REGISTRATION OPEN: RIN 4: The Art of Quotation and the Miniaturized Gallery. Saturday 6 June 2015, 10 – 5pm, The House of Illustration, London

Posted on May 6, 2015 by marylshannon

The Art of Quotation and the Miniaturized Gallery. Saturday 6 June 2015, 10 – 5pm, The House of Illustration, London: Peter Otto (Melbourne), David Worrall (Roehampton/Nottingham Trent), Kate Heard (Royal Collection), Susan Matthews (Roehampton), Bethan Stevens (Sussex). Supported by the University of Roehampton and the Bibliographical Society. Organised with the assistance of House of Illustration.

We are delighted to announce that registration for this free event is now OPEN.

You can download the full programme here.

To register, please email Mary.Shannon@roehampton.ac.uk, giving your name, job title, and institution (if applicable). Places will be awarded on a first-come, first-served basis, and there will be a waiting list.

We are also accepting applications for 3 Bibliographical Society Studentships of £60 each, to assist postgraduate students with attendance. 3 spaces are reserved for the successful candidates.

To apply, please send your CV, and a statement explaining how your research fits with the work of the Network and/or the Bibliographical Society (200 words max), to Mary.Shannon@roehampton.ac.uk by Monday 25th May. Successful candidates will be notified by Wednesday 27th May.

RIN 4: The Art of Quotation and the Miniaturized Gallery. Saturday 6 June 2015, 10 – 5pm, The House of Illustration, London

Posted on April 30, 2015 by marylshannon

Registration for this event will soon be open: details will be posted on this blog.

We will also be advertising 3 Bibliographical Society Studentships of £60 each, to assist postgraduate students with attendance. 3 spaces are reserved for the successful candidates; details of how to apply will be advertised here soon.

Podcasts available: RIN 3, ‘The Literary Galleries’, February 2015, Tate

Posted on April 27, 2015 by marylshannon

Podcasts of our third event ‘The Literary Galleries: Entrepreneurship and Public Art’, held at the Tate on February 27th 2015, are now available to listen to and to download on Vimeo here.

The programme for the symposium is downloadable from https://romanticillustrationnetwork.wordpress.com/events/, but the speakers were:

1) Rosie Dias (Warwick), ‘Viewers, Patrons, Readers, Consumers? John Boydell’s Shakespeare Gallery and its Public’

2) Ian Haywood (Roehampton), ‘Macklin’s Poets Gallery and the age of Terror’

3) Luisa Calè (Birkbeck), ‘The Hours’

4) Frederick Burwick (UCLA), ‘Painting and Performance: Tableaux Vivants on the London Stage’

5) Martin Myrone (Tate), ‘Blake and the Limits of Illustration’

Birkbeck History and Theory of Photography Research Centre Events

Posted on March 5, 2015 by marylshannon

History and Theory of Photography Research Centre

Events are free and open to all, at 43 Gordon Square, London WC1H 0PD.

Upcoming:
Tuesday 10 March, 6:00-8:00pm
Keynes Library (room 114)
Seminar:

Carol Jacobi (Tate Britain) and Hope Kingsley (Wilson Centre for Photography)

‘Salt and Silver: Early Photography 1840-1860’

Carol Jacobi and Hope Kingsley will be talking about the aesthetics and reception of salted paper prints in the nineteenth-century, and the experience of curating an exhibition of these rare early photographs in the twenty-first.

For other events see the website.

CFP: ‘Romanticism and the Arts’ SAMLA, Durham, North Carolina, USA (13-15 Nov. 2015)

Posted on February 18, 2015 by marylshannon

Call for Papers
‘Romanticism and the Arts’
an affiliated session of the Keats-Shelley Association of America South Atlantic Modern Language Association Conference
Durham, North Carolina, USA (13-15 Nov. 2015)
Deadline: 15 May 2015

This panel seeks papers related to second-generation Romantic-era British writers and/or their literary circles, so proposals addressing the works of John Keats, Percy and Mary Shelley, Lord Byron, Leigh Hunt, and William Hazlitt will receive priority. Proposals that engage with the conference theme (“In Concert: Literature and the Other Arts”) are especially welcome. Subjects to be considered might include (but are not limited to) Romantic literature in relation to music, concerts, songs, painting, engravings, caricatures, drawings, panoramas, book arts, calligraphy, dance, theatre, opera, architecture, sculpture, china, pottery, ceramics, textiles, and, in later contexts, electronic art, film, and photography.

Please send a 250-word abstract, bio or CV (one page only), and audio-visual requests to Ben P. Robertson, Troy University, (bprobertson@troy.edu) by 15 May 2015.

CFP: RIN panel at Romantic Imprints, BARS’ 2015 International Conference

Posted on February 5, 2015 by marylshannon

The deadline for submission of abstracts to the RIN panel at BARS 2015 approaches: February 15th.

Of particular interest for RIN members is the RIN panel ‘Romantic Illustration’: see the panels page on the BARS 2015 website here.

The full CFP is below:

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2nd Call for Papers: Romantic Imprints

British Association for Romantic Studies, 14th International Conference

Cardiff University, 16–19 July 2015

Proposals are invited for the 2015 British Association for Romantic Studies international conference which will be held at Cardiff University, Wales (UK) on 16–19 July 2015. The theme of the interdisciplinary conference is Romantic Imprints, broadly understood to include the various literary, cultural, historical and political manifestations of Romantic print culture across Europe, the Americas and the rest of the world. Our focus will fall on the ways in which the culture of the period was conscious of itself as functioning within and through, or as opposed to, the medium of print. The conference location in the Welsh capital provides a special opportunity to foreground the Welsh inflections of Romanticism within the remit of the conference’s wider theme. The two-hundredth anniversary of Waterloo also brings with it the chance of thinking about how Waterloo was represented within and beyond print.

The confirmed keynote speakers for Romantic Imprints will be John Barrell (Queen Mary, London), James Chandler (Chicago), Claire Connolly (Cork), Peter Garside (Edinburgh) and Devoney Looser (Arizona State).

The conference is open to various forms of format: we encourage proposals for special open-call sessions and for themed panels of invited speakers as well as individual proposals for the traditional 20-minute paper. Subjects covered might include:

Nation and print: the British archipelago; cities of print; transatlantic and transnational exchanges; Romantic cosmopolitanism and print; translation; landscape and/in print; Wales and its Romantic contexts; national (especially Welsh) patterns of influence and exchange in the international context.
Producing and consuming print: Romantic readerships; publishers; circulating print; legislation, copyright and print; technologies of print; plagiarism, forgery and piracy; popular and subaltern cultures of print; periodicals and journalism; gender and genre; print as new and old, ephemeral and collectable objects; print beyond reading (paper money, cards, etc.); the fate of print as ‘rubbish’.
Intertextual exchanges: politics and print (e.g. revolution and radicalism, war, Napoleon, Waterloo); satire and parody; science and print culture; performance and print; Romantic visual cultures (including art and illustration); representations of print and printing; fashion; adaptation and remediation; the Romantic essay; print and its others – epitaphs, manuscripts, marginalia, etc.; print and imprint as Romantic metaphor or ideology; popular pastimes.
Textual scholarship: editing texts; bibliography and book history; manuscripts, correspondence and diaries; analysis and quantification; digital humanities.
Romantic legacies: physical traces and imprints; architecture; Romantic antiquarianism; Victorian Romanticism; Romanticism and modernity; Romanticism and new media; Romantic biography; lives in print; Romantic afterlives; celebrity and print; adapting the Romantics (film, art, literature).

Format of conference proposals

Traditional 20-minute paper proposals (250-word abstracts), submitted individually.
Poster presentations showcasing innovative projects or digital outputs (250-word abstracts), submitted individually.
Proposals for open-call sessions (350-word descriptions of potential session, outlining its importance and relevance to the conference theme). Accepted open-call sessions will be advertised on the BARS 2015 conference website from mid-January 2015. Please note: the deadline for submission of open-call panels has now expired.
Proposals for themed panels of three 20-minute or four 15-minute papers (250-word abstracts for each paper with speakers’ details and an outline of the panel’s rationale from the proposer).

Extended deadline for submission of abstracts: 15 February 2015. Submissions can comprise proposals for individual papers, poster presentations and submissions to open-call panels (which will be published online from mid-January 2015). If you are applying to an open-call session, you should include the name of the session on your proposal.

All proposals should include your name, academic affiliation (if any), preferred email address and a biography of 100 words. Please send proposals and direct enquiries to the BARS 2015 conference organisers, Anthony Mandal and Jane Moore (Cardiff University) at BARS2015@cardiff.ac.uk.

For the latest updates about the conference, follow us on Twitter @2015BARS and join our Facebook group at https://www.facebook.com/groups/BARS2015/.

CFP – “Visual Print Culture in Europe 1500-1850”, Venice, December 2015

Posted on February 3, 2015 by marylshannon

Visual Print Culture in Europe: techniques, genres, imagery and markets in a comparative perspective, 1500-1850

University of Warwick at: Palazzo Pesaro Papafava, Venice, Italy

December 5-6, 2015

Call for Papers – closing date June 1, 2015

Under Napoleon’s Empire we find London acting as a hub for printing caricatures of Napoleon in a range of languages, and with a number of distinctive styles. The above print, Die Universalmonarchie, for example, claims to have been published by Boydell & Co. in London in 1815, but the Boydells were based at Cheapside, not – as the print states – at Pall Mall (once the location of the late Josiah Boydell’s famous Shakespeare Gallery). The publication information would seem to be spurious and the British Museum suggests that it was likely published in Paris. Is this print, then, German, French, or even possibly English? Who exactly is its market? How far is its imagery tailored to a particular “national” audience and in what ways might it be distinctively comprehensible to such an audience? Besides London, what other European hubs were important, at what moments and why?

‘Visual Print Culture in Europe 1500-1850’ aims to draw together scholars with a range of disciplinary skills to discuss the methods, representational forms, and distribution of and audience for visual print media in Europe between 1500 and 1850. Its seeks to de-nationalize the study of visual print culture, and to explore the extent to which interactions between engravers and printers, artists and consumers in Europe, and a range of common representational practices produced a genuinely European visual print culture – with local modulations, but nonetheless with a common core.

Papers can draw on a range of disciplinary backgrounds in exploring the exchange of techniques and processes, the analysis of imagery, and the identification of markets, and in analysing the conditions under which particular generic forms crossed or failed to cross national boundaries. Although the emphasis is on European visual print culture, the impact of that culture on, and its interaction with, the wider world is also of interest.

The conference language will be English.

The Conference will be held at the University of Warwick’s Palazzo and conference centre in Venice, December 5-6, 2015.

The Conference organisers, acting under the European History Research Centre are:
Mark Philp, History, EHRC Director, Warwick (mark.philp@warwick.ac.uk)
Kate Astbury, French Studies, Warwick
Mark Knights, History, Warwick
David Taylor, English, Warwick

Proposals for papers should be submitted to t.smith.2@warwick.ac.uk by June 1^st 2015 but please feel free to contact Mark Philp in advance with any queries.

The conference may be able to provide some financial assistance to those whose home institutions are unable to support their attendance, especially postgraduate students.

CFP: The Romantic Eye (Yale, 17-18 April 2015)

Posted on January 27, 2015 by marylshannon

Please see below for a Call for Papers for an exciting-sounding symposium on the Romantic Eye at Yale this April. The organisers are particularly keen to secure contributions from early career scholars (including people working on their doctorates). Flights and accommodation will be provided for those invited to speak, so if you’re working on a topic in this area, this could be a really great opportunity.

(Taken from the BARS blog)

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The Romantic Eye, 1760–1860 and Beyond

April 17, 2015-April 18, 2015

Yale University

This symposium examines Romanticism as a shape-shifting cultural phenomenon that resists easy categorization. Focusing on the period from 1760 to 1860, the symposium embraces the amorphousness that has been ascribed to Romanticism historically by eschewing any limiting definition of it, seeking instead to explore the broad range of art and visual culture characterized as “Romantic” during this hundred-year span. We are interested in what the Romantic “eye” pursued and perceived, and how it set itself the task of recording those perceptions. In addition to interrogations of the relationship between the visual arts and Romanticism, we welcome papers on writers, composers, scientists, and philosophers whose projects engaged the visual. Papers also are sought for a special panel that will address the legacies of Romanticism in contemporary art.

This 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, which opens March 6, 2015. The exhibition comprises more than three hundred paintings, sculptures, medals, watercolors, drawings, prints, and photographs by such iconic artists as William Blake, John Constable, Honoré Daumier, David d’Angers, Eugène Delacroix, Henry Fuseli, Théodore Géricault, Francisco de Goya, John Martin, and J. M. W. Turner. Talks that respond explicitly to works in the collections of the Yale Center for British Art or the Yale University Art Gallery are particularly encouraged, as are cross-disciplinary and comparative studies.

We are seeking presentations of thirty minutes in length. Graduate students and early career scholars are particularly encouraged to apply. Travel and accommodation costs will be covered by the organizers. Please e-mail abstracts of no more than three hundred words and a short CV or bio (no more than two pages) by February 2, 2015, to romanticism2015@gmail.com.

The symposium is cosponsored by the Department of the History of Art at Yale University, the Yale Center for British Art, the Yale University Art Gallery, and the Yale Student Colloquia Fund.

Third RIN Symposium ‘The Literary Galleries’: REGISTRATION OPEN

Posted on January 23, 2015 by marylshannon

Romantic Illustration Network Symposium
‘The Literary Galleries: Entrepreneurship and Public Art’
Supported by the University of Roehampton, the Bibliographical Society, and Tate Britain

We are pleased to announce that the third RIN symposium is now OPEN for REGISTRATION.

Friday 27^th February 2015, 10am – 5pm
Board Room and Duffield Room, Tate Britain,
Millbank, London SW1P 4RG

This symposium brings together the authors of the key scholarship on the literary galleries of the Romantic period: Fred Burwick (The Boydell Shakespeare Gallery, 1996), Rosie Dias (Exhibiting Englishness, 2013), Ian Haywood (Romantic Caricature, 2013), Luisa Cale (‘Blake and the Literary Galleries’, 2008; Fuseli’s Milton Gallery 2006) and Martin Myrone (Gothic Nightmares, 2006; John Martin: Apocalypse, 2011) in a venue that is itself a form of literary gallery (Tate Britain) to present new research and to debate the relationship of painting to illustration, text, and print. To what extent did the literary galleries change the role of illustration in the Romantic period?

Registration:

Places are FREE but limited to 15 in total, excluding speakers and organisers. This is due to restricted access to the Print Room. To secure your place, please email Mary.Shannon@roehampton.ac.uk, providing your name, status/job title, and institution (for name badges). Places will be awarded on a first-come, first-served basis and you will receive email notification. However, there will also be a waiting list. If you are unable to take up your place, please NOTIFY US BY EMAIL IN GOOD TIME so that someone else on the list may be offered your place.

We are able to offer 2 postgraduate ‘Bibliographical Society Studentships’ of £60 each to assist with the cost of attending at the symposium. Postgraduate students who live outside London are eligible. To apply, please send a CV and a statement (200 words) to Mary.Shannon@roehampton.ac.uk by Friday 6th February explaining your current research and its relevance to the interests of the Romantic Illustration Network as well as to the aims of the Bibliographical Society. Successful applicants will be notified by Tuesday 10th February.

Subject to permissions, we are hoping to record proceedings for the benefit of those unable to attend.

Programme:
10.00 Registration: meet at Staff Entrance (see map) to transfer to Board Room
10.15
Rosie Dias (Warwick), ‘Viewers, Patrons, Readers, Consumers? John Boydell’s Shakespeare Gallery and its Public’
Ian Haywood (Roehampton), ‘Macklin’s Poets Gallery and the age of Terror’
11.45 tea and coffee
12.15 Luisa Calè (Birkbeck), ‘The Hours’
1-2 Lunch (attendees to make own arrangements)
2.00 Frederick Burwick (UCLA), ‘Painting and Performance: Tableaux Vivants on the London Stage’
3pm Tours of Print Room and Galleries, led by Tate facilitators
4.00 Martin Myrone (Tate), ‘Blake and the Limits of Illustration’
4.45 Open Discussion
5pm Close. Please join us for a drink nearby.

For a full programme and a map of the venue, visit https://romanticillustrationnetwork.wordpress.com/events/

CFP: Print Culture and the Arts

Posted on January 20, 2015 by marylshannon

‘Print Culture and the Arts’
SHARP @ SAMLA
Durham, North Carolina
13-15 November 2015

Papers are invited for the SHARP affiliate session at the 2015 South
Atlantic Modern Language Association (SAMLA) Convention. Potential
topics include print culture, history of the book, authorship,
publishing history, ephemera, illustration, publishers’ archives,
circulation, and reception. Papers addressing this year’s theme, “In
Concert: Literature and the Other Arts” are especially welcome. What
connections can be made between print culture/book history and the
areas of visual art, theatre, and music? How has the relationship
between print culture and the arts evolved from the manuscript age to
the digital world of the 21st century?

The 87th annual SAMLA Convention will be held November 13-15, 2015, at
the Sheraton Imperial Hotel & Convention Center, located in Durham,
North Carolina. Proposers need not be members of SHARP to submit, but
panelists must be members of both SHARP and SAMLA in order to present.
By June 1, 2015, please email a 350-word abstract and short biography
(including contact information) to SHARP liaison Dr. Melissa Makala,
at me.makala@gmail.com.

Please also visit SHARP at SAMLA’s Facebook page for more updates:
https://www.facebook.com/SHARPatSAMLA