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"Scale Matters in Art History" : panel at the Fourth European Congress on World and Global History

Scale Matters in a global Art History / Questions d’échelles en histoire de l’art

Panel of the Fourth European Congress on World and Global History - “Encounters, Circulations and Conflicts”.

Paris, Ecole normale supérieure, September 4th 2014, 02:30-5:00 PM
45 rue d’Ulm, Paris, Salle des Résistants (1st Floor)


* 02:30-02:40

Michela Passini (ENS/IHMC, Paris) and Béatrice Joyeux-Prunel (ENS/IHMC, Paris)

- Introduction


* 02:40-03:10

Javier Ibáñez Fernández (University of Zaragoza) and Jean-Marie Guillouët (Université de Nantes)

- Transfers and Exchanges in Gothic Europe. New Perspectives, new Problems


* 03:10-03:30

Bénédicte Savoy (Technische Universität Berlin)

- Museums and Collections : Transnational Circulations and Micro Scale



* 03:30-03:50

Anne Helmreich (Getty Foundation & Case Western Reserve University)

- Re-visioning the London Art Market at the Intersection of the Local and the Global, the Micro and the Macro


* 03:50-04:10

Matthew Rampley (University of Birmingham)

- Art Historiography between the National and the Transnational


* 04:10-04:30

Mélanie Traversier (Université de Lille 3)

- History of Music. Transnational Circulations in a urban Focus



* 04:30-5:00

Charlotte Guichard (CNRS, Paris), Jean-Marie Guillouët (Université de Nantes), Olivier Marcel (The Artlas Project, IHMC/ENS), Eleonora Vratskidou (Princeton University)

- Discussion


Participants :

Anne Helmreich (Getty Foundation & Case Western Reserve University)

Mélanie Traversier (Université de Lille 3)

Matthew Rampley (University of Birmingham)

Bénédicte Savoy (Technische Universität Berlin)

Javier Ibáñez Fernández (University of Zaragoza)

Manuel Charpy (CNRS, Paris)

Olivier Marcel (The Artlas Project, ENS/IHMC)

Eleonora Vratskidou (Princeton University)

Charlotte Guichard (CNRS, Paris)

Jean-Marie Guillouët (Université de Nantes)

Jean-Baptiste Minnaert (Université de Tours)
 

Anne Helmreich : Re-visioning the London art market at the intersection of the local and the global, the micro and the macro


Building on our ongoing investigation of the London art market, c.1850-1950, we seek to analyze how methods of the digital humanities (i. geo-spatial and network analysis) give rise to methodological questions of scale pertinent to advancing new paradigms of at historical analysis. For example, London, on the micro-level, modeled the global in that during the period under study it housed numerous commercial venues devoted to the exhibition and sale of art work from around the globe. On the macro-level, London was a key node in an international network of production, circulation and consumption.

Brief overviews of our current digital projects will be presented, focusing on the issue of scale, followed by a collaborative examination of questions of the relationship between the macro and the micro and the issues of analysis provoked by this relationship. For example, what is pulled into view and what is obscured ?


Mélanie Traversier : History of music. Transnational circulations in a urban focus


Mon propos articuleles circulations musicales et les acteurs d’une forme de "diplomatie culturelle" au XVIIIe siècle, en lien avec les travaux et enquêtes que j’ai notamment pu mener dans le cadre de l’ANR-DFG MUSICI. Cette exploration des sources diplomatiques, en particulier italiennes et françaises, permet de réfléchir à l’imbrication des différentes échelles géographiques d’analyse (local, urbain, national, international), qui eux-mêmes mobilisent différentes formes d’histoire : micro-histoire des migrations (celles des artistes), construction symbolique d’une ville-capitale comme centre musical de premier ordre, développement d’un marché de la musique de plus en plus structuré et ramifié, acteurs internationaux d’une politique de rayonnement national. Cet aspect sera particulièrement examiné à travers le cas de la politique de rayonnement musical mise en oeuvre par le gouvernement bourbonien dans les années 1730-1750.


Matthew Rampley : Art historiography between the national and the transnational


It is often assumed that art history is an international discipline. The major topics of art historical enquiry, from the Italian Renaissance to contemporary global art, are the objects of interest for art historians of any nationality. Yet as the work of James Elkins has suggested, the question as to how global art history really is, cannot be answered in a straightforward manner. While sophisticated discourses on art have proliferated in a range of world cultures, such as China, Safavid Persia, classical Athens and modern Europe, it is not clear that they could all be regarded as examples of "art history." In addition, even within Europe, national contexts have heavily shaped the developments of art historical writing. As an "ideological state apparatus" (Althusser), art history has often been driven by state imperatives, which have given preference to certain themes over others, and to certain methods over others. This is moreover not simply a matter of differing local inflexions of a wider international discipline ; it has also meant that art history has, in different states, a considerably different character. In many states "national" art is still the predominant topic of enquiry, especially as the creation of national canons of art still plays an important role in the process of state identity formation. In others, art history is still almost indistinguishable from archaeology. For complex historical and political reasons, positivism is still the dominant method in many territories, even though elsewhere it has long been dismissed as a relic of the nineteenth century. My presentation considers the ways in which art history has been caught in the tensions produced by conflicting national demands and traditions, in order to consider the question : how international is art history ?


Bénédicte Savoy : Museums and collections : transnational circulations and micro scale



Javier Ibáñez Fernández : Transferts and exchanges in Gothic Europe. New perspectives, new problems

The notion of artistic transfert has ushered in a new approach to the study of the circulation of artists, works of arts, and patterns in medieval Europe. Newer research invites to look more closely at the relations between the circulation of men and materials and their contexts of reception. For example, the analysis of the leading role played by travelling artists, such as Isambart or Pedro Jalopa, in the renewal of the so called “Gótico final” (late Gothic) in Spain and Portugal at the beginning of the 15th century, requires that we develop new approaches to their regional and social origins, their artistic background, their reasons for travelling and their routes, their visual culture and the networks they constituted. By addressing selected issues in the transnational history of Gothic art, this paper will attempt to show how the choice of a particular scale allows new specific objects to emerge.

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