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
Quellennachweis:
CONF: The Romantic Eye, 1760-1860 and Beyond (New Haven, 17-18 Apr 15). In: ArtHist.net, 28.03.2015. Letzter Zugriff 18.04.2024. <https://arthist.net/archive/9875>.