This two-day international symposium examines Romanticism as a shape-shifting cultural phenomenon that resists categorization. The symposium coincides with a major collaborative exhibition organized by the Yale Center for British Art and the Yale University Art Gallery, "The Critique of Reason: Romantic Art, 1760–1860." Comprising more than three hundred works in a range of media, the exhibition features iconic artists including William Blake, John Constable, Honoré Daumier, Eugène Delacroix, Henry Fuseli, Théodore Géricault, Francisco de Goya, John Martin, and J. M. W. Turner.

The symposium is free and open to the public. Register in advance (by April 15) at britishart.yale.edu/research/conferences (recommended), or on-site at the event. For further information, contact ycba.researchyale.edu.
Cosponsored by the Yale Center for British Art, the Yale University
Art Gallery, the Department of the History of Art at Yale University,
and the Yale Student Colloquia Fund.

Friday, April 17, 2015
9–9:30 am registration and coffee
Yale University Art Gallery, Jan and Frederick Mayer Lobby

9:30–10 am welcome and curatorial remarks

10 am–noon Panel I: British Romanticism
Chair: Tim Barringer (Yale University)

Paul Fry (Yale University): Peele Castle, Hadleigh Castle: Romantic Poetry and Painting

Esther Chadwick (Yale University): “Copper in the Manner of Wood”: An Experimental Vignette by Thomas Bewick

Terry Robinson (University of Toronto): Sarah Siddons and the Mediation of Spectatorship

noon–1:30 pm break

1:30–2:30 pm breakout sessions

A. Cassandra Albinson (Yale Center for British Art): The Child, the Portrait, and the Artist in the Romantic Period

Nina Amstutz (Yale Center for British Art): Nature between Spectacle and Specimen: Robert John Thornton’s "Temple of Flora" and James Ward’s "Two Extraordinary Oxen"

Gillian Forrester (Yale Center for British Art): “The origin of my fame”: The Visualizing “I” in John Constable’s English Landscape Scenery and J. M. W. Turner’s Liber Studiorum Print Series

Scott Wilcox (Yale Center for British Art): The Rise of Watercolor Painting in Romantic Britain

2:30–3 pm break

3–5 pm Panel II: French Romanticism
Chair: A. Cassandra Albinson (Yale Center for British Art)

Valérie Bajou (Versailles): Insolence and Insurrection in Romantic French Painting

Mikolaj Getka-Kenig (University of Warsaw): The Fall of Napoleon and the Romantic Crisis of Heroic Representation

Tamar Mayer (University of Chicago): Romanticizing the Neoclassical: Loss of Gravity in Jacques-Louis David’s Late Drawings and Artistic Procedures

6 pm Andrew Carnduff Ritchie Keynote Lecture
T. J. Clark (University of California, Berkeley): “Attempting Impossibles”: Hazlitt on Turner and Blake

7–7:45 pm reception

Saturday, April 18, 2015

10 am–noon Panel III: Romantic Pictorial Innovations
Chair: Nina Amstutz (Yale Center for British Art)

Richard Maxwell and Katie Trumpener (Yale University): Romantic Panoramas: Robert Barker, Marquand Wocher, Eduard Gaertner

Allan Doyle (Princeton University): Théodore Géricault and the Lithographic Picturesque

Izabel Gass (Yale University): Portrait of the Artist as a Young Narcissist

noon–2 pm break

2–3:30 pm Panel IV: Baudelaire and Romanticism
Chair: Colin Foss (Yale University)

Tobias Kämpf (Ruhr University Bochum): Poetry as Art Criticism: Baudelaire’s Romantic Quest

Carol Armstrong (Yale University): Baudelaire: Looking Back from 1863

3:30–4 pm break

4–5:30 pm Panel V: Afterlives—Modern Art and the Romantic Tradition
Chair: Harry Adams (Yale University)

AnnMarie Perl (Princeton University): Mysticism, Striptease, Iconoclasm: Yves Klein’s Debut Performance of the Anthropometries in 1960

Daniel Spaulding (Yale University): Death Keeps Me Awake: Joseph Beuys and the Conclusion of Romanticism

5:30 pm close