CALL --> Transnational Artistic Training | Prazo limite: 15 de Dezembro. International Symposium, Paris, Deutsches Forum für Kunstgeschichte, May 28 - 29, 2015. Between 2010 and 2015 the research project ArtTransForm (TU Berlin/ Université François-Rabelais, Tours) was dedicated to the phenomenon of transnational artistic education in the 19th century. The focus of the bilateral research project carried out by teams in Paris and Berlin was on German and Austrian painters who came to Paris between 1793 and 1870 to study. Almost 500 young men – and a few young women – came to the French capital in order to join the studios of French masters like Jacques-Louis David, Antoine-Jean Gros, Paul Delaroche, Léon Cogniet and Thomas Couture, to study at the École des Beaux-Arts, to copy at the Louvre or to experience independence in the ateliers libres or in the countryside just outside the city. Their motivations were various. Whether the training in Paris was a long-planned project or part of a forced exile, the reasons for studying abroad are numerous, responding to different aesthetic, economic and political aims and ambitions. The research project ArtTransForm investigated documents in private and public archives, diaries, administrative records, letters and sketchbooks in order to reconstruct all these diverse trajectories leading young people to leave their home country to complete their training abroad. The research results refute many prejudices concerning this period. For example, the fascination for Paris as an art metropolis, often considered as a given, proved not to be absolute. The attraction was related to different and – over the time – changing locations such as the Louvre, the private studios, the École des Beaux-arts and the surroundings of the city when painting in the open air. Not every young foreigner was enthralled by the French capital and the personal experiences proved to be very different. The art historical discourse that has led us to believe in the irresistible attraction of “the French model,” as described, for instance in late nineteenth-century manuals, has failed in many respects to take into account the various nuances disclosed by the ArtTransForm project. In choosing to observe several generations of young painters, with no regards for success or reputation, the project could shed light on an artistic population which is nowadays mainly forgotten, but which provides relevant information on the conditions of artistic careers in the 19th century. The success of the few, whose names have been immortalised by art history, is seen here in relation to the unfulfilled hopes and the fleeting achievements of the many others who are now forgotten. In order to discuss and reflect the results of this research project in a more wide-ranging context, the ArtTransForm team is organising a concluding conference. Researchers working on artistic mobility in the 19th century are invited to submit papers with a special focus on the years of artistic education. In contrast to later stays abroad, these early foreign experiences often had a major impact on the artistic biography. Whereas some artists regarded their time in Paris as a decisive moment on “the way to themselves” (Eduard Magnus, 1867) – sometimes leading to a turning away from a career as a painter and a change to more lucrative professions as illustrators, photographers, journalists etc. – others played down its importance. The ideological and aesthetic dimension of such declarations proved to be most meaningful when tensions between historical facts and the discourse on them could be unveiled. Ideally the proposals will present new results and take into consideration some of following problems: i) Actors: social origin and career planning; Intermediaries, social networks and selected affinities; Economic migration and political exile; Integration and exclusion. ii) Institutions and Alternatives: Academies and their alternatives; Career strategies on- and off-site; Scholars and independent students. iii) Theories and Practices: Transfer of knowledge and skills; Education, arts and crafts, fine arts; Teaching practices in academies and private studios; The teacher’s perspective. iv) Location: Residence and workplace; Studying in the open air; Travel itineraries, tours and detours. +info/fonte: h-net.msu.edu/cgi-bin/logbrowse.pl?trx=vx&list=H-ArtHist&month=1409&week=e&msg=hwoJqjRE/KH//hjj/ZVTPQ
Posted on: Mon, 27 Oct 2014 23:09:59 +0000
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