portray races of people. Five, they show the kinship between animals and humans in art works. Six, they reveal the demonization of what was thought to be lower forms of life, such as the gorilla, in art.
The third section of the book is Darwin, Aesthetic Theory, and Nineteenth-
Century Art Movements. It has chapters by Smith, Munro, and Kendall. These cover Darwin’s influences on 19 th -century art movements and on his own contemporaries, the understanding of the nature of art itself, the association of beauty of color and beauty of form in nature and how it is associated with survival and/or reproductive needs, how 19 th - century women’s fashions for wearing brilliant colors and feathers is akin to animal colors and plumage, and Darwin’s influence on the art of Paul Cezanne, Edgar Degas, and Claude Monet. Besides the checklist of art works included in the book, the book ends with two bibliographies. The first is of Darwin’s own works. The second is a select bibliography of the works of others emphasizing the broader cultural dimensions of Darwinism, especially as related to the exhibit.
Each author begins his/her chapter with his/her own reading and interpretation of Darwin’s thought development and his publications. Then the scholar moves on to consider other intellectuals of the time period and their similar, or opposing, views. And then, each author presents the work of artists he/she believes were influenced by Darwin’s ideas and shows how Darwin’s ideas flowed into various
Victorian art forms and mediums: painting, sculpture, photography, book and periodical illustration, commercial art, clothing, and decorative arts. The illustrations in Endless Forms… are copious, beautifully reproduced, and nearly always place right where the reader comes to discussion of them in the text. This is a beautiful book with much to teach us. Because of its nature as an anthology
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of separately crafted pieces, though, reading through it is a bit of a slog, more so than would be the case if it was a monograph. This is because the reader is repeatedly re-introduced to Darwin, his ideas, and works before being shown how they are borne out in illustrations in reading material for children, general adults, and the developing scientific community, in paintings, in photography, in fashion, and so on. Darwin’s influence on architecture is not presented. There are some small copy-editing errors: a footnote number is missing on page 253, on page 278 it should say “forms of decoration than” rather than “that”, and on page 256, the fi of fin de siècle is not italicized. The reviewer, who loves historic houses, would have appreciated having an illustration of the layout of Down House. But, altogether it is a fine read and is particularly recommended to those interested in
19 th -century art and to those interested in the connections between science and the arts.
Agnes Haigh Widder is Humanities Bibliographer at Michigan State University Libraries,
East Lansing, Michigan. She became interested in British art while working in the Fine Arts
Library. She is the bibliographer/subject selector for the British Isles, France, medieval studies, and religious studies.
London, Modernism, and 1914 , by Michael J. K. Walsh. Cambridge: Cambridge
University Press, 2010. ISBN-10: 0521195802, ISBN-13: 978-0521195805. 314 pages.
Reviewed by Samuel Shaw
Like many historians, I am a victim of backward drift. I set out, several years ago, to study British art shortly before and after the First World War: within a few months I found myself lost in the early 1900s. I’ll be a firm Victorianism before I know it. My approach to this book represented, therefore, something of a return to old acquaintances. I might go so far as to call David Bomberg’s The Mud Bath – the first painting we encounter here – an old friend. Certainly this painting had a huge say in my becoming a British art historian, for which reason I must forgive the publishers for printing it upside-down (though I may not forgive the writers for continuing to ignore William Robert’s comment on the painting’s original display).
1 This is not to say my return to 1914 from turn-of-the-century scholarship was made without trepidation; commentators on this period are, I
1 Both Richard Cork and Dominka Buchowska suggest Bomberg chose to hang the painting outside of the
Chenil Gallery as a statement of modernist intent. Roberts suggested, not unfairly, that the painting was simply ‘too big to get into the gallery’: William Roberts, Five Posthumous Essays and Other Writings (Valencia
1990) p.102.
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think, much to blame for the neglect of the preceding decade; so often perceived as a somewhat of a dull, slumbering period, waiting first for Roger Fry and then, more importantly, for Wyndham Lewis to come along give things a good shake.
There is some truth in that, certainly, but a sense of continuity between the two periods is also sorely required: a focus on the shifts as well as the blasts.
Meanwhile, the material continues to speak for itself. There is, after all, a real richness here, in which it is hard not to revel. Epstein’s Rock Drill will never, I imagine, prove a dreary subject; nor the critical arguments/intellectual slanging matches that developed in the 1914 issues of The New Age. Even without the war, this was clearly an important year; a fact which Walsh’s confident and perceptive introduction ably demonstrates. Here, as he has before, Walsh navigates with style a wide range of complex issues. You wish, at times, that he had written the whole book, or that he had exercised slightly tighter editorial control. But then, the joy of these books lies partly in their fractured approach; in the bringing together of different methodologies: even in leaving a few loose ends for future studies to pick up on.
There is, after all, more to come on 1914. A centenary looms, as does the Tate’s major Vorticism exhibition. London, Modernism, and 1914 will soon be joined by yet more voices clamouring for our attention. My sense, however, is that this study will stand up well. Excepting the ‘glaring omissions’ that Walsh confesses to in his introduction (he notes Bloomsbury and the Futurist Manifesto; I might add a closer attention to exhibiting spaces and the ‘old guard’ of London-based artists, such as Philip Wilson Steer and William Rothenstein), this is a valuable addition to current literature – and a decent introduction to students approaching the subject for the first time. Familiar names (Cork and Causey) are more than ably supported by younger writers, suggesting a great future for this particular field of British art history. Jonathan Shirland’s essay offers an especially interesting, and carefully managed account of Walter Sickert’s constantly shifting critical position, whilst
Deborah Parsons presents a revealing comparison between the autobiographical writings of Osbert Sitwell and Wyndham Lewis. The latter, unsurprisingly, features highly throughout the book: possibly he dominates it – which is, at times, a pity. I would have enjoyed more attention on the peripheral figures, particularly the women, such as Clara Birnberg (about whom Sarah McDougall writes in her essay on the Jewish contribution to modernism) or Jessica Dismorr (brought to the fore by Alan Munton in a gloriously strident, sometimes spiteful closing piece, which takes apart Pat Barker’s limp re-working of the pre-war London art world).
Dominika Buchowska’s breathless tour through 1914 art exhibitions provides a tantalising glimpse of just how much was going on, in how many places, drawing reactions from so many different critics: the essay can hardly be blamed for failing to deal with all of these aspects in detail – though such a study might benefit greatly from the introduction of a map; that way we can chart, visually, the spaces in which things were happening.
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There are always, in these cases, details to take issue with, but the book remains a smartly produced, largely accessible and intellectually involving collection of essays. At times I was left wondering why it was I ever drifted from this particular period in the first place; should I ever decide to stage a full-scale return, Walsh’s book will certainly be amongst the literature I turn to first.
Samuel Shaw recently completed his PhD in art history at University of York, ‘Equivocal
Positions’: The Influence of William Rothenstein, c.1890-1910. jepshaw@yahoo.com
Portraiture and Social Identity in Eighteenth-Century Rome by Sabrina
Norlander Eliasson. Manchester: Manchester University Press, 2009. ISBN-10:
0719075963, ISBN-13: 978-0719075964. 174 pages.
John Singer Sargent: Venetian Figures and Landscapes 1898-1913: Complete
Paintings, Volume VI by Richard Ormond and Elaine Kilmurray. London and
New Haven: Yale University Press and Paul Mellon Centre for Studies in
British Art, 2009. ISBN-10: 0300141408, ISBN-13: 978-0300141405. 272 pages.
Reviewed by Lyrica Taylor
Two recent publications offer rich reading for scholars of eighteenth- to earlytwentieth-century British art.
Beginning with the eighteenth century, Portraiture and Social Identity in Eighteenth-
Century Rome by Sabrina Norlander Eliasson (Assistant Director at the Swedish
Institute for Classical Studies in Rome and affiliated with the Research
Department at the Nationalmuseum of Fine Arts in Stockholm) provides a fascinating comparison of portraits produced in Rome for British Grand Tourists and for the Roman elite. This publication creates a rich context of the social, financial, religious, and political nature of eighteenth-century Rome, and is an invaluable art historical source for scholars working on British artists in Rome in the eighteenth century.
In Portraiture and Social Identity in Eighteenth-Century Rome, Eliasson provides a perceptive inquiry into seemingly similar portraiture produced for British and
Roman elites in eighteenth-century Rome and specifically makes insightful contrasts between how the British and Roman elites interpreted, adapted, and used the concept of Roman Antiquity, particularly to express social affirmation.
Her detailed analysis of eighteenth-century portraiture encourages the reader to question the genre’s use and status as being uniform among eighteenth-century
European elite cultures. This study is particularly helpful for scholars of
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eighteenth-century British art in placing the Grand Tour portrait, particularly as produced by Pompeo Batoni, within its Roman context and by closely analyzing the complex issue of what could be considered familiar and foreign by British travelers in appropriating Roman Antiquity.
One of the most intriguing aspects of the context of portrait production in eighteenth-century Rome that this study develops through multiple examples is the reaction by British Grand Tourists to the use and regard of portraiture by
Roman elite families. For example, Eliasson examines (page 15) Doctor John
Moore’s comments on Roman portrait display in his significant travel description
A View of Society and Manners in Italy (1781):
With countenances so favorable for the pencil, you will naturally imagine that portrait painting is in the highest perfection here. The reverse, however, of this is true; that branch of the arts is in the lowest estimation all over Italy…[T]he Italians very seldom take the trouble of sitting for their pictures. They consider a portrait as a piece of painting which engages the admiration of nobody but the person it represents or the painter who drew it. Those who are in the best circumstances to pay the best artists, generally employ them in some subject more universally interesting, than the representation of human countenances staring out of a piece of canvas.
Eliasson develops Moore’s surprise regarding contrasting the use of portraiture as an indicator of social status within Roman elite homes to British stately homes, and shows how British visitors compared the familiar and foreign to understand these new Roman experiences:
In palaces, the best furnished with pictures, you seldom see a portrait of the proprietor, or any of his family. A one-quarter length of the reigning Pope is sometimes the only portrait of a living person, to be seen in the whole palace.
Another helpful aspect of Eliasson’s study concerns the process of researching eighteenth-century Roman portraiture. As she demonstrates, it is important to recognize that while portraits can still be found in Roman elite collections, these collections are not always completely catalogued or publicly available, in contrast to the extensive displays of portraits in British stately homes organized by the
National Trust. Notably, the author’s extensive use of unpublished documents in
Roman inventories in the archives of multiple elite families expands the scope of this research project and provides strong evidence of the social status of portraiture in eighteenth-century Rome within private apartments of a family palace. The author thus creates an extended and well-rounded context of the practice of Roman families adopting an individual approach with respect to art
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commissions and portraiture, and with portraits of foreign rulers frequently placed in Roman palaces as significant indicators of a family’s political connections, instead of displaying family history through portraiture.
This beautiful book includes three insightful chapters that address how portraitists referenced Antiquity in eighteenth-century Rome. The first chapter, “Of Rome or in Rome? Laying claim to the imaginary and the real,” examines many of the most important differences between British and Roman portrait sitters and how artists used landscape settings to create a metaphor of a Roman identity and a connection to Roman Antiquity. The second chapter, “Mythological adaptations: gender and social identity,” provides a very helpful analysis of how artists adopted and used classical mythological narratives, including multiple fascinating examples of British and Roman women portrait sitters in the role of Cleopatra, to create contemporary mythologies for their sitters. The third and final chapter, “‘Fare accademia’: Arcadian discourse and social preservation,” offers a brilliant examination of a previously neglected subject—the institutionalization of the myth of Antiquity through the influence on Roman portraits by the literary
Accademia dell’Arcadia (founded in 1690). This book also includes thirty-six images, the majority of British and Roman portraits under discussion, as well as an invaluable bibliography of primary and secondary sources, including references to multiple archives in Rome and London.
Turning now to the late nineteenth and early twentieth century, John Singer Sargent:
Venetian Figures and Landscapes 1898-1913: Complete Paintings: Volume VI by Richard
Ormond (Sargent scholar, independent art historian, and a great-nephew of John
Singer Sargent) and Elaine Kilmurray (coauthor and research director of the John
Singer Sargent catalogue raisonné project) offers a rich visual feast for the reader.
This publication is the sixth volume of the John Singer Sargent catalogue raisonné project and includes all 141 oil paintings and watercolors that Sargent created during his frequent and incredibly productive trips to Venice in the late nineteenth and early twentieth century. Each of the works is beautifully illustrated through high-quality color reproductions (with only a few exceptions of black-and-white reproductions) and several are published for the first time. The authors include a full provenance, exhibition history, and bibliography for each painting.
The authoritative essay in the introduction of John Singer Sargent: Venetian Figures
and Landscapes 1898-1913 illuminates fascinating research regarding Sargent’s interactions with his patrons, including (among others) Isabella Stewart Gardner,
Asher Wertheimer, and the Curtises (Sargent’s cousins who lived in Venice). This introduction also explores how Sargent approached exhibiting and marketing his
Venetian oil paintings and watercolors in London and New York, helping the reader to understand the nature of Sargent’s Venetian work within his entire oeuvre. By drawing on archival sources, including letters written by Sargent to his friends, family, and patrons, and letters written to Sargent from various contacts, as well as additional archival sources, this book is invaluable in placing Sargent’s
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Venetian works within a contemporary Venetian context. One of the most fascinating sources the publication references is the autobiography of the
Dowager Countess of Radnor, a friend of Sargent’s who traveled to Venice each year and resided at the Palazzo da Mula. Sargent and the Dowager Countess of
Radnor had many friends in common in Venice, and by exploring this aspect of
Sargent’s time in Venice, John Singer Sargent: Venetian Figures and Landscapes 1898-
1913 helps the reader to understand the social setting of Sargent’s artistic practice.
For example, the publication (page 41) includes an excerpt from the Dowager
Countess of Radnor’s autobiography regarding an informal exhibition in 1902 at her palazzo of Sargent’s Venetian sketches:
I met Mr. Sargent frequently, and have a very happy recollection of those meetings. One day he walked into my Sala with a large portfolio under his arm, and said, ‘I thought, perhaps, you would like to see what I have been doing since I came here’-- and he showed me a number of most beautiful water colour sketches, done in various parts of Venice. He suggested that I might like to keep them to look at for a few days, and he decided that they would look very nice if they were put up round the ‘dado’ at one end of the Sala. I gladly agreed--but then said that I thought ‘they were too precious to be lying about without frames.’ But he would not hear of this, and proceeded to put them up, where they remained for many days, to the great delight and admiration of friends who came in to see me. And I have always thought what a charming thing it was of him to do.
One of the most helpful aspects of this publication is a map of Venice that marks every location where it is certain that Sargent painted. This map, accompanied by multiple contemporary photographs, encourages the reader to compare and contrast the views that Sargent painted as they appeared in the late nineteenth and early twentieth century to how they appear today. This map helps readers to understand how Sargent painted both along the Grand Canal as well as along quiet side canals, often painting from a gondola’s low viewpoint and often painting the same sites repeatedly, sometimes focusing on a specific fragment of monumental
Renaissance and Baroque architecture or a quiet moment from everyday life in
Venice, and capturing the unique light of Venice through luminous watercolors.
The incredibly beautiful oil paintings and watercolors by Sargent illustrated in this invaluable publication truly answer the question asked by the novelist Gustav von
Aschenbach, the main character in Thomas Mann’s Death in Venice (1912), with which Richard Ormond and Elaine Kilmurray begin the introductory essay in John
Singer Sargent: Venetian Figures and Landscapes 1898-1913: “‘When one wanted to arrive overnight at the incomparable, the fabulous, the like-nothing-else-in-theworld, where was it one went?’” Sargent’s oil paintings and watercolors of Venice,
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as magnificently presented in this publication, indeed are incomparable and fabulous.
For those interested in the history of British art and Italy, these two invaluable books are a must-have for any library. Portraiture and Social Identity in Eighteenth-
Century Rome provides a wonderful complement to the 2008 exhibition, Pompeo
Batoni, 1708-1787, organized by the National Gallery, London, and the Museum of
Fine Arts, Houston, with its accompanying catalogue, Pompeo Batoni: Prince of
Painters in Eighteenth-Century Rome, by Edgar Peters Bowron and Peter Björn Kerber
(New Haven: Yale University Press, 2007). It is also an excellent complement to a current exhibition, Rome and Antiquity: Reality and Vision in the Eighteenth Century, organized by the Museo del Corso, Rome, examining Rome and the antique as seen by eighteenth-century archaeologists and artists, and on display from
November 30, 2010 to March 6, 2011. Three current exhibitions provide a fascinating context for John Singer Sargent: Venetian Figures and Landscapes 1898-1913, including the 2010-2011 exhibition, Venice: Canaletto and His Rivals, organized by the National Gallery, London, and the National Gallery of Art, Washington, D.C., with its accompanying catalogue, Canaletto and His Rivals, by Charles Beddington
(London: National Gallery London, 2010); Sargent & Impressionism, organized by
Adelson Galleries from November 4 to December 18, 2010, which includes approximately thirty oil paintings and watercolors by Sargent on loan from private and public collections; and finally Artists Abroad: London, Paris, Venice, and Rome
1825–1925, organized by the Museum of Fine Arts, Boston, and on display until
June 26, 2011.
Lyrica Taylor is a Ph.D. candidate at the University of Maryland in the Department of Art
History and Archaeology studying early-twentieth-century British art. She has held internship positions at the National Endowment for the Arts, the Huntington Library, Art Collections, and Botanical Gardens, and a University of Maryland Museum Fellowship at the Smithsonian
National Portrait Gallery. letaylor@umd.edu
Richard Norman Shaw by Andrew Saint. London and New Haven: Yale
University Press and Paul Mellon Centre for Studies in British Art, 2010.
Revised edition. ISBN-10: 0300155263, ISBN-13: 978-0300155266. 498 pages.
Reviewed by Alice Beckwith
Andrew Saint’s 2010 edition of his landmark 1976 biography and catalogue raisonné, Richard Norman Shaw, adds a contextual analysis of Shaw’s career, a revised account of the important 1860s Craigside commission, and fifty eight new illustrations, mostly in color by the superb architectural photographer, Martin
Charles. Beginning with a plea for return to the nineteenth century usage, Norman
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Shaw, for naming the architect, Saint gives us fresh insight into the career of a man whose half-timbered Old English buildings are precursors to nineteenth and twentieth century Queen Anne, Shingle Style and Tudor Revival architectures.
The contextual analysis forms the basis of Saint’s new Introduction, where we learn that while Shaw exhibited “freedom and joy and élan” as a designer, he was also concerned with the technical side of architecture especially “ingenuity of plan, efficient services and sound construction.” (9) Andrew Saint owns or has access to definitive records, to date, of Shaw’s correspondence and business records as well as his buildings. An architectural scholar at the top of his profession, widely published and well read, Saint has the knowledge and confidence to newly define
Norman Shaw as “one of the great imaginative free spirits of English architecture” blessed with the “pluck of the adventurer and experimentalist.” (11)
Color, texture, and setting are essential to a full understanding and appreciation of
Shaw’s buildings, and this is one more reason why the 2010 edition of Richard
Norman Shaw gives us a revisioned picture of his work. All of the photographs in the book are newly printed using modern methods that yield more precise visual definition even in the black and white reproductions. Martin Charles’s color photographs go beyond documentation. Charles reinforces the text and sometimes even comments on the buildings by means of his point of view and cropping.
Poetry and pleasure in design strike the reader of Richard Norman Shaw with the first double page opening – the frontispiece and title page. Martin Charles’s photograph of Craigside from the glen, used as the frontispiece, proves Andrew
Saint’s assertion that Norman Shaw “is a descendant of the picturesque” ...
“premise that a house must be seen in its setting” ... where the building is “fused into the landscape.” (89). Framing the sunlit, hillside house with a delicate, dark repoussoir of pine branches, Charles creates the impression that we are just discovering the fairytale wonder of Craigside, while on a walk in the surrounding forest. Yale’s book designer, Gillian Malpass gives immense clarity and balance to the text of the title page and additionally she enlivens the page by choosing a font with tiny grace notes of high rising dots above the letter i. Malpass’s redesign of the book increases the page size and she uses the extra space to enlarge both the size and number of photographs.
Andrew Saint makes use of the photographs to draw attention to Shaw’s creative restatement of English red brick vernacular forms in freestanding houses and in his churches that combine ecclesiastical and domestic features. Martin Charles underscores Andrew Saint’s discussion of the Old English aspects of Shaw’s 1877-
1879 Epiphany Chapel at Peplow by the witty inclusion of the beef of Old
England -- a red and white Hereford cow in the foreground of illustration 267.
Such a reference to vernacular forms and setting redoubles our attention to the building while slyly referencing Mark Tansey’s 1981 painting, The Innocent Eye Test.
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Attention graduate students, there is work to be done in tracing out the impact of
Norman Shaw’s buildings. Both Andrew Saint’s probing analysis of Shaw’s architecture and Martin Charles’s photographs make Richard Norman Shaw a valuable starting point for fact based reception geschichte. Shaw’s designs circulated widely in nineteenth century architectural periodicals particularly the
British Building News, and in North America via The American Architect and Building
News. Andrew Saint’s discussion of Shaw’s inviting human scaled design for St.
Michael and All Angels is illustrated (264) by Maurice B Adams’s drawings from the
January 17, 1879 issue of The Building News, as well as with Martin Charles’s new color photographs of the exterior and interior. Unfortunately the 2010 edition of
Richard Norman Shaw lacks the illustration list found in the 1976 version; however, the short select bibliographies in both editions are richly supplemented with primary and secondary sources in the notes to the text. The appended detailed catalogue of Shaw’s two hundred and four buildings and the biographies of Shaw’s pupils and assistants are additional welcome gifts towards future research from
Andrew Saint.
Alice Beckwith is Professor Emerita of Art and Architectural History at Providence College.
Her published works concern the art and ideas of John Ruskin, William Morris, Guarino
Guarini, Germaine Boffrand, and Esther and Lucien Pissarro. Beckwith’s most widely
circulated exhibition catalogues are Illustrating the Good Life: The Pissarros’ Eragny
Press, London 1894-1914 (New York: The Grolier Club, 2007) and Victorian
Bibliomania: The Illuminated Book in 19 th - Century Britain (Providence: Museum of
Art, The Rhode Island School of Design, 1987). She is currently President of the Rhode Island
Center for the Book at Providence Public Library.
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Compiled by Jessica Ingle
Proposal due Dec 31, 2011
Cricket and Community: Local, National and Global Perspectives; University of Huddersfield, 14 - 15 April 2011
We welcome proposals for conference papers on the following themes:
 Community, communities and imagined communities
 Competition
 Identity
 Gender
 Race and religion
 Work and leisure
 Class and status
 Geography and topography
 History and memory
 Patronage, sponsorship and commercialisation
We'd also be very happy to consider papers in other related areas. If you would like to give a paper at the conference, please email an abstract to the contact details below.
The conference proceedings will be published as a special issue of Sport in Society.
Speakers Include:
Keynote: Dr Boria Majumdar - Senior Research Fellow, University of Central Lancashire:
'World Cricket at the Crossroads - Lessons from World Cup 2011'
Dr Dean Allen - Cricket in Colonial South Africa
Dr Tony Bateman, Honorary Visiting Research Fellow, International Centre for Sport
History and Culture, De Montfort University - James Joyce and Cricket
Dr Peter Davies, University of Huddersfield Cricket Research Centre - Cricket and Public
Houses
Dr Rob Ellis, University of Huddersfield - Cricket and Madness
Dr Andrew Hignell, Heritage Officer, Glamorgan CCC - Cricket in Wales
Paul Kitchin, University of Ulster, & Dr David Howe, Loughborough University -
Community Cricket and Disability
Dr Rob Light, University of Huddersfield Cricket Research Centre - Cricket and Popular
Urban Culture
Dr Boria Majumdar, Senior Research Fellow, University of Central Lancashire - Cricket in
India
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Dr Jack Williams, Liverpool John Moores University - Cricket and Community in the
North of England 1900-39
Tom Fletcher, Leeds Met University - British Asians and Cricket
Brian, Malcolm & Freda Heywood - Cricket in Todmorden
Russell Holden - Afro Caribbean Cricket in England and Wales
Bob Horne, University of Huddersfield Cricket Research Centre - Cricket in Brighouse
Douglas Midgett, University of Iowa - Cricket and Nationalism in the West Indies
Dennis O'Keefe, University of Huddersfield Cricket Research Centre - Cricket and
Religion
Sean Reid, University of Huddersfield Cricket Research Centre - Cricket in 19th Century
Ireland
Andrew Smith, University of Huddersfield Cricket Research Centre - Tom Emmett and
Early Cricket in Halifax
Duncan Stone, University of Huddersfield Cricket Research Centre - Club Cricket in
Surrey
Paul Widdop, University of Manchester - Cricket and Sport Consumption
Special Visit
At the end of proceedings on Thursday 14th April we will visit the historic Lascelles Hall
CC, Huddersfield, known as the 'Hambledon of the North' - see http://www.ckcricketheritage.org.uk/southkirklees/lascelleshall/clubhome.htm.
Cost
£50 - Institutional
£25 - Individuals/Concessions
To book: Please send a cheque made out to UNIVERSITY OF HUDDERSFIELD to
Dr Peter Davies, Director, Cricket Research Centre, University of Huddersfield,
Queensgate, Huddersfield HD1 3DH.
Accommodation
We recommend Cambridge Lodge, 4 Clare Hill, Huddersfield HD1 5BS Tel: 01484
519892.
URL: http://www2.hud.ac.uk/mhm/history/research/cricket
Conference organiser(s): University of Huddersfield Cricket Research Centre
Contact details
Dr Peter Davies p.j.davies@hud.ac.uk
01484 472405
Dept of History University of Huddersfield Queensgate Huddersfield HD1 3DH
01484 472655
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Abstract due January 2, 2011
International Conference: Multiculturalism and Gender in France, Britain,
Canada and the U.S.
Debates in France, Great Britain, Canada and the USA on the tensions between universalism and particularism have been centered on issues related to immigration, as well as ethno-racial, religious and gender diversity. At a time when the colonial matrix or
“coloniality of power” (Anibal Quijano) is instrumental as far as race, gender and class relations are concerned, the forms of political, economic, social, religious, and cultural domination of France, Britain, Canada and the U.S. over their ethnic minorities, are more than ever sources of tensions. This has to be articulated with the oppression exercized by some ethnic minorities themselves on their most vulnerable members, especially on women and men who transgress the social, cultural, and religious norms of the group
(Susan Moller Okin).
The feminist critique of multiculturalism, notably important in the UK, Canada and the
U.S., and to a lesser extent in France, offers one the most useful and richest frameworks for the analysis of these phenomena. What is more, the analysis of the concept of ethnic group from « the historical structure of the capitalist world-economy » (Immanuel
Wallerstein), allows us to understand the feminisation of poverty among migrants, hence the interest of linking economic development and gender. « World-system and patriarchal order are just one » (Rada Ivekovic). In the same way, racial and ethnic divisions can be viewed as a consequence of « economic antagonisms » (Poutignat and Streiff-Fenart) because of inequalities of power that partly originate in colonial relationships, and which has a different impact on men and women of a minority ethnic community.
First of all, this conference aims at exploring the ways in which each country deals with the tensions between multiculturalism (in its ethno-racial, socioeconomic, and/or religious dimensions) and gender. How do these four States face the conflicts linked to the articulation of racist, sexist and classist systems of domination. By which mechanisms are these systems of domination produced and reproduced by the concerned societies ? In which ways do “State multiculturalisms” conceive ethnic groups in terms of (cultural) recognition, (economic) redistribution, and (political) representation (Nancy Fraser), as well as the power relationships that exist within each group, in particular those related to gender ? Moreover, what are the relationships between “State feminism” (Helga Hernes) and “State multiculturalism” in each one of these countries ? How can we deal with “the paradox of multicultural vulnerability” (Ayelet Shachar) ? How can we adopt a deliberative approach of multiculturalism that is favourable to individual rights (Seyla
Benhabib) ?
Secondly, in which ways do the most vulnerable members of the groups react to institutional responses and to group pressures? Given that “the identitarian dimensions of ethnicity are not likely to take into account women as subjects of their own existence”
(Michel Wieviorka), what are the mechanisms of resistance to ethnic, class, religious or gender oppression, should it come from State and/or the ethnic group ? (Nacira Guénif).
How do the oppressed individuals struggle against the internalization of the inferior status
(Christine Delphy) imposed on them by the dominant societies and their own group ? In which way can sexism be racialized and become identitarian ? (Christelle Hamel).
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Finally, to what extent are antiracist movements the allies of feminist movements ? Why does antiracism sometimes neglect gender-based claims in favour of religious and ethnoracial claims that are only beneficial to the interests of ethnic groups’ collective rights ?
What can be the impact of these issues on the relationships between governments of the dominant societies and racialised ethnic feminists from Africa, Latin America and the
Caribbean, Asia-Pacific, and the Middle East, as well as on the relationships between the latter and “white” feminists ? Finally, does the fact of questioning and transforming gender-related power relations imply or not an opposition to ethnic, racial, and religious groups’ claims (Anne Phillips) ?
Contributions will deal with one or several of these topics in any one of the four countries, or may constitute a comparative study. The main disciplinary fields will be sociology, political science, philosophy, anthropology, economy and law. The oral presentations will be limited to 20mn. A selection of papers will be submitted to a Peer
Review Committee for publication.
Scientific Board :
- Fauzia Ahmad (Université de Bristol)
- Paola Bacchetta (UC Berkeley)
- Christine Delphy (CNRS)
- Hassan El Menyawi (New York University)
- Romain Garbaye (Université de Paris 3)
- Ramon Grosfoguel (UC Berkeley)
- Nacira Guénif (Université de Paris 13)
- Christelle Hamel (INED)
- Gilles Lebreton (Université du Havre)
- Eléonore Lépinard (Université de Montréal)
- Mary Nash (Université de Barcelone)
- Michel Prum (Université Paris-Diderot)
- Jean-Paul Révauger (Université de Bordeaux 3)
- Martine Spensky (Université Blaise Pascal, Clermont-Ferrand)
- Philippe Vervaecke (Université de Lille 3).
1) Please send an English or French 400-word abstract and a resume before 2 January
2011.
2) The selection results will be sent on 30 January 2011
3) Last date for sending a 6000-word paper : 25 April 2011.
The abstracts and papers should be sent to : nada.afiouni@univ-lehavre.fr and anouk.guine@univ-lehavre.fr
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Applications due January 7, 2011
The Making of Paradise Lost. A Late-Spring Seminar directed by Thomas N.
Corns
Calling all Miltonists! Faculty and graduate students should consider applying for this fiveweek, late-spring seminar directed by Thomas Corns at the Folger Institute.
This seminar derives from the intersection of several methodologies-the history of the book, analytical bibliography, and historically informed literary criticism-and explores, as if biographically, the antecedents, conception, gestation, production, and the early life of
Paradise Lost. It attempts to model early readers' expectations of a retelling of a biblical story through a consideration of the works of du Bartas and Francis Quarles. It examines the process of composition as documented in the early lives of Milton and in the manuscript to Book One. It considers the conditions for the production and circulation of printed books in the immediate aftermath of the Great Fire of London; it explores the work of the Simmons printing house and the firm's relationship with Milton; and it charts the businesses of the booksellers associated with each of the issues of the first edition, before considering the changes, in content, in format, in appearance and in distribution, between that and the second edition of 1674. It examines the marginal comments of early readers. The seminar concludes with a review of the later seventeenth-century editions as the work acquires its first illustrations and its earliest annotation.
Director: Thomas N. Corns is Professor of English at Bangor University, Wales. His recent publications include John Milton and the Manuscript of De Doctrina Christiana
(2007) and John Milton: Life, Work, and Thought (2008, with Gordon Campbell). He is co-editing Paradise Lost with David Loewenstein for The Complete Works of John
Milton, of which (with Gordon Campbell) he is general editor.
Schedule: Thursdays and Fridays, 1 - 4:30 p.m., 19 May through 17 June 2011.
Apply: 7 January 2011 for admission (and grants-in-aid for Folger Institute consortium affiliates). Visit www.folger.edu/institute to access application guidelines and the
Institute's online form.
Questions? Please contact institute@folger.edu
.
Applications due January 14, 2011
Visiting Scholars Program, Yale Center for British Art
The Yale Center for British Art offers residential awards ranging from one to four months to scholars undertaking postdoctoral or equivalent research related to British art.
These awards allow scholars of literature, history, the history of art, and related fields to study the Center’s holdings of paintings, drawings, prints, rare books, and manuscripts.
The Center also offers several pre-doctoral residential awards ranging from one to two months for graduate students writing doctoral dissertations in the field of British art.
Applicants from North America must be ABD to qualify.
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Visiting Scholar awards include the cost of travel to and from New Haven and also provide accommodations and a living allowance. Recipients are required to be in residence in New Haven and must be free of all other significant professional responsibilities during their stay. One fellowship per annum is reserved for a member of the American Society for Eighteenth-Century Studies. In addition, scholars may apply to the Huntington Library, San Marino, California, and the Delaware Art Museum,
Wilmington, Delaware, for awards in the same year; every effort will be made to offer consecutive dates.
Applications to become a visiting scholar between July 2011 and May 2012 must reach the ycba by January 14, 2011, and should include a cover letter, a curriculum vitae, a statement of 2–3 pages (single-spaced) outlining the proposed research project, and the preferred month(s) of tenure. Applicants should provide a title for their research project and place their name on each page of the application. Two confidential letters of recommendation are required. Referees should send their letters directly, to Marinella
Vinci ( marinella.vinci@yale.edu
) by the same deadline.
For more information, contact:
Lisa Ford, Associate Head of Research
Yale Center for British Art
203 432 9805
203 432 9805 lisa.ford@yale.edu
Send applications by e-mail to:
Marinella Vinci
Senior Administrative Assistant
Research Department marinella.vinci@yale.edu
Proposal due January 15, 2011
Music, Nation and Identity: the English Musical Renaissance, forms and conditions, Revue Française de Civilisation Britannique contact email: gilles.couderc@unicaen.fr; jean.philippe.heberle@orange.fr
Call for Contributions for an issue of
Revue Française de Civilisation Britannique
Gilles Couderc, Associate Professor of English, Université de Caen
Jean Philippe Heberlé, Professor of English, Université Paul Verlaine - Metz
According to musicologists and critics the “English Musical Renaissance” or the second
Renaissance of English music, as it is also called to distinguish it from the generation of
English musicians of the Renaissance, refers to the period of the late 19th century when
English composers, like Edward Elgar and Frederick Delius, later on Ralph Vaughan
Williams and Gustav Holst, Benjamin Britten and Michael Tippett and then again
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Harrison Birtwistle, Peter Maxwell Davies and Thomas Adès, to mention the most famous, achieved European and international stature.
That Renaissance was heralded by significant events like the release in 1871 of the great Victorian classic about the healing powers of “serious” music, Music and Morals by Reverend Hugh Haweis, the building of the Royal Albert Hall that same year, the publication of the first edition of George Grove’s monumental Dictionary of Music and
Musicians in 1879 and the foundation in 1883 of the Royal College of Music, thanks to royal support, which indicated that music had finally found its legitimate place in society.
Those events occurred after Germany’s crushing victory over Austria at Sadowa in 1866 and France in 1871, the Reich then revealing itself as the rival of the United Kingdom, whose citizens withstood the first salvoes of fierce criticism for being “musical philistines” from musicologist Carl Engel in his Introduction to National Music published in London in 1866, a slur carried over later on by Oskar Adolf Hermann Schmitz, a staunch supporter of the German Empire, resenting Britain’s political and economic might, in his scornful 1904 essay Das Land ohne Musik, purporting to describe the country.
The Renaissance coincided with the brutal awakening of Celtic nationalism, the subsequent Home Rule debates and an economic slump. Like the first one, to which it explicitly refers as an example and source of inspiration, the Renaissance originated from the wish to include music in the construction of new national identity against foreign influences. By exalting the traditional middle class and English values, music participated in the perpetuation of the Empire.
As a sign of this newly acquired legitimacy, musicians contributed to the war effort during WWII, with Dame Myra Hess National Gallery lunch time concerts or
Sadler’s Wells opera tours in the provinces which, like conchies Britten and Pears’s concert tours, were aimed at boosting civilian morale. Their contributions were rewarded with the creation of BBC’s Third Programme devoted to music, and the raising of Covent
Garden to the rank of Royal Opera House with a public-service mission under the aegis of the newly-founded, state-financed Arts Council in June 1945, which aimed at providing the greatest number of people with an artistic education, at preserving the nation’s artistic tradition and at encouraging creation.
If the term Renaissance begs many questions —who decides of that Renaissance?
On what criteria? —so does “English” music. Can one speak of English music when oratorio, said to be the intrinsically English musical genre, was “invented” by an
Italianised Saxon, Handel, and refined by a German Jew converted to Protestantism,
Mendelssohn? Can one speak of a national school when its roots are definitely foreign?
Can one compose an “English” opera, when the genre’s decidedly Italian roots are sure to overwhelm any work’s “national” characteristics? Does borrowing from the nation’s or any English-speaking nation’s cultural or literary heritage to write an opera or oratorio libretto, a choral symphony, a dramatic ballad or a song cycle, make them legitimately
English? Similarly, does resorting to “typically English”, forms, genres, sources, musical practices, melodies, modes and harmonies guarantee a genuinely specific national character?
This project addresses all the researchers who are interested in the debate on nationalism in music, in the creation of a national music and its public reception, in the elaboration of an English identity myth, though the appropriation of Handel,
Mendelssohn or and other foreign born musicians as models “worthy of an Englishman, and a democrat” to quote C. H. Parry, or the appropriation of the Tudor heritage, of
Purcell or the Folk Song. Papers might account for the evolution of the rank of music and
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musicians and their image in British society and the diffusion of “serious” music at the time, as well as the image of music and musicians in fiction, and examine how music reflects society at a given point in time. They might also consider the role of those personalities who contributed to the popularity of stagecraft involving music, like Lilian
Bayliss, the founder of the Old Vic, J. M. Keynes, John Christie, producer Gordon Craig, or painter John Piper, or those who tried to open them to European influences, like
Rupert Doone’s Group Theatre. Proposals tackling the role of the great English choral movement of the years 1840-1914 or of music festivals, the part played by such music publishers such as Novello, Stainer & Bell or Oxford University Press, by journalistic or academic musical criticism, by institutions, universities and colleges of music or by the
BBC in the definition of standards and criteria defining “English” music will also contribute to the debate on the forms and conditions of the English Musical Renaissance.
Finally papers might inquire into the reception of that new music in Europe and the
English-speaking world, limited to its island self-sufficiency or open to the outside world.
Please send your proposals (title and 300-word abstract) as well as a biographical note of
150 words to Gilles Couderc (gilles.couderc@unicaen.fr) and Jean-Philippe Heberlé
(jean.philippe.heberle@orange.fr) before January 15th, 2011.
Abstract due January 30, 2011
Ancient Rome and Early Modern England: Literature, History, and Politics
Interdisciplinary conference, Jesus College Oxford, 21-22 May 2011
Speakers include David Norbrook and Blair Worden
CALL FOR PAPERS
Ancient Rome was a source of endless fascination to the early moderns.
Historians, politicians, divines, and imaginative writers looked to the Roman example for models and inspiration. The aim of the conference is to reassess the place of ancient
Rome in the literary and political culture of late Tudor and early Stuart England. In what ways did the translation and reception of the Roman classics stimulate the native literary tradition or influence its political outlook? What was the impact of the Roman precedent on attitudes towards constitutional change, the rights and wrongs of empire, and the law?
How did it influence ecclesiastical policy and, more generally, the views of the relationship between church and state? In what ways did Roman historiography, political writings, and rhetoric shape the language and substance of public argument? What was the trajectory of circulation in manuscript and print of the Roman classics? What were the uses and topical appeal of the Roman models in the wider public world and in education? How did the
Roman legacy compare with that of ancient Greece?
Our aim is to foster dialogue among literary scholars, classicists, political and intellectual historians, historians of religion, specialists in the history of the book, and historians of historiography. Bringing together scholars representing diverse disciplines and approaches, the conference will encourage reconsideration of much received wisdom about the place of ancient Rome in early modern England's literature and political
35

imagination. It will, we hope, raise new questions about, inter alia, the shaping influence of the Roman example upon formal properties and topical undercurrents of imaginative literature, sermons, and polemical writings; upon conceptions of public institutions and the individual's relationship to them; upon views of foreign policy and international relations as also military theory and practice; upon emergent confessional divisions and incipient notions of religious toleration; and, finally, upon perceptions of social relations in urban, above all metropolitan contexts. No less important will be to assess the utility and pervasiveness of romanitas before and after the union with Scotland, and compare the situation in England with major European states, in particular, France, Spain, Italian principalities, and the Netherlands.
We invite proposals for 30-minute papers. Please e-mail abstracts of no more than 500 words to Felicity Heal (felicity.heal@jesus.ox.ac.uk) or Paulina Kewes
(paulina.kewes@jesus.ox.ac.uk) by 30 January 2011.
The Oxford gathering is a follow-up to the conference on 'Ancient Rome and Early
Modern England: History, Politics, and Political Thought' to be held at the Huntington
Library, 21-22 January 2011. For further information, please contact Carolyn Powell
(cpowell@huntington.org).
Abstract due January 31, 2011
Colonial Circulations: Colonialism in comparative perspective
1st Call for papers
University of Bristol, 4th-5th July 2011
Colonialism as a subject is still mostly viewed either through national paradigms, as French empire, or British empire, or else more generically and theoretically. With this conference we aim to build on the comparative work of an ESRC-funded project ‘Tianjin
Under Nine Flags: Colonialism in Comparative Perspective’ based at the Universities of
Bristol and Swansea. At Tianjin between 1860 and 1945 up to nine foreign powers held territorial concessions, sited side by side southeast of the original walled city. Established mostly in two waves, some were the site of self-conscious projects to display different modes of colonial practice, and most were linked into wider imperial and colonial networks of the powers concerned, but they also looked to their neighbours locally and learned from and sometimes copied them, and all were intertwined, sharing the same urban space. The conference will look far beyond Tianjin, as the project aims to, to examine the wider methodological and theoretical strands of the project. It will bring different national and colonial contexts into comparative focus in order to shed light most particularly on the circulation of colonial ideas, practices and ideologies across a range of nationally-specific institutions, and against a widely differing set of colonial settings.
Chronologically we will focus on the nineteenth and twentieth centuries. The conference will seek to determine the ways in which colonial experiences, rivalries and competitiveness shaped and motivated perceptions, policies and practices; and the ways in which borrowings, cross-fertilizations and reconfigurations occurred between colonial actors or in response to changing colonial contexts and global geo-political forces.
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Topics might include: comparative colonial theories; architecture; comparative educational policies; policing; colonial bureaucracies; memorialisation; colonialism in a transnational context; colonialism and globalisation; violence; social and cultural policies.
Proposals can be focused on any world region. We would be very interested in receiving panel proposals with a clear comparative shape, as well as individual papers. We expect to select papers for publication.
Individual paper abstracts (max: 500 words), or panel proposals (3 paper abstracts plus panel 500 word panel rationale), should be sent to the Project
Administrator, Annabel Lander tianjin-project@bristol.ac.uk, no later than 31st January
2011. Please list the conference title in your email subject line, the title of the title of the paper at the top of the abstract, and at the end list name, institutional affiliation and contact information. Informal enquires to: Professor Robert Bickers
(robert.bickers@bristol.ac.uk or Professor Nikki Cooper N.Cooper@swansea.ac.uk). The organisers expect to be able to contribute to some, though not necessarily all, travel and accommodation expenses. A companion conference, ‘Treaty ports in Modern China’ is also being organised on 7-8 July.
Project website: http://www.bristol.ac.uk/tianjin-project/
Abstract due January 31, 2011
31st International Nordic Anthropological Film Association (NAFA) Film
Festival and Symposium: People Over the Sea: Nordic and Scottish
Perspectives
The North Sea and North Atlantic have historically provided a natural conduit linking the
British Isles with the Nordic countries. Early Norse and Viking colonisations and settlements have made a lasting impression on life both in Scotland and in Britain as a whole, evidence of which can be found in place names, language and other aspects of cultural heritage, and even in genes. Over the centuries, numerous political alliances, intrigues and annexations have been conducted through journeys across the sea between
Scotland, Norway and Denmark, as well as further afield. Scottish and Nordic sailors and fishermen have encountered one another – sometimes peacefully but at other times quite violently – in their exploitation of the sea as both a transport route and the provider of marine resources. In more recent times, exploitation has penetrated beneath the seabed, which is now dotted with British, Norwegian and Danish oil platforms, while the cities of
Aberdeen, Stavanger, and Esbjerg comprise the North Sea ‘triangle’. It is above all their history of seafaring that Scotland and the Nordic countries have in common.
The sea is thus a most appropriate topic for an anthropological symposium held at St
Andrews, where the university, one of the oldest in the world, has been looking over the sea in the direction of the Nordic countries for six centuries.
The symposium will focus on the overall topic of the sea and the people surrounding it.
Presentations will be oriented around the following sub-themes:
* The wealth of oceans: social and ecological relations of marine resource extraction;
* Lines of seafaring: place, memory and navigation;
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* From coast to coast: how the sea joins the land;
* Stories aboard: narrative, song and dance on deck and on land;
* Water crafts: the skills of boat-building, mending and sailing;
* The social life of fluid space.
Although there will be a strong regional emphasis on Scotland and the Nordic countries, this does not exclude anthropological research from other parts of the world, especially when carried out by Scottish and/or Nordic scholars. Since the symposium forms part of the overall NAFA event, including a festival of ethnographic films, presentations dealing with audio-visual or sensuous perceptions and representations are particularly welcome.
Submission should be effected online.
It is planned for the results of the symposium and a selection of papers to be published in a peer-reviewed book.
Dr Pedram Khosronejad
Department of Social Anthropology
University of St Andrews
St Andrews
Fife
Scotland
Email: nafa2011@st-andrews.ac.uk
Visit the website at http://www.st-andrews.ac.uk/anthropology/nafa/nafa/conference/
Abstract due January 31, 2011
Britain and China: Pasts, Presents, and Futures from the Nineteenth Century to the Twenty-first
1st Call for papers
University of Bristol, 24th-26th August 2011
For nearly a century China’s relationship with Britain and its empire was politically its most important, setting the agenda, for good and for ill, for its relations with other powers. Chinese and Britons encountered each other in the Chinese treaty ports like
Shanghai or Tianjin, in the colony of Hong Kong, in port cities across the British empire, in rural Australia and urban Canada, and in London’s Limehouse. They encountered each other on battlefields and in brothels, in chapels and in clinics, in factories and on steamships. Very large numbers of Britons visited or worked in China sometimes for very long periods, some for several generations. Major British trading firms and financial institutions which emerged in the nineteenth century still play key roles today in East
Asia. And Chinese students came to British universities. Chinese Merchants lived and traded in British empire cities. British Chinese fortunes helped reshape the Scottish landscape as opium traders returned and bought estates. Chinese-Australian entrepreneurs and others reshaped Chinese cities. The legacies of this complex set of relationships,
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overshadowed as the twentieth century progressed by China’s relations with Japan, the
U.S. and the U.S.S.R., have nonetheless been long lasting.
Convened by the British Inter-university China Centre This conference will assess that relationship and its legacy today. It will explore the diplomatic and politic relationship between the British and Chinese states, but is concerned equally centrally with the encounters over two centuries between Britons and Chinese, and between British and
Chinese culture. It will also explore the current and potential future course of Sino-British relations, and the place of this history within that. And more than ever before, many thousands of Chinese and British nationals live in each others’ countries, fashioning a new set of relationships between the two cultures and societies. Academic interest in the wide history of such Sino-British encounters has been growing over the last decade. This conference will bring together this new and developing scholarship, and map out new agendas for understanding the often brittle relationship between Britons and Chinese.
We welcome proposals from across disciplines for both panels (to include 3 speakers, and discussant) and for individual papers. Potential topics and disciplinary approaches include, but are by no means limited to: diplomatic and political relations; commercial interaction; conflicts; British empire and Chinese migration; the Britain-British India-China nexus; cultural relations; literatures; travel writing; prominent or marginal individuals or groups;
Chinese studies in Britain, and British studies in China; the histories of the treaty ports, and of Chinatowns; Weihaiwei; Hong Kong; Taiwan; Tibet.
Individual paper abstracts (max: 500 words), or Panel proposals (3 paper abstracts plus panel rationale, 500 words), should be sent in to BICC Administrator, Daniel Holloway daniel.holloway@area.ox.ac.uk, no later than 31st January 2011. Please list the title of the paper at the top of the abstract, and at the end list name, institutional affiliation and contact information.
The organisers expect to be able to contribute to some, though not necessarily all, travel and accommodation expenses.
Dan Holloway
British Inter-university China Centre
74 Woodstock Road
Oxford
OX2 6HP
Email: daniel.holloway@area.ox.ac.uk
Visit the website at http://www.bicc.ac.uk/BritainandChina/tabid/728/Default.aspx
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Proposal due January 15, 2011
Transport in British Fiction: 1840-1940 [Expanded Call]
Adrienne Gavin and Andrew Humphries contact email: andrew.humphries@canterbury.ac.uk
The editors are seeking proposals for essays to complete a collection of critical essays currently in progress on transport in British fiction 1840-1940. Because of a recent decision to expand the chronological range covered by the volume we are now seeking proposals on:
•
•
•
•
•
•
•
•
•
Dickens and transport
Transport in 1840s and/or 1850s fiction, especially trains
• Transport in 1930s fiction
The collection aims to assess transport’s position in literary consciousness during a century of rapid social, cultural, and vehicular change. Essays should focus centrally on the use of transport or forms of transportation in novels, novellas or short stories during this period and might consider, for example: the narrative role of transport the contextual or historical picture of transport presented in fiction the representation of specific transport vehicles transport within the context of an author’s approach to new technologies transport and gender transport and class transport and sexualities
Other approaches to transport in British fiction during this period will also be considered.
Proposals are welcomed on single authors or on topics which range across writers, subgenres or periods of British fiction. We envisage that completed essays will be 5,600 words long and due in May 2011. Please email 500-word proposals and a 150-200-word biography by 15 January to BOTH editors:
Adrienne Gavin Adrienne.gavin@canterbury.ac.uk
Andrew Humphries Andrew.humphries@canterbury.ac.uk
Dr Adrienne Gavin
Reader in English
Canterbury
Kent CT1 1QU, UK
Department of English
Canterbury Christ Church University
Dr Andrew Humphries
Senior Lecturer
Department of Education
Canterbury
Kent CT1 1QU, UK
Canterbury Christ Church University
40

Abstract due February 6, 2011
6th Biennial Conference of the International Society for First World War
Studies www.firstworldwarstudies.org
21 - 23 September 2011
Leopold-Franzens-University Innsbruck
Call for Papers
The Leopold-Franzens-University Innsbruck is pleased to organize together with the
Karl-Franzens-University Graz and the Andrássy University Budapest the 6th Biannual
Conference of the "International Society for First World War Studies" in September 2011.
After very successful conferences in Lyon, Oxford, Dublin, Washington D.C. and
London, the Society is now pleased to be meeting in one of the succeeding countries of the Habsburg Empire and in our host city of Innsbruck.
The conference's topic:
With the title "Other fronts, other wars?" the continuity from the last conference in
London ("Other fronts, other combatants") is obvious; at the same time "other" fields of the First World War are in focus. Hereby, the category of "space" stands at the center of interest, with all its different and conceivably abstract facets. Thus, the organizers are planning to further the investigation of questions regarding topics such as home fronts and approaches involving the history of mentality. Additionally, the dominance of the
Western Front, especially in the Anglo-Saxon historical community, will be diversified by including other "front-spaces". This CfP aims not only at classic military historians, but invites all scholars of the humanities and social sciences (historians, art historians, political scientists, philosophers, musicologists, archeologists etc.) working on the various aspects of the First World War and seeking the opportunity for an international and interdisciplinary exchange of ideas. Following the Society's policy, this CfP strongly encourages postgraduate and postdoctoral researchers in all related disciplines.
Procedure:
Please send the title and an abstract of the paper (max. 300 words) as well as a curriculum vitae to firstworldwar@gmx.at, before: 6 February 2011
The documents can be filed in German or English, but the language used during the conference will be exclusively English. Please be prepared to submit your paper of max.
8000 words before 1 June 2011.
The "International Society for First World War Studies" was founded in 2001. Its aim is to bring together scholars of various levels, nationalities, and disciplines. The Society supports an exchange of ideas across national and disciplinary borders. It encourages young academics to gain a foothold in the field of First World War Studies and to present their various innovative approaches.
Conference Excursion
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Following the conference, a two day field trip (24 - 25 September) to the theatre of war at the Dolomites front (northern Italy) will be offered in order to explore, according to the conference title, another "front-space" of t
Submission due March 1, 2011
North American Conference on British Studies, 18-20 November 2011
Call for Papers
Annual Meeting
Denver, Colorado
The NACBS and its Western affiliate, the WCBS, seek participation by scholars in all areas of British Studies for the 2011 meeting. We solicit proposals for panels on Britain, the British Empire and the British world. Our interests range from the medieval to the modern. We welcome participation by scholars across the humanities and social sciences.
We invite panel proposals addressing selected themes, methodology, and pedagogy, as well as roundtable discussions of topical and thematic interest, including conversations among authors of recent books and reflections on landmark scholarship. North American scholars, international scholars and Ph.D. students are all encouraged to submit proposals for consideration.
Strong preference will be given to complete panel or roundtable proposals that consider a common theme. Panels typically include three papers and a comment; roundtables customarily have four presentations. Individual paper proposals will also be considered in rare cases. We urge those with single paper submissions to search for additional panelists on lists such as H-Albion or at venues such as the NACBS Facebook page. Applicants may also write to the Program Chair for suggestions (nacbsprogram@gmail.com).
All scholars working in the field of British Studies are encouraged to apply for the 2011 conference, though we especially welcome papers from those who did not appear on the
2010 program. Panels that include both emerging and established scholars are especially encouraged, as are submissions with broad chronological focus and interdisciplinary breadth. We welcome the participation of junior scholars and Ph.D. candidates beyond the qualifying stage. To enable intellectual interchange, we ask applicants to compose panels that feature participation from a range of institutions. No participant will be permitted to take part in more than one session except in exceptional circumstances cleared by the Program Committee, and no more than one proposal will be considered from each applicant.
All submissions must be received by March 1, 2011.
Please send questions about panel requirements and suggestions about program development to
Lara Kriegel, NACBS Program Chair
History and English Departments, Indiana University, Bloomington, IN 47405 nacbsprogram@gmail.com
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Abstract due March 1, 2011
Eighteenth-Century English Literature
Rocky Mountain Modern Language Association contact email: sweat@ucsc.edu
Announcing a call for papers for the Eighteenth-Century English Literature session(s) at the 65th annual Rocky Mountain Modern Language Association Conference, Oct. 6-8,
2011, in Scottsdale, Arizona. The conference will be hosted by Arizona State University.
We invite fifteen-minute paper submissions focusing on any aspect of English literature in the eighteenth century. Last year’s panel included the elegiac in Charlotte Smith’s poetry, political economy in Defoe’s novels, the narrative theory of Hogarth’s engravings, and utility and pleasure in Francis Burney’s letters and fiction. Papers on all authors, genres, and periods within the period will be considered, as we hope to create a pastiche of scholarship.
Please submit a titled, one-page abstract (250 words) that includes your name, university affiliation, contact information, and audio-visual request (if needed) by March 1, 2011 to
Stephen Sweat ssweat@ucsc.edu
All applicants will be notified by no later than March 15 if their proposal has been accepted. We look forward to your submissions.
For more information on the conference, please visit http://rmmla.wsu.edu/call/default.asp.
Student Travel Grants are available through the RMMLA. See http://rmmla.wsu.edu/awards/grad-convention.asp
The RMMLA also offers the Charles Davis Award for the Outstanding Graduate Student
Presentation. See http://rmmla.wsu.edu/awards/davis.asp
Abstract due March 15, 2011
"The Vulgar & the Proper: Victorian Manners & Mores"
Posted by: San Jacinto College
October 13-15, 2011, Houston, Texas
Victorian Interdisciplinary Studies Association of the Western United States.
The 16th annual conference focuses on Victorian obsessions with vulgarity and propriety.
We invite proposals on manners and mores in politics, culture, society, religion, art,
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science, economics, rural life, and other Victorian matters of decorum and propriety and what Victorians deemed vulgar, crude or crass. We encourage papers across all disciplines, including (but not restricted to) art history, literature, gender, history of science, history, material culture, political science, performance, life writings, journalism, photography, popular culture, and economics.
KEYNOTE SPEAKER: Helena Michie, English, Rice University
PLENARY SPEAKER: Lynn Voskuil, English, University of Houston
By March 15, 2011 email 300-word abstract and 1-page CV (name on BOTH) to:
Laurel.Williamson@sjcd.edu
For further information on the conference, visit VISAWUS.org
Application due March 15, 2011
What was Political Thought in Sixteenth-Century England? A Spring
Symposium at the Folger Institute
Historians, political theorists, and others interested in Tudor England are encouraged to apply to participate in what promises to be a fascinating series of conversations.
Although the Folger Institute Center for the History of British Political Thought has continually widened the scope of its inquiries, its larger framework has remained mostly verbal and textual. Center programs have mostly presumed that the subject-matter is rooted in discussion, exchange, and argument that have led to "thought" and justificationthat is, to political thinking couched in formal genres and in which the possibility of dialogue and response remains central. This symposium will bring together several dozen scholars to investigate the category of the political in the period and to ask what forms of thinking (and acting, including social practices) can be coherently and productively encompassed within the rubric of "political thought." Perhaps even more important, we are asking how, if at all, sixteenth-century actors would have regarded the term "political thought." Was there a variety of activities of reasoning and talking that they would have recognized as "political thought"? In what media would they have encountered political thinking, and in what arenas would they have engaged in such activities? This symposium is conceived as a series of conversations among all the participants, rather than a conference in the conventional sense. The session leaders listed on the schedule below have been invited to start conversations on these and related questions. Applications to participate in the symposium are sought from scholars whose current research also engages these issues.
Session Leaders: This symposium is conceived as a series of conversations among all the participants, rather than a conference in the conventional sense. Annabel Brett (University of Cambridge), Euan K. Cameron (Union Theological Seminary), Bradin Cormack
(University of Chicago), Alan Cromartie (University of Reading), Brendan Kane
(University of Connecticut), Krista Kesselring (Dalhousie University), Paulina Kewes
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(Jesus College, Oxford), Natalie Mears (Durham University), Eric Nelson (Harvard
University), Aysha Pollnitz (Rice University), Ethan Shagan (University of California,
Berkeley), Kevin Sharpe (Queen Mary, University of London), James Simpson (Harvard
University), Malcolm Smuts (University of Massachusetts, Boston), and David Womersley
(Oxford University) are the session leaders who will start conversations on a number of topics.
Schedule: All day, Friday and Saturday, 1 and 2 April 2011. The program schedule is available online here: http://www.folger.edu/documents/Schedule1.pdf
Apply: 7 January 2011 for admission and grants-in-aid to Folger consortium affiliates.
Application materials may be accessed through the Institute's website: www.folger.edu/institute.
Questions? Please contact institute@folger.edu.
The deadline for receipt of completed submissions is March 15, 2011 (final decisions will be announced in June, 2011). Proposals should be sent to Margaret Hunt, NECBS
Program Chair (mrhunt@amherst.edu).
For further information on the NECBS including programs from recent conferences please see: http://www.necbs.org.
Submission due March 15, 2011
The Northeast Conference on British Studies
The Northeast Conference on British Studies (NECBS) will hold its annual meeting in
2011 in Worcester, Massachusetts on Friday and Saturday, October 28th and 29th. The conference will be co-hosted by the College of the Holy Cross and the American
Antiquarian Society, with Mary Conley in charge of the local arrangements
(mconley@holycross.edu).
We solicit the participation of scholars in all areas of British Studies, broadly defined. In particular, we welcome proposals for interdisciplinary panels that draw on the work of historians, literary critics, and scholars in other disciplines whose focus is on Britain and its empire, from the Middle Ages to the present. Proposals for entire panels on a common theme will be given priority, although individual paper proposals will also be considered if several of them can be assembled to create a viable panel. Proposals for roundtable discussions of a topical work, or current issue in the field, or pedagogical practices with respect to the teaching of particular aspects of British Studies are also encouraged. The typical ninety-minute panel will include three papers, each lasting fifteen to twenty minutes, a chair and a commentator. Roundtables may have a looser format.
Proposals should include a general description of the panel or roundtable (including an overall title), a 200-300 word abstract for each paper to be read, and a one-page curriculum vitae for each participant. The address, phone number and e-mail address of
45

every participant (including the chair and commentator) must be included in the proposal.
For panel or roundtable proposals the name of the main contact person should be noted clearly. Electronic submissions (as e-mail attachments in Word) are preferred. Panel organizers can help us greatly by putting all the general titles/descriptions, abstracts, c.v.s, and contact information for each panel or roundtable together into a single Word document. Kindly avoid using PDF/Acrobat.
The deadline for receipt of completed submissions is March 15, 2011 (final decisions will be announced in June, 2011). Proposals should be sent to Margaret Hunt, NECBS
Program Chair (mrhunt@amherst.edu).
For further information on the NECBS including programs from recent conferences please see: http://www.necbs.org.
Proposal due March 17, 2011
Victorian Ireland
URL: http://calls.eserver.org/item/41
Description: Call for papers for a special session at MLA 1999 in Chicago organized by an allied organization:Victorian Ireland.
We seek papers dealing with any aspect of the literature and culture of Victorian Ireland, including diasporic Irish literature and culture.
Send proposals, by March 17, of one or two pages to John Maynard (jrm4@is2.nyu.edu; fax 212 995 4019) and to Adrienne Munich (AMUNICH@ccmail.sunysb.edu; fax 212 683
1072).
Address: John Maynard
Department of English
19 University Place, Room 235
New York University
N.Y., NY 10003
212 998 8835
Phone: 212 683 1072
Fax: 212 995 4019
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Abstract due April 1, 2011
Politics, Performance and Popular Culture in Nineteenth-Century Britain
7-9 July 2011
To be held at the Storey Institute, Lancaster.
This is advanced notice of the second conference held under the auspices of our AHRCsponsored project ‘Cultural History of English Pantomime, 1837-1902’.
Short description:
We welcome proposals for 30 minute papers which explore the connections between politics and popular culture, 1820-1910. In particular, we are interested in examining the extent to which popular theatre can reveal public perceptions of contemporary social and political issues. And conversely, how might popular entertainment influence and shape contemporary political debate?
Confirmed speakers include: Jim Davis (Warwick), Tracy Davis (Northwestern), Brian
Maidment (Salford), David Mayer (Manchester), Rohan McWilliam (Anglia Ruskin), Kate
Newey (Birmingham) and Mike Sanders (Manchester).
Further information available here: http://www.drama.bham.ac.uk/conferences/19thcentury.shtml
Deadline for proposals: 1 April 2011
For further information, please contact me off list: p.yeandle@lancaster.ac.uk
Peter Yeandle, Kate Newey, Jeffrey Richards
Topics and themes might include:
 Politics as theatre/theatre as politics
 Conceptual approaches to notions of “performance” and “popular culture”
 Theatrical metaphor
 Topical allusion/topical referencing
 Gender, class and representation
 Style/Genre/Form
 Popular politics – eg., Chartism; Fabianism; Christian Socialism.
 Crowd, audience, presentation
 Children on stage/children in the audience
 Subversion/inversion
 Theatre reform/political reform
 Censorship, regulation, control
 Metropolis, periphery and region
 Historiography of leisure and pleasure.
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URL: http://www.drama.bham.ac.uk/conferences/19thcentury.shtml
Organiser(s): Peter Yeandle
Event Location:
Storey Institute
Lancaster
United Kingdom
Articles due April 1, 2011
Anglo-Norman Studies, Marie de France, the anonymous lays, Breton lays in translation
We are pleased to invite submissions for the 2011 issue of Le Cygne, a peer-reviewed journal published by the International Marie de France Society. As in previous years, we encourage submissions on Marie de France, the anonymous Lays, the Breton Lays, and their Middle English (and other) adaptations. In addition, this year, Le Cygne is expanding and welcoming submissions in the field of ANGLO-NORMAN STUDIES (e.g., culture, history, literature, saints' Lives of the "French of England"). Original translations of
Marie's works will also be considered for publication. The deadline for consideration for the Fall 2011 issue is April 1, 2011. Articles received after that date will be considered for publication in subsequent issues.
K. Sarah-Jane Murray, Editor-in-Chief
Baylor University Honors College
One Bear Place 97144
Waco, TX 76798
Email: submissions@cygne.org
Visit the website at http://lecygne.org
Abstract due April 15, 2011
Midwest Conference on British Studies
CALL FOR PAPERS
Midwest Conference on British Studies 57th Annual Meeting
November 4-6, 2011, Terre Haute, IN
The Midwest Conference on British Studies is proud to announce that its fifty-seventh annual meeting will be hosted by Indiana State University in Terre Haute, IN.
The MWCBS seeks papers from scholars in all fields of British Studies, broadly defined to include those who study England, Scotland, Wales, Ireland, and Britain’s empire. We welcome scholars from the broad spectrum of disciplines, including but not limited to history, literature, political science, gender studies and art history. Proposals for complete
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sessions are preferred, although proposals for individual papers will be considered.
Especially welcome are roundtables and panels that:
 offer cross-disciplinary perspectives on topics in British Studies
 discuss collaborative or innovative learning techniques in the British Studies classroom
 situate the arts, letters, and sciences in a British cultural context
 examine representations of British and imperial/Commonwealth national identities
 consider Anglo-American relations, past and present
 examine new trends in British Studies
 assess a major work or body of work by a scholar
The MWCBS welcomes papers presented by advanced graduate students and will award the Walter L. Arnstein Prize at its plenary luncheon for the best graduate student paper(s) given at the conference.
Proposals should include a 200-word abstract for each paper and a brief, 1-page c.v. for each participant, including chairs and commentators. For full panels, please include a brief
200-word preview of the panel as a whole. Please place the panel proposal, and its accompanying paper proposals and vitas in one file. Please make certain that all contact information, particularly email addresses are correct and current. All proposals should be submitted online by April 15, 2011, to the Program Committee Chair, Lia Paradis at lia.paradis@sru.edu.
Visit the MWCBS website at http://mwcbs.edublogs.org/.
Abstract due June 15, 2011
Money, Power and Print: interdisciplinary studies in the financial revolution in the British Isles, 1688-1776
Date: 14 June 2012 - 16 June 2012
This colloquium, the fifth in a biennial series, offers an opportunity for scholars from a variety of disciplines to work together to enrich their mutual understanding of the intersections between public finance, politics and literature during Britain's 'financial revolution'. The term 'Britain' is used loosely to refer to all constituent parts of the United
Kingdom and also to Ireland and the colonies. The term 'literature' is broadly defined to include newspapers, pamphlets, treatises, novels, plays and illustrations.
The organizers invite proposals for papers that explore:
 the mechanics of the 'financial revolution' itself - the ins and outs of institutions like banks, joint-stock companies, public debt and paper money;
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 how the new financial technologies affected contemporary political debate and/or the literature of the period;
 how the literature of the period shaped people's perceptions of the financial revolution and/or its political consequences; or
 recent developments in one's own discipline that will be of interest to scholars working on the financial revolution from other disciplinary perspectives
Papers will be distributed in advance and presented in 2-hour sessions at which all colloquium participants are present. Presenters will have five minutes to summarize their findings. The rest of each session is given over to questions and discussion, in which the goal is to enrich our mutual understanding by eliciting insights from all of the disciplines represented at the table. Authors are therefore expected to write for a non-specialist audience, avoiding jargon, making concepts from their own discipline readily accessible to all those present, seeking to identify areas of general interest, and focusing on questions on which scholars of various disciplines will have something to contribute.
Graduate students and emerging scholars are particularly encouraged to submit proposals.
URL: http://www.moneypowerandprint.org
Organiser(s): Chris Fauske, Communications Department, Salem State College; Rick
Kleer, Department of Economics, University of Regina; Ivar McGrath, School of History and Archives, University College Dublin
Event Location: The Citadel, Halifax, Nova Scotia ., Halifax Canada
Proposal due April 15, 2011
Post-doctoral Fellowship, Henry Moore Foundation
The Henry Moore Foundation will offer a small number of two-year post-doctoral fellowships in the field of sculpture studies at a British university from the autumn of
2011. The awards are primarily to help scholars recently awarded PhDs to prepare a substantial publication. Applicants must show that they have an affiliation with a university department. http://www.henry-moore.org/grants/applying-for-a-grant1/grant-categories1/postdoctoral-research-fellowships
If you have any enquiries please contact the Grants Administrator by email: alice@henrymoore.org
Applications should be sent to:
The Grants Administrator, The Henry Moore Foundation, Perry Green, Much Hadham,
Hertfordshire SG10 6EE
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Proposal due June 15, 2011
“‘After the Ball.’ Post-Celtic Tiger cultural productions and practices”
University of Caen, France
contact email: alexandra.slaby@unicaen.fr
The impact of the Celtic Tiger and the following recession on cultural creation and practices opens a new area of investigation for scholars in cultural history, cultural economy, sociology, art history and media studies.
At conferences and advocacy events, the Irish Arts Council, Department of Culture and cultural policy-makers directed considerable efforts to reach out to public opinion, tourists, companies and the Irish diaspora to raise awareness about the economic dimension of culture in the country.
Culture indeed generates wealth and employment, and cutting public funding of culture would have negative consequences on the economy. The economic justification has dominated cultural discourse over the past few years, so that the cultural process, i.e. artistic creation and reception by the public have been almost totally excluded from public debate. The Arts Council is only just beginning to investigate the living conditions of artists and the social bonding potential of culture. Social sciences are also beginning to research cultural practices.
The comparison with Northern Ireland will be welcome. The impact of the recession on cultural funding and creation may be compared with the situation in the
Republic. Another « after » is also to be investigated, through the impact of the Good
Friday Agreement on cultural practices and productions and the effective community bonding that has taken place as a result of Northern Irish cultural policy.
Culture will be understood broadly, including not only the arts and formal cultural practices such as the attendance of cultural institutions but also cultural industries, and generally, as is the case in the English-speaking world, all modes of expression which are codified—design, fashion and culinary arts which are the multi-sensorial translation offered in daily communion of a new, more sophisticated and cosmopolitan self-perception on the part of the Irish.
What remains after the ball? What trends do we see emerging in terms of productions and practices? Papers may cover the following topics:
- Perceptions of actual or putative prosperity of cultural sectors
- Contemporary artistic creation: literature, music, cinema, architecture etc.
- Cultural institutions : attendance, evolutions of museography
- Cultural tourism, festivals, marketing strategies
- Cultural industries
- Formal or informal cultural practices (purchase of commercial cultural goods)
- Media (broadcasting, the press, the internet) as a critical space
Proposals to be submitted to Alexandra Slaby (alexandra.slaby@unicaen.fr) by June 15,
2011.
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Proposal due December 31, 2012
Call for book proposals for British Art: Global Contexts series
Ashgate Publishing Company
Book proposals are welcomed for Ashgate's British Art: Global Contexts series, edited by
Jason Edwards, University of York; Sarah Monks, University of East Anglia; and Sarah
Victoria Turner, University of York. The series provides a forum for the study of British art, design, and visual culture in the global context from 1700 to the present. Books to be published will include monographs, thematic studies, and edited collections of essays, specializing in studies of British Art within comparative and interdisciplinary frameworks.
For more information, please visit the series webpage at www.ashgate.com/Default.aspx?page=3503.
Please send letters of inquiry or full proposals to Meredith Norwich, Commissioning
Editor for Visual Studies, mnorwich@ashgate.com, AND Jason Edwards, je7@york.ac.uk; Sarah Monks, s.monks@uea.ac.uk; and Sarah Victoria Turner, svt500@york.ac.uk.
Ongoing call for article manuscripts
KronoScope, Journal for the Study of Time, in association with The
International Society for the Study for Time
Edited by an international board of scholars and representing the interdisciplinary investigation of all subjects related to time and temporality, the journal is dedicated to the cross-fertilization of scholarly ideas from the humanities, fine arts, sciences, medical and social sciences, business and law, design and technology, and all other innovative and developing fields exploring the nature of time.
KronoScope invites critical contributions from all disciplines; submissions are accepted on a continuing basis.
Manuscripts of not more than 8000 words, and using The Chicago Manual of Style, may be submitted electronically to the Managing Editor Dr. C. Clausius at cclausiu@uwo.ca
.
We also welcome review articles as well as creative work pertaining to studies in temporality. For further submission guidelines, please visit the Brill website at http://www.brill.nl/kron or the International Society for the Study of Time website at http://www.studyoftime.org/
Dr. C. Clausius, Ph.D
Managing Editor: KronoScope:
Dr. John W. Cordes Ph.D.
Assistant Professor
Associate Professor Communication Department
Department of Modern Languages Cabrini College
King's University College Radnor, PA 19087 U.S.A.
The University of Western Ontario Tel.610-902-8344
Tel. (519) 433-0041, ext. 4425 cordesj51@aol.com
Fax. (519) 433-0353
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Ongoing call for article manuscripts
Nineteenth Century Studies
Franklin and Marshall College Studies
The editors of the annual interdisciplinary journal, *Nineteenth Century Studies,* solicit submissions of cross-disciplinary essays, as well as comparative studies-that is, studies that cross national boundaries and/or range across the nineteenth century. Entering its twelfth year of publication, *Nineteenth Century Studies* publishes articles of interest to scholars of the nineteenth century in America, Britain and the British Empire, and Europe. Topics include, but are not limited to, literature, art history, history, music, and the history of science and the social sciences.
We also wish to encourage submissions of essays that treat the material cultures, and the popular arts, entertainments and literatures and their significance in nineteenth-century societies Illustrations are welcome.
Essays of 15-30 pages are welcome. Please submit two copies of the essay, accompanied by a self-addressed envelope with return US postage. Include name and institutional affiliation on the title page only. The review process currently takes three to four months from date of receipt.
Patricia O'Hara, Editor, Nineteenth Century Studies,
Department of English, Franklin & Marshall College, P.O. Box 3003,
Lancaster, PA 17604-3003 e-mail: p_ohara@acad.fandm.edu
URL: http://calls.eserver.org/item/25
Ongoing call for book manuscripts
Ireland in Theory: Irish Studies Series
URL: http://calls.eserver.org/item/42
This series of book-length studies, to be published by the Edwin Mellen
Press, is a new venture in the area of Irish Studies. Its thematic approach will be interdisciplinary so that the developments in literary and cultural theory can be brought to bear on issues concerned with Irishness.
*Ireland in Theory* will imbricate the theoretical developments of the last fifty years with a questioning of the epistemological status of Irish writing, Irish culture and Irish identity, and their interaction.
By refusing to be limited by the traditional frameworks of academic disciplines, such a series will cross the boundaries that have kept literature, cultural studies, social studies, political studies,
53

ideological studies and ethnic and racial studies apart, and bring about a new constellation in which all aspects of the Irish experience can be studied in new and challenging ways.
I would see such a series as concentrating on the following areas:
Studies which bring new theoretical perspectives to bear on the works of individual writers, or groups of writers, of any period or genre.
Studies of more general areas in terms of historical periods, or generic divisions, wherein new interpretations of the underlying trends could bring about some genuinely fresh conclusions. Various related issues, such as folklore studies, ethnography, cultural studies and literary and theoretical studies could be included in the series, making it a comprehensive contribution to the field.
Studies which interrogate the political or ideological consequences of texts, and their readings, and which view the works of Irish writers as constitutive of different notions of Irishness, and Irish identity.
Studies which examine the different enunciations of Irishnesses - republican, nationalist, unionist, loyalist, religious, pluralist
- or the interaction of any of these.
Studies which examine the influence of Europe on constructions of
Irishness; or which examine diasporic influences on Irishness in all its facets. Hyphenated notions of identity, or borderline notions of Irishness, either literary or political are also encouraged.
The series is open to any of these approaches, or to any interrogation the way in which the notion of Ireland has been enculturated, is being enculturated or might possibly be enculturated in the future.
Please send abstracts, proposals or inquiries to:
Dr Eugene O'Brien, Editor *Ireland in Theory*:
Department of Languages and Cultural Studies, Department of English,
College of Humanities, Mary Immaculate College,
University of Limerick, Limerick, Ireland.
Research notice
RELAUNCH OF THE SIMEON SOLOMON RESEARCH ARCHIVE
Ten years ago this week, I announced the first version of the Simeon Solomon Research
Archive which I published on the Internet. From the feedback I have received through the years, it has been a significant resource for scholars and students interested in the life and work of Simeon Solomon (1840-1905), the gay, Anglo-Jewish, Pre-
Raphaelite/Aesthetic artist. A debt of gratitude goes out to Julia Kerr of ArtMagick.com, who has assisted me with the hosting of the SSRA over the past few years.
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Today, I am pleased to announce with my Solomon colleague Dr. Carolyn Conroy (PhD,
University of York, 2010) the relaunching of the Simeon Solomon Research Archive with a new URL ( http://www.simeonsolomon.com
), a new look, and more features than ever before. As you will see from the "About Us" page on the site, Conroy recently completed her dissertation on Solomon's life and career after his 1873 arrest for attempted sodomy.
Her dissertation rewrites the past false assumption that Solomon essentially disappeared after his arrest, reconstructing his life based on heretofore unpublished information and demonstrating his surprisingly active level of artistic production for the next 32 years until his death. I have been actively engaged in research and publications on both Simeon and his sister Rebecca Solomon since the 1990s. Although my PhD dissertation is on a topic other than the Solomons, I am continuing to work on their extant correspondence and other Solomon-related projects.
Highlights of this latest version of the SSRA include:
 a complete redesign of the site by Conroy, including a site-search to assist in the finding of information
 a fully updated bibliography of about 300 secondary sources about Solomon from 1858 to 2010, with many of the early sources available in full text
 an image database of selected works of art by Solomon
 an exhibition history of works by Solomon
 a section devoted to the life and work of his artist sister Rebecca Solomon (1832-
1886), including a biography, lifetime exhibition history, list of secondary sources, and beginning of an image database
 a planned section devoted to the life and work of his artist brother Abraham
Solomon (1824-1862), including a biography, lifetime exhibition history, list of secondary sources, and beginning of an image database
 planned future enhancements including a page on Solomon's contributions to the
Dalziels' Bible Gallery (1881)
Please update your bookmarks to point to the new Simeon Solomon Research Archive at http://www.simeonsolomon.com
, and continue to check back for updates to the site as we continue to enhance it even more. Comments and suggestions are welcome, as are contributions from scholars who may have discovered a source of which we may not be aware.
Roberto C. Ferrari. PhD Art History Program, CUNY Graduate Center
55

Compiled by Jessica Ingle
Ashmolean Museum of Art and Archeology http://www.ashmolean.org
Japanese Ghosts and Demons: Ukiyo-e prints from the Ashmolean
(29 September 2010 - 27 February 2011); Thomas Houseago: Contemporary Sculpture At
The Ashmolean (11 December 2010 - 20 February 2011); Lucien Pissarro in England:
The Eragny Press 1895 – 1914 (8 January - 13 March 2011); British Drawings in the Age of the Eragny Press (8 January - 13 March 2011); Images and the State: Graphics In China in the 1960s and '70s (8 March - 3 July 2011); Heracles to Alexander The Great: Treasures
From The Royal Capital of Macedon (7 April - 29 August 2011)
Baltic Centre for Contemporary Art http://www.balticmill.com
Dan Holdsworth: Blackout (12 November 2010 - 20 February 2011);
George Shaw: The Sly and Unseen Day (18 February - 15 May 2011); Turner Prize 11 (21
October 2011 - 8 January 2012)
Barbican Art Gallery http://www.barbican.org.uk/artgallery
Damián Ortega: The Independent (15 Oct 2010 - 16 Jan 2011); Future Beauty: 30 Years of Japanese Fashion (15 Oct 2010 - 6 Feb 2011); Cory Arcangel: Beat the Champ
(10 Feb - 22 May 2011); Laurie Anderson, Trisha Brown, Gordon Matta-Clark:
Pioneers of the Downtown Scene, New York 1970s (3 Mar - 22 May 2011)
Birmingham Museum and Art Gallery http://www.bmag.org.uk
Cardinal John Henry Newman (10 September 2010 - 6 January 2011); The Visit of Pope
Benedict XVI to Birmingham (27 November 2010 - 30 January 2011); Queering the
Museum (4 November 2010 - 30 January 2011); Jewellery Quarter Jewellery Commissions
(6 November 2010 - 12 February 2011); New Art Now (13 November 2010 - 13 February
2011); Routes to Revolution: Women Mapping Birmingham (23rd October 2010 - 6th
March 2011); Staffordshire Hoard (24 July 2010 - 31 December 2011)
British Museum http://www.thebritishmuseum.ac.uk
Agents of the Buddha (11 November 2010 - 9 January 2011); Impressions of Africa: money, medals and stamps (1 April 2010 - 6 February 2011); Journey through the afterlife: ancient Egyptian Book of the Dead (4 November 2010 - 6 March 2011); Images and sacred texts: Buddhism across Asia (14 October 2010 - 3 April 2011); Picasso to Julie
Mehretu: modern drawings from the British Museum collection (7 October 2010 - 25
April 2011); Afghanistan: Crossroads of the Ancient World (3 March - 3 July 2011);
Treasures of Heaven: saints, relics and devotion in medieval Europe (23 June -
9 October 2011)
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Courtauld Institute of Art http://www.courtauld.ac.uk
Cézanne’s Card Players (21 October 2010 - 16 January 2011); Life, Legend, Landscape:
Victorian Drawings and Watercolours (17 February - 15 May 2011); Toulouse-Lautrec and Jane Avril: Beyond the Moulin Rouge (16 June - 18 September 2011); The Spanish
Line: Drawings from Ribera to Picasso (13 October 2011 - 15 January 2012)
Dulwich Picture Gallery http://www.dulwichpicturegallery.org.uk
Norman Rockwell's America (15 December 2010- 27 March 2011); Friends Easter Open
Exhibition (22 April - 8 May 2011); Twombly and Poussin: Arcadian Painters (29 June -
25 September 2011)
Fitzwilliam Museum http://www.fitzmuseum.cam.ac.uk
Epic of the Persian Kings: The Art of Ferdowsi’s Shahnameh (11 September 2010 - 9
January 2011); Sculpture Promenade 2010 (23 March 2010 - 28 January 2011); Kings,
Satraps and Shahs: Persian coinage through the ages( 21 September 2010 - 30 January
2011); Galileo and his contemporaries: Portraits by Ottavio Leoni (1578-1630) (2
November 2010 - 13 February 2011); Afterlife (14 December 2010 - 8 May 2011); English
Silver Drinking Vessels from the Gray Collection (15 November 2010 - 1 April 2011);
Inflation, War and Global Financial Crisis (22 November 2010 - 3 April 2011); Italian
Etchings: The Draughtsman's Print (22 February - 29 August 2011); Italian Drawings:
Highlights from the Collection (8 March - 12 June 2011)
Geffrye Museum http://www.geffrye-museum.org.uk
Christmas Past: 400 Years of Seasonal Traditions in English Homes (23 November 2010 -
5 January 2011); Sitting the Light Fantastic: an installation by Kei Ito (16 September -
Autumn 2012); At Home in Japan – beyond the minimal house (22 March - 29 August
2011); Ceramics in the City: A three-day selling fair (16 - 18 September 2011)
Henry Moore Institute http://www.henry-moore-fdn.co.uk
Undone (29 September 2010 - 2 January 2011); A Rough Equivalent: Sculpture and
Pottery in the Post-War Period (29 September 2010 - 2 January 2011); Angkor Wat: From
Temple to Text (27 November 2010 - 20 February 2011); Joseph Gott in Leeds and
Rome (9 December 2010 - 11 November 2011); Henry Moore: Prints and Portfolios (3
February - 3 April 2011); Jean-Marc Bustamante: Dead Calm (21 April - 26 June 2011);
United Enemies: Sculpture in 1960s and 1970s Britain (27 October 2011 - 17 January
2012)
Hunterian Art Gallery http://www.hunterian.gla.ac.uk
Blue and Silver: Whistler and the Thames (8 October 2010 - 8 January 2011); Past,
Present and Future: Caring for William Hunter’s Prints (2 October 2010 - 12 February
2011)
Huntington Library Art Collections and Gardens http://www.huntington.org
Evolving Ideas: Midcentury Printmakers Explore Process (2 October 2010 - 3 January
2011); Beauty and Power: Renaissance and Baroque Bronzes from the Peter Marino
Collection (9 October 2010 - 24 January 2011); The Lure of Myth: British Drawings from
The Huntington’s Art Collection (6 November 2010 – 24 January 2011); Charles
Bukowski: Poet on the Edge (9 October 2010 – 14 February 2011); Taxing Visions:
Financial Episodes in Late 19th-Century American Art (29 January – 30 May 2011); Three
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Fragments of a Lost Tale: Sculpture and Story by John Frame (12 March – 20 June 2011);
Revisiting the Regency: England, 1811–1820 (23 April – 1 August 2011); The House that
Sam Built: Sam Maloof and Art in the Pomona Valley, 1945–1985 (24 September 2011 –
30 January 2012)
Imperial War Museum http://www.iwm.org.uk
The Ministry of Food (12 February 2010 - 3 January 2011); Remembering Fromelles (1
July 2010 - 31 January 2011); Outbreak 1939 (20 August 2009 – 6 September 2011);
Baghdad, 5 March 2007: A New Display with Jeremy Deller (9 September 2010
– 31 March 2011); Once Upon A Wartime: Classic War Stories for Children (12 February
- 30 October 2011)
Institute of International Visual Arts [Iniva] http://www.iniva.org
Nilbar Güres: Window commission 2010 (10 December 2010 - 5 January 2011); Sheela
Gowda: Therein & Besides (19 January - 12 March 2011)
Irish Museum of Modern Art http://www.modernart.ie
Graphic Studio: 50 Years in Dublin (8 September 2010 - 3 January 2011); The Moderns
(20 October 2010 - 13 February 2011); Post-War American Art: The Novak/O’Doherty
Collection (8 September 2010 - 27 February 2011)
Kettle’s Yard, Cambridge http://www.kettlesyard.co.uk
Associations: an exhibition of film and video works curated by Tanya Leighton (20
November 2010 - 9 January 2011); MISCHIEF: sculptures and drawings by Lucia
Nogueira (15 January - 13 March 2011)
Manchester Art Gallery http://www.manchestergalleries.org
Fantasies, Follies and Disasters: The Prints of Francisco de Goya (15 August 2009 - 16
January 2011); Recorders: Rafael Lozano-Hemmer (18 September 2010 - 30 January
2011); Exporting Beauty: Pilkington's Pottery and Tiles (9 October 2010 - 9 October
2011); Anish Kapoor: Flashback (5 March - 5 June 2011)
Museum of London http://www.museumoflondon.org.uk
London Futures (1 October 2010 – 6 March 2011) London sleeps: an art student in the blitz (On now - 13 March 2011); London Street Photography (18 February – 4 September
2011)
Museum of Modern Art Oxford http://www.modernartoxford.org.uk
Thomas Houseago: What Went Down (On now – 20 February 2011); David Austen:
End of Love (On now – 20 February 2011)
National Galleries of Scotland http://www.natgalscot.ac.uk
Another World: Dalí, Magritte, Miró and the Surrealists (10 July 2010 – 9 January 2011);
Mirrors: Prison Portraits (5 November 2010 - 16 January 2011); The Young Vermeer (8
December 2010 – 13 March 2011); Portrait of the Nation (2 October 2010 – 4 September
2011)
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The National Gallery http://www.nationalgallery.org.uk
Venice: Canaletto and His Rivals (13 October 2010 - 16 January 2011); Ben Johnson:
Modern Perspectives (8 December 2010 - 23 January 2011); Bridget Riley: Paintings and
Related Work (24 November 2010 - 22 May 2011); Jan Gossaert's Renaissance
(23 February - 30 May 2011); Forests, Rocks, Torrents: Norwegian and Swiss Landscapes from the Lunde Collection (22 June - 18 September 2011); Devotion by Design: Italian
Altarpieces before 1500 (6 July - 2 October 2011); Art for the Nation: Sir Charles Eastlake at the National Gallery (27 July - 30 October 2011); Leonardo da Vinci: Painter at the
Court of Milan (9 November 2011 – 5 February 2012)
National Gallery of Art [USA] http://www.nga.gov/exhibitions/index.shtm
Picturing the Victorians: British Photographs and Reproductive Prints from the
Department of Image Collections (1 November 2010 – 28 January 2011); The Pre-
Raphaelite Lens: British Photography and Painting, 1848–1875 (31 October 2010 – 30
January 2011); From Impressionism to Modernism: The Chester Dale Collection (31
January 2010 – 2 January 2012)
National Gallery of Ireland http://www.nationalgallery.ie
Colour and Light: caring for Turner’s watercolours (1-31 January 2011)
National Maritime Museum http://www.nmm.ac.uk
Waterline: Cruising Photography (27 November 2010 - April 2011)
National Portrait Gallery http://www.npg.org.uk
Thomas Lawrence: Regency Power and Brilliance (21 October 2010 - 23 January 2011);
Taylor Wessing Photographic Portrait Prize 2010 (11 November 2010 - 20 February
2011); Hoppé Portraits: Society, Studio and Street (17 February - 30 May 2011); Ida Kar:
Bohemian Photographer (10 March - 19 June 2011); BP Portrait Award 2011 (16 June -
18 September 2011)
Royal Academy of Arts http://www.royalacademy.org.uk
No New Thing Under the Sun (21 October 2010 - 9 January 2011); Pioneering Painters:
The Glasgow Boys 1880 – 1900 (30 October 2010 - 23 January 2011); GSK
Contemporary – Aware: Art Fashion Identity (2 December 2010 - 30 January 2011); Will
Alsop RA: En Route, Proper Behaviour in the Park (13 January - 13 March 2011); Eileen
Cooper RA: Collages (3 December 2010 - 16 March 2011); Modern British Sculpture
(22 January - 7 April 2011)
Royal Scottish Academy http://www.royalscottishacademy.org
10 Dialogues: Richard Demarco, Scotland and the European Avant Garde (27 November
2010 - 9 January 2011); Richard Demarco: A Life in Pictures (15 October 2010 - 30
January 20); Gill Russell (1 - 31 January 2011)
Tate Britain http://www.tate.org.uk/britain
Tate Britain Duveens Commission 2010: Fiona Banner (28 June 2010 - 3 January 2011);
Turner Prize 2010 (5 October 2010 - 3 January 2011); Doug Fishbone (9 October 2010 -
3 January 2011); Eadweard Muybridge (8 September 2010 - 16 January 2011); Rachel
Whiteread Drawings (8 September 2010 - 16 January 2011); Colour and Line: Turner's
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Experiments (2 May 2007 - 30 April 2012); Susan Hiller (1 February - 15 May 2011);
Romantics (9 August 2010 - 31 July 2011); Watercolour (16 February - 21 August 2011);
James Stirling: Notes from the Archive (5 April - 21 August 2011); The Vorticists:
Manifesto for a Modern World (14 June - 4 September 2011); John Martin (21 September
2011 - 15 January 2012); Barry Flanagan (27 September 2011 - 2 January 2012)
Tate Liverpool www.tate.org.uk/liverpool
Nam June Paik (17 December 2010 - 13 March 2011); A Sense of Perspective (1 April – 5
June 2011); DLA Piper Series: This is Sculpture (1 May 2009 - 1 April 2012); A Sense of
Perspective (1 April - 5 June 2011); René Magritte: The Pleasure Principle (24 June - 16
October 2011); Alice in Wonderland (4 November 2011 - 29 January 2012)
Tate Modern www.tate.org.uk/modern
Level 2 Gallery: Rosa Barba (15 September 2010 - 8 January 2011); Gerhard Richter:
Panorama (6 October - 8 January 2011); Gauguin (30 September 2010 - 16 January 2011);
Gabriel Orozco (19 January - 25 April 2011); The Unilever Series: Ai Weiwei (12 October
2010 - 2 May 2011); Restaurant Commission: James Aldridge Cold Mouth Prayer (18
August 2007 - 30 June 2011); Miró (14 April - 11 September 2011)
Tate St. Ives www.tate.org.uk/stives
Centenary of the St Ives Times: A Newspaper in the World of Art (2 October 2010 - 9
January 2011); Peter Lanyon (9 October 2010 - 23 January 2011); Tenmoku: Leach ⁄
Hamada ⁄ Marshall (9 October 2010 - 23 January 2011); Design Research Unit: 1942 –
1972 (5 February - 2 May 2011); Simon Starling: Recent History: Design Research Unit
1942 – 1972 (5 February - 2 May 2011)
Victoria and Albert http://www.vam.ac.uk
V&A Illustration Awards Display 2010 (22 June 2010 - 5 January 2011); Selected work by
Foundation students from Central Saint Martins College of Art & Design inspired by the
V&A Collections (4 October 2010 - 7 January 2011); Diaghilev and the Golden Age of the Ballets Russes, 1909 – 1929 (25 September 2010 - 9 January 2011); Noh mask of waka-onna, Suzuki Nohjin, Japan, 2000 (7 September 2009 - 16 January 2011); Designer
Bookbinders: Man Booker Prize bindings 2010 (8 November 2010 - 31 January 2011);
Fashion Fantasies: fashion plates and fashion satire, 1775-1925 (21 June 2010 - January
2011); Underground Journeys: Charles Holden’s designs for London Transport (2
October 2010 - 13 February 2011); Shadow Catchers: Camera-less Photography (13
October 2010 - 20 February 2011); Winter Court Robe of 1st Rank Concubine, Chinese
(Ch'ien Lung) 1735 - 96, watercolour (7 December 2010 – 27 February 2011); David
Watkins - Artist in Jewellery, a Retrospective View (1972 - 2010) (23 February 2010 -
February 2011); Isotype: international picture language (December 2010 – 13 March
2011); A History of Camera-less Photography (13 October 2010 – 27 March 2011); Magic
Lantern by Matt Collishaw (26 November 2010 - 27 March 2011); Walter Crane: A
Revolution in Nursery Picture Books (9 November 2010 - 3 April 2011); Richard Slee:
From Utility to Futility (5 June 2010 - 3 April 2011); Mapping Materials and Makers:
Sculpture in Britain and Ireland 1851–1951 (2 November 2010 – 15 May 2011)
Wallace Collection http://www.wallacecollection.org
From Poussin to Seurat: French Drawings from the National Gallery of Scotland
(On now - 3 January 2011)
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Whitechapel Art Gallery http://www.whitechapel.org
Stephen Sutcliffe (1 October 2010 - 2 January 2011); Walid Raad: Miraculous Beginnings
(14 October 2010 - 2 January 2011); Richard Wentworth: Three Guesses (6 November
2010 - 30 January 2011); This is Tomorrow (9 September 2010 - 6 March 2011); Keeping it Real: An Exhibition in 4 Acts: Act 3: Current Disturbance (17 December 2010 - 6
March 2011); Keeping it Real: An Exhibition in 4 Acts: Act 3: Current Disturbance (17
December 2010 - 6 March 2011); John Stezaker (29 January - 18 March 2011); Bethan
Huws: Capelgwyn (29 January - 18 March 2011); The Bloomberg Commission: Claire
Barclay: Shadow Spans (26 May 2010 - 2 May 2011); Keeping it Real: An Exhibition in 4
Acts: Act 4: Material Intelligence (18 March - 22 May 2011); Lady Lucy: Whitechapel
Gallery Staff Portrait Studio (18 March - 22 May 2011)
Yale Center for British Art http://www.ycba.yale.edu
The Independent Eye: Contemporary British Art from the Collection of Samuel and
Gabrielle Lurie (16 September 2010 - 2 January 2011); Notes from the Archive: James
Frazer Stirling, Architect and Teacher (14 October 2010 - 2 January 2011); "into the light of things": Rebecca Salter works, 1981-2010 (3 February - 1 May 2011); Thomas
Lawrence: Regency Power and Brilliance (24 February - 5 June 2011); Johan Zoffany, RA
(27 October 2011 – 12 February 2012)
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Call for reviews of recent publications, exhibitions, conferences and symposia
The newsletter encourages reviews of at least 800 words from graduate students and university, museum, and gallery affiliated as well as independent art historians active in the US or abroad, and from individuals representing fields other than art history who wish to contribute to an ongoing discussion about the scholarship of
British art.
We seek reviews of recently published books and other forms of scholarship such as exhibition catalogs, exhibitions and articles relating to the study and teaching of
British art and visual culture. Also welcome are reports of conferences and symposia attended. Please consider discussing multiple examples, such as an exhibition, its catalog and a related symposium, or several articles or books.
To receive a review copy of a recently published book or catalog, offer suggestions or submit your material for publication, please contact Jennifer Way,
JWay@unt.edu
.
The next deadline to submit material for publication is May 30 , 2011.
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Facebook!
Join our Facebook group by searching Historians of British Art or find us at www.facebook.com/group.php?gid=59663381317
Have some news to share or do you wonder where to direct your query?
 Membership, renewals, e-mail:
 Craig Hanson, Treasurer/Membership Chair
 chanson@calvin.edu
 Newsletter items, including member news, announcements, reviews, and calls:
 Jennifer Way
 JWay@unt.edu
Thank you to Case Western Reserve University and the Department of Art History for support of the Historians of British Art.
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