Category Archives: News

South-North-South, ARTL@S Bulletin vol. 5


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The latest issue of ARTL@S Bulletin, entitled “South-North-South” is out. In the special issue’s introduction, “Le triangle des circulations artistiques transnationales, Béatrice Joyeux-Prunel and Catherine Dossin propose a transcontinental and triangular model of artistic circulations, in an attempt to avoid both the traditional “North-South” hierarchies and the simplistic view of center-periphery relations.

The issue contains articles ranging from nineteenth-century architecture in Algiers to the reception of Spanish painting in Argentine, and from the presence of South American artists in Paris and London in the 50s-70s to the reconstruction of the historical 1978 International Art Exhibition for Palestine. The issue is available in its entirety on-line.



‘art in the periphery’ welcomes Tomasz Grusiecki


Regni Poloniae et Ducatus Lithuaniae voliniae, cut out from a large map, trimmed and pasted on a sheet, c.1680-1690, engraving with hand-coloring, British Museum, London

‘art in the periphery’ is pleased to announce the arrival of its newest member, Tomasz Grusiecki. A PhD candidate at McGill University, Tomasz is completing his dissertation on ‘Globalizing the Periphery: Poland-Lithuania, World-Making and the Contradictions of Exchange, 1587-1668’. This projects attempts to introduce Poland-Lithuania into recent discussions of early modern cross-cultural entanglement. In examining the status of Poland-Lithuania in the larger cultural landscape of the period, this project asks wider questions about the periphery’s impact on the center. But rather than understanding Poland-Lithuania’s impact through the prism of material, artistic or intellectual causality, this project foregrounds the center’s dependence on the periphery, arguing that the perceptions of Poland-Lithuania loomed large in the conceptualizations of Europe’s place in the world forged in Rome, Amsterdam, Paris and Vienna.

Tomasz’s next project, tentatively entitled Building New Capital / Making New Worlds: Spaces of Encounter in Warsaw, 1611–1657, will draw on his doctoral project, but instead of focusing on the representations of Poland-Lithuania as a liminal place between worlds, it will examine these worlds as they appeared in Warsaw: the new capital city of a recently formed confederate Polish-Lithuanian Commonwealth. Although at Europe’s periphery, Warsaw was primed to become a site of cross-cultural mediation, given its location at the crossroads between the east and west.

Tomasz’s interests span early modern power dynamics, centers and peripheries, cross-cultural entanglement, and European perceptions of the wider world. His most recent publications include:

Between Sacred and Profane: Devotional Space, the Picture Gallery, and the Ambiguous Image in Poland-Lithuania‘, Zeitschrift für Ostmitteleuropa-Forschung 64, no. 4 (December 2015): 521–542.

Going Global? An Attempt to Challenge the Peripheral Position of Early Modern Polish-Lithuanian Painting in the Historiography of Art‘, The Polish Review 57, no. 4 (December 2012): 3–26.



Romanticism and the Peripheries


Bartolomeu dos Santos, Landscape with houses and figures in profile against a full moon, 1999, aquatint with a second sheet in color collaged before printing, British Museum.


Romanticism and the Peripheries. An International and Interdisciplinary Conference

Lisbon, Calouste Gulbenkian Foundation, December 5–7, 2016
Deadline: July 30, 2016

“The Romantic phenomenon seems to defy analysis, not only because its
exuberant diversity resists any attempt to reduce it to a common
denominator but also and especially because of its fabulously
contradictory character” (Michael Löwy and Robert Sayre, Romanticism
against the Tide of Modernity, trans. by Catherine Porter,
Durham/London: Duke University Press, 2001). In an attempt to
accommodate both its diversity and contradictory character, Löwy and
Sayre defined Romanticism as “a worldview constituted as a specific
form of criticism of ‘modernity'” and expanded the term beyond artistic
and literary phenomena to encompass a wide range of fields such as
religion, political theory, philosophy, etc. Even though Löwy and Sayre
may offer a guiding principle outside the interpretative confusion
often generated by the term, their analysis is still mostly, if not
exclusively, concerned with the definition of the phenomenon as it
manifested in the principal centers of Europe (namely England, France,
and Germany).

This 3-day conference, organized on the occasion of the bicentenary of
Fernando II’s birth, the Portuguese king responsible for the
edification of what is widely considered the hallmark of Romantic
Portuguese architecture, seeks to focus on Romanticism in the
peripheries, both European and non-European, and explore the validity
of the concept for the analysis of artistic and cultural forms that,
for the most part, originated outside the centers of bourgeois
industrial civilization. Taking as its starting point the definition
proposed by Löwy and Sayre, the conference invites participations on a
number of issues including, but not limited to:

1. When Was Romanticism? Attempts at Periodization and Definition.
2. Sublime matters: Romanticism and Material Culture.
3. Transfers and Cross-Sections: Literature, Theater and the Visual
4. The Romantic Traveler: Drawings, Prints and Souvenirs.
5. Artistic Education. Academy versus Nature?
6. Romantic Landscape, Gardens and Architecture.
7. Romantic Nationalism – Romantic Imperialism? The Politics of Style.

Abstracts (of no more than 300 words), accompanied by a short bio
(appr. two paragraphs) should be sent to the members of the organizing
committee, at by July 30, 2016.
Speakers will be notified by the end of August, and the conference
program will be published in mid-September. The languages of the
conference are English and Portuguese.

A selection of papers from the conference will be published as a
special number of the Revista de História da Arte, an annual
peer-reviewed journal, and a second publication, in the form of a book,
is also being contemplated by the organizers.

For all questions regarding administration and practical matters, as
well as the payment of the conference inscription, please contact
Mariana Gonçalves and Inês Cristóvão (

Conference inscription:
50,00 euros – Speakers
40,00 euros – Participants
20,00 euros – Students

Organizing committee:

António Nunes Pereira (Palácio Nacional da Pena/Parques de Sintra − Monte da Lua, SA); Foteini Vlachou (Instituto de História Contemporânea, FCSH/NOVA); Maria João Neto (ARTIS – Instituto de História da Arte/FLUL); Raquel Henriques da Silva (Instituto de História da Arte, FCSH/NOVA)

Scientific committee:

Bénédicte Savoy (Technische Universität Berlin); France Nerlich (Université François-Rabelais Tours); Javier Barón (Museo Nacional del Prado)

Executive committee:

Inês Cristóvão (ARTIS – Instituto de História da Arte/FLUL); Mariana Gonçalves (Instituto de História da Arte, FCSH/NOVA)

Sponsored by the Calouste Gulbenkian Foundation and supported by FCT – Foundation for Science and Technology national funds.





From Bradford to Benares: William Rothenstein in Context

Relatively little known artists such as William Rothenstein, that do not easily fit in a pattern of evolution of a national school, are great examples for the study of problems that relate to the periphery. In this case, his numerous trips and cultural encounters add to the complexity and fascination.

'The Browning Readers' by William Rothenstein, 1900 ‘The Browning Readers’ by William Rothenstein, 1900

‘The recent memorial exhibition at the Tate Gallery of works by the late Sir William Rothenstein, held five years after his death, poses a problem that can no longer be avoided. Where exactly does Rothenstein stand in the account of English painting of the first quarter of this century?’ (Home Affairs Survey, August 15th 1950)

On March 14th, The Cartwright Hall Gallery in Bradford will hold a one-day symposium dedicated to the life and work of the artist Sir William Rothenstein (1872-1945), coinciding with the first major exhibition of his work since 1972. The discussion will focus on the question posed above: Where does Rothenstein fit within the narrative/s of late nineteenth and early twentieth century art?

Particular attention will be paid to a series of important cultural encounters that changed the direction of the artist’s life and…

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Miradas – a new journal by the University of Heidelberg

Republished from (for more information regarding the journal, please visit the site):

Miradas is an academic peer-reviewed journal, which is published twice a year. The journal aims to be a platform for issues related to the history of the Iberian and Ibero-American art while promoting scientific exchange between German, Hispanic and Lusitanian art and cultural historians. To allow for the different scientific traditions and to ensure mutual reception, it is multilingual.

As its name suggests, Miradas is inviting to consider, contemplate and approach the issues of the rich cultural history of the Iberian Peninsula an the so called New World from multiple points of view. The rubrics of the journal allow to present and discuss new subjects, as well as to remember known ones.

Not least Miradas should give visibility to the Iberian and Ibero-American Art History at the Institute of European Art History at Heidelberg University. The editorial team is integrated by art historians from Heidelberg, Mexico and the Iberian Peninsula. “

Inventing Germanness in the Baltic

Anna Ripatti reports on the “Debating German Heritage: Art History
and Nationalism during the Long 19th Century” seminar, organized earlier this year in Tallinn, where questions touching upon the canon, the concept of cultural heritage, the construction of narratives of national art and the ubiquitous – for the periphery – problem of terminology were discussed. The abstracts of the seminar are available here.

Journal of Art Historiography

Conference report by Anna Ripatti:

Debating German Heritage: Art History and Nationalism during the long 19th Century. Intensive seminar of the Graduate School of Culture Studies and Arts, 27–28 September 2013, Institute of Art History, Estonian Academy of Arts, Tallinn.

The Baltic countries have a long and complex history of occupations. A large territory called Old Livonia, that is present-day Estonia and Latvia, was colonized by Germans at the beginning of the thirteenth century. In the nineteenth century, a significant part of the educated elite and the nobility living in the Baltic provinces of the Russian Empire identified themselves as Germans. In 1881, when the first census was organized in Estonia, 5.4% of the inhabitants declared themselves to be native German speakers. The Baltic Germans formed a highly influential, but small, minority not only in Estonia but also in other Baltic provinces.

The two-day symposium organized by Kristina Jõekalda…

View original post 1,613 more words

New: The Burlington Magazine Index Blog

Barbara Pezzini, editor of The Burlington Magazine Index, and member of the “art in the periphery” group, has inaugurated the Index blog, where she will write comprehensively on the history of the journal, the workings of the art world and commercial galleries, the networks of late nineteenth and early twentieth-century connoisseurs and art criticism at large – with a special emphasis on the artworks that circulated through the Burlington Magazine’s pages.