Pagaie de Santa Ana (Îles Salomon) et massue kanak (Nouvelle-Calédonie), devant “Hommage à Tom Wesselmann” de Pavlos, exposition en amont des ventes “Oceania” et “Art Contemporain Day Sale” de Sotheby’s les 4 et 5 décembre 2019.
Pour la prochaine séance du Séminaire Collection, nous sommes heureux d’accueillir :
Marion Bertin – Université d’Avignon
“Collectionner des objets océaniens en 2023 : une ethnographie du marché de l’art océanien”
07 mars 2023, en ligne sur Zoom, 18h30-20h00
La conférence, gratuite, aura lieu sur Zoom. Veillez à vous inscrire au préalable, afin de recevoir les informations nécessaire, à cette adresse : collection.seminaire@gmail.com
Section de la campagne arabe, Musée royal de l’Armée et d’histoire militaire
Pour la prochaine séance du Séminaire Collection, nous sommes heureux d’accueillir :
Jelena Todorović – University of the Arts in Belgrade .
A princely collection and the prince of dealers – the role of the Duveen Brothers in the history of the State Art Collection of the Kingdom of Yugoslavia.
Martin Hullebroeck – Université Paris 1 Panthéon-Sorbonne/ Université libre de Bruxelles
Les vétérans de l’État Indépendant du Congo au Musée royal de l’Armée (1910–1940) : le rôle des veuves et des proches dans la conservation et la mise en valeur de leurs collections.
18 octobre 2022, en ligne sur Zoom, 18h30-20h00
La conférence, gratuite, aura lieu sur Zoom. Veillez à vous inscrire au préalable, afin de recevoir les informations nécessaire, à cette adresse : collection.seminaire@gmail.com
The long nineteenth and early twentieth century is often considered a period of socially widening collecting practices. Besides the boom of public museums, the general understanding of nineteenth- and early twentieth-century collecting is dominated by the rise of the bourgeois collectionneur as new social type. Within the broader historiography much attention has been paid to the new industrial tycoons and businessmen, as well as the (higher) middling sort of collectors, all eager to tap into a growing ‘collection mania’. Less well studied for this period, however, remain the blue-blooded collectors or collectionneurs nobles. This comes as quite a surprise since the practice of collecting itself has deep and long running roots, intimately tied to endeavours of early-modern royal houses and noblemen, amassing Wunderkammern full of Fine and Decorative Arts, precious manuscripts and books, naturalia, and myriad other collectables. While some, less fortunate noblemen, were forced to sell their prized family collections during the age of political, industrial, and cultural revolutions, others retained their titles and fortunes, and continued to collect for economic reasons (as investment), or for reasons tied to their specific, albeit changing, social and cultural status in modern societies.
In spite of the recent upsurge in books and articles on collectors and collecting practices in Belgium and the Netherlands, research on this blue blood collecting in the Low Countries after 1750 remains thin on the ground. Who were these highborn collectors? What did they collect? And why? In this special issue we aim to draw a detailed portrait of these collectioneurs nobles, their changing social profile, and their motivations. How different were their motives and aims from their emerging bourgeois counterparts? What were the norms and values that fuelled aristocratic collecting? Did they, for instance, pay more attention to noble pedigree and patina in the selection of objects? And in what way were older, Humanist and Enlightenment values carried over in modern times with these collectors? Tying in with a recent strand, we also want to pay attention to the links between gender and collecting. To what extent were the collection profile and practices of noble ladies and lords different? We also aim to shed more light on the presentation, musealisation, and afterlife of these noble collections. To what extent became noble collections more accessible for a wider public in the nineteenth and early twentieth century, and how were they received by noble, bourgeois or lower class visitors? How were these aristocratic ensembles eventually integrated into public museums? Last but not least, we also try to identify local, regional or even national differences between well-bred collectors in Belgium and the Netherlands, in the industrial cities and in the countryside, and so on.
We aim to provide some answers to these questions by sampling the latest research on noble collectors and collections in the Low Countries. The special issue will be published in Virtus: Journal of Nobility Studies. [WoS A1- journal] Abstracts – ca. 350 words, including a short bio-sketch – should be send to gerrit.verhoeven@uantwerpen.be before 1 February 2022. Full chapters (5000 words, including footnotes) should be submitted in the same way before 1 October 2022.
Guest editors of the special issue: Ulrike Müller (Researcher at Museum Mayer van den Bergh & PD UAntwerpen) Ilja Van Damme (Professor in history UAntwerpen) Gerrit Verhoeven (Professor in cultural heritage and history UAntwerpen & Researcher/Archivist at the Royal Museums of Art and History)
Reference : CFP: Virtus Special Issue: Collectioneurs Nobles, 1750-1950. In: ArtHist.net, Nov 16, 2021. <https://arthist.net/archive/35346>
Intervenant : Nicholas Parkinson(Ny Carlsberg Glyptotek)
À l’entrée du musée copenhaguois Ny Carlsberg Glyptotek, une sculpture occupe le devant de la scène – Gloria Victis, ou « gloire aux vaincus », un monument aux morts de la guerre de 1870 de l’artiste français Antonin Mercié.
Cette sculpture fut commandée par le collectionneur danois Carl Jacobsen en 1902, qui la plaça au beau milieu du jardin d’hiver du musée pendant son vernissage en 1906 – le même lieu où, deux ans plus tard, Jacobsen accueillera le président français Armand Fallières pendant sa visite au Danemark. Dans le contexte de sa mise en place à Copenhague, Gloria Victis ne représente pas que la défaite de la France en 1870, mais aussi un lien tout à fait unique entre la France et le Danemark, deux pays vaincus pendant les guerres de l’unification allemande.
Cette présentation examine l’origine de la collection française à la Ny Carlsberg Glyptotek à travers l’histoire du collectionneur excentrique et extraordinaire Carl Jacobsen. En tant que collectionneur et organisateur des expositions publiques, Jacobsen a influencé profondément le développement du goût pour l’art français à la fin du dix-neuvième siècle au Danemark. Grâce à lui, ont été révélés des chefs d’œuvres de l’art moderne, comprenant Édouard Manet, Auguste Rodin, Camille Corot, et Eugène Delacroix. En même temps, dans quelle mesure son œil pour l’art n’était-il non pas guidé par l’esprit du modernisme, mais plutôt par sa croyance dans le rôle pédagogique de l’art de répandre les messages moraux et politiques au sein du public ?
Nicholas Parkinson est postdoctorant au musée Ny Carlsberg Glyptotek de Copenhague. Ses recherches sont financées par la bourse Mads Øvlisen de la Fondation Novo Nordisk et se focalisent largement sur les relations artistiques et politiques entre la France et le Danemark à la fin du dix-neuvième siècle. Il est actuellement en train de préparer un article qui s’intitule « Gloria Victis : A French War Monument in Copenhagen ».
La conférence, gratuite, aura lieu sur Zoom. Veillez à vous inscrire au préalable, afin de recevoir les informations nécessaire, à cette adresse : collection.seminaire@gmail.com
The Society for the History of Collecting Invites you to its Online Lecture
Collecting as a Public Good
Prof. Julie Codell Jeudi 30 juillet 2020, 19h30
Public good is a microeconomic term meaning a good that is both non-excludable and non-rivalrous, from which individuals cannot be excluded from use or could benefit from without paying for it, and where one individual’s use does not reduce availability to others. While museum collections are often considered a form of public good, private collections have not been considered public goods. I will explore how private collections became public goods in the late 19th and early 20th centuries in two cases: F. G. Stephens’ 100 articles written from 1873 to 1887 on private collectors in Britain for the Athenaeum magazine, and the work of art dealer and much sought-after art agent Martin Birnbaum who required his American collector-clients to share their collections with public institutions in order for him to purchase works for them.
Julie Codell is Professor of Art History at Arizona State University and affiliate faculty in Film and Media Studies and Asian Studies. She wrote The Victorian Artist (2003; 2012 pbk rev. ed.) and edited Victorian Artists’ Autograph Replicas: Auras, Aesthetics & Economics (Routledge 2020); Transculturation in British Art (2012; 2017 pbk); Power and Resistance: The Delhi Coronation Durbars (2012); The Political Economy of Art (2008); Imperial Co-Histories (2003); and co-edited Replication in the Long 19th Century: Re-makings and Reproductions (2018); Orientalism, Eroticism and Modern Visuality in Global Cultures (2016; 2018 pbk); Encounters in the Victorian Press (2004), and Orientalism Transposed (1998; rpt. Routledge Revivals series, 2018). She has received fellowships from the National Endowment for the Humanities, Getty Foundation, Kress Foundation, Huntington Library, Harry Ransom Center, American Institute for Indian Studies, and the Yale Center for British Art.
To register for this event please email events@societyhistorycollecting.org