Colloque : Collectionner : acteurs, lieux et valeur(s) (1750 – 1815) (26-27 octobre 2020, en ligne)

Adriaan de Lelie, De kunstgalerij van Jan Gildemeester Jansz, huile sur toile, 1794–95, Rijksmuseum, Amsterdam

Colloque du GRHAM et du séminaire Collection

Collectionner : acteurs, lieux et valeur(s) (1750 – 1815)

26-27 octobre 2020 – En ligne

Le Groupe de Recherche en Histoire de l’Art Moderne (GRHAM) et le Séminaire Collection s’associent pour l’organisation d’un colloque sur le thème du collectionnisme. Intitulé Collectionner : acteurs, lieux et valeur(s) (1750 – 1815), cet événement a comme objectif d’analyser les collectionneurs à travers leurs pratiques et leurs représentations, en insistant sur de nouvelles pistes de réflexions méthodologiques. Celles-ci permettront d’extraire cette thématique d’approches purement biographiques et monographiques. À partir de cas précis, le colloque entend appréhender le collectionnisme par le biais de problématiques et de méthodes propres qui vont au-delà de la reconstitution d’une collection, un travail certes incontournable, mais conçu ici plutôt comme le point de départ d’une réflexion. Bien que les thématiques à exploiter soient nombreuses, nous nous proposons de borner notre examen à l’étude de quatre axes principaux.

Continuer la lecture de « Colloque : Collectionner : acteurs, lieux et valeur(s) (1750 – 1815) (26-27 octobre 2020, en ligne) »

Conférences en ligne : The Frick Collection – Center for the History of Collecting

Collecting Impressions: Six Centuries of Print Connoisseurship

Edgar Degas, The Collector of Prints, 1866. New York, The Metropolitan Museum of Art. H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.44).


Join the Frick Library’s Center for the History of Collecting for a four-part online lecture series exploring the history of print collecting. Each session is free with registration.

Part One: The Print Collector and the Printseller
Wednesday, October 7, 12:00 to 1:00 p.m.
Antony Griffiths, Former Keeper, Department of Prints and Drawings, British Museum

Part Two: Booksellers and the International Distribution of Prints from Antwerp in the Early Seventeenth Century
Wednesday, October 14, 12:00 to 1:00 p.m.
Karen Bowen, independent scholar, Antwerp

Part Three: Heinz Berggruen and the Postwar Print Market
Wednesday, October 21, 12:00 to 1:00 p.m.
Blair Asbury Brooks, Ph.D. candidate, The Graduate Center, CUNY

Part Four: Conversation with Collectors Leslie Garfield and Jordan Schnitzer
Wednesday, October 28, 12:00 to 1:00 p.m.
Jennifer Farrell, Associate Curator, The Metropolitan Museum of Art

This series is co-organized by The Metropolitan Museum of Art’s Department of Drawings and Prints and made possible through the support of the IFPDA Foundation.

Conférences en ligne : Collecting Art in Imperial Russia (24 septembre 2020-22 avril 2021)

A series of lectures (webinars) organised jointly by Princeton University and the European University at St Petersburg

Jeudi à 12.00 EST sur ZOOM

Les liens seront disponibles sur le site web de REEES à Princeton avant chaque événement

September 24, 2020
How to be a European: Collecting Drawings in Imperial Russia
Catherine Phillips, European University at St Petersburg

October 22, 2020
The Yusupovs in Paris: Building a Collection
Wilfried Zeisler, Hillwood Museum

November 12, 2020
From Rudolf II to Catherine II: Goltzius’ Without Bacchus and Ceres, Venus is Chilled and its Iconography
Alexei Larionov, State Hermitage Museum and European University at St Petersburg

February 18, 2021
The Hermitage or a ‘Museum’ in 1770 According to Catherine the Great
Guillaume Nicoud, Archivio del Moderno, Mendrisio

March 18, 2021
Power and Paint: The Patronage of Women Artists at the Court of Catherine II
Rosalind P. Blakesley, Cambridge University

April 8, 2021
A Tale of Two Collections: The Icons of Nikolai Likhachev and Ilya Ostroukhov
Wendy Salmond, Chapman University

April 22, 2021
Rembrandt in Russia in the 19th Century: Prints and their Collectors
Roman Grigoriev, State Hermitage Museum and European University at St Petersburg

Organized by
Basile Baudez, Princeton University
Catherine Phillips, European University at St Petersburg
Ekaterina Pravilova, Princeton University

Pour info :

Conférence en ligne : « Charles I and the Art of Italy in Spain », Dr Susan Bracken (13 août 2020, 19h30)

The Society for the History of Collecting
Invites you to its Online Lecture

Charles I and the Art of Italy in Spain
Dr Susan Bracken
13 août 2020, 19h30

1623 was a significant year for the outstanding collection being formed by the future Charles I.  In January John and Tom Smith (aka Charles, Prince of Wales and George Villiers, Marquess of Buckingham) set off for Madrid, with the aim of securing the hand of the Infanta for the Prince. They spent six months in Spain, but the negotiations failed.  However, Charles’s experience of the art he saw, was given and acquired in Spain had a lasting influence on his taste, future patronage and purchases.  It has often been remarked that it was in Spain that he fell in love with Titian but less frequently noticed that this was also the moment at which the Prince began to acquire copies of masterpieces, the originals being unobtainable.  Ten years later he still desired some of those paintings and began a new artistic campaign in Madrid, perhaps inspired by Rubens’s visit to London in 1629.   This paper will offer some ideas about these less well-known aspects of the king’s collection.

Dr Susan Bracken‘s thesis was on ‘Collectors and Collecting in England c.1600-c.1650’. She lectures regularly at the Victoria & Albert Museum and is an Associate Lecturer at Birkbeck College. Susan is co-convenor of the research seminar ‘Collecting & Display’ at the Institute of Historical Research and a Liveryman of the Worshipful Company of Arts Scholars. Her publications include: ‘Charles I and the Art of Italy in Spain’ in Las copias de obras maestras de la pintura en las colecciones de los Austrias y el Museo del Prado(forthcoming, Museo del Prado 2020). ‘The ambassador and the artist – Sir Dudley Carleton’s relationship with Peter Paul Rubens:  connoisseurship and collecting at the court of the early Stuarts’ (with Robert Hill), Journal of the History of Collections, 26, 2 (2014) pp.171-191.

To register for this event please email

Conférence en ligne : Art in China/Chinese art in Europe

Elegant Gathering In The Apricot Garden. Anonymous, After Xie Huan (Chinese, Ca. 1370–Ca. 1450), Ca. 1437 Handscroll ; Ink And Color On Silk. Dimensions : Image : 14 5/8 X 95 3/4 In. (37.1 X 243.2 Cm) Credit Line: Purchase, The Dillon Fund Gift, 1989. Accession Number : 1989.141.3 – Metropolitan Museum Of Art


The Society for the History of Collecting vous invite à sa deuxième conférence en ligne.

Art in China/Chinese art in Europe: a comparative study of approaches to collecting in China and Europe, 1500-1900

Dr. Stacey Pierson
Jeudi 9 juillet 2020, 19h30

The study of collecting, as a sub-field of museum studies, is a subject that has its origins in European scholarship. From founding texts such as Susan Pearce’s On Collecting: an Investigation into Collecting in the European Tradition (1999) to more recent surveys like Museum Archetypes and Collecting in the Ancient World (2014), collecting and its methods are usually interpreted through a Eurocentric lens. This is partly a consequence of the subject’s association with museum studies – just as the museum space is a European invention, so therefore is the practice of art collecting, it is assumed. But is it? In East Asia, collecting as a field of enquiry and practice has a very long history, much pre-dating its presumed European origins in ancient Greece and Rome. Continuer la lecture de « Conférence en ligne : Art in China/Chinese art in Europe »